“The Hojoki Shiki in 2018” Exhibition, Echigo-Tsumari Art Triennale curated by Fram Kitagawa

Concept

Challenged by the homogeneous and efficiency-oriented globalisation, modern cities are on the brink of losing traditional values. Under such circumstances, Echigo-Tsumari Art Triennial of this year hopes to develop the power of social-responsible architecture and art - starting from the reinterpretation of 10-foot square (“hojo”) hut where Kamo no Chomei once lived, observed, considered and recorded the world. “The Hojoki Shiki in 2018—Spatial designs of 10 feet square and their development” exhibition asked for design proposals of a 3mx3mx3m sectional, mobile, small architectural space that, with Chomei’s worldview as the backdrop, reflects the locality and the world. Our idea is a spatial installation related to sound.

In a society heavily overloaded with information, we are trained to be visual animals. Soaring developments along the single axis of visual sense left other perceptual passages mere subordinates. Yet with the sound art springing up these few years, the public has been provided with another, utterly different mode of thinking. Sound, as a medium and material, inherently embodies the underlying messages of cognitive approach, consumption pattern and behavioral model etc. For example, the tribe people search their sense of belonging and of existence in sonic connections. In sound artist Yinyi’s work “A party farewell” that records the elderly singing group in Hongkou Park, the implicit logics and hierarchy behind this “sound in public” were discussed; such as the correspondence between consumer space (like café) and light music, compared to that between public territory and “red songs.” Similar idea of sounds’ physicality interfering with human activities could also be seen in 2008 Hamburg train station. The classical music was played on the plaza to drive away vagrants. For these people whose homelessness is almost a protest against capitalism and mass-production, classical music is everything opposite to their belief and thus unbearable bruits. Our auditory sense is not merely about receiving, but could be a path leading to thoughts.

Conceptual Diagram 概念圖解

The design divides the space into 25 smaller units of 600x600 mm to suggest an art experience for the ears. The whole installation is made with 30mm-thick wood panels, with three parts touch the ground to support. Between units there are one-direction doors to allow passage. On each door, and above head in the unit, there are two layers of sound boxes. Carrying different audio contents about urban/rural context recorded in the field by the sound artist, these boxes play simultaneously in lower volume. When passing by, the corresponding equipments will sense the motion and amplify the local sound clip. In this way, the whole region consists of an ever-changing soundscape. The soundscape expresses our understanding towards urban versus rural contexts, and the dilemma of downfall in Echigo-Tsumari.

https://www.echigo-tsumari.jp/en/art/artwork/the_labyrinth_with_soundscape/

Location

Satoyama Museum of Contemporary Art, Echigo-Tsumari, Japan

More info

ATELIER DESHAUS

collaborated with: Yi Yin (sound artist)

#architecture design team: Yichun Liu, Rui Deng, Chih-han Chen, Zhun Zhang

scale: around 3m x 3m x 3m

MY ROLE (in charge): schematic design/design development/construction drawings/budget control 

Keywords

Sound installation, Sensorium, Urban/rural, Locality

Exploded Axonometric 爆炸軸測圖


Sound sequence 聲音序列




「越後妻有藝術三年祭」“方丈記私記2018”大展,北川富朗策展

概念

現代城市受到同質化和以效率為導向的全球化的挑戰,正處在失去傳統價值觀的邊緣。在這種情況下,今年Echigo-Tsumari藝術三年展希望發展社會負責的建築和藝術的力量 - 從重新詮釋鴨長明曾經居住、觀察、考慮和記錄世界的10英尺見方("hojo")小屋開始。"2018年的「方丈記私記 — 10平方英尺的空間設計及發展」展覽要求設計3mx3mx3m的可組合的移動式小型建築空間的方案。以鴨長明的世界觀為背景,反映當地和世界。我們的提案是與聲音相關的空間裝置。

在一個資訊嚴重超載的社會裡,我們被訓練成視覺動物。沿著視覺感知的單軸飛速發展,其他感性通道只是附屬。然而隨著近幾年聲音藝術的發展,公眾得到了另一種完全不同的思維方式。聲音作為一種媒介和材料,本質上體現了認知方法、消費模式和行為模式等的基本資訊。例如,部落人民在聲波連接中搜索他們的歸屬感和存在感。在聲音藝術家殷漪的「告別派對」中記錄了虹口公園老年歌唱團體,討論了這種"公眾聲音"背後的隱含邏輯和等級;例如消費者空間(如咖啡館)和輕音樂之間的對應關係,與公共領域和"紅歌"之間的對應關係相比。2008年漢堡火車站也可以看到類似的聲音對人類活動的實體干擾。廣場上演奏的古典音樂趕走了流浪者。對於這些無家可歸幾乎等於對資本主義和大規模生產的抗議的人來說,古典音樂是一切與之信仰相反的東西,因此成為難以忍受的噪音。我們的聽覺感官不僅僅是接受信息,而是一條通往思想的道路。

該設計將空間劃分為 25 個 600x600 mm 的小型單元,以提示關於耳朵的藝術體驗。整個裝置由30毫米厚的木板製成,其中三塊接觸地面作為支撐。單位之間有單向門允許通過。每個門上以及單位的頭部上方都有兩層聲箱。這些盒子攜帶由聲音藝術家實地錄製的關於城市和鄉村的不同音頻內容,並以較低的音量同時播放。路過時,相應的設備將感應運動並放大本地的聲音樣本。整個場域由不斷變化的聲景組成,它表達了我們對於城市和鄉村環境對比的理解,以及越後妻有衰落中面臨的困境。

Labyrinth with Soundscape

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