谢天新作丨灵韵消失的时代，膜拜何以存在？

摘要：艺术美与技术美交相辉映，在富有仪式感的空间之中成为一个整体，形成全新的审美意象。

  杭州百年翠丽518展厅

  本雅明在《机械复制时代的艺术作品》中曾富有远见的指出，随着大工业机械复制时代的来临，艺术作品中的灵韵将逐渐消失，艺术品原作在特定空间和时间下的独特感受被削弱，艺术品与艺术复制品将越来越变得难以辨认，人们对艺术家及艺术作品的膜拜将不再存在，膜拜何以存在?

  Benjamin once pointed out in a visionary way in "The Work of Art in the Age of Mechanical Reproduction" that with the of the era of mechanical reproduction of heavy industry, the aura in works of art will gradually disappear, the unique feeling of the original work of art in a specific space time will be weakened, and it will become increasingly difficult to distinguish between works of art and art reproductions.The worship of artists and works of art will no longer, why does worship exist?

  然而，人们对艺术的追求则是无止境的。因此说，机械复制时代，现代社会的技术又为我们展开了一个全新的世界，那就是现代生活的泛艺术化及日常生活的审美化。在这样的一个时代背景下，人们的膜拜何以存在？

  However, people's pursuit of art is endless. Therefore, it can be said that in the era of mechanical reproduction, the technology of society has opened up a new world for us, that is, the pan-artification of modern life and the aestheticization of daily life. In such an era, can people's worship exist?

  在我看来，人们依然崇尚并痴迷于经典、永恒、英雄，只不过叙述的主角不再是王侯将相、才子佳人，而是一个个真实的人，甚至说就是自我。这是一个“山高我为峰”的时代，这是一个自我膜拜的时代。正如法国哲学家米歇尔·福柯（Michel Foucault）所说，“美学的生活，就是把自己的身体、行为、感觉和刺激，把自己不折不扣的存在，都变成一件艺术品。”

  In my opinion, people still advocate and are obsessed with classics, eternity, and heroes. It's just that the protagonist of the narrative no longer the kings, generals, and talented men and beautiful women, but real people, or even the self. This is an era of "I am the peak the mountain", an era of self-worship. As the French philosopher Michel Foucault said, "The aesthetic life is to turn one's body, behavior feelings, and stimuli, one's unadulterated existence, into a work of art."

  另一方面，我们对生活的审美越来越关注形式上的呈现，这就导致了另一个趋势，即生活场景的仪式化。

  On the other hand, our aesthetics of life are paying more and more attention to the formal presentation, which has led to another trend, that is, the ritualization of life scenes.

  可以说，仪式化的形式就是美的理念显现，也是现代人膜拜和痴迷的内容。我们的审美在很大程度上就是对仪式化的审美，就是对仪式化的膜拜。

  It can be said that the ritual form is the manifestation of the concept of beauty, and it is also the content of modern people's worship and obsession. To a large extent, our aesthetics are the aesthetics of ritualization, the worship of ritualization.

  基于以上认知与现实，就有了这次百年翠丽展厅的设计主张。百年翠丽是杭州地区综合性卫浴水系统厨房电器集成供应商，代理世界上高端品牌二十多家。

  Based on the above cognition and reality, there is the design proposition of this century-old cuili exhibition hall.Centennial Cuili is an integrated supplier of kitchen appliances for comprehensive bathroom water systems in Hangzhou, representing more than 20 high-end brands in the world.

  项目涉及室外景观和建筑一层立面、一层门厅、四层一千多平方米综合集成陈列、场景化展厅空间。

  The project involves the façade of the first floor of the outdoor landscape and the building, the entrance hall on the first floor, and more than 1,000 square meters of comprehensive integrated display and scene-based exhibition hall space on the fourth floor.

  在我看来，设计不仅仅是解决功能的问题，更重要的是显现价值、膜拜价值、审美价值、文化价值、情绪价值、体验价值，而这些价值彼此相互交融，形成一个整体。

  In my opinion, design is not only to solve the problem of function, but more importantly, to show value, worship value, aesthetic value, cultural value, emotional value, experience value, and these values are intertwined with each other to form a whole.

  用什么样的形式去展现这些价值？也是本次设计考虑的重点。

  In what form do you use to demonstrate these values? It is also the focus of this design consideration.

  如入口景墙的花色在整个白色背景中起到了视觉锤的作用，入口雨棚与景观的直线型形态，不仅仅是为了表达工业产品的机械感，强调产品的精密与简洁。

  For example, the color of the entrance wall plays a role as a visual hammer in the entire white background, and the linear form of the entrance canopy and landscape is not only to express the mechanical sense of industrial products, but also to emphasize the precision and simplicity of products.

  更是为了更是为了在空间的序列展开之时，就促使人们形成一种理性的、严肃的心理感受。这也可以说是规范了一种设计所追求的仪式感的基本心理基础。

  It is also for the sake of promoting people to form a rational and serious psychological feeling when the sequence of space unfolds. This can also be said to standardize the basic psychological basis of the sense of ritual pursued by a design.

  整个空间序列以深色为基底，采用局部照明突出展品，这不仅仅是普通展陈的设计方式，更重要的是营造一种类似博物馆的视觉观看方式和仪式感。

  The whole space sequence is based on dark colors, and local lighting is used to highlight the exhibits, which is not only an ordinary exhibition design, but more importantly, to create a museum-like visual viewing and sense of ritual.

  众所周知，博物馆的及艺术藏品的美，是一种经久、经典、朴实的美，而这种心理感受通过仪式感逐渐内化到参观者的认知之中，进而固化为一种无意识心理。

  As we all know, the beauty of museums and art collections is a kind of enduring and classic beauty, and this psychological feeling is gradually internalized into the cognition of visitors through a sense of ritual, and then solidified into an unconscious psychology.

  设计需要这种仪式感来引导人们进入到这种情绪之中，进而对展品进行审美与认知活动。另外，从色彩心理学上讲，深的低饱和度色彩有助于人的心灵产生庄重、收敛而深的感受，这对仪式感的促成，无疑也是有益的。

  The design needs this sense of ritual to guide people into this emotion, and then carry out aesthetic and cognitive activities on the exhibits. In addition, from the perspective of color psychology, deep low-saturation colors help people's hearts to produce solemn, restrained and deep feelings, which is undoubtedly beneficial to the promotion of a sense of ritual.

  与此同时，不同于博物馆的厚重与沉稳，展厅还需要进行适当的情绪、节奏调节，就像一支乐曲中少不了华丽的装饰音符。因此，一些的曲面形态结合高反射的金属材质，布置在整以直线形体为主的空间之中，成为参观路径上不可或缺的惊艳。

  At the same time, unlike the heaviness and calmness of the museum, the exhibition hall also needs to be appropriately adjusted in mood and rhythm, just like the ornate decorative notes are indispensable in a piece of music. Therefore, some curved forms combined with highly reflective metal materials are arranged in the whole space dominated by linear shapes, which has become indispensable and stunning on the visiting path.

  空间中运用视频动态图像来完成场景的动静对比，强化视觉感受，丰富审美体验。

  Video dynamic images are used in the space to complete the dynamic and static contrast of the scene, strengthen the visual experience, and enrich the aesthetic experience.

  而艺术品的呈现则很好的融合到产品之中，其审美特质的外溢与展品精致的本色相互交融，艺术美与技术美交相辉映，在富有仪式感的空间之中成为一个整体，形成一种新的审美意象。

  The presentation of the artwork is well integrated into the product, the overflow of its aesthetic characteristics and the exquisite nature of the exhibits blend with each other, and the artistic beauty and technical beauty complement each other, becoming a whole in the space with a sense of ritual, forming a new aesthetic image.

  设计师：谢  天

  杭州一直建筑设计事务所由设计师、艺术家、教授谢天先生创立，专注于为国内、国际提供专业的室内设计、建筑设计、景观设计及顾问服务，是国际上多元领域设计机构之一。创立至今已获得国际、国内设计奖项一百多项。业务范围广阔，涵盖前期顾问、建筑设计、景观设计、室内设计，到机电、灯光、标识、软装、艺术品等，覆盖酒店、企业总部大厦、商业综合体、高端住宅等业态。

  Founded by Mr. Xie Tian, a designer, artist and professor, Hangzhou has always been an architectural design firm, focusing on providing professional interior design, architectural design, landscape design and consulting services for domestic and international design, and is one of the world's most diverse design institutions. Since its establishment, it has won more than 100 international and domestic design awards. The business scope is broad, covering pre-consulting, architectural design, landscape design, interior design, to mechanical and electrical, lighting, signage, soft decoration, artworks, etc., covering hotels, corporate headquarters buildings, commercial complexes, high-end residential and other formats.

  设计机构：杭州一直建筑设计事务所

  主创设计：谢天

  设计团队：孙玥雯 陈明建 刘德强 余燕平 孙志磊 陈程 徐伟

  项目地点：中国 杭州 悦盛国际大厦

  项目业主：杭州百年翠丽实业有限公司

  项目摄影：叶松

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