管空间

设计：Numen/For Use

管空间

设计：Numen/For Use

管空间的新理念是用安全网编织成装置，形成能够纵向振荡和摇摆的闭合软管。装置用许许多多弹性索挂在周围的表面上，连成了一条颤抖的硕大蜈蚣。这种分散的结构支撑实现了力量的均衡分布，并使作品质地柔软、完全透明，因为它超越了建筑的空，使里面的人产生自由的漂浮感。不规则的对角线和由参差不齐的连续软管形成的斜向视角打破了主体空间的正交格局。匍匐其中的人在穿过支撑身体、并让目光游离其外去探索的格网主干时，会从意想不到的超现实角度感受建筑的环境，仿佛“鸟瞰-虫视”的奇妙结合。管空间中由受力索的各种布置形成的不规则几何形体使它成为完美的寄生虫——可以适应一切新的环境和空间。

梅拉诺管空间

当地策展团队BAU邀请我们参加梅拉诺春季庆典上的第二届“艺术与自然”大会，主题是：用感官行走。其理念是与环境构成呼应，并在装置与自然环境/景观之间形成对话——在这里就是乡村公园中生长的许多大松树上多节的树枝和茂密的树叶。

我们让起伏的毛毛虫状的管空间在树顶间盘旋行走，将它悬挂在树枝和粗壮的树干上，并在下方的草地上增加固定点。由于树木丰富的视觉效果，结构的筋索几乎是看不到的，这就让森林轻盈的天空多了几分奇趣。（尚晋 译）

项目信息/Credits and Data

地点与时间/Location and Period: 因斯布鲁克，奥地利（2015）；梅拉诺，南蒂罗尔，意大利（2016）/ Innsbruck, Austria (2015); Merano, South Tyrol, Italy (2016)摄影/Photos: Günter Richard Wett, Numen/For Use

1-3 因斯布鲁克，奥地利/Innsbruck, Austria, 2015

4.5 梅拉诺，南蒂罗尔，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.

评论

胡恒：但凡优秀的艺术或建筑作品，都能自动消除图像与意义的干扰。Numen/For Use的“盘丝洞”系列做到了这一点。这个系列最早出现在维也纳的一个破旧剧场里，用的是打包胶带。网络上的几张像素极低的照片给我以巨大的冲击。概念、材料、制作等各个方面都无可挑剔。在柏林新犹太人纪念馆的广场上的新作依旧充满力量，还增加了娱乐性。受冲击之余，我开始担忧:作品美则美亦，但系列下去，是否会有自我复制的危险？这里的几个作品表明Numen/For Use对此也有所意识。几年来，“盘丝洞”从室内到室外，从城市到自然环境，形态、材料、节点多有变化，颇似转向标准的公共空间艺术。转向是否成功不太好说。但对我而言，最初的打包胶带被放弃，是令人惋惜的。这种廉价、黏糊糊、微透光性、层叠韧度多样的材料，是该系列作品的基础与灵魂。换句话说，不是材料，而是“盘丝洞”能捕获什么，在最初的儿童、成人的心，以及历史感之外，它还能捕获什么更特别的东西，才是Numen/ For Use应该思考的问题。

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：弦空间这个项目我很喜欢。它本身的相，只有充气和非充气两种状态，而且是各向同性的。它从本质的内在结构，向我们展示了一个立方的空气体的形成。而且以弦分割了空间，展示了单位体积的叠加和聚集。更好玩的是，人可在其中探索和经历，通过弦的变形，人对空间的扭曲是可见的。促使人重新理解空间、人在空间中的移动和人对空间的扰动。

带空间是一个对自我认知和尺度挑战很大的项目。展示了多维空间的连续性。每一个开口都有确定的现实目的，像是对现实世界进行了一次有选择的空间联系和拼贴。

管空间向我展示了，在一维的线性空间中存在的人，如何与一个三维的场所相处，如何被这个场所维持，被这个场所约束。在低维度的行为和高维度空间互相的依存关系。

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