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            大羽營造|深圳蛇口海上世界餐廳軟裝案例-萬物生長

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            這是一次關于中國鄉土手藝的空間營造體驗,一種源于中國土地的“編作”行動,產生的一個有機的類似萬物生長的視覺形態。重新回望中國鄉土社會過去最底層的手藝狀態,是否能和一個高級的現代空間產生一種自然的對話和交融。從而在中國的現代空間里,讓人性的本能手藝在這個時代重返中國大地。在中國過去的鄉土生活里,存在著大量的“編作”手藝,應用于家家戶戶的生活。尤其是源于鄉土底層社會生存狀態里,他們的“編作”手藝并非是專業匠人所為。亦并不是如富貴人家所請的匠人“編作”手藝那樣精美,而是完全出于一種生存的基本需要,亦或叫做“本能”。

            This is an experience on creating the space for Chinese folk arts and crafts, a “weaving” activity originated from Chinese soil, and an organic visual form similar to growing of things. Look back again to grass-roots handicrafts in Chinese folk society in a bygone age, and wonder if we can seek for natural dialogue and blending with advanced modern space to re-embrace those handicrafts that sparkle humanistic instinct on the ground of modern space in China. In the past folk life of China, “weaving” was a common household handicraft offering a large number of assortments, neither made by skilled craftsmen, particularly in the light of its origin in the rural underclass, nor seen so exquisite as the “weaving” objects by craftsmen for the wealth, but absolutely out of the basic need for survival, or “instinct”.


            在充滿自然物料的土地里,尋找到自己需要的材料,為了生活,更嚴重的講是為了“活著”,靠一雙并不專業的手,來滿足自己生活上的點點滴滴,這種過程自然拙劣,甚至在一個專業的匠人眼中更是微不足道,但別無選擇,因為“生”和“貧”讓他們只能這樣,這是源自自身生活本能功能的“編作”,一切均源于本能。但恰恰就是這種“本能”,卻讓這些物件雖不精美但很真誠,很感人。甚至會讓觀者動容!手藝很低級,但他在滿足使用功能的同時“情感”真誠的高級。如果從藝術創作角度來講,這些看似不美的物件執行過程,因為匠人的不專業和不熟練產生了既可控制又不可控制的“誠意”,這恰恰是藝術創作最彌足珍貴的“因素”?,F在這個空間所探尋的便是這樣一種體驗。

            In the soil full of natural materials, they found what they needed for living, or “livelihood” even seriously.All they wanted were attained by their unskillful hands. It is unwise, and rather of little importance in the eyes of skilled craftsmen, but the only choice for the people haunted by impoverished life. The “weaving” was instinctive creature and all was like that. Their handicrafts are not delicate due to the very “instinct” but appealing for their sincerity and even strikingly moving, poor enough though, but with highly emotional intensity and practical functions. If, from the perspective of art, controllable but uncontrolled “sincerity”, arising from the making process of these seemingly unattractive objects for lack of skills and proficiency, is the most precious “element” in making artistic work. This space is where we can explore such an experience.



            盡量回避任何的完美計劃。創作在開工現場此時此地瞬間生成感覺體驗,發動一群非專業的工人,憑著自己對他們生活的鄉土關于“編作”手藝的回憶,用最笨的方法,不懈的毅力,“編作”出了這樣一個空間形態,細部形態也是這些人的自由發揮,大膽的讓工人,把各自留在記憶里的鄉土“編作”給編出來,鼓勵他們大膽的沖上去。如導演一樣說戲,說得這些臨時匠人們找到各自自己的感覺,不懈鼓勵這些工人“你可以”“你能做到”僅此而已。

            Try to avoid the interference by a perfect plan. At workshop thence creation instantaneously brings a perceptual experience. A group of unskilled workers are mobilized to “weave” such a spatial form with most native approach and unremitting efforts, all from their memory of “weaving” handicraft as they did on their native soil. The exquisite form is also freely figured out by these people, who should be actively encouraged to become bold in making the “weaving” objects that stay in their memory of their past, in spite of misgivings. Like a director’s instruction on playing the role, these temporary workers are propelled to find their own inspiration, with a continual drive only by words such as “you can” and “you can get it done”.

            ?  平面圖 plan



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