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