From the Center of the Palais Garnier in Paris

JR’s Dramatic Cave Intervention Emerges from the Center of the Palais Garnier in Paris

 

︳JR’s Dramatic Cave Intervention Emerges from the Center of the Palais Garnier in Paris

 

︳“Our role as artists is always to search for the light,” says French artist JR (previously) about the second act of his Retour à la Caverne project. “We know this much: You don’t chase away the darkness with more darkness. You chase it away with light, however tiny.”

 

The work he’s referring to, though, is far from tiny. Cloaking Paris’s Palais Garnier while the building is under construction, Retour à la Caverne is an enormous trompe l’oeil facade, the first part of which depicts a cave carved into the grand structure that houses the opera. Illuminated at the center, the temporary piece highlights the physical and metaphorical interactions between light and dark. Broken into two acts like an opera libretto, the work references Plato’s allegory that emerging from the depths of the cave, and from darkness, brings knowledge.

 

“Act I” debuted earlier this fall with four nights of projected works, while the second part was held on November 12. “Back in September, we invited you to step out of the cave to go and explore. This time, we’re inviting you back inside the cave,” JR said while introducing the work. Whereas “Act I” portrays the cavern gouged into the center of the building, “Act II” switches perspectives, placing the viewers entirely inside the space.

 

Titled “Chiroptera,” the performance featured choreography by Damien Jalet and music by Thomas Bangalter. More than 150 dancers appeared through an elevated seven-story scaffolding after an eerie introduction by ballerina Amandine Albisson, who appeared to open the cave, causing a plummet into darkness. As with many of JR’s works, the artist asked the crowd to participate by using headlamps and their phones to illuminate the remainder of the performance, revealing the ways light can emerge from collective action.

 

JR’s Dramatic Cave Intervention Emerges from the Center of the Palais Garnier in Paris

 

JR’s Dramatic Cave Intervention Emerges from the Center of the Palais Garnier in Paris

 

JR’s Dramatic Cave Intervention Emerges from the Center of the Palais Garnier in Paris

 

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建築材料生命週期評估流程示意圖,涵蓋生產、運輸、使用與回收階段

建築材料生命週期評估如何影響環境與設計決策

    建築材料從開採到報廢的每個階段,都在累積能源與環境影響,也逐漸轉化為一種可被理解的Material as Narrative。     本文將從原料、製造、運輸、使用到回收五個階段,整理建築材料在生命週期中的環境影響。   作為自然資源消耗、能源使用與溫室氣體排放的重要來源,建築產業對環境有著顯著影響。目前全球約32%的能源消耗與34%的碳排放,皆與建築相關。在這樣的背景下,建築材料不再只是構成空間的元素,而逐漸成為評估環境影響的關鍵。透過循環經濟、可再生資源與技術創新等策略,材料被重新放回整個系統中檢視,其角色也從物質轉向過程,例如在Material as Narrative的脈絡中被重新理解。     生命週期評估(LCA)提供了一種系統化的方法,用以衡量與管理建築材料的環境影響。從原料開採、製造與運輸,到施工、使用與最終處理,每一階段都被納入分析範圍。這種方法不僅讓環境負擔變得可量化,也讓設計決策能在更早的階段被調整,特別是在Adaptive Reuse的情境中,更能看出材料選擇的長期影響。 在生命週期的不同階段中,投入與產出構成主要評估指標。投入包含能源、水資源與化石燃料的使用;產出則涵蓋碳排放、廢棄物與污染物的釋放。這些數據會進一步轉化為環境指標,如全球暖化潛能、水資源消耗、生態毒性與資源耗竭等,使不同材料在不同環境脈絡中得以比較,也與Architecture and Landscape的整體關係相互連動。     在國際層面,ISO 14040與14044標準提供生命週期評估的基本架構,將整體流程分為目標與範圍界定、清單分析、影響評估以及結果解讀四個階段。這些步驟彼此相互關聯,從定義研究目標開始,到量化數據與分析影響,逐步建立對材料環境表現的整體認知,也讓設計更能回應如Light and Space這類與環境條件相關的議題。

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