管空間

設計：Numen/For Use

管空間

設計：Numen/For Use

管空間的新理念是用安全網編織成裝置，形成能夠縱向振蕩和搖擺的閉合軟管。裝置用許許多多彈性索掛在周圍的表面上，連成了一條顫抖的碩大蜈蚣。這種分散的結構支撐實現了力量的均衡分布，并使作品質地柔軟、完全透明，因為它超越了建筑的空，使里面的人產生自由的漂浮感。不規則的對角線和由參差不齊的連續軟管形成的斜向視角打破了主體空間的正交格局。匍匐其中的人在穿過支撐身體、并讓目光游離其外去探索的格網主干時，會從意想不到的超現實角度感受建筑的環境，仿佛“鳥瞰-蟲視”的奇妙結合。管空間中由受力索的各種布置形成的不規則幾何形體使它成為完美的寄生蟲——可以適應一切新的環境和空間。

梅拉諾管空間

當地策展團隊BAU邀請我們參加梅拉諾春季慶典上的第二屆“藝術與自然”大會，主題是：用感官行走。其理念是與環境構成呼應，并在裝置與自然環境/景觀之間形成對話——在這里就是鄉村公園中生長的許多大松樹上多節的樹枝和茂密的樹葉。

我們讓起伏的毛毛蟲狀的管空間在樹頂間盤旋行走，將它懸掛在樹枝和粗壯的樹干上，并在下方的草地上增加固定點。由于樹木豐富的視覺效果，結構的筋索幾乎是看不到的，這就讓森林輕盈的天空多了幾分奇趣。（尚晉 譯）

項目信息/Credits and Data

地點與時間/Location and Period: 因斯布魯克，奧地利（2015）；梅拉諾，南蒂羅爾，意大利（2016）/ Innsbruck, Austria (2015); Merano, South Tyrol, Italy (2016)攝影/Photos: Günter Richard Wett, Numen/For Use

1-3 因斯布魯克，奧地利/Innsbruck, Austria, 2015

4.5 梅拉諾，南蒂羅爾，意大利/Merano, South Tyrol, Italy, 2016

Tube is a new installation concept constructed of stitched safety nets which assume a form of a closed hose that pulsates and oscillates in the longitudinal section. The object is suspended from surrounding surfaces with numerous elastic strings, channelling a giant convulsing centipede. Such dispersed structural support enables even distribution of forces and allows the structure to feel soft and fully transparent as it transcends the architectural void, causing the sensation of free floating for the person inside. The orthogonal scheme of host-space is fractured by irregular diagonals and oblique perspectives created by the jagged progression of the tube. The human crawler within experiences architectural environment from unexpected, surreal angles as (s)he moves through the mesh artery which supports the body but lets the eyes fly and explore, resembling a strange case of "bird-worm" amalgamation. Tube's irregular geometry defined by varying disposition of support strings makes it a perfect parasite – universally adaptable to new contexts and spaces.

Tube Merano

The local curatorial team BAU invited us to participate in the second edition of "Art & Nature" titled Walking with Senses and held in Merano during the Spring Festival. The idea was to respond to the context and develop a dialogue between the installation and the natural environment/landscape –in this case the gnarly branches and lush foliage of the several magnificent pine-trees growing in the village park.

We took the undulating caterpillar of the Tube on a spiralling walk through the tree tops, suspending it from the branches and massive trunks, with additional fixtures on the grass terrain below. Due to the visual richness of the trees, the structural tendons are rendered almost invisible, adding to the wonder effect of a levitating forest skyway.

評論

胡恒：但凡優秀的藝術或建筑作品，都能自動消除圖像與意義的干擾。Numen/For Use的“盤絲洞”系列做到了這一點。這個系列最早出現在維也納的一個破舊劇場里，用的是打包膠帶。網絡上的幾張像素極低的照片給我以巨大的沖擊。概念、材料、制作等各個方面都無可挑剔。在柏林新猶太人紀念館的廣場上的新作依舊充滿力量，還增加了娛樂性。受沖擊之余，我開始擔憂:作品美則美亦，但系列下去，是否會有自我復制的危險？這里的幾個作品表明Numen/For Use對此也有所意識。幾年來，“盤絲洞”從室內到室外，從城市到自然環境，形態、材料、節點多有變化，頗似轉向標準的公共空間藝術。轉向是否成功不太好說。但對我而言，最初的打包膠帶被放棄，是令人惋惜的。這種廉價、黏糊糊、微透光性、層疊韌度多樣的材料，是該系列作品的基礎與靈魂。換句話說，不是材料，而是“盤絲洞”能捕獲什么，在最初的兒童、成人的心，以及歷史感之外，它還能捕獲什么更特別的東西，才是Numen/ For Use應該思考的問題。

Comments

HU Heng: Outstanding artistic or architectural works can automatically eliminate the interference of its image and meaning. That is also what Numen/For Use's Cave of Silken Web series do. The series, made of packaging tapes, firstly appeared in a dilapidated theater in Vienna. When I found a few pictures of them in extreme low pixels online, they astounded me a lot. Everything is impeccable in terms of concepts, materials and construction. Later, the new works at Jewish Memorial Plaza in Berlin, still full of vigor, also increased its entertainment. Beyond the shock, I began to doubt whether there will be risks of self-duplication for it in spite of its prominent beauty. Several works here show that Numen/For Use has also been aware of it. In recent years, the Cave of Silken Web seemingly has changed its orientation to standard public space arts from indoor to outdoor, urban areas to natural environment, in terms of forms, materials and connection ends. It is still early to assess whether it has made a good shift. As for me, it is a pity to abandon the original packaging tapes. Though cheap and sticky with slight light transmission and various lamination and toughness, such kind of material is just the foundation and soul of the series. In other words, it is not material, but what else Cave of Silken Web can attract, besides its primary popularity among children and adults for its sense of history. That is what Numen/ For Use should think about it.

白晨：弦空間這個項目我很喜歡。它本身的相，只有充氣和非充氣兩種狀態，而且是各向同性的。它從本質的內在結構，向我們展示了一個立方的空氣體的形成。而且以弦分割了空間，展示了單位體積的疊加和聚集。更好玩的是，人可在其中探索和經歷，通過弦的變形，人對空間的扭曲是可見的。促使人重新理解空間、人在空間中的移動和人對空間的擾動。

帶空間是一個對自我認知和尺度挑戰很大的項目。展示了多維空間的連續性。每一個開口都有確定的現實目的，像是對現實世界進行了一次有選擇的空間聯系和拼貼。

管空間向我展示了，在一維的線性空間中存在的人，如何與一個三維的場所相處，如何被這個場所維持，被這個場所約束。在低維度的行為和高維度空間互相的依存關系。

BAI Chen: I like the project of Strings very much. It only has inflated and deflated postures, is isotropic in space. From the essence of inner structure, it shows us the formation of an air inflation cube. With the space being divided by strings, the superposition and aggregation in unit volume are displayed. What interests us more is that people can explore and experience it through the deformation of strings. The distortion of space under the influence of human beings is visible. Therefore, people can update perception on the space, the movement and disturbance of human beings in the space.

Tape is a challenge to one's self-perception and scale. It shows the continuity of the multidimensional space, with each opening for a specific realistic purpose, like a selective connection and collage with the space in the real world.

Tube shows me the presence of the people in the one-dimensional linear space, as well as how to get along with a three-dimensional place and how to be kept and confined by this place. It shows the interdependence between the low dimensional behavior and the high dimensional space.

Tube, 2015

Designers: Numen/For Use