Faultline
Faultline
Pavilion is an experimental pop-up exhibition created for brand KAILAS FUGA in
Chengdu, China. Composed of fragmented stone-like masses stacked through space,
the pavilion translates movement, gravity and bodily perception into a dynamic
architectural landscape.
The pavilion is
conceived as a continuous spatial sequence that has been stretched, fragmented,
and reassembled by forces of movement. Compression, cantilevers, fissures, and
moments of suspension emerge between the volumes, constantly altering the visitor’s perception of direction, scale,
and gravity as they move through the space.
Faultline Pavilion is designed as an
immersive exhibition space for KAILAS FUGA's professional trail-running
products. The pavilion explores how experiences of endurance movement through
extreme landscapes can be compressed and embedded within the contemporary urban
environment.
Located within the public plaza of
Chengdu International Finance Square, the pavilion takes on the form of
mountainous and rock-like masses stacked toward a peak. Two different black
stone textures are combined with a silver metallic volume, creating a contrast
between heaviness and tension while establishing a material transition that
extends from the exterior architecture into the interior spatial sequence,
allowing the pavilion to read as a compressed fragment of mountain terrain.
The interior spatial sequence is
organised as two contrasting yet interconnected trajectories, linked through a
continuous directional progression of light. Across the two sequences,
variations in light conditions are translated into spatial form through
contrasting volumetric and geometric compositions, producing a fragmented
spatial field that oscillates between compression and orientation.
正如罗西所说城市如同剧场，每一种特定的空间场所承载着不同的事件和相应的记忆 。我们居住在城市的物理空间中，同时也居住在我们的记忆和想象中。
阶梯、灯塔、烟囱，他们既是城市的精神象征，也是集体记忆的场所。我们从《偶遇-韦斯安德森》展览上千张的影像中选取了4种最能代表记忆的城市空间词汇，不同的空间类型象征着不同的城市片段和空间残影。装置更像是语言性的艺术实验，并以体块的碰撞生成新的空间和叙事。
装置轴测图 Installation Axonometry
我们邀请观众进入到非常规的空间中，体验“偶遇”的空间叙事。灯塔是变形的，楼梯是倒置的，如同透镜般的小房子被放大缩小。四个不同个性的空间，在一个开放的被扭曲的格网中以非理性的方式排布。空间戏剧性地碰撞在一起，互相穿插。观众在参观的进程中不断产生新的空间感知，收缩、碰撞、扭曲、叠加。
平面图 Floor Plan
立面图 Elevation
装置内部以剧幕微缩模型的形式展开四个空间的叙事。观众走入双重的虚构之中：装置被缩小为物件，建筑成为剧场中的角色，内外的关系在这里被颠倒；空间中的编织材料成为被观赏的画作和背景，二维与三维在这里相遇。“折叠剧场”是空间的缩影，在这里穿越城市的精神和物质景观，触摸或真实或虚假的幻象。
“How concrete everything becomes in the world of the spirit when an object, a mere door, can give images of hesitation, temptation, desire, security, welcome and respect.” (Gaston Bachelard: The Poetics of Space)
“当一个物体、一扇门就可以给人关于犹豫、诱惑、欲望、安全、欢迎和尊重的意向时，精神世界的一切变得如此具体”（加斯顿·巴舍拉：空间的诗学）
序幕 命运之轮
在真实与虚幻的镜像高点，命运开始轮转，来访者将滑入未知的世界。四色像素在折射中展开，成为梦境随机的起点。
第一幕 虚像阶梯
城市与闯入者在无限的翻滚中被投影、阵列、衰变，步步阶升，尺度的失序将在层叠的顶端被阅读。
第二幕 游丝线轴
梦的思绪试图紧紧缠绕线轴并创造理性的世界，却不断被抽离。任何控制的尝试在这里都是失效的。
第三幕 维度天空
这个世界充满了孔洞，亦是多重维度时空之间的缝隙。在这里仰望，不同纵深的天空同时出现。
第四幕 存在坐标
来访者发现，只要目光停留在此处，他就能感受到一种的存在。他推测，这可能是这个世界的奇点。
尾声
我们仍无法通过观测总结出这个世界的运行机制，只能束手无策地看着这些物体在无止境地碰撞、相交、妥协、吞并。从异境逃逸，却发现脑海中关于它的影像竟与眼前的城市景观近乎重叠，但随即快速消褪。
编织肌理 Exhibition Rendering