Issuu on Google+


Environmental Art | 图01马利布的云彩装置细部:不锈钢丝网、切割水滴 状水晶和空气草 Fig.01 Detail of Cloud II-Malibu at sunset: stainless steel wire-mesh, cut-crystal droplets and air plants (Tillandsias) 图02  落日下,马利布市的云彩装置。轻盈的云朵漂浮 在草坪的上空。 Fig.02 Overview of Cloud II-Malibu at sunset: weightless cloud suspended above faceted grass surface

图01

曹|帕罗特工作室 的“非场所”景观 Cao | Perrot Studio’s “Non-Site” Landscapes 撰文 斯蒂芬·杰罗姆(新西兰) Text by Stephen JERROME(NZ)

翻译 张云路 Translation by ZHANG Yun-lu

校对 董丽 Proofreading by DONG Li

曹|帕罗特工作室在最新的景观设计作品中,告别了正规的场地特定设计手法,通过“不定形”的自

变化无穷的云彩形态移进庭院中。这朵“云彩”不仅

发形式,采用天然和常用材质,进行创作。这种“非场所”(Non-Site)的创作方式使得他们的设计作品

具备功能性,而且也成为这个年轻现代的五口之家生

能够跨越商业、艺术与住宅区的边界,从小尺度的私人庭院到大型公众艺术展示,或暂时的,也可永久存

活中不可或缺的一部分(图01-04)。

在。曹|帕罗特工作室在美国加州与法国巴黎的最新作品都采用了铁丝网、切割水晶和珍珠贝壳等现成材 料,来实现他们的“非场所”概念。

这朵云彩,悬挂在纵横交错、手工编织的丝网 上,营造独特的环境氛围。在南加州明亮阳光的照

受多元文化的影响,在洛杉矶工作的艺术家安迪·曹与在巴黎工作的风景园林师泽维尔·帕罗特,逐渐

射下,它显得轻盈而剔透,宛若一个漂浮花园(用

将关注的焦点从象征主义与意义转向探索材料的创新性使用,来表达他们的观念、直觉和情绪。他们不厌其

空气草做点缀),为主人提供一大片柔和的光影地

烦的工作态度与对细节的关注反映出来自经典高级定制服装行业的精神。十年来,他们一直追求着“融合景

带。下方摆设有反光亮片的雕塑草坪,则成为云彩

观与艺术,创造梦幻场所”的设计目标。

下方的游乐场所。当阴天或者起雾的时候,这朵人

近来,这个工作团队开始关注云彩以及环绕四周的大气空间。云彩在本质上是变幻无常的。它们既可

造云彩便隐隐低垂,若有所思。夜晚时分,其下方

以纤纤一握,也可以横贯长空。它们时而轻如鸿毛,转瞬即逝,时而又重如泰山,威风凛凛地统治天空。

悬挂的五千块切割水晶就将云彩转换成一盏枝形大

云朵既能吸收光线,也能漫射光线,形成奇特景象。

吊灯,在夜幕下光芒四射,虹彩闪烁。

加州马利布市的云彩II装置,便是景观原则在住宅庭院空间设计中的运用实例。原来的庭院地面设计,无

曹|帕罗特希望能在不同城市中创造出一系列的

论如何“景观化”,都不能满足客户的要求。于是曹与帕罗特提出在此摆设一朵“云彩”,将附近的海景以及

云彩,以表达“非场所”的概念。这类云彩适合从

098 | LANDSCAPE ARCHITECTURE 2009/05


|环境艺术

图02

小到大,乃至巨幅尺度的不同空间。通过光线反射和天气变化,云彩能够将一处 平凡无奇的空荡场所改造成一处魔幻梦境。云彩III预计将于2012年完成的,将 会成为华盛顿州西雅图弓湖转运站的一处永久性艺术装置。

的中心特征,变成了一个从四周建筑的五层楼窗户中都可以看见的欢迎标识。 2009年初,曹|帕罗特又接受了来自著名法国香槟厂家罗兰百悦的委托,为 在杜伊勒里宫花园举行的巴黎春季花园节——创作一个“空中花园”。源自于

云彩概念的最初实验带有偶然性。当时曹|帕罗特工作室应邀为泰宁·罗

香槟酒泡沫的印象,他们提出设置一棵由钢条构成的大树,上面挂满两万个香

丝精品店在纽约、贝弗利山庄与拉斯维加斯设计橱窗时,他们进行了初步的尝

槟颜色的珍珠贝“叶子”。在四周种植泡沫状的的长芒草和优雅的野花,构成

试。而他们随后在佛罗里达州迈阿密的仙童植物园中,将这一想法付诸实践,

起伏的波浪,将这棵闪烁而剔透的树被包围起来(图06)。

为园中的湖泊设计了一朵漂浮的云彩。 接着这一云彩的概念又漂浮到巴黎,在那里高田闲三新开的旗舰店委托曹 与帕罗特在这一时尚屋宇的庭院中创作一处装置。由于四周建筑墙壁都是历史

尽管这个艺术装置只摆设3天,它却需要6个星期来完成小树枝的制作(图 07),再另花1个星期来进行安装!然而这一装置却赢得了大奖,并由卢浮宫博 物馆馆长兼总监亨利-劳埃何特亲自颁发给安迪·曹与泽维尔·帕罗特。

遗迹,不能架设悬挂线,曹与帕罗特提出采用一株独立树的概念,从钢绞线构

曹|帕罗特工作室的空间概念以及其新近的“非场所”方式,使得他们能够

成的树干上升腾起树冠状的“云彩”。云彩的下方,则悬挂起3000块水滴状的

描述一朵云彩或一棵树的瞬间形象,并创造出适用于任何环境的美学元素。尽

切割水晶。像马利布的云彩一样,高田闲三店的云彩在夜晚时也会转换成一盏

管比起他们为罗兰百悦设计的树,其他的树在尺度上或许显得不那么雄伟,但

闪烁的云型吊灯。整棵树放置在一个圆环形的婴儿泪草台中(图05)。

是在树的样式以及树叶的颜色等都有待探索。这些“树”无需灌溉,却能变幻

这一装置在纵横维度上对庭院进行了完美分割,一年以后就成为了整个建筑

多姿,万古常新,神妙多端。

风景园林 2009 第五期 | 099


Environmental Art |

图03

 Cao-Perrot Studio’s latest work in landscape design is a departure from

“landscaped”, was not satisfying the needs of the client.

formal, site-specific design, to embrace natural and common elements in a

Cao and Perrot suggested a “Cloud”. Their idea was to bring the nearby

spontaneous, “shapeless” way. This “non-site” approach gives their work the

ocean view with its panoramic vistas and ever-changing cloud formations, into the

flexibility to cross commercial, artistic and residential boundaries, varying in

courtyard; to create an art piece that was not only functional, but an integral part of

size from intimate courtyards to large scale public art, both temporary and

a young, modern family of five. (Fig.01-04)

permanent.  Cao Perrot Studio’s recent projects, in California and France, have

The Cloud, suspended on crisscrossing wires and made with hand- sculpted

taken ready-made materials, including wire mesh, cut crystals and mother-of-pearl

wire mesh, mirrors the atmospheric environment. It is light and airy on the frequent

shells, applying them to this new “non-site” concept.

bright and sunny days of Southern California, and even functions as a floating

Drawing on multi-cultural influences, Los Angeles-based artist Andy Cao and Paris-based landscape designer Xavier Perrot have shifted their focus from symbolism and meaning to explore innovative ways of using materials to express their ideas, intuition and emotions. Their labor-intensive work and attention to detail

garden (dotted with Tilandsias) providing a wide area of gentle shade. A sculpted lawn interspersed with reflective panels serves as a playground. When the sky turns gray or dense with fog, the man-made Cloud looms low and brooding. At night, with 5000 cut crystals hanging from its underside, the Cloud

reflects the spirit of classic haute couture. For ten years, their stated goal has been

transforms into a giant, roiling chandelier, glowing and shimmering with rainbow

“blending landscape and art to create a place for dreaming”.

sparkles against the dark background of the sky.

Lately, the team has been looking at clouds, and the realm of the surrounding

Cao-Perrot’s ambition is to create a series of Clouds in many different cities,

airspace. By their nature, clouds are of infinite variety. They can be mere wisps,

demonstrating that this “non-site” concept really does fit—like a cloud—into any

or cover the entire sky.They can seem weightless and ephemeral, or dominate

space: small, large or monumental! Reflecting the light and the weather, the Cloud

airspace as a heavy and commanding presence. Clouds can hold and conceal

can transform “neutral” empty airspace into a magical “place for dreaming”.

light, or diffuse it into spectacular display. Cloud II installation in Malibu, California applied landscape principals to the airspace of a residential courtyard because the ground space, however

100 | LANDSCAPE ARCHITECTURE 2009/05

Cloud III, schedule for completion in 2012, will be a permanent public art installation for the Bow Lake Transfer Station in Seattle, Washington. Initial experiments of the Cloud concept began almost by accident with a


|环境艺术

图04 图03

commission to create window displays for Taryn Rose

图03  马利布的云彩装置细部:水滴状的水晶悬挂在云

Boutiques in New York, Beverly Hills and Las Vegas.

彩之中。

They took the idea a step further to create a floating

Fig.03 Detail of Cloud II-Malibu: ephemeral quality of crystal droplets suspended on the cloud.

Cloud on a lake at Fairchild Botanical Garden in

图04  为高田贤三旗舰店制作的云彩装饰灯,云状金属

Miami, Florida.

网上吊着水滴状的切割水晶。

Then the Cloud concept floated to France, where Cao and Perrot were commissioned to create an installation in the courtyard of the fashion house KENZO’s new Paris headquarters. Working with the constraint that no suspension wires could be attached to the historical walls of the surrounding building, Cao Perrot proposed a free-standing tree, where

Fig.04 Detail of Cloud Chandelier for Kenzo: cut crystal droplets on wire-mesh cloud 图05  为高田贤三旗舰店制作的云彩装饰灯:云状金属 网上布满空气草,水滴状的切割水晶悬挂在设计感强的 钢铁树桩上。婴儿泪草台上铺满五颜六色的空气草。 Fig.05 Cloud Chandelier for Kenzo: wire-mesh cloud with air plants (Tillandsias) and cut crystal droplets suspended on a stylized steel trunk, Baby's tears (Soleirolia soleirolii) ground cover with colorful Tillandsias

the billowing “cloud” canopy rose up from the steel strands of a tree-like trunk.The Cloud ‘s underside was hung with three thousand crystals cut into the form of water droplets. Like the Malibu Cloud, the Kenzo piece, when it at night, transforms into a shimmering Cloud Chandelier. A circular base of baby tears became the bed in which it rested. (Fig.05) Perfectly proportioned to the horizontal and vertical dimensions of the courtyard, and after nearly 图05

风景园林 2009 第五期 | 101


Environmental Art |

a year in place, the installation has found a home as the building’s central feature, a welcoming totem visible from five floors of windows on four surrounding sides. In early 2009, Cao-Perrot were commissioned by the prestigious

It took six weeks to make, branch by ever-smaller twig-like branch (Fig.07) , and a week to install on site—all for a three day event!  But the installation won the Grand Prize Award presented to Andy Cao and Xavier Perrot by Henri Loyrette, President and Director of the Louvre Museum.

French champagne house Laurent-Perrier, to create the “Aerial Garden”, an

Cao Perrot Studio’s concept of airspace, and its new “non-site”

installation for the Paris spring garden festival Jardins, jardin at the Tuileries

approach, enable the team to describe an ephemeral image of a cloud or

Garden. With champagne bubbles very much in mind, they proposed a large

a tree and create an element of beauty that will fit in any setting.And while

tree made of steel branches and hung with 20,000 champagne-colored

other Trees may not be as ambitious in scale as the one they created for

mother-of-pearl “leaves”. The shimmering and airy tree was surrounded with

Champagne Laurent Perrier, other Tree forms—or groves of Trees with

clouds planted with undulating waves of frothy Stipa grasses and delicate

iridescent “leaves” in a variety of colors—are waiting to be made; Trees that

wild flowers. (Fig.06)

are timeless, magical and never need watering!

102 | LANDSCAPE ARCHITECTURE 2009/05


|环境艺术

图07

图06

图06 巴黎橘园美术馆前方的空中花园 Fig.06 Overview of the Aerial Garden, in front of the Musée de l'Orangerie 图07  树枝细部:这些树枝都是用钢铁金色的珍珠母贝壳

注释: 图01-04,图06-07由斯蒂芬•杰罗姆提供;图05由曹|帕罗特 工作室提供。

制作的。 Fig.07 Detail of branches made of steel and golden mother-of-pearl shells

作者简介: 斯蒂芬·杰罗姆/男/新西兰人/作家、摄影师、曹|帕罗特工作 室创意顾问

译者简介:

Photo Credit: Fig.01-04, Fig.06-07 Stephen Jerrome; Fig.05 Cao| Perrot Studio

Biography: Stephen JERROME is a New Zealand-born writer and photographer. He is the creative consultant for Cao-Perrot Studio.

About the Translator: ZHANG Yun-lu, a native of Chongqing, is studying his Master program at Beijing Forestry University, specializing in urban

张云路/男/重庆人/现为北京林业大学城市规划与设计学科

planning and design. (Beijing 100083)

2008级硕士研究生(北京100083)

About the Proofreader:

校对简介:

DONG Li, a native of Liaoning, is studying her Master program

董丽/女/辽宁人/现为北京林业大学城市规划与设计学科2008

at Beijing Forestry University, specializing in urban planning and

级硕士研究生(北京100083)

design. (Beijing 100083)

风景园林 2009 第五期 | 103


LandscapeArchitectureChina-NovDec2009