設(shè)計：Numen/For Use

帶空間

設(shè)計：Numen/For Use

對于一座帶有歷史屋頂?shù)钠胀ńㄖ?，用透明膠帶反復包裹它的柱子就會形成一個復雜的不規(guī)則表面，整個過程猶如有機體的生長。這個想法源于舞蹈演出的一組設(shè)計理念：它的造型由舞者在柱子之間的運動演化而成。舞者在運動中拉開膠帶，所形成的造型就是編舞的錄像（帶）。一維的線條演化出來的表面是韻力非凡的有機造型。而走入形體之中的觀眾則使雕塑轉(zhuǎn)化為建筑。

帶空間的理念進而發(fā)展為更具雕像性的建構(gòu)形式。它實際上是通過混亂的包裹“形成的”，而一維的線條（“帶”）慢慢變成二維的平面，最終扭曲成形。

這個裝置的構(gòu)想是一座侵入任意位置、又屬于特定場所的寄生建筑。主干的各條直線在給定的區(qū)域中展開，這些拉筋隨后沿對角線方向用數(shù)層彈性膠帶包裹起來，形成復雜的有機形式，與大自然中這種結(jié)構(gòu)的生成如出一轍。

膠帶的層數(shù)愈多，形體就會隨曲率的增加而愈實在。結(jié)構(gòu)內(nèi)部是柔軟、有彈性、易于彎曲的，而造型本身在靜止時是完美的，因為它充分符合力的曲線，而且造型也是由此確定的。在觀眾進入裝置的那一刻，原來的雕塑就完美地化作建筑。

巴黎帶

這個策展理念深入到空間與心理的內(nèi)在領(lǐng)域，形成沉浸、反省和探究內(nèi)心深處的主題。其主旨是將整座建筑變?yōu)槎秳拥乃季S/實在有機體，讓積極的探索者去追尋和發(fā)現(xiàn)它柔滑的內(nèi)在界限?！鞍屠鑾А毖诱沟纳镄伪砥顺隽苏麄€體驗的起點，化作指向內(nèi)心的返祖環(huán)境——重歸洪荒的感受縈繞在每一處開口上。（尚晉 譯）

項目信息/Credits and Data

地點與時間/Location and Period: 維也納，奧地利/頂樓（2009）；維也納，奧地利/音樂廳（2010）；貝爾格萊德，塞爾維亞（2010）；柏林，德國（2010）；法蘭克福，德國（2010）；斯德哥爾摩，瑞典（2011）；佛羅倫薩，意大利（2011）；墨爾本，澳大利亞（2011）；哈瑟爾特，比利時（2012）；東京，日本（2013）；厄勒布魯，瑞典（2014）；巴黎，法國（2014-2015）/Vienna/Attic, Austria (2009); Vienna/ Odeon, Austria (2010); Belgrade, Serbia (2010); Berlin, Germany (2010); Frankfurt, German (2010); Stockholm, Sweden (2011); Florence, Italy (2011); Melbourne, Australia (2011); Hasselt, Belgium (2012); Tokyo, Japan (2013); ?rebro, Sweden (2014); Paris, France (2014-2015)

攝影/Photos: Kristof Vrancken, Numen/For Use

1-3 貝爾格萊德，塞爾維亞/Belgrade, Serbia, 2010

4.5 哈瑟爾特，比利時/Hasselt, Belgium, 2012

6-8 厄勒布魯，瑞典/?rebro, Sweden, 2014

9.10 巴黎，法國/Paris, France, 2014-2015

Constant wrapping of pillars of a conventional historic roof construction with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. The idea originates in a set design concept for a dance performance in which the form evolves from the movement of the dancers between the pillars.The dancers are stretching the tape while they move so the resulting shape is a (tape) recording of the choreography. One dimensional line evolves into surface that forms organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture.

The tape concept developed further towards a more sculptural architectonic form. It was practically "found" through the act of chaotic wrapping, where a one-dimensional line ("tape"), slowly turned into two-dimensional plane, which then finally curved into volume.

The installation was envisaged as a site specific, parasitical structure invading an arbitrary location. The straight lines of main trajectories are stretched across a given area and these tendons are then wrapped diagonally with layers of elastic tape, giving shape to a complex organic form through a process similar to the emergence of such structures in nature.

With the further layering of the tape, the figure becomes more and more corporeal as it picks up on the slow increase of the curvature. The interior of the structure is supple, elastic, and pliable while the form itself is statically perfect, as it ideally follows the trajectories of forces, being literally defined by them. In the moment when the audience enters the installation, what started off as a sculpture seamlessly morphs into architecture.

Tape Paris

The curatorial concept delves into the murky territory of both physical and psychological interiority, thematising immersion, introspection and probing of the depths of self. The main idea was to transform the whole building into a convulsive mind/body organism whose slippery inner limits a motivated explorer has yet to trace and confront. The stretched biomorphic skin of Tape Paris is marking the entry point to the whole experience, being a literal incarnation of an inner-directed, regressive environment - the sense of descent into the primordial always lingering around its openings.

Tape, 2009

Designers: Numen/For Use

11.12 巴黎，法國/Paris, France, 2014-2015