業(yè)主單位：納什雕塑中心

設(shè)計(jì)團(tuán)隊(duì)：Yen Ong,Paul Merrill,Lauren Cadieux

合作單位：安·維羅尼卡·詹森斯

項(xiàng)目面積：80 平方米

項(xiàng)目竣工：2016 年

項(xiàng)目攝影：納什雕塑中心

Client:Nasher Sculpture Center

Design architect/design team:Yen Ong,Paul Merrill,Lauren Cadieux

Collaborators/consultants:Ann Veronica Janssens

Size:80 sqm

Year of completion:2016

Photographer:Nasher Sculpture Center (Photographer:Kevin Todora)

在比利時(shí)藝術(shù)家安·維羅尼卡·詹森斯的首次美國個(gè)人展館展示中，五人設(shè)計(jì)工作室與其合作打造了一個(gè)獨(dú)特的特定場地展館。在過去的三十年里，該藝術(shù)家以光線藝術(shù)家的身份家喻戶曉，她利用科學(xué)研究并借助投影、煙霧和其他材料來打造能夠提高觀眾對(duì)自己和周圍環(huán)境的感知的體驗(yàn)。

安·維羅尼卡·詹森斯對(duì)體驗(yàn)的塑造取決于建筑，她還經(jīng)常打造一些環(huán)境，并在這些環(huán)境中通過改變空間內(nèi)部的光線尋找科學(xué)的眼睛適應(yīng)方案。

在由倫佐·皮亞諾設(shè)計(jì)的納西爾雕塑中心的庭園里，五人設(shè)計(jì)工作室與詹森斯合作打造了一個(gè)獨(dú)立的展館，并取名“藍(lán)紅黃”。我們?cè)跇?gòu)筑物的聚碳酸酯外壁板上使用了這三種顏色，而內(nèi)部則以人造煙霧充斥。這些濃霧彰顯了藝術(shù)家對(duì)于光線雕塑結(jié)構(gòu)的濃厚興趣。Janssens表示：凝視煙霧是一種具有對(duì)比效果的體驗(yàn)。煙霧似乎消除了所有障礙、物質(zhì)性、特定于給定背景的阻力，而且似乎賦予光以物質(zhì)性和觸感。

當(dāng)參觀者穿過展館時(shí)，他們可以體驗(yàn)不斷變化的視角，這些視角有時(shí)會(huì)使他們完全迷失方向。當(dāng)光線穿過墻壁和天花板時(shí)，霧氣之中熠熠生輝，并隨著參觀者的走動(dòng)和外界光線的變化而變化。

該項(xiàng)目于2016年在納西爾雕塑中心展出，根據(jù)快速的設(shè)計(jì)與施工計(jì)劃完工。為了最大程度地減少邊緣四周的裝飾細(xì)部，打造一個(gè)更加純粹的空間，使構(gòu)筑物與煙霧似乎融為一體，并提升參觀者的室內(nèi)體驗(yàn)，我們選擇聚碳酸酯作為表面材料。

For the first solo museum presentation in the United States of work by Belgian artist Ann Veronica Janssens,5G worked with the artist to create a unique site-specific pavilion.Over the last three decades,the artist has become best known as a light artist,drawing on scientific research and working with projections,fog,and other materials to create experiences that heighten viewers’ perceptions of themselves and their surroundings.

The artist’s shaping of experience is contingent on architecture,and she often creates environments in which she can test the science of the eye with the manipulation of light within a space.

Sited in the garden of the Nasher Sculpture Center,designed by Renzo Piano,we collaborated with Janssens to create a freestanding pavilion,titled Blue,Red and Yellow.The three colors were applied to the polycarbonate exterior panels of the structure,while the interior was filled with artificial fog.This thick haze highlighted the artist’s interest in giving sculptural form to light.She describes,“Gazing at mist is an experience with contrasting effects.It appears to abolish all obstacles,materiality,the resistances specific to a given context,and at the same time,it seems to impart a materiality and tactility to light.”

As visitors moved through the pavilion,they experienced continuously shifting perspectives,which at times resulted in profound disorientation;as light passed through the walls and ceilings,the fog became radiantly suffused with their colors,changing with the movement of the viewer and shifting with the light of the sky.

The project was on view at the Nasher Sculpture Center in 2016,and the structure was completed on a rapid design and construction schedule.Polycarbonate was selected as the exterior material to minimize detailing around the edges,shaping a more pure space in itself,and allowing the structure to seemingly dissolve with the fog,and elevating the interior experience for visitors.

Artwork Credits:Ann Veronica Janssens;Blue,Red,and Yellow,2001 Steel,wood,polycarbonate,red,blue and yellow films,fog machine,Approx.137 ? x 354 3/8 x 177 1/8 in.(350 x 900 x 450 cm);Courtesy WIELS,Brussels