倒塌的建筑与虚拟教堂

阅读它的姿态也是悲剧性的

阅读它的姿态也是悲剧性的

当太阳照耀其上

塔尖的光及与其相对的

阴影投射里信众的仰视

促发了最原始的宗教体验

对不可知之物的崇拜

赋予这个完全可能是空洞的物质实体丰沛的精神内涵

“退化建筑在上海时装周 2017 ONTIME SHOW 上建了一座倒塌的建筑。
DevolutioN built a collapsed architecture on Shanghai fashion week ontime show.”

▼ 倒塌的方尖碑搭建记录视频，construction process

从概念沟通到最终完成，不足一个月的时间，期间经历了多次因造价、场地或海关原因的方案修改。最终我们仿造了一种精密切割、严丝合缝，需要投注生命建造、代表永恒的建筑样式——方尖碑（Obelisk）。却以简易的材料和极其临时的状态，让其在4月8日-4月10日的上海西岸艺术区临时存在了三天。

It only took less than one month from the concept to construction completion. During the time, the project has been revised for several times because of cost limit, built site change and customs problem. Finally, we mimic an obelisk which was made by precisely-cut granite and demanded great cost. It was a temporary installation with simple materials. The obelisk exhibited for three days from April 8th to April 10th in Shanghai West Coast Art District.

▼ N38°53’21.35″ W77°2’6.48″ 作品全貌，the appearance of the project

这三天里，这个有着巨大体积的、难以让参观者窥视全貌的作品，既是服装设计师上官喆的虚拟教堂SANKUANZ Church，又是瑞士艺术家团体SUPERMAFIA / ENCOR Studio 多媒体装置和表演的剧场。

Visitors can’t observed the whole huge volume at one sight. During the three days, the obelisk was not only a virtual SANKUANZ Church for fashion designer Mr. Shangguan Ze, but also a multimedia installation and performance platform for Swiss artist agency SUPERMAFIA / ENCOR Studio.

▼ 展厅根据中轴线来布置作品，art works in the exhibition is displayed on the central axis

这场名为“科技与宗教”的展览是上官喆跨越其时装设计师身份的一次探索，将SANKUANZ 2017系列置入一个更完整的、跨媒介的创作语境；它同时也是退化建筑所坚持的，将建筑与艺术观念结合的工作方向的一次实现。重要的是，它让我们看见建筑、艺术与时装文化在观念和趣味上的诸多默契。

The exhibition named “Technology and Religio****” **** **** new exploration of fashion designer Mr. Shangguan Ze, which embeds SANKUANZ 2017 series into a completed multimedia creation context. It realized a combination between architecture and art, which is the principle Devolution Studio persists on. More important, it helps us to see the privity between architecture, art, fashion culture in terms of concept and interesting.

▼ 由入口进入倒塌的方尖碑，the entry is placed at the bottom of the installation piece

▼ 倒塌的方尖碑内部空间，internal space of the project

N38°53’21.35″ W77°2’6.48″ 是一个虚构的坐标。我们在设计这个建筑方案时挪用了华盛顿纪念碑(N38°53’21.34″ W77°2’6.49″) 的造型——一个尖顶的、自下而上逐渐缩小的方柱体。这种Obelisk 造型作为太阳神纪念碑和古典时期帝国权威的象征最早出现在古埃及，后来被搬运或复制至西方各地。它符合受神与性、生死与爱欲共同支配的宗教悲剧人格对永恒感的向往——花岗岩、精密切割、严丝合缝，需要投注生命建造，技术、结构和工艺都是超自然的。阅读它的姿态也是悲剧性的，当太阳照耀其上，塔尖的光及与其相对的，阴影投射里信众的仰视，促发了最原始的宗教体验。对不可知之物的崇拜，赋予这个完全可能是空洞的物质实体丰沛的精神内涵。

N38°53’21.35″ W77°2’6.48″ is a fictional set of coordinates. While designing this structure, we have stolen the shape of Washington monument (N38°53’21.34” W77°2’6.49″) – a four-sided narrow tapering column with a pyramidion at the top. This shape of obelisk has earliest appeared in the Ancient Egypt, intended as monument for the sun god and symbol of the classical era empire’s authority, and later transported or copied widely around the western world. It corresponded with the yearning for eternity by the tragical personality of religion, motivated by gods and mundanity, life and death, love and desire. The obelisk was made by precisely-cut granite and demanded great cost. The technology, the structure and the technique – all were supernatural. The ritual of admiring an obelisk is also tragical. When sun shines on an obelisk, the glitter of its top and the opposing shadow stimulates a most primitive religious experience from the believers who look up to it. The material structure, which may be perfectly void, is then bestowed a rich spiritual essence by the worship of unknown.

▼ N38°53’21.35″ W77°2’6.48″

一座倒塌的 Obelisk 则提供了一次对这种不可知的窥探。自东向西，沿长轴前进，进一步临摹宗教建筑的信众运动方向，窥视与宗教体验重叠，却受洗于科技和时尚。宗教、政治与科技的交媾或斗争在外任其发生，宗教形式从未灭亡，只是旧与新的轮替。这个坐标是否准确因此并无意义，它只是标注了一种永恒信仰的临时性，倒塌与待建立的悬而未决。

A collapsed obelisk provides a peek at the unknown. The audience starts from the east and goes on towards the west along the long axis of the obelisk, mimicking the movement of believers inside a religious architecture. The peek, overlapped with a religious experience, is baptized by science, technology and fashion. Religion always befriends or fights politics and science. Yet its form of existence persists ever with the succession of the old ones by the new ones. Thus, the precision of the coordinates never matters. They serve only as a mark of the temporality of eternal faith and the uncertainty between something collapsed and something to be erected.

▼ 展览空间，the exhibition space

▼ 平面，Plan

撰文：王琦
翻译：林枭
视频导演：杨鹿童
视频剪辑：王海清
摄影：许晓东
主持建筑师：汤建松
设计团队：吴志江、林枭、****龙涛

Author: Wang Qi
Translator: Lin Xiao
Film Director: Yang Lutong
Film Editors: Wang Haiqing
Photographer: Xu Xiaodong
Host architect: Tang Jiansong
Design team: Wu Zhijiang, Lin Xiao, Huang Longtao

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Fox International Art

理念与使命

Idea and Mission

“艺术是一棵树摇动另一棵树，一朵云推动另一朵云，一个灵魂唤醒另一个灵魂。作为艺术家应该承担着改变人们生活的责任，应该学会成为真正的创作者，而不仅仅是当做一个职业。”

“Art is a tree shaking another tree, a cloud propelling another cloud and a soul awakening another soul. Being an artist should bear the responsibility of changing people’s lives and should learn to be a true creator, not just take it as a profession."

狐狸国际艺术是中国唯一一家把海外艺术教育与产品设计开发结合为一体的创作工作室。旗下设有：Fox International Art College(狐狸国际艺术教育学院）、狐狸产品开发基地、狐狸设计师经纪公司、Fox Gallery(狐狸展览馆)、Fox Material Shop(狐狸综合材料商店）和Fox Library(狐狸图书馆)等多个部门。核心团队由英国伦敦中央圣马丁艺术与设计学院、美国帕森斯设计学院、英国皇家艺术学院等海归设计师、艺术家以及海内外的专家教授在2010年于伦敦和北京共同创立。

Fox International Art is the only creative studio in China that integrates overseas art education with product design and development. And it has Fox International Art College, Fox Product Development Base, Fox Designer Brokerage Company, Fox Gallery, Fox Material Shop, Fox Library and other departments. The core team was jointly founded in London and Beijing in 2010 by returning designers, artists and experts from home and abroad, including the Central Saint Martins College of Art and Design in London, the United States Parsons School of Design and the Royal College of Art in the United Kingdom.

Fox国际艺术坚持传达狐狸精神-无畏、自由和颠覆。保持的使命是启发创意的无限延伸，倾尽全力创造平等机会、提倡多样性、充满活力与革新精神的工作环境，这也使工作室能吸引最有才能和创造力的设计师团队。不同文化的冲击，力求独特、创意、自由、甚至是极端反叛的艺术氛围，创意在这里并不是纸上谈兵。

Fox International Art insists on delivering the fox spirit - fearlessness, freedom and subversion. The mission  of the company is to inspire unlimited creativity and to make every effort to create a work environment that promotes equal opportunities, promotes diversity and is full of vitality and innovation, which also enables the studios to attract the most talented and creative designer teams. In the face of the impact of different cultures, it seeks to create a unique, creative, free and even extremely rebellious artistic atmosphere with the aim of proving that creativity here is not existing only on paper.

Fox各个部门的设计师与学员，无论是背景还是专业能力都是业界首屈一指，与众多知名一线品牌、著名博物馆合作过，如大英博物馆、V&A博物馆、德国国立宝石博物馆、Guicci、Cartier、Alexander McQueen、施华洛世奇、Gareth Pugh、John Galliano、Dior、Alexander Wang、Giles Deacon、陈奕迅、余文乐等。

Designers and trainees in all departments of Fox, both in terms of background and professional ability, are the best in the industry. And all of them have worked with various well-known first-line brands and famous museums such as the British Museum, V&A Museum, German National Gemstone Museum, Guicci, Cartier, Alexander McQueen, Swarovski, Gareth Pugh, John Galliano, Dior, Alexander Wang, Giles Deacon, Eason Chan and Shawn Yue.