叢林

策展人：薩沙·哈斯丁斯；藝術(shù)家：菲利普·比斯利，生命建筑系統(tǒng)組織

1-3 “叢林”裝置/Grove installation

“叢林” 作為一處精致且美輪美奐的聚會空間，為包容、開放式建筑提供了美好愿景。一片高聳起伏、明光爍亮的遮篷懸浮在水池狀的中央屏幕上方，那蕾絲狀的云朵內(nèi)嵌著裝滿液體的玻璃器皿。投影里正放映著由倫敦的沃倫·杜·普雷和尼克·桑頓·瓊斯制作的電影《叢林搖籃》。圖騰般的簍狀柱子林立于投影池周圍，其內(nèi)嵌的定制揚(yáng)聲器錄有4DSOUND工作室的音樂作品（由阿姆斯特丹的薩爾瓦多·布雷德創(chuàng)作）。

同時(shí)，電影和音效環(huán)境為訪客提供了一種近乎壓倒性的帶感體驗(yàn)——無數(shù)的世界陷入混亂，又在新生命中崛起。受比斯利“生活建筑”環(huán)境這一形式語言的啟發(fā)，影片中錯(cuò)綜復(fù)雜的幾何形狀從惰性水晶礦物轉(zhuǎn)變?yōu)闆坝颗炫鹊纳问?。在不斷蛻變的夢幻般星狀景象中，一種孩童般的生物逐漸成形，呈現(xiàn)了從死亡到新生的基本旅程。起落輪回、支離破碎的荒野與閃爍的希望之光相互交織。輕聲低語從洞穴般的深處傳來，在歷盡新生命和天真無邪的艱辛中開辟出一段情感之旅。

新冠疫情讓徹底重構(gòu)原有的“叢林”概念一事迫在眉睫。該項(xiàng)目最初想打造一個(gè)強(qiáng)勁的密集交互式實(shí)體環(huán)境，但在全球流行病期間，建造一種不同類型的公共設(shè)施才是大勢所需。因此，比斯利希望通過與聲音和電影方面的合作者共同努力，創(chuàng)造出更豐富且更帶勁的實(shí)體體驗(yàn)及虛擬體驗(yàn)。一種新型的多媒體裝置便應(yīng)運(yùn)而生，重新詮釋了比斯利沉浸式建筑視覺中相互交織的層次與不斷變換、貼近生活的特性。這也是對哈希姆·薩基斯提出的策展主題——一個(gè)刻不容緩的問題——進(jìn)行的直接回應(yīng)。

對于“我們將如何共同生活？”這個(gè)問題，比斯利與他的合作者提供了一個(gè)轉(zhuǎn)變世界的愿景，未來的建筑將尋求與植物、動物和惰性物質(zhì)相互交融。一直以來，城墻都守護(hù)著公民自由，但現(xiàn)在這些墻也引發(fā)了降臨在人類頭上的災(zāi)難性變化。我們能否生活在一個(gè)不斷更迭的開放式共享世界里，而非一個(gè)刻板的、約束的、讓人分裂的封閉領(lǐng)土？一種基于耗散式自然形態(tài)（如易碎的雪花和流動的云彩）的新建筑，能否創(chuàng)造出既敏感又形影相隨的、可自我更新的、堅(jiān)固的彈性建筑？

在“叢林”項(xiàng)目里，菲利普·比斯利擴(kuò)展了他以往的主要建筑項(xiàng)目，如最近的永久性雕塑——位于加拿大劍橋市的“蜿蜒”，以及與時(shí)裝設(shè)計(jì)師艾里斯·范·荷本合作研發(fā)的創(chuàng)新面料。這些先前項(xiàng)目里深層的、有彈性的實(shí)體結(jié)構(gòu)被轉(zhuǎn)化成幽靈般的虛擬世界，在威尼斯進(jìn)行展示?！皡擦帧边@一實(shí)驗(yàn)性建筑具有極度復(fù)原的、治愈的特性。它通過將相互依賴的復(fù)雜自然系統(tǒng)轉(zhuǎn)譯為實(shí)體及虛擬的結(jié)構(gòu)和環(huán)境，打造出一個(gè)完全包容的未來愿景。在那里，我們可以將身體、思想和精神融入周遭環(huán)境，打破看似不可逾越的鴻溝，創(chuàng)造基于互換和共鳴的再生世界?！酰ㄍ鯁螁?譯）

Groveis a delicate and beautiful gathering space that offers a vision for inclusive, open building. A soaring, undulating canopy of luminous, lace-like clouds embedded with liquid-filled glass vessels hovers above a central pool-shaped screen, into which a film, calledGrove Cradle, by Londonbased Warren du Preez and Nick Thornton Jones is projected. The projection pool is surrounded by a forest of totemic, basket-like columns with embedded custom speakers that carry a 4DSOUND composition by Salvador Breed of Amsterdam.

Together, the film and sound environment offer visitors an almost overwhelmingly intense experience of innumerable worlds falling into chaos and rising again in new life. Inspired by the form language of Beesley's "living architecture" environments, the film's intricate geometries move from inert crystalline minerals into surging life forms. Within an astral, dream-like vision of constant metamorphosis, a child-like being emerges, reflecting the fundamental journey from death into new life. Rising and falling in cycles, deeply fragmented wilderness is interwoven with shimmering, hopeful light. Whispering voices emerge from cavernous depths, creating an emotional passage from suffering through new life and innocent wonder.

COVID-19 necessitated a complete re-imagining of the original Grove concept. Initially conceived of as a robustly physical, densely interactive environment, it soon became clear that a different type of public installation was required during a global pandemic. So Beesley looked to ways of creating expanded and enhanced physical and virtual experiences by working with collaborators in sound and film. The result is a new type of multimedia installation that re-interprets the interwoven layers and constantly transforming, near-to-life qualities of Beesley's immersive architectural visions. It is also a direct response to the urgent question posed by the title of Hashim Sarkis's exhibition.

How will we live together?Beesley and his collaborators offer a vision of a transformed world where future architecture seeks communion with plants, animals, and inert matter alike. Free citizenship was long defined by protective city walls, yet those same walls have also fueled catastrophic changes that befall us now. Instead of the rigid, bounded, and closed territories that divide us, can we live in open, constantly exchanging, shared worlds? Can a new architecture based on dissipative natural forms, such as fragile snowflakes and shifting clouds, create buildings that that are both unapologetically sensitive and extraordinarily coherent, self-renewing, strong, and resilient?

InGrove, Philip Beesley has expanded upon his major built projects, such as the recent permanent sculpture Meander (located in Cambridge, Canada), and innovative fabrics developed in collaboration with fashion designer Iris van Herpen. The deeply layered, resilient physical structures of these preceding projects have been transformed into ghost-like virtual worlds for presentation in Venice. The experimental architecture ofGroveoffers profoundly restorative and healing qualities. By translating complex, interdependent natural systems into projected physical and virtual structures and environments,Groveoffers a vision of a radically inclusive future where we can mesh our bodies, minds and spirits with our surroundings, breach seemingly unbreachable divides, and create renewed worlds grounded in mutual exchange and empathy.□

4.5 “叢林”裝置/Grove Installation

6.7 云朵一般的頂篷/Cloud-like canopy

項(xiàng)目信息/Credits and Data

策展人/Curator: Sascha Hastings

主創(chuàng)藝術(shù)家/Principal Artist: Philip Beesley

合作/Collaborators: Warren du Preez, Nick Thornton Jones, Salvador Breed, 4DSOUND

設(shè)計(jì)執(zhí)行/Design Studio Executive: Timothy Boll (project lead), Ellie Hayden, Michael Lancaster, Anne Paxton, Stephen Ru

設(shè)計(jì)團(tuán)隊(duì)/Design Studio: Kevan Cress, Lisa Jiang, Mackenzie Van Dam, Bianca Weeko Martin

影片/Film:

Grove Cradle - Philip Beesley

Film Installation - Directed by Warren Du Preez & Nick Thornton Jones

Curator & Producer - Sascha Hastings

Produced by - W&N Studio & PBSI Studio & Immortal Productions

Actress - Tilley Du Preez @ Sylvia Young Agency

Music Composition - Salvador Breed

VFX Creation - W&N Studio & Gavin Coetzee / Studio Tekati VFX Creation Assistant - Kevan Cress

Editor - Xavier Perkins / Exeeda

3D Scanning - FBFX London (big thank you to Martin Kern)Z Brush Artist - Chris Everritt Storyboard Artist - Alex Noble

Motion Capture & Rigging - Mark Maxwell

PBSI Studio Assistance - Timothy Boll, Matt Gorbet, Lisa Jiang, Michael Lancaster, Stephen Ru

聲效/Sound:

Composer - Salvador Breed

Text - adapted from Gustav Flaubert's The Temptation of Saint Anthony, 1874 Male voice - Philip Beesley Female voice - Eva Bartels

撰稿/Contributors: Iris van Herpen, Poul Holleman, Codrin Talaba

生命建筑系統(tǒng)組織執(zhí)行/LASG Executive: Sarah Bonnemaison, Matt Gorbet, Rob Gorbet, Salvador Miranda

生命建筑系統(tǒng)組織團(tuán)隊(duì)/LASG Studio: Bria Cole, Mark Francis, Ilana Hadad, Glenn Lu, Nikola Miloradovic, Meghan Won, Karen Zwart-Hielema

出品/Production: Gwynne Allanford, Filipe Costa, Dima Ghazal, Angie Kwon, Helia Mahdavi, Kailey Moulson, Ashley Peebles, Tahir Pervaiz, Julia Richard, Nathan Shakura, Dalia Todary-Michael, Xinyi Zhang

裝置管理/Installation Management: Amerigo Piana, Jordan Prosser, Davide Tiso, Mackenzie Van Dam

裝置團(tuán)隊(duì)/Installation Team: Giulio Ancona, Daniele Campesan, Andrea Ciccolella, Franco Conte, Davide Cupani, Margherita D'Adamo, Cristian Filiuta, Marine Franchi-Pinta, Alexandrina Godorogea, Elia Guglielmi, Cecilia Maran, Alessandro Marsiaj, Giovanni Nardello, Michela Perotello, Nicola Peruzzi, Ludovico Piccolo, Lorenzo Piva, Mattia Sanna Zolin, Margherita Scapin, Leonardo Sebastiani, Riccardo Sellan, Jasmine Stefanutto, Andrea Strata, Mateo Tomasini, Schani Turri, Piera Zacchigna, Geremia Zarantonello