Escher x nendo | 维多利亚美术馆“两个世界之间” 展-设计风向

在墨尔本的维多利亚国家美术馆，Nendo与MC 埃舍尔基金会完成了一次合作展览，以沉浸式，迷人的迷宫庆祝荷兰艺术家的作品。

MC 埃舍尔，已故的荷兰艺术家，深受建筑师，科学家和数学家的喜爱，以设想不可能的事物而着称。毫不夸张地说：他的二维插图，石版画和木刻画呈现出三维场景，玩弄对称和透视来制造视错觉。他的作品，就像许多艺术家的作品一样，比所描述的更好看 – 反重力相对论（1953年）和登高与降序（1960年）的彭罗斯楼梯继续让观众感到高兴和喜悦。

At Melbourne’s National Gallery of Victoria, Nendo has completed a collaborative exhibition with the M.C. Escher Foundation, celebrating the Dutch artist’s work with an immersive, eye-deceiving labyrinth.

M.C. Escher, the late Dutch artist beloved by architects, scientists and mathematicians alike, was known for envisioning the impossible. That’s no exaggeration: his two-dimensional illustrations, lithographs and woodcuts rendered three-dimensional scenes that toyed with symmetry and perspective to create optical illusions. His work, like that of so many artists, is better seen than described – the gravity-defying Relativity (1953) and the Penrose stairs of Ascending and Descending (1960) continue to befuddle and delight viewers.

因此，为了设计两个世界之间的展览，在2019年4月7日在墨尔本维多利亚国家美术馆展出157埃舍尔作品，MC埃舍尔基金会选择了一个天然的合作伙伴：日本的Nendo工作室，由佐藤大领导。无论是通过透视弯曲的家具设计还是在米兰设计周的富有想象力的装置，该工作室对视错觉并不陌生。它以一种身临其境的体验回应了委员会，该体验以主题而不是按时间顺序展示了埃舍尔的全部作品，为艺术带来了迷宫般的体验。

该展览的核心主题是一个基本的斜屋顶房屋，主要围绕为埃舍尔的工作创造一个家的想法。它再次出现在展览的10个不同的空间中，分布在四个画廊中，呈现出完全单色的调色板，与透视，阴影和反射一起播放 – 就像许多埃舍尔的艺术作品一样。

So, to design the exhibition Between Two Worlds, which showcases 157 Escher works at Melbourne’s National Gallery of Victoria until April 7, 2019, the M.C. Escher Foundation selected a natural partner: Japan’s Nendo, led by Oki Sato. Whether through perspective-bending furniture design or imaginative installations at Milan Design Week, the studio is no stranger to optical illusions. And it responded to the commission with an immersive experience that displays Escher’s oeuvre thematically rather than chronologically, conjuring a labyrinth-like experience around the art.

Built loosely around the idea of creating a home for Escher’s work, the exhibition’s core motif is a basic pitched-roof house. It recurs in the show’s 10 distinct spaces spread out across four galleries and presented in an entirely monochromatic palette that plays with perspective, shadows and reflections – like many of Escher’s art pieces.

通往展览的17米走廊为即将到来的舞台奠定了基础，落地几何图案让位于将抽象形式扭曲成熟悉的房屋形式的投影。人们遇到的第一个埃舍尔作品是上面的绘图之手研究（1948）。

The 17-metre hallway leading into the exhibition sets the stage for what’s to come, with floor-to-ceiling geometric patterns giving way to a projection that twists abstract forms into the familiar form of a house. The first Escher piece one encounters is Study for Drawing Hands (1948), above.

开放展览的两个房间展示了埃舍尔不为人知的早期作品。其中一件是将这些碎片悬挂在墙壁上，这些墙壁围绕着一个空间，在其中心有一个由半成形房屋建造的长凳; 另一个房间，以艺术家的折射作品为特色，对称地一分为二 – 一条线沿着房间的中心延伸 – 工件漂浮在反光陈列柜中。在参观者离开展览的这一部分之前，他们会看到镜面搁板，展示一个变形的房子，其形状在从不同角度照亮时旋转。

接下来是转型之家（Transforming House），这是我们最大的 – 并且，我们打赌，也是最可靠的安装体验。在60米长的空间里，游客走在一排黑色房屋与白色内饰之间的过道上。随着旅程的进行，随后的房屋开始解构，连续打开屋顶，过渡到黑色内饰的白色房屋。

安装会提示访问者切换他们的观点。为了提升这种感觉，当从悬浮的观景台看到时，变形房看起来平坦而且是二维的 – 就像Nendo的设计师所说的那样，“走进一件艺术品和埃舍尔的脑海里”。

The two rooms that open the exhibition showcase Escher’s obscure early works. In one, the pieces are hung on walls that enclose a space with a bench constructed from half-formed houses at its centre; the other room, featuring the artist’s work with refractions, is bisected symmetrically – a line runs down the centre of the room – with works floating in reflective display cases. Before visitors leave this part of the exhibition, they’re greeted with mirrored shelves that display a shapeshifting house whose form rotates when lit from different angles.

Next is Transforming House, the biggest – and, we’d wager, the most Instagrammable – installation to experience. In the 60-metre-long space, visitors walk down an aisle between a row of black houses with white interiors. As the journey progresses, the subsequent houses begin to deconstruct, opening their roofs in succession, and transitioning into white houses with black interiors.

The installation prompts visitors to toggle their point of view. To heighten this sensation, when seen from a suspended viewing deck, Transforming House appears flat and two-dimensional – almost like “walking into an artwork and inside of Escher’s mind,” as Nendo’s designers put it.

很自然地，随后的两个画廊专注于极端的观点。在离开变形屋的黑暗之后，出现了一片像森林一样的黑色金属管道造型，它们重叠形成（你猜对了）房子的形状。在这里，16副埃舍尔作品夹在玻璃窗格之间。接下来，一个令人眼花缭乱，炫目的迷彩走廊引导游客走出更远。

Quite naturally, the two galleries that follow focus on extreme perspectives. After departing the dark of Transforming House, a forest-like tangle of black metal pipes emerges, which overlap to form (you guessed it) the shape of a house. Here, 16 Escher works are sandwiched between glass panes. Next, a dizzying, dazzle camouflage corridor guides visitors beyond.

如果金属管道森林似乎混乱，下面的画廊，称为运动之家，庆祝埃舍尔的有序方面。它的六件作品毫不掩饰地致敬几何美，如分子配置。Nendo在房间里点缀了一个装置，在一个带有微型房屋的薄金属板上面有一个环状投影。

埃舍尔的17件最著名的作品在下一个画廊展出 – 一个唤起无限概念的圆形空间。在它的中心，Nendo从55,000个黑白房子中建造了一个令人惊叹的枝形吊灯。在五米高的地方，这个装置应该四处走动才能完全欣赏。

If a forest of metal pipes seems chaotic, the following gallery, called House of Movement, celebrates Escher’s orderly side. Its six works unabashedly salute geometric beauty, such as molecular configurations. Nendo punctuated the room with an installation that features a looped projection atop a thin metal sheet embossed with miniature houses.

Escher’s 17 most famous works are presented in the next gallery – a circular space evoking the idea of infinity. At its centre, Nendo constructed a jaw-dropping chandelier from 55,000 black and white houses. At five metres tall, the installation is meant to be walked around to appreciate in its entirety.

就像我们已经习惯了几何形状一样，在世界之间投掷了一个曲线球 – 非常字面意义 – 与它的最终画廊。被称为Snake House的最后一个房间专门用于Snakes（1969年），最后一个印刷品Escher在他去世前开始。扭曲的路径，其墙壁向内倾斜，形成一个房子的形状，导致艺术家不完整的最后工作。Snakes位于一个上面有两面镜子的玻璃窗上，由它自己的反射完成。

Just as we’ve gotten accustomed to geometric forms, Between to Worlds throws a curveball – quite literally – with its final gallery. Called Snake House, the final chamber is devoted to Snakes (1969), the last print Escher began before he died. The twisting path, whose walls tilt inward to form the shape of a house, leads to the artist’s incomplete final work. Placed in a vitrine with two mirrors above it, Snakes is completed by its own reflections.

为了将令人惊叹的体验结合在一起，展出的最后一幅作品是Drawing Hands（1948），其中有两只手相互绘制，以及Oki Sato的现代纸质解读，将加入博物馆的永久收藏。这是一个只能由Nendo创作的展览的诗意结论 – 而我们想象的Escher肯定会欣赏。

To tie together the stunning experience, the last print on display is Drawing Hands (1948), which features two hands drawing each other, along with a contemporary paper interpretation by Oki Sato that will join the museum’s permanent collection. It’s a poetic conclusion to an exhibit that could’ve only been created by Nendo – and that Escher, we imagine, would surely appreciate.