Section I   What is Air?

Clouds float in the sky; water contains in a bottle. As a universal, natural medium, air is perceived in radically different forms depending on its visibility, opacity, and proximity. We have arrived at our present understanding of air through a changing knowledge structure. Indigenous wisdom presents air as a spiritual medium, while modern technology maps the content of air as an arrangement of chemical compositions. We do not aim to establish a binary view between pre-modern and modern knowledge, but to understand how such advancements in knowledge can expose and reconstruct our place in the universe.

云在天,水在瓶。我们对空气的认知,取决于其可见性、不透明度和距离。科学及现代的技术的发展不断更新或颠覆我们的认知框架,我们对空气的知识体系即是在科学手段的不断变化下而变化的。前现代智慧常将空气视为一种灵性媒介,而现代技术则将空气清晰化为一系列肉眼不可见的化学元素。我们并不想建立前现代与现代两种认知方式之间的二元分化,而是要了解知识的这种进步如何揭示和重建我们在宇宙中的位置。

A Memory, An Ideal, A Proposition 

2020

Installation, Single Channel Video, Archives, Photography

Karolina Sobecka

 

记忆,理想与假设

2020

装置,单屏影像,书籍,摄影

卡洛琳娜·苏贝卡

Albedo of Cloud

2021 version

Sound, Video Projection, Custom-made Round Polymer Screens

Janine Randerson

Sound Designer: Jason Johnston

Special Thanks:  Mike Willmott (Australian Bureau of Meteorology, Satellite Division)

 

云的反照率

2021年版

多媒体装置、实验声音

珍妮·安德森

音效设计师:杰森·约翰斯顿

特别感谢:迈克·维穆特(澳大利亚气象局卫星部) 

Fossils of Air   

2021

Sound, video projection, custom-made round polymer screens

Janine Randerson

Sound Designer: Jason Johnston

Special Thanks: Glaciologists Heather Purdie and Uwe Morgenstern

Audio:Colloboration with Jason Johnston

Recording:Heather Purdie

气的化石   

2021

珍妮·安德森

声音,视频,定制的圆形聚合银幕

声音设计:杰森·约翰斯顿

特别鸣谢:(冰川学家)希瑟泼戴,乌维· 莫根施特恩

声音:与杰夫·利伯曼合作

录音:希瑟·珀迪

The project presents three types of cloud in historical phases in a glassware, where a variation of cloud is a thread of knowledge evolution of natural, scientific, and artistic perspectives. From the representation of substances in a cloud that formed in an eruption in 1816, a cloud that formed in a lab, and a cloud that is designed and proposed to be created, variable clouds in the glassware respectively storytell clouds in a memory, an ideal, and a speculative proposition. By examining their composition, the conditions in which they have formed and those which they created, the project aims to think about the reality of geological and social transformations they paved a way for.

 

该项目在一个化学仪器中呈现了历史阶段中的三种云,在这里,云的变化串起了自然、科学和艺术视角的知识演化。从1816年火山喷发遗留下的云中物质,到实验室中的云,再到由跨学科设计师和科学家创造的云, 这些在玻璃器皿中可变的云层分别讲述了其背后的记忆、实验模型,以及当代假设。通过研究它们的组成、形成条件和创造的环境,作品为地质和社会转型提供了一种新的思考可能性。

The Albedo of Clouds is a conversation between three cloud observers; an artist, a sound artist and a meteorological satellite. The footage captured from earthbound cloud observation is paired with meteorological imaging data. From our own earthbound position we attempt to reconcile our fugitive responses to cloud’s we photograph, while the machinic vision of the satellite implicates us in the global atmospheric system. Through different modes of cloud observation and its sonic form, photographers and meteorologists, artists could understand clouds as poetic sensory memories as well as ‘operators of elevation’ for the imagination in Gaston Bachelard’s words.

 

云的反射率是三个云观察者之间的对话:包含艺术家,声音艺术家,以及气象卫星,它以一个在19世纪的墨尔本历史性的实验为前提。他们讨论了有争议的云反照率对全球变暖或变冷的影响,质疑云的增加是否会反射阳光。通过现代主义的云摄影师和气象学家的作品,艺术家们可以理解云为诗意的感官记忆,同时也是加斯顿·巴舍拉尔(Gaston Bachelard)所说的想象的“海拔操作员”。

Fossils of Air is a moving image work that explores the air in glacial ice from Haupapa/Tasman glacier; both real, imagined and animated. The video reveals tiny bubbles of the atmosphere—including greenhouse gases like carbon dioxide and methane—pressed inside the ice. These air pocket “fossils” provide indications of what the atmosphere was like when each layer of ice formed in Kā Tiritiri o te Moana, Aotearoa/New Zealand’s Southern Alpine mountain chain. Haupapa loosely translates as a treasure box of air of winds in Te Reo Māori, the indigenous language of Aotearoa/New Zealand.

 

 

 

空气化石是一件影像作品,探索来自豪帕帕/塔斯曼冰川冰川中的空气;既有真实的,想象的,也有生动的。这段视频揭示了大气中的微小气泡——包括二氧化碳和甲烷等温室气体——被压在冰层内。这些气穴“化石”提供了在Kā tirittiri ote Moana冰层形成时大气的迹象,该冰层位于新西兰的奥特拉罗亚南部阿尔卑斯山脉。“豪帕帕”在新西兰的土著语言Māori中大致翻译为“空气的宝盒”。

Section II   How to Design Air?

Between the earthly and unknown, the scale of air is at once smaller and larger than our daily perception suggests, spanning from microscopic particles to macro phenomena. This dichotomy leads architects to reflect on how this richness of natural scales can be translated into architecture. Could spaces be shaped in accordance with their environment, rather than as an entity for economic gain? Such thinking evokes a paradigm shift, positing that the focus of design should switch from the solid to the void. The tools for design would therefore also shift from Euclidean geometry to a set of meteorological principles, such as convection, radiation, and pressure. This in turn leads to questions regarding the complexity and effects of artificial control over the natural.

从大地与天空,再到粒子之间,空气的尺度比我们日常所熟悉的要更广阔、也更细微。也由此引发了建筑师们的进一步思考:如何将自然现象中的尺度和丰富的内涵引入建筑?可否从环境和感知上塑造空间,而非仅仅将建筑作为经济分配和功能性的实体。

Warm Water Waits Wind

2021Version

Sound System

Lei Sun

暖水待风

2021版本

声音系统

孙雷

Meteorological Architecture 

2008-present

Philippe Rahm

Architectural Design

气象建筑

2008 - 至今

菲利普·朗恩

建筑设计

Blur Building 

2002

Architecture Design

模糊大楼

2002

Diller Scofidio + Renfro

建筑设计

Three events epitomize the early history of the cosmos: space expansion, time elapses, and temperature drops. As far as our universe is concerned, three stories tell the same story: as space expands, time passes, temperature therefore drops. There was only one aspect needed to be carefully studied, that humans chose the temperature. People talk about the weather most. New Englanders from the U.S. complain about the arrival of east wind. Chinese wait patiently for the first spring rain to awaken their fields. The Arabs, whenever meeting a stranger, will ask where the rain is coming. Warm water is waiting for the wind.

 

早期宇宙的历史可以用三件事来概括:体积增加,时间流逝,以及温度下降。就我们的宇宙而言,这三件事讲的是同一个故事:随着空间扩张,时间流逝,温度也下降了。其中只有一个过程需要具体研究,人们选择了温度。人们谈论最多的话题是天气,这并非偶然。美国的新英格兰人抱怨东风的到来,中国人耐心等待着第一场春雨唤醒已经播种的土地,阿拉伯人一遇见陌生人就会询问雨到底下在了何方。暖水在等待风。

Global warming has become one of the major obstacles on our way to sustainability, and global climate is inseparable from everyday indoor conditions: nearly 50% of greenhouse gas results from  buildings’ heating/cooling energy consumption. Rahm’s Meteorological Architecture utilizes thermodynamics as design tools, rationalizes program distribution with interior climate, and thus constructs a new architectural language with its base deeply rooted in Meteorological thinking.

 

全球变暖正成为制约人类社会可持续发展的重要阻碍,而这一全球性气候议题与我们身边微观的室内气候紧密关联:住宅供暖或制冷需要大量能源,而近50%的温室气体排放来自于这些能源的制造。Rahm的建筑手法与传统设计思路不同,他以对室内气候的观测和调试为原点,以对流,传导和蒸发为设计工具,用温度、湿度分布来指导功能排布。他的气象建筑用“空气”设计”空间“,优化室内小气候,缓和全球大气候。

Architecture is often perceived as a tangible entity, yet Blur Building is an architecture of atmosphere -- the building itself was made of fog, shaped with artificial structure and natural forces. Water extracted from Neuchâtel was filtered and pressed through 35000 high pressure fog nozzles, constructing an immersive architectural experiment. By turning the solid building into a shapeless cloud, the project questions our way of perceiving spatial environments. With concrete materiality dissolved, “it was an exhibition pavilion with nothing on display except for cultural dependency on vision.” 

建筑材料通常坚实可触,而模糊大楼是一种大气的建筑——建筑整体由自然和人为力量造就的雾团建造而成。水从纳沙泰尔湖中抽取出来,经过过滤,通过35000个高压喷嘴喷射成细雾,构成一种沉浸式的氛围。作品通过将建筑化为无形的云雾,向人们对空间环境的感知方式发问。在此,建筑的物质性被解构,“整个展览馆中唯一的展品是文化对视觉的依赖”。

Climate as Medium 

2019

Speculative Design

Zherui Wang

气候作为媒介

2019

思辨设计

王哲睿

Aerocene 

2016–ongoing

Materials:Ripstop balloon, canvas backpack, recycled plastic bottle;Sensing devices:Air quality internal and external sensors measuring air quality, pressure, humidity and temperature, remotely operated photo and video camera, GPS tracker, portable solar power bank, long range wifi module and antenna, computer interface.

Tomás Saraceno

气的纪元

2016-至今

材料:气球,帆布背包,回收塑料瓶;传感装置:空气质量传感器测量,空气质量,丈量压力,湿度和温度的内部和外部传感器,远程操作的照片和视频相机,GPS跟踪器,便携式太阳能电池,远程wifi模块和天线,计算机接口。

托马斯·萨拉切诺

Interarea

2021

Architectural Installation

Zelin Huang

楼板

2021

建筑装置

黄泽林

Mostly invisible, but physically influential, air pollution claims 1 of 9 lives and threatens the future of our cities. In a world of inconsistent governance, where policy-making alone does not seem to protect the citizens, it rests upon human capital to confront the environmental change through the agency of design to extend human survival. Climate as a Medium capitalizes the mediatic and mediation potential of hollow fiber membrane (a straw-like nanometer scale material) as a building material for a respiratory architecture. The collapse of air as a collective common has induced a new surface-to-volume relationship. 

 

空气污染不可见却极有渗透性,是未来城市中对人类健康最致命的威胁之一。空气污染可扩散,但地区政府却时常各自为政:如果单靠公共政策无法解决危机,那就需要依靠人力资本,来通过设计代理,应对环境的变化,以延长人类的生存。气候作为媒介这一作品使用中空纤维膜(一种吸管状的纳米材料)作为建筑表皮过滤、调解空气中的有害颗粒——一层可呼吸的立面。大气污染这一公共领域危机,指向了一种身体与城市尺度上全新的界面-空间关系。

Aerocene is a collaborative project that designs a fuel-free hot air balloon that lifts a person traverses the sky by only sun and air we all breathe. Without the use of solar panels or batteries, helium, hydrogen or other rare gases, it develops a sustainable flying method innovative to the public, and suggests the green application of the air.

 

Developer: Aerocene Foundation and community. 

Collaborated Design:Tomás Saraceno, Pablo Suarez and Janot Mendler de Suarez, Red Cross Red Crescent, Sasha Engelmann, Jol Thomson, and IAK Architecture-related Art Institute at TU-Braunschweig students of the “Becoming Pilots” course.

Aerocene项目设计了一种不用燃料的热气球,可以让人通过太阳和我们都呼吸的空气穿越天空。在不使用太阳能电池板或电池、氦、氢或其他稀有气体的情况下,它为公众开发了一种可持续的创新飞行方法,显示了一种对空气的绿色应用方式。

开发团队:Aerocene基金会,当地社区

联合设计:托马斯·萨拉切诺, 亚历克斯·伯切纳,巴勃罗·苏亚雷斯,加纳特·孟德尔·德·斯拉兹,红十字会红新月会,萨莎·恩格尔曼氏,约尔汤姆森,以及布伦瑞克工业大学IAK建筑学院“成为飞行员”课程中的学员。

The installation in this exhibition is presented based on the interpretation of the site. By discovering features, overcoming limitations and obtaining clues in the site, an atmospheric, transparent and soft floor installation is proposed. Floor/surface, is one of the fundamental elements in Architecture, what kind of existential characteristic is it? Observing the contemporary buildings, it seems that the floor in most buildings at present are more of a demand for market economy, in addition, it seems difficult to find other properties. As a fundamental surface for lives, why is the richness of artificial surfaces such as floor so different from natural surfaces such as sea, land and air? The installation of this exhibition is also an extended reflection on exploring the new possibilities of the fundamental elements in Architecture.

 

在本次展览中,参展装置基于解读客观的场地环境特质而被呈现。通过在场地中发现特征,克服限制,获得线索,最终呈现一个若隐若现,通透柔软的楼板装置。楼板/基面,作为人造建筑环境中基本的构成元素之一,是一种怎样的存在呢?回顾当代的建筑,似乎目前大部分建筑中的楼板更多的是一种有关市场经济的概念,除此之外好像难以找到其他性能。同样作为支撑丰富生活的基面,楼板这种人造面为何会与海、陆、空这些自然面的丰富度相差甚远呢?本次装置也是探索建筑基本元素崭新可能性的一次延伸思考。

Section III Vibrations on Multiple Scales

The space from terrene to ether is not empty. Rather, it is full of vibrations from natural phenomena and artificial infrastructures; from water vapor to cosmic rays, from humming drones to 5G and WiFi networks, from aerial operations to communication flows. The “Cloud Platform” is in fact analogous to a “Cloud”. The atmosphere is no longer purely natural, but has become an infrastructure shaped by global political, military, and economic entities. Meanwhile, our perception of these invisible surroundings relies on artificial viewpoints. It is only when we can look back at the Earth from outer space that the atmosphere becomes a tangible, recognizable entity. In this new paradigm, to occupy clouds and cloud platforms is as familiar as occupying the land and self.

人们对空气的认知依赖技术与图像数据。只有从宇宙回看包裹陆地的大气,将整体环境视作客体,大气才成为可被编辑与创作的媒材。包围着这颗星球的辽阔上空已是一片振动的地带,充斥着高空作业的飞行器和传送信息的电磁波。只有当远地遥感和卫星图像将大气化为可阅读的图像,区分层级、计算反射率、生成表面,人类活动才能更精确地介入气候控制。图像是认知仪器,将大气化为承载文化想象的媒介;图像也是实验仪器,带领我们从实验室步入景观。

Sentient Cloud--- Architecture for the Atmosphere 

2019,2021 Version

Speculative Design

Zhao Xiaoxiao

可感的云层---一种大气建筑

2019,2021版本

思辨设计

赵潇潇

Seed, Image, Ground

2020

Two channel video, 9’38’’

Abelardo Gil-Fournier,Jussi Parikka

 

种子,图像,土地

2020

双屏影像,9分38秒

阿维拉多 吉尔-福尼尔,尤西·帕里卡

JiaHai, JiuWu

2013-2015

Experimental Music

Yiyuan Liang

 

甲亥,九五

2013-2015

实验音乐

梁奕源

‘Sentient Cloud’ is a set of installations that interpret and interfere with the environment. The project speculates on the environmental perception of diverse rations waves from cosmic rays and UV radiation, to water vapor signals, and 5G mobile communication networks. The 4 videos reveal the vertical distribution and conflicts of these invisible vibrations. Through technological imaginations for the atmosphere, the project aims to build new relationships of individuals and the environment, extend our awareness of social ecological problems, and extend the realm of design beyond solid matters.

 

“可感的云层”是由一系列漂浮装置所构成的环境感知与干预系统。装置作品呈现了不同信号频段在大气层中的纵向分布,以及各频段内的斗争事件。4个动画分别讲述了“宇宙射线”、“紫外线”、“水汽信号”、“5G移动通讯信号”这四种射线与对应的“可感云层”的环境叙事。通过对大气的技术性想象,该作品旨在建立个体与环境之间的新连结,扩展公众对于社会生态等公共议题的具体感知,将设计的场域扩展到充满粒子、电子与振动波的大气层。

Seed, Image, Ground is a video essay that addresses techniques of air, wind, and growth. The work investigates the link between seeds, aerial operations, photographic images and the transformation of earth surfaces into data. From an initial question – how does wind become an image? – the work continues: how do you fabricate wind? How are surfaces of air and atmospheres addressed and implied in our technological culture? How do you fabricate growth, from agriculture to data culture? Responding to these questions, the work presents the operational techniques of seed bombing for agricultural growth and restoration, exploring the epistemological transformation of plants, aircrafts, and land. Through aerial footage, professionals are able to handle the growth situation automatically and specially through visual images and data analysis. It demonstrates how the history of botanic knowledge and visual surveys of green surfaces is a history of images, and as such, a history of circulation, speed and motorised aircraft. 

 

该散文影像讲述了这项工作研究了种子、空中作业、摄影图像和将地球表面转化为数据之间的联系。风如何化为图像?如何编制风?风与大气的表皮如何隐射我们的技术文化?作品围绕这些问题,主要呈现了空中的应用型技术“种子轰炸”(Seed Bombing)植育和环境修复的农业用途,探寻现代技术对农作方式以及人类对植物、空机、土地的认知的转变。通过直升拍摄片段,专业人士可以对地表的植物生长进行图像数据分析,进一步掌握农作信息状况,使播种更加自动化和精确化。它证明了植物知识史、以及视觉分析下的生态环境史,是一部图像的历史,也是关乎循环、速度、自动化飞机的历史。

The music suite places the invisible wave and signal as a background noise, overlapping the slightly mysterious sound in a folklore atmosphere made through guitar feedback. The two works belong to the album 烂柯时间表(2013) and 捕风之事及其他(2015), in which the first one quotes ‘Lan Ke’ and’sexagenary cycle’ in Chinese pre-modern temporality locked in ethnographic villages. When audiences noticed the time, the timber had rotted. In a modern technological space, signals constituted by wavelength occupy the most information received by ears and nervous systems, floating in the air, while local pre-modern folktales simultaneously haunt hidden fields of modernization, where people sense the stagnant temporality.

 

该音乐组曲以空气中的无形信号为底音(铺垫),并以吉他(连接)回声器的输出来制造怪异的古琴之音。两首作品分别收录于专辑《烂柯时间表》(2013)、《捕风之事及其他》(2015)中,干支和烂柯的典故也抽象呈现了前现代的时间,它被锁在民族村寨中。当听者知返时,木材已经溃烂了。在展览现代科技架构的空间中,信号波占据了大部分听觉信息传达,它在空气中流动;而人的时间体验感却凝滞了,它被折叠在前现代的风水玄学与现代混杂的科技中。