“The Hojoki Shiki in 2018” Exhibition, Echigo-Tsumari Art Triennale curated by Fram Kitagawa
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.
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.
Satoyama Museum of Contemporary Art, Echigo-Tsumari, Japan
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
Sound installation, Sensorium, Urban/rural, Locality
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。
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。