Architensions是一家由Alessandro Orsini和Nick Roseboro领导的设计和研究办公室,总部分别设在布鲁克林和罗马,为2022科切拉音乐艺术节打造了最新装置作品,其他装置作者还包括Cristopher Cichocki、Kiki Van Eijk、Estudio Normal、Oana Stanescu和Los Dos工作室。在2022年4月15-17日和4月22-24日这两个周末,这些装置将提升观众体验,为帝国马球俱乐部(Empire Polo Club)注入新的色彩、光线和意义,以及独特的场所感和探索乐趣。

Architensions, a design and research office led by Alessandro Orsini and Nick Roseboro and headquartered between Brooklyn and Rome, has been selected to design an installation for The Coachella Valley Music and Arts Festival 2022, alongside Cristopher Cichocki, Kiki Van Eijk, Estudio Normal, Oana Stanescu, and Los Dos. Augmenting the festival-goers’ experience, the installations will infuse new color, light and meaning, and a unique sense of place and discovery into the Empire Polo Club over two weekends from April 15-17 and April 22-24, 2022.

▼装置概览,general view ©Michael Vahrenwald

Architensions设计的装置名为“游乐场(The Playground)”,它由四个钢架塔组成,高度从42英尺(约12.8米)到56英尺(约17米)不等,这些钢架塔如同模块化的脚手架,具有各种样式和材料的造型。装置的垂直网架采用洋红色和黄色,广场采用青色,造型覆层采用分色膜,色彩鲜艳,其余部分则使用与三原色相近的单色,共同构成了充满活力的色彩体验。设计灵感来自于Constant Nieuwenhuys的作品《新巴比伦》,它描绘了一座作为代替生产负担的、充满随机性和机会的城市。装置造型代表城市休闲元素,如广场、剧院、公园和拱廊等,它们垂直排列在多孔的网架中,井然有序。该设计使人们联想到熟悉的城市景观,在这里,游戏的意义被还原成初始定义“游乐场”。与Cedric Price设计的欢乐宫(Fun Palace)类似,网架创造了新的公共场地和开放空间,反对以技术主导体验而带来的孤立感和同质性。

Architensions’ installation, titled The Playground, consists of four steel-framed towers ranging in height from 42’ to 56’, like modular scaffolds holding shapes of various forms and materiality. The Playground uses magenta and yellow for the vertical grid, and cyan for the piazza, colors derived from spectrum of the dichroic film used for the cladding of some of the shapes, while others are painted in solid colors chosen from the associated adjacencies of the three colors, resulting in an intentionally vibrant color experience. The Playground takes its inspiration from Constant Nieuwenhuys’s New Babylon, a city of improvisation, chances, and play as a critical alternative to the burdens imposed by production. The shapes themselves refer to urban typologies for leisure such as piazzas, theaters, parks, and arcades, albeit vertically arranged within a porous grid that gives an order to the landscape of different shapes. The design evokes a familiar urban landscape, where the significance of play is reverted to its original definition of free personal time, in other words, a playground. Similar to Cedric Price’s Fun Palace, the grids create a new common ground, an open space that opposes the isolation and homogeneity of technologically mediated experiences.

▼装置由四个高度不等的钢架塔组成 ©Michael Vahrenwald
the installation consists of four steel towers of varying heights

▼钢塔顶部,top of the steel tower ©Michael Vahrenwald

Orsini说:“游乐场装置与阿尔多·罗西(Aldo Rossi)的浮动剧场(Il teatro del Mondo)类似,它创造了剧院般的环境,人们可以在其中进行某种表演互动。它也提供了体验休闲空间的机会,无需使用技术,只需与空间实体进行互动即可。使用者既是观众,也是表演者。”虽然这些塔是静态的,且不能居住,但其颜色和形状却吸引了音乐节观众与其进行视觉互动。材料与太阳发生反应——分色膜将颜色投射到地面和人身上,镜面膜则放大视角和反射周围环境。塔的高度、位置和网架使光影在它们之间的地面上灵动变化,构成象征实际场所的人造宇宙。天桥位于缝隙空间,地面长椅连接着塔,形成“广场”区域,为人们提供休息或观看的地方。

Says Orsini, “The Playground, in an analogy with Aldo Rossi ‘Il teatro del Mondo,’ creates an environment similar to a theater, in which people can interact in a sort of performance. It provides an opportunity to experience a leisure space without the use of technology, simply by interacting with the space and its materiality. The user is at the same time a spectator and performer.” While the towers are static and cannot be inhabited, the colors and shapes invite festival-goers to interact with them visually. The materials react with the sun—the dichroic film projects colors on the ground and the people, while the mirror film amplifies the perspectives and reflects the surroundings. The height, positioning, and grid of the towers allow for dynamic shadows to be cast on the ground amongst them, in totality comprising a manufactured universe of shapes that symbolize many physical places at once. Sky bridges define the interstitial space, and benches at ground level connect the towers and form the footprint of the “piazza,” as well as provide a place to rest or to be a spectator.

▼独特的颜色和形状,unique colors and shapes ©Lance Gerber

▼反射材料,reflective materials ©左/Lance Gerber;右/Michael Vahrenwald

▼从钢塔内部仰视塔顶,looking up at the top of the tower from the inside ©Lance Gerber

▼钢架局部,steel frame details ©左/Lance Gerber;右/Julian Basjel

实际上,游乐场装置为观众提供了休憩空间,并以不依附于商业或数字技术手段的方式使他们重回闲暇时光。在技术通过媒介图像代替现实生活体验的时代,该项目呈现出兼具动态与静态的实际环境,使人们可以在现实世界中把它当做交流空间。此外,该装置还提出了垂直城市的理念,该地区数十年来的水平扩张已经定义了休闲区和郊区的发展,它们相互孤立,而非试图改善环境、促进实际互动和集体性。与城市中作为奢华象征的摩天大楼相比,该装置的塔仅作为娱乐场所,以及促进协作与自由的框架。Roseboro表示:“游乐场装置是城市切片,也是为音乐节观众参与集体互动、表演、放松和玩乐打造的节点。”

At heart, The Playground provides its audience a space to re-align the spirit, and to re-discover leisure in a way that is not inherently attached to commerce or digital interpolation. In an age when technology substitutes for real-life experiences through mediated images, the project presents a physical atmosphere that is both dynamic and enveloping, that people can use as a space to interact with one another in the real world. It also proposes a vertical city in a place where decades of horizontal sprawl have defined a certain type of leisure and suburban growth defined by apartness, instead experimenting with the possibilities of improving our environment to foster physical interaction and collectivity. In contrast to the contemporary function of the tower as an urban luxury paradigm, The Playground proposes the tower instead as a site of fun, and a framework for promoting collaboration and freedom of movement. “The Playground is a fragment of a city,” says Roseboro, “a node for engaging festival-goers in collective interactions and in performance, relaxation, and play.”

▼傍晚的装置节点,the installation nodes in the evening ©Michael Vahrenwald

▼夜景,night view ©Michael Vahrenwald

The Playground Project Information
Materials: steel frame, wood, dichroic film, mirror film, polycarbonate sheets
Team: Alessandro Orsini, Nick Roseboro, Anna Laura Pinto, Gerald Rubia, Jihye Son Dimensions: 189’ x 112’ (57.6 m x 34.1 m), tower heights ranging from 42’ to 56’ (12.8 m to 17 m)
Area: 21,168 sf / 1,966 m2
Project Year: 2020-2022
Location: Indio, California, USA
Client: Goldenvoice
©2022 Architensions

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