荒唐事的本质上就是对城市空间进行小范围的改造。有些人认为这些改造属于艺术创作，但它们却被冠以琐碎，暂时，幼稚，而且不明显的属性和特点。 这些街道艺术品大多是架构在艺术家们的奇思妙想的基础上而被创作出来的。旨在表现所谓的“无意义”的元素，有人甚至可能会认为它们是“无稽之谈”。 但这些荒唐事可以帮助观察者从不同以往的角度观察问题，从而帮助他们找到当前的城市问题。 这些荒唐事是有意思的，同时也欢迎批判性的参与，更重要的是它们可以激发出一些有助于实现宏伟设想和志向的简单想法。所构想的荒唐事可以先在一个小范围内被测试，其后，也可能会变成城市政策变动的真正推动力。
Follies are, essentially, small interventions in urban spaces and although considered to be art pieces, they are somehow perceived as frivolous, temporary, and at times innocent and unserious. They are made by artists and architects, mostly on the basis of their own fantasies. They are elements that aim to make ‘no sense’ and some might argue that they are ‘nonsense’. But follies can help to point the observer in another and surprising direction, thus helping them visualize current urban problems. They are playful whilst allowing for a critical engagement and, importantly they can bring about smaller examples of grander dreams and ambitions. Follies can be tested on a small scale and can contribute as real drivers of policy changes in a city.
光州是一个因其工业品质而闻名的城市，汽车工业蓬勃发展，并被美丽的樱花从环绕，自然环境宜人。但近年来，特别是老城区，城市发展面貌越发暴露出以车为本，缺少专用人行道的现象。从2011年起，荒唐事被引入光州各地，旨在为高速发展了40年的市区提供城市文化再生的机会，以实现城市复兴。 这些干预措施的第一步是将发展的注意力重新集中到了城市荒废却具有发展潜力的地区，试图使其转变得更宜居舒适。
Gwangju is known for its industrial qualities. A city with a booming car industry situated between beautiful surroundings of cherry blossoms and nature, but in recent years has become dominated by cars and lacks many pedestrianised zones, especially in its old part of town. From 2011, Gwangju, follies located all across Gwangju are designed to achieve urban regeneration by providing a cultural rebirth to its downtown area after 40 years of rapid industrial growth. These interventions are a step in refocusing attention on abandoned areas of the city with the potential to transform them into more livable and pleasant areas as they develop in time.
前阶段这个决定在光州做出一系列荒唐事的改造策略，是实现大胆的实验性发展策略的第一步。 而且有些已经取得了成功，就像由Juan Herreros设计的提升的河岸一样，它引起了人们对城市中一些被忽视部分的关注，并已转变成了具有高效用途的地区。还有由Seung H-Sang设计的一些通往城市绿廊的台阶，如今已经成了一个小型文化中心。 因此，设计者认为这些采用“荒唐事”的做法使光州的城市面貌变得更性感，更吸引人，更广为人知。于是，现在的光州便开始从事一件其他城市没有的事情：营造一个“荒唐市”。
The decision a while ago to make a series of follies in Gwangju was a courageous and experimental first step. Some have become highly successful, like the lifted band designed by Juan Herreros that helped to raise attention about a neglected part of the city, turning it into a highly used area afterwards. There are also the stairs to the city’s Green Corridor, designed by Seung H-Sang, which functions as a small culture center. The follies are a phenomenon that no other city has developed. Thus, they are able to make the city of Gwangju sexier, more attractive, and more widely known. This now starts to come down to one thing other cities don’t have: a Folly Town.
目前在光州旧城已经开展了一系列研究。 通过比较光州与韩国和世界其他城市，来评估光州的优点和缺点。 比如与其他城市相比，光州似乎缺少步行空间，公共交通不足。另外，在光州不利于骑自行车、绿地少，而且在夏季缺少避暑场地，对游客来说吸引力不足。 并且与众多城市相比，光州的能源独立性较低，图书馆，展览，剧院，体育场馆，游乐场和城市活动也较少。
Concentrating on the old city of Gwangju, a series of research initiatives has been undertaken. By comparing Gwangju to other cities in Korea and around the world, its strengths and weaknesses have been evaluated. Gwangju, for instance, seems less walkable than other cities, and has insufficient public transportation. It is less bikeable, less attractive for tourists, has fewer green spaces, and is less cool in the summer than other cities. In addition, it is less energy independent and features fewer libraries, exhibitions, theatres, sports venues, playgrounds, and urban events than many cities.
Jebong-ro 82，Seosuk小学将被实施交通戒严。设计团队通过与Seoseok小学合作，了解了一系列孩子们街道的需要，并为他们营造出了不同的路面形式，身处其中可以坐，绘画，跳蹦床，甚至还可以玩儿沙子。通过一在路面上设计一系列英文字母，一个真实的行文出现了，以“我爱”体现人们对不同事物的热爱。同时，文本末尾的方形空间被空了出来，以供大家使用，它像画布一样，大家可以在其中绘画和调整。我爱，因此可以变成，例如我爱韩国，我爱KIM，我爱走路，我爱市长，我爱光州，或者我爱你。这段文字成为了这条街上的一个特别亮点。另外，这条街还连接了一个五米高的平台，上面设置了一个长凳和一张桌子。从这里，可以看到公园，还可以拍自拍。黑板空间每晚都会伴随着不同的灯光转变成舞池，而播放的Jeroen Kooijmans的情歌会不禁引人随之舞动—我爱跳舞！
Jebong-ro 82 (Seosuk Elementary School, 26, Jebong-ro 82 beon-gil, Dong-gu, Gwangju) will be closed for traffic. In collaboration with Seoseok Elementary School, a series of their requests has been explored. That has led to multiple different pavements that can be used for sitting, painting, jumping on trampolines, and playing in the sand. By shaping these pavements in a series of letters, a true text appears, indicating people’s love for many things through ‘I LOVE’. At the same time, a neutral square space at the end of the text is maintained for everyone’s personal use, and it can even be painted and adapted like a canvas. I LOVE can thus become I LOVE
KOREA, I LOVE KIM, I LOVE WALKING, I LOVE THE MAYOR, I LOVE GWANGJU, or I LOVE YOU, for example. This text can be seen from a special tribute spot at the beginning of the street. This tribute also provides access to a platform that is five meters high, with a bench and a table. From here, the gardens can be viewed and a selfie can be taken. The chalkboard space is transformed into a dance floor every evening with special lights, while love songs from Jeroen Kooijmans will be played to get people dancing – I LOVE DANCING!
就目前的时间和预算而言，“我爱荒唐事和街道”这个设想实现的很好。 为什么不根据这一设想将剩下的部分也完成了呢，甚至更多？ 如果能够实现这一目标，那么就有可能在这个新兴的城市中营造更多的步行空间，并将其中的观察结果融入到未来的建设中。来塑造一个满是荒唐事的城市 。
Within the current time frame and budget, the I LOVE folly and street has been realized. But why not follow through with the rest, and even more? If this can be achieved then it will create possibilities to walk around the emerging city and soak in its observations on the future. Folly Town.
设计单位： MVRDV-Winy Maas、Jacob van Rijs和Nathalie de Vries
项目：韩国光州
年份：2017
客户：光州两年期基金会
面积及规划：960平方米公共广场
设计团队：Winy Maas, Wenchian Shi, Kyosuk Lee with Dongmin Lee, Bowen Zhu and Sen Yang
施工单位：Gongjeong Construction co.
媒体艺术家：Jeroen Kooijmans
图片来源：Gwangju Biennale Foundation
Credits Location: Gwangju, South Korea
Year: 2017
Client: Gwangju Biennial Foundation
Size and Programme: 960m2 public square
Design: MVRDV - Winy Maas, Jacob van Rijs and Nathalie de Vries
Design Team: Winy Maas, Wenchian Shi, Kyosuk Lee with Dongmin Lee, Bowen Zhu and Sen Yang
Construction: Gongjeong Construction co.
Media artist: Jeroen Kooijmans
Images: Gwangju Biennale Foundation
|
