Starting. Ding Pengwen| Landscape, Body, Abstraction and Nature" Global Design No. 2866

The natural nature of trees and grass is the same, but natural nature may have many dimensions. Concrete can be natural, interstellar space is natural, human nature is natural, in the city you have to have a new nature, maybe you have to create this nature.

INTERVIEWER ISAMU NOGUCHI

△ The picture is a landscape work by Isamu Noguchi, which comes from the Internet

It is a smooth space-time realm. It alienates everyday behavior and perception, blank, fractured, floating, withdrawn, cut, juxtaposed, expanding existing contexts, stripping away established meanings, and creating dematerialized landscapes. But division is not the end, but the purpose of completely releasing the energy of perception in a pure vacuum, transcending matter, touching some kind of immaterialized experience in an absolute way.

Beauty salon and photography space are the two most important spatial functional needs in this space, one is arranged in a quiet internal area, which is about how to achieve the beauty of individuals in daily and realistic states; one is arranged in an open public area in a shared way, which is about how to express the understanding and cognition of beauty in the form of photography. In the postmodern era of technological development, the purity of beauty should be treated correctly and should be properly perceived.

Tilted inward, withdrawn from the hard boundaries of everyday life

The separation from the real environment begins with the entrance and façade of the space. By tilting inward, the entrance strips out the established architectural framework, so that the outer frame of the building can be revealed like a spatial coordinate system, and the angle formed between the spatial façade and the standard system suggests an angle deviation between reality and surreality, thus creating a polysemy spatial entrance.

△ Designer manuscript

Highly abstract shapes, unmarked themes, and dematerialized forms of expression enrich the meaning of the hard boundaries of space. The fragmentation and alienation of the form, from another dimension, allows this intervening space, which is stranded on the ground floor of the city's commercial buildings, to obtain a certain eternal existence in the phenomenon, especially when it provides a circular entrance that tries to get away from the material world in a way that is integrated with stainless steel and metal plates, and the representation of the withdrawal from the daily life is further strengthened.

Although the space is like a huge sharp object, it is inserted into the original building cavity in an unusual shape. However, inside the space, through a series of spatial organization methods with perception as the core, it can form a dialogue with the spatial life forms of the surrounding areas and even the city, challenging the existing concept of material space and maintaining the adaptability and flexibility of future changes. This also shows that withdrawing from the daily life is to better return to the daily life.

Continuous with fractures, about the geometric landscape

The interior of the space can be seen as an elevated space with a height of 7 meters. Here, the advantage of the height of the floor is not converted into the economic utilization of multi-layer space, but the space block is raised vertically, leaving a certain gap at the top, breaking the closed form of the traditional space, and allowing the wall to form a continuous geometric landscape between the continuity and the fracture with an absolute sense of volume and sculpture.

△ Spatial function isometric analysis chart

The wall surface under the block state has a certain thickness and sense of solidity, and the space creates the richness and abstraction unique to geometry in the changing relationship between the form and the body.

The walls of the section, the corners of the cut, the dynamics of the triangular blocks, the dangling of the walls when they land on the ground, and the uniform arrangement of circular and square holes on the wall surfaces are seemingly solid geometric shapes that place the space in a state of flow.

When the combination of volumes is repeatedly extended and evolved, the more likely it is that spatial perception will be strengthened, and the mysterious growth force will be highlighted from it, becoming the most flexible part of the "scene" as a whole.

But white makes it possible for walls with a certain thickness to float lightly. The sense of visual volume, under the hint of white, becomes ambiguous and more perceptive tension. The plurality of space and the view of things begin to show its charm at this contradictory moment of experience.

Instantaneous events that induce creative "fields"

In essence, space presents its essential characteristics to us through events. But within the common realm of this space, it does not describe or imply any specific event to people, it is like the unfolding of the event, allowing time to open and flow to all events at once. This is the charm of displaying in the "field".

As a space that provides a creative space for avant-garde photographers, it is more desirable not to make mandatory narratives of specific events, which means ceding more of the narrative rights of events to photographers, so that photographers can create their own instantaneous events through the viewfinder. That is, through the instantaneous state of the relationship between people and objects, the perception of events is triggered, thus reflecting the creativity of the place. What is reflected here is a dynamic centerless spatial system, without a clear spatial travel order and direction, without a patterned correspondence between space and function.

Wandering, hanging out, performing, sitting casually, talking to another self. In all behaviors, space, interspersed with geometric blocks, mobilizes the visual relationship between seeing and being seen, creating an experimental, interactive orientation that transcends everyday experience.

Among them, the spatial array composed of a series of triangular blocks enclosed in a diagonal direction, as a rare block connected to the top, seems to have a certain sense of spatial ritual. It uses monumental physical language to present a highly abstract form of expression, suggesting a certain state of connection with a particular time and space. Its sculptural spatial form helps the photographer or others wandering in the space to determine important spatial instantaneous relationships, define the important forms of space, and give space a new concept and energy.

Inner perception, snow clearing and spiritual dissociation

Light fills space like fog, enveloping people, so that space is not perceived by its physical scale and scale, but is remembered by people with the volume and volume of light. Light, reflected through the mirror material and the homogeneous diffuse reflection of the wall, makes the real image and the virtual image overlap together. The space is transparent and ethereal, losing the reference of the usual experience, thus entering an unknown territory related to emotions. Emotions in the free are captured by matter, and spirituality eventually breaks away from the material body to get the most effective response.

Red flashes, floating in the blue darkness of the night, are like space capsules that are low underground. The geometric blocks lying flat on the horizontal ground and the primitive metal installations stimulate Wu's inner perception and suggest that the art has returned to its most primitive state after repeated sublimation.

This is a design idea that emphasizes returning to human inner perception and stimulating multiple interactions in the environment. Abstract group sculpture makes the interactive experience continue in the sense of the whole, which produces a kind of dematerialized inner resonance. In a sense, this spiritual spatial effect not only balances the instrumental rationality side of the spatial structure and layout, but also shapes the full possibility of spiritual value and inner perception in the era of comprehensive development of technological civilization.

New nature, technology is known for growing underneath

In the unnatural structure, the adoption of nature is the most vivid, pioneering and subversive attempt in the garden. If the combination of geometric blocks is understood as "scenery" as nothing more than a kind of romance under the concept of physical aesthetics, then the search for nature in unnatural structures will likely become a realistic context in the near future.

In the process of ground treatment of space, the rubble of the landscape paving is used in large quantities, and the stepping stones used for outdoor splicing extend into paths or areas, the soft carpet simulates the state of the grass, and the green moss shows the undulating situation of the mountains under the observation of absolute distance, so that the spatio-temporal experience in a broader natural state can be resident.

These materials, with their natural or unnatural organic properties, create a conceptual nature that broadens the broader understanding of nature and finds each other's value in both positive and negative senses in collisions with geometric facades.

The growth of space is not only the growth of the temporal dimension, but also reveals a whole process of growing with nature and participating in the naturalization of space. As Isamu Noguchi put it, "Concrete can be natural, and interstellar space is natural." In this context, the "scenery" of the geometric block is a real landscape, and the artificially constructed "garden" in the interior is also real.

△ Floor plan

Project Address | Nanjing, China

Project area | 800㎡

Designed and produced | Ermei Spatial Design Laboratory

Design time| 2020.12

Completion| 2021.04

Design Director | Ding Pengwen

Spatial Photography | SFAP

Information provided | Portrait Photography - Asakusa Imagery

Ding Pengwen

Founder/Design Director of ermei Spatial Design Laboratory

Founded by Mr. Ding Pengwen, Ermei Space Design Research Laboratory is a diversified space design research laboratory composed of post-90s generations. The design scope covers small commercial spaces, high-end customized private residential spaces, from interior design to product design, brand planning, curation and so on.

The world is nothing more than you and me, with the purpose of gathering more young people who love design to speak out for the power of design for Chinese youth. Microscopically, it's a narrative somewhere in between. The two are understood as two selves of a single body, a self-confrontation of different attributes of the heart, a contradiction between sensibility and reason, a state of truth, entanglement, contradiction and dependence.

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