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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溫哥華海岸的巢穴(The Nest)度假勝地

溫哥華海岸的巢穴(The Nest)度假勝地

    宛如世外桃源的巢穴(The Nest),是一處遠離塵囂的度假勝地,房子被茂密的常綠樹冠環繞,可俯瞰豪灣(Howe Sound)的壯麗景色,既像一座小木屋,又像一座樹屋,如同一個超現實主義的棲息之所,溫哥華海岸的巢穴度假勝地,模糊了建築與自然的界限。是一個緊密聯繫的社區,又如同一座瞭望台般矗立於高處。     棲息在濟慈島高處的「巢穴」(The Nest),距離溫哥華僅一小段渡輪航程,卻又宛如世外桃源。這座由建築師達莉亞·謝娜(Daria Sheina)設計的「巢穴」(The Nest)是一處遠離塵囂的度假勝地,其設計靈感源自於其名稱和周邊環境。房子被茂密的常綠樹冠環繞,可俯瞰豪灣(Howe Sound)的壯麗景色,既像一座小木屋,又像一座樹屋,如同一個超現實主義的棲息之所,模糊了建築與自然的界限。除了其奇特的外形外,它還為偏遠地區可持續預製設計樹立了新的標桿,在不犧牲美感的前提下,與當地建立了深厚的聯繫。 濟慈島森林茂密,地勢崎嶇,是一處休閒度假勝地,島上散佈著夏季小屋,約有50名常住居民,是一個緊密聯繫的社區。該島位於島上最高點之一,其僻靜的地理位置、高聳的地形和令人嘆為觀止的全景景觀對項目的設計產生了深遠的影響,最終使這座房屋彷彿與周圍景觀融為一體,又如同一座瞭望台般矗立於高處。           從建築角度來看,這棟房屋的設計理念是兩個立方體的碰撞,其中一個立方體旋轉45度,形成一個引人注目的棱角分明的輪廓。上部體塊彷彿向外旋轉,寬闊的玻璃立面向森林和天空敞開。儘管幾何形狀奇特,但房屋結構卻和諧地融入了周圍的環境,西部紅雪鬆的覆層將兩個體塊連接在一起,形成溫暖自然的表皮。隨著時間的推移,木材會逐漸褪色成銀色,柔化其幾何形狀,使房屋與周圍的景觀更加融合。            

Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power

Joana Vasconcelos’ ‘Plug-in’

  ︳Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power     ︳1. From a towering solitaire diamond ring made of wheels

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