(Abitare) Unnatural

8/22/2019 (Abitare) Unnatural

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大设计DESIGN

摄影陈彦 / phoos by Chen Yan



山穷水尽：“不自然”展

——中国建筑师家具“玩票”展

艺术不是从肉体，而是从房屋开始的：因此，建筑艺术

为诸艺之首。最科学的建筑艺术在讲求形式的同时，总是不

停的制造面与块，把它们连接起来。所以，可以把建筑定义

为“框架”艺术，即取向各异的框架之间的衔接榫合。有人

认为，绘画的史前史是从以墙壁为框架的壁画开始，中经以

窗户为框架的彩绘玻璃，再到土地框架之内的马赛克。

哲学家德勒兹和伽塔利可以作为“不自然”展的学术顾

问，也许顺便可以给以建筑师为主的参展人利用富美家材

料创作家具找到出口——一个关于建筑师与设计师的经典问

题——榫接建筑的框架或连接平面和墙、窗、地、坡的面块

是一个充满点与对位点的复合系统，它们构成感觉的组合

体。设计也算在其中。我们才得以在这个层面上观摩参展的

作品，也可以把参展人统称为艺术家了。

“不自然”展大方的邀请14位建筑师与艺术家释怀中国

传统文人对自然的追求，利用富美家所提供的通常在厨房，

实验室，快餐厅中常常可见到的人造材料创造家具、玩物、

赏物，甚至从某种园景割离出来的空间。展览在北京天安时

间当代艺术中心肃穆的空间中，确与惯常的纯艺术展或设计

展有些不同，与“不自然”主题遥相呼应，也延伸出一些讨

论（这讨论也发生在貌似波澜不惊的展场）。

富美家的产品以耐用和色彩鲜明著称，艺术家们首先面

对的是材料本身的问题。德勒兹和伽塔利说，艺术作品之所

以无法摆脱相似性，是因为感觉仅与它的材料有关：感觉就

是材料本身的感知物或者情态，可以总结出例如富美家色丽

石（Surell）的温情与动态，抗倍特板（Compact）的坚忍与

内敛，彩虹芯（Colorcore）的冷傲与诚实，都在作品中有所

体现。

材料终止于何处，感觉开始于何处，其实很难断定。但

是，只要有材料，感觉在这一时间内就享受某种永恒，何谓

自然或人工呢——

对于人工材料，祝晓峰以作品色丽石“假云”回应，意

达中国园林里的假山石。他认为材料并不重要，而我们自古

以来对自己与自然的关系的寻求没有改变，才是重要的。陈

旭东以黑白色彩虹芯与抗倍特材料的层叠造就大体量的有如

灵璧石的雕塑，造型犀利，实际上背后的逻辑是立体化的七

巧板切割。刘家琨用色丽石板营造了四色长凳，踏面凹槽中

长出草来，称为“自带庭园的长凳”。挑战物件室内外属性

之外，他表示时间不允许而“未能穿越材料的物质性做出其

Unnatural: Mountain and Sea, Lost in Distance

Ar begins no rom he carnal body, bu rom he consruced sheler;hence, archiecure sands a he ore o all he ars. Te mos scienic o he archiecural ars sresses he imporance o orm even as i coninually

creaes suraces and bodies and links hem ogeher. Tereore we may dene archiecure as a “ramework” ar – ha is o say, a orm o ar haacs as he morar beween a number o dieren such rameworks. Some believe ha he prehisory o ar sared wih murals – ha is, painingsaking a wall as heir ramework – beore progressing o (window-based)sained glass and (oor-based) mosaics.Te philosophers Giles Deleuze and Felix Guatari could be consideredhe scholarly advisers o he “Unnaural” exhibiion – and could perhapsalso provide an exi – a classic problem or archiecs and designers – o he

designers who creaed urniure rom Formica maerials. Te suraces and blocs ha cemen ogeher archiecure – walls, windows, oors, slopes– are a complex sysem o poins and counerpoins orming a coherenpercep. Only in his sense can we sudy he works in his exhibiion, andconsider he paricipans in he exhibiion ariss.“Unnaural” invied 14 archiecs and ariss o explore he radiionalpreoccupaion wih he “naural” among he old Chinese lierai using aricial Formica maerials commonly employed in kichens, laboraories,and as-ood resaurans o creae urniure, oys, scholar’s reasures, andeven spaces ha look like hey could have been aken rom an ancien

garden. Te exhibi, hosed in he solemn Beijing Cener or he Ars, isunlike he gallery’s usual pure-ar or design exhibiions and seems a imeso wander ar rom he heme o “unnauralness” and o branch o inodiscussions (which also ake place in he ranquil exhibi space).Formica’s producs became known or heir durabiliy and brigh colors, sohe rs issue he ariss ackled was ha o how o deal wih he maerialshemselves. Deleuze and Guatari say ha he common similariies o arworks sem rom he sensaions creaed by he maerials used in he works: he sensaions are he percepions or modaliies o he maerialshemselves and could be summarized here as, or example, he warmhand dynamism o Formica’s Surell, he durabiliy and resrain o isCompac, and he coolness and honesy o is Colorcore – all o which arepu on display in he ariss’ works.Naurally enough, he sensaions pick up where he maerials leave o – bu as long as he maerials are used, here is a cerain eernalness o hesensaions – wheher naural or aricial.Zhu Xiaoeng responds o he opic o aricial maerials in his Surell piece,“Cloudery,” recalling he aricial hills o radiional Chinese gardens. Zhu believes he unceasing, unchanging, eernal search or a relaionship

beween man and naure is more imporan by ar han he maerials usedo depic i. Chen Xudong uses a olded composiion o black and whieColorcore and Compac maerial o creae a orm evocaive o Lingbischolars’ sones —— an elegan orm based on a hree-dimensional

左页：徐甜甜《为富美家而作的家具》

Opposite page: Xu Tiantian“FFF FFF

(FurnitureForFormica)”

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精神”，意犹未尽。还有张轲的大型石笋装置，它们舒展化

身为桂林山水，或者暗指其它，其实他的用意之一在于“挑

战材料的不可塑造性”。马清运的“柔东西”更像魔比斯

环让人不能找到确定的安坐方向，以沉默提出可能的问题：

有了方向，是不是就有了位置？有了位置，是不是就有了身

份？……

艺术家们对材料性质的探究也引来参展人之外的质问：家

具本是如何产生的，同人的关系以及同材料的关系如何等等。

徐甜甜的回应是，“我们是在测试这些材料的可能性”，她的

作品FFF（Furniture for Formica，为富美家而做的家具）的确挑战

了材料限度，用液体模制出张狂的四不像。设计乃至建筑的形

态（form）之争由来已久，也许必须摒弃观看单独形态而以流动

系统中的点、奇点(Singularities)、力、环境中交织的线与平面来

审察——正如 ABITARE CHINA 呈现空间的照片必定是有人在其

中使用它的。

追问者继续，参展艺术家是否掉入了品牌的陷阱，能否

在此过程中批判或提升命题的板材？富美家是精品品牌，却

不热衷于把自己包装成奢侈品牌，其动机确实单纯。至于依

凭品牌的旗号与组织来讨论些本该讨论的问题，以期声音更

洪亮，才是新现象。这也需要真正思索问题的人来实现。

参展人面临的另外一个大象无形的问题是中国传统的人

文趣味——孰有，孰无，孰是，孰非。中国先贤以心观物，

天人合一，在诗赋与书画中体现；明代董其昌开始从自然万

物中收回目光，讲求追摹古人古画，建立了一种传承关系，

也算不失风流。但当下的人们岂不与自然与古人双双割离？

德勒兹和伽塔利又说，有必要研究一下，不论在鸡毛蒜

皮的事物上还是面临最严重考验的时候，每一种人如何给自

己寻找领土，如何忍受并从事脱离领土，如何利用几乎任何

东西为自己重建领土——回忆，辟邪物，梦幻……社会领域

是一些难以理清的疙瘩，拥有、脱离和重建领土三种运动纠

缠在一起。如果我们要找出高古的中国与众不同之处，那么

就应当自问：先贤建立了什么样的领土？他们是如何脱离领

土的？又在哪里重建了领土？并为此找出纯属中国的典型。

华黎的“岩石椅”脱离了岩石生成的机理，成为一个岩

上图：张轲《不自然生长》

右页：马清运《柔东西》

Above: Zhang Ke“Un-natural Growing”

Opposite page: Ma Qingyun“Object

Manipulation”

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angram assembly. Liu Jiakun used Surell o creae he “Bench wihGarden,” a quadrochromaic bench whose convex base sprous grass. Liusaid he inended o challenge noions o he “indoor” or “oudoor” naureo objecs, bu ha owing o ime consrains he was “unable o surpass hephysicaliy o he maerials o express heir spiri.” Te salagmies o Zhang Ke’s salagmie insallaion recall he scenery o Guilin – or perhaps alludeo oher hings. One o Zhang’s aims wih his piece was “o challenge he

implasiciy o he maerials.” Ma Qingyun’s “Objec Manipulaion,” like aMöbius srip, leaves he viewer unsure o is direcion, and subly raises hequesion o wheher direcion implies posiion, and wheher posiionimplies ideniy.Te ariss’ exploraion o he naure o heir maerials also leads oquesions exending beyond merely he paricipans in he exhibiion –such as how urniure is produced, and wha relaionship i bears o hepeople who use i and he maerials o which i is made. Xu ianian saysshe and he oher ariss were “esing he possibiliies o hese maerials;”

her work FFF (Furniure or Formica – pieces o home urniure shecreaed or he company) does indeed challenge he limiaions o hemaerials, using liquid casing o creae srange, mischevious orms. Tedispue over orm in design and archiecure has raged or a long ime, and

requires people o do away wih he endency o ocus on individual ormsin avor o a uid sysem encompassing he lines and planes ormed romhe ineracions beween poins, singulariies, orces, and environmen -- jus as necessarily applied in he spaces phoographed in Abiare.Te quesioner coninues: Did he ariss paricipaing in his show all inohe rap o branding? Were hey able o decide or hemselves as par o hisprocess wheher o criicize or praise he maerials hey were given?

Formica, hough a op brand, has never sough o package isel as a luxury brand – or a very simple reason. Te reliance on he brand and isorganizaion in discussing quesions ha ough o have been discussed o begin wih, in he hopes ha he discussion will be louder and clearer, is anew phenomenon, and i will require people who hink long and hardabou he mater. Anoher elephan in he room or he paricipans in he show is hequesion o radiional Chinese aesheics: Who possesses hem; whodoesn’? Te sages o Chinese aniquiy believed ha mankind was an

inegral par o naure, and expressed his belie in heir poery and ars; heMing Dynasy painer Dong Qichang (1555-1636) was one o he rs ourn his gaze away rom naure and o emulae he ancien masers andimiae ancien painings o esablish a coninuous radiion. Bu aren’ he

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石的表象。他认为文人赏石其实是趣味问题，石头曾经是

一个符号。而他的岩石椅远看沉重，其险峻却在色丽石翩翩

展开中消融。张永和以独石结构替代传统中国屏风的木框纸

屏，通过变化色丽石的厚度（从4毫米至40毫米）达到渐变

的透明度，在角度和不同光照下变化多端，在重建屏风的过

程中用形式取代了形状。同样有形式理想的是孟岩的书架、

博古架、CD架合一的“书山”，虽然它既能以一幅平远画

卷不太甘心的切片存在，又能被认读为城市侵蚀山野（或农

村包围城市）的图景。取名“书山”便是为文人士族的理想

与现实铺路，让时间某一角落、空间某一时刻碰巧经过的读

书人内观自己的高远理想。另外，“书山”本来设计有可拆

卸组合的隔断，是一个变化成长的山。这令人感动：

一个对建筑师或艺术家的挑战是如何让我们感受过程的

存在，比如塞尚在他的风景中展示了它们的形成：“看那座

山，曾经是火。”（Look at the mountain, once it was fire.）

回到展览空间，这些有很强内在性的作品在空间里分散

people o oday cu o rom naure and rom he anciens?Deleuze and Guatari say deeper consideraion is required: wheher dealing wih rivialiies or acing he ulimae rials o heir exisence, how do people

nd a erriory or hemselves; how do hey endure and hen nally reachdeerriorializaion; how do hey make use o whaever is o hand --memories, alismans, dreams -- in esablishing anoher erriory? Te socialrealm is comprised o such seemingly inracable problems -- he ownership,igh rom, and re-esablishmen o erriory are inexricably linked. I weaim o nd he dierences beween he high anciens o China and oday,hen we mus ask ourselves wha sor o erriory he anciens esablished,how hey came upon de-erriorializaion, and where hey nex moved on o-- and o his end, we mus nd a purely Chinese archeype.Zhang Yonghe uses monolihic slabs o replace he radiional Chinese

wood-and-paper screens, varying he hickness o he Surell o which his work is made rom beween 4 mm and 4 cm o achieve gradaions o ransparency ha shi and muae depending on angle and illuminaion,replacing orm wih shape in his reimagining o he radiional screen.Meng Yan’s “Mounain Library,” combining bookshelves, anique cases,and CD racks, has a similar concep; alhough i could – albei uneasily

左页：大舍建筑《桌-椅》

下图：祝晓峰《假云》

Opposite page: Deshaus“Table-Chair”

Blow: Zhu Xiaofeng“Cloudery”



着，倒有些像日本的枯山水庭园——几块石头点缀在白沙

之中是为山，白沙耙出直线和曲线的条纹是为水，也默默诉

说和尚的世界一无所有，别无所求。空间给人带来环境的思

考。一个物件生于特定环境，它的内部与外围也都存在不同

的环境，旧环境被它们赋予重生。所以不能只看到它们的元

素（横坐标），还要看到它们的影响（纵坐标）。那么在山

穷水尽之处，这些家具、物件和空间何去何从，又产生什么

样的影响呢？

北京天安时间画廊会代理联系设计收藏家，之后为我们

解答。

2009,4北京

– on a horizonal paining scroll, and could be read as an image o he ciy

corroding he counryside (or he counryside surrounding he ciy). Techoice o he name “Book Mounain” is inended o pave he way or heideals and realiies o he scholarly classes, and o reec he aspiraions o any lierary people who migh be passing by. In addiion, “Book Mounain” was iniially designed as an assembly o swichable modules, making i amuable mounain. Te challenge o any archiec or aris is how oimpress upon us he process inheren in he creaion o a work – as in he way Cezanne laid bare he ormaion o his landscapes in heir depicion:“Look a he mounain; once i was re.”Back in he exhibiion space, one nds hese srongly inernal works

scatered around he hall, recalling somewha radiional Japanese Zengardens: sones scatered as mounains on a bed o whie sand raked inosraigh or curved lines o represen waer -- and reafrming he sparenessand auseriy o he monks’ lives. Spaces bring houghs o environmen:objecs are producs o a given environmen, wihin and wihou whichexis oher environmens by which old environmens are reinvigoraed.One can’ simply look a he elemens o environmens - heir abcissa or X-coordinaes; one mus also consider heir aecs - heir ordinaes or Y-coordinaes. In he end, hen, wha is one o make o his urniure, hese

objecs and spaces, and wha aecs do hey produce?Te Beijing Cener or he Ars will serve o connec he designers wihcollecors, and will answer hese quesions in he uure.

April 2009, Beijing

上图：张斌 / 周蔚《理石案》

右页：孟岩《书山》

Above: Zhang Bin / Zhou Wei“Table

Landscape”

Opposite page: Meng Yan“Mountain

Library”

感谢于格丽曼小朋友的自然参与Special thanks to Geliman’s natural performance

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张永和《厚薄折》 / Zhang Yonghe“Thick Thin Fold”

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