法国的哲理花园景观/Meir Lobaton Corona

发布于：2023-05-14 22:53:12

The philosophy of the French garden landscape

设计方：Meir Lobaton Corona和Ulli Heckmann

位置：法国

分类：花园

内容：实景照片

图片：13张

我们最信任的感觉，往往会暴露自己真实的面目。而我们，会相信那些我们看到的东西，但有时，正是我们看不到的东西，才会带给我们真相。我们的感觉，主要来自于身体的感知：眼睛看到的、耳朵听到的、鼻子闻到的、嘴巴尝到的、双手触及到的。而整个花园的设计主题，则是“由外而内”，强调外部带给我们的感受，而不是自己主观的感受。依靠仅仅看到的外部环境，加以想象我们所处的整个环境。

一进入整个花园，游人发现自己面对的是一个看似空白的空间，只有红色砂石上传来的自己的脚步声，以及一个极简主义的白色盒子，它悬浮在距离地面60厘米的高度，整个盒子看起来比较轻便，8米长，5米宽，由半透明的材料制成，像一块围合起来的画布，上面有开孔，并在围合的内部进行植物种植，人们可以从外部窥视，或者蹲下来看内部。从外面看进去，好像一个虚幻的空间，而且为了加强这种感受，还在空间内部增加了一些双面镜，使得整个空间更加虚幻。

“由外向内”是一个花园，是一个沉思的空间，一个小的宇宙观。这种设计最重要的是创造一种体验能力，让我们反思那些看到的东西是否是真实的，感知物理世界和感官世界的差距。这是一个反思的空间，里面充满了无限的可能性，通过不断的反射将景观放置在这样一个空间。

译者：饭团小组

The sense we trust the most is the sense which exposes us the least. The sense that will bring us into direct contact with life is used the least. The first is to see. What we see, we believe, but it is what we don’t see that holds the truth of what is because then it remains undistorted by our interpretation.

We think that all perception is locked within our body: The sense of seeing from the eyes, the sense of hearing from the ears, the sense of smelling from the nose, the sense of tasting from the mouth, and the sense of touch primarily from the hands. Our garden, entitled ‘outside-in’, is conceived as a visual paradox, as device that enhances such conditions in order to make the audience realize how by relying only on sight we rely on imagination, that is to say, on interpretation. In other words, how the sense of vision can become a shield that precludes us the possibility of having a holistic experience of life, one that involves the entire body and that extends beyond it.

The experience of the garden begins when the visitor finds himself confronted with a seemingly void space, only the sound of his footsteps walking on top of the red sand surface and a minimalist white box mysteriously levitating sixty centimeters above the ground complement his experience.

The weightless, five meters wide by eight meters long, semi-cubic volume –defined by a translucent white skin– takes almost one third of the extension of the garden and works as a floating canvas where a monochrome world of shadows is casted suggesting the presence of what seams to be a tiny and inaccessible chunk of forest confined within. Only when gazing inside –either by crouching down and looking under it or peeking through one of the peepholes scattered on top of the white surface– the visitor is drawn into an illusory space in which trees and plants vanish into the distance. An effect attained by the fact that the four interior faces of the volume are covered with two-way mirrors and thus create a seemingly infinite forest reflected in all directions.

Like the scene in ‘Alice in Wonderland’, in which Alice peers through the keyhole of a tiny door onto a beautiful garden only to realize that she is unable to enter, this inverted experience of peeking inside to actually look outside, is meant to be both engrossing and frustrating. This voyeuristic experience allows for the viewer’s presence never to interrupt the tableau: the forest remains infinite and trapped inside this solipsist hall of mirrors while the visitor is confronted with the paradox of being looking inside a box where the contained space is actually larger than its container.

‘Outside-in’ is a garden within a garden, a contemplative space, a small universe where landscape and architecture are fused to create an experience capable of raising questions rather than answering them, a live mechanism whose aim is to make us reflect on the contrast between what we know and what we see, demanding us to constantly negotiate the gap between physical reality and visual perception. It is a meditation on space, light, and the possibility of infinity as seen through the limitless reflections of a trapped narrative meticulously fitted inside a world of two-way mirrors.