比利時(shí)“風(fēng)車研習(xí)”裝置設(shè)計(jì) | Gijs Van Vaerenbergh

建筑師和藝術(shù)家二人組Gijs Van Vaerenbergh近期完成了一件由加強(qiáng)鋼筋組成的新作品，其位于Dilbeek開闊的景觀中，這里曾激發(fā)了畫家勃魯蓋爾的創(chuàng)作靈感。據(jù)說，勃魯蓋爾曾多次從布魯塞爾旅行到鄉(xiāng)村，用速寫記錄下這里典型的弗蘭芒景觀。Saint Anne教堂、Sint-Ger-trudis-Pede的水車，以及一些其他物體，被認(rèn)為是這位老畫家繪畫和雕塑作品中的主要意象。弗蘭芒風(fēng)車便是畫家作品中反復(fù)出現(xiàn)的元素之一，可以在1564年的畫作《受難之路》之中看到?！帮L(fēng)車研習(xí)”裝置以勃魯蓋爾經(jīng)常設(shè)置在Dilbeek景觀中的風(fēng)車象征為基礎(chǔ)，自由重建了這一不久之前的地標(biāo)。

Architect and artist duo Gijs Van Vaerenbergh recently created a new work made of reinforcing steel situated in the open landscape of Dilbeek, the region that inspired painter Pieter Bruegel the Elder. It is said that Bruegel travelled several times from Brussels to the countryside to sketch views of this typical Flemish landscape. The Church of Saint Anne or the Watermill at Sint-Gertrudis-Pede, among others, are said to feature in the paintings and engravings of the Old Master. Another recurring element is the Flemish post mill, which can be seen in for instance The Procession to Calvary from 1564. Study for a Windmill is based on this typology that Bruegel often used and places the windmill back into the Dilbeek landscape. Gijs Van Vaerenbergh freely recreates this landmark of yesteryear.

^{▲裝置遠(yuǎn)景，distanced view of the installation ?Johnny Umans}

^{▲裝置外觀，由鋼筋制成的風(fēng)車，external view of the installation composed of steel ?Johnny Umans}

鋼鐵繪制的線條 A line drawing in steel 

Gijs Van Vaerenbergh將繪畫的自然性和短暫性與建筑的可觸性和紀(jì)念性結(jié)合在了一起。他們設(shè)計(jì)的風(fēng)車如同具象化的線稿，矗立在起伏的大地之上。雕塑大小是傳統(tǒng)風(fēng)車的一半，由加強(qiáng)鋼筋制成，如同速寫時(shí)交錯(cuò)的線條。從遠(yuǎn)處看去，“風(fēng)車研習(xí)”裝置幾乎消失不見。當(dāng)人們走近時(shí)，會發(fā)現(xiàn)它佇立在開闊的天空下，隨著觀者視角的變化而移動。

^{Gijs Van Vaerenbergh brings together the spontaneity and ephemerality of drawing and the tangible and monumental nature of architecture. Their windmill, like a materialised line drawing, rises above the undulating landscape. The sculpture is a ? scale model of a post mill, made out of reinforcing steel, evoking a sketchy interplay of lines. Seen from a distance, the work seems to disappear almost entirely. Up close, Study for a Windmill stands out against the wide open skies and shifts according to the spectator’s point of view.}

^{▲不同角度下風(fēng)車的變化，the mill shifts according to the observation angle ?Johnny Umans}

^{▲鋼筋如同繪畫線條，steel like sketch lines ?Johnny Umans}

再闡釋 Reinterpretation 

這件作品體現(xiàn)了建筑師和藝術(shù)家使用參照物的特別方式：它不僅是藝術(shù)史上的參照，也暗示了場地的內(nèi)涵。借此，他們進(jìn)一步用這件空間裝置的全部將場地本身的特質(zhì)展現(xiàn)到人們面前。為了達(dá)到這個(gè)目的，他們以新的方式詮釋了基礎(chǔ)的建筑和藝術(shù)形象，如門、橋、穹頂、以及本項(xiàng)目中的風(fēng)車等。“風(fēng)車研習(xí)”不僅是對勃魯蓋爾的風(fēng)車的致敬，還展現(xiàn)了它對當(dāng)?shù)刎S饒景觀的重要意義，重現(xiàn)了這一消失已久的醒目地標(biāo)。

^{This work evinces the duo’s characteristic play with references; not only art-historical references, but also allusions to the meaning of a place. In doing so, they further develop their oeuvre of spatial installations that bring to the fore the site-specific qualities of a place. They achieve this through the introduction of elementary architectural and artistic typologies – such as the gate, the bridge, the dome, and in this case, the mill – which are interpreted in novel ways. Study for a Windmill is not only a tribute to Bruegel’s mill, but also a reference to its significance in the region’s productive landscape, a recognisable landmark that has long since disappeared.}

^{▲細(xì)部，details}

^{Location: In the field along the Ganzeveldweg between Doylijkstraat and Lenniksebaan, 1701 Dilbeek (coordinates: 50°49’17,8 “N 4°13’42,2 “E)}

^{Commissioned by: De Blik van Bruegel}

^{Photos: ? Johnny Umans}

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