2014法国肖蒙古堡花园节(二)
International Garden Festival (II)
2014-08-07 15:53:55    | keywords: 法国  古堡  花园 
2014法国肖蒙古堡花园节(二)
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LE JARDIN DÉCHÊNÉ?
废墟之园
 
该园的设计灵感源于法国寓言诗人的诗作《橡树和芦苇》。
对于设计师而言,他们认为这则寓言诗对探究七宗罪中的骄傲之罪有着很好的启迪。
因此,该园是以一种独特的景观语言警示着世间所有的构筑体,无论它们是人类构建亦或是自然形成,都存在着脆弱与浮华,一场巨大的风暴便能瞬间毁灭一切。
进入园内,缓缓漫步于由若干巨型金属箍状物搭建而成的穿园廊道中,便能体悟:这些金属箍正如同橡树的枝干,曾经不可一视地顶立于天地之间,而如今却只能低下高贵的头曲身于此,离开自然界,慢慢地对自身价值进行重新定义。
园中,蜿蜒的漫步小径穿梭于各种水生植物之间,小径的中段放置着一个螺旋装置,与金属箍状物相互映衬,形象地展现出巨大风暴席卷中,片刻间浮华散尽的场面。
在这里,一切交付于自然重新审视,重新定义自我价值,进而唤回谦逊自我。
 
The garden is inspired by the poem “Le chêne et le roseau” (“The oak and the reed”), by Jean de la Fontaine.
For the designers, the fable allows us to explore the sin of pride.
Thus, the garden is an ode to the fragility and vanity of all construction work, whether done by humans or by Nature itself, and that the destructive wind can bear away in an instant.
You are invited to wander modestly through the garden by crossing the large metal hoops that symbolise the segments of an oak tree trunk, once proud but now laid on the ground – but leaving Nature to slowly re-assert its rights.
By taking the winding pathways surrounded by aquatic plants, you can meditate on the vanities that a destructive wind, here represented by a helix and by the form taken by the paths, can carry away in a few hours.
Here, all is given over to Nature, which re-asserts its rights to call us back to modesty.

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BLOOM
花海之园
 
初入园中,缀着星点绿意的火红花海便闯入视线,不禁令人萌生将这满园华丽景致尽收眼底的欲望。继续缓步前行,你会发现在这片充满着超现实主义色彩的花海蜃境之外,围有一圈白色环形护栏,边上随性地搁置着几把白色高脚椅,不妨寻一把椅子静静落坐。
细细品味间,你的目光会立即无法自拔地坠入到这片怒放花海所呈现的“充斥着欲望的火红色彩”之中,然而无法逾越的白色护栏,却令这片异艳的火红难以亲近,瞬间,一种深深的挫败感油然而生。而后,你将不由地感知自己置身于一片贪欲之中,并且迫切地想要将这份贪欲扩散开去。
尽管沮丧于无法进一步亲近花海,毗邻的卢瓦尔河独特的迷人美景对游客而言,也不失为一种视觉欣赏上的补偿。当你准备起身离园时,别忘了绕着白色护拦转上一圈,这园中40余种花卉植物各自散发出的独特花韵值得逐一品赏。
 
With this garden, begin by taking the time to look at it so as to capture it in its entirety. Continue by walking slowly forwards and sitting down to rest on one of the high chairs at the circular table of the surrealist banquet that awaits you.
Your gaze is immediately drawn to the profusion and richness of flowers that are “gluttony red” in colour and that grow from the centre of the table – which is a truly impassable barrier, and offers the inaccessible banquet only for your marvelling eyes, thus calling forth a strong feeling of frustration. You then find yourself in a state of gluttony and avidity, wanting to share in the most delightful of sins: gluttony.
Frustrated, you will nevertheless take in the magnificent, unique view over the Loire as a form of compensation. As you leave, don’t forget to go all the way around the round table to be able to discover the forty varieties of plants that do not offer themselves up to a first glance.
 
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LE PURGATOIRE DES TENTATIONS
炼狱之园
 
在该园设计师的思想意识中,原罪是生命中必然承载的一个部分。因此,生命在其前行的过程中也总是不可必免地在罪恶与善良之间进行着对比。而在这一方寸植物世界中,设计师营造出一种纯洁、愉悦的景观环境,让游客们可以在此静心忏悔,征服原罪。
进入园中,你可以尝试怀着愉悦的心情,缓缓地、渐渐地步入,迎接心灵的洗礼。“炼狱之园”内设置了分别代表七宗罪的七个心灵净化区,并以蓝、天蓝、淡紫、紫等各色花卉区分。
作为一个对神而言的罪人,你可以通过对这些心灵净化区的逐个体验来回忆、面对并反思自己曾经犯下的种种罪行。
在反思与忏悔过后,你可以在园内的巨型杯状景观坐椅装置内休憩片刻,这些巨型杯子为园子增添了许多欢乐气息,有了它们,整个园子仿若一个派对现场,人们可以在这里放松心情、分享快乐、表达出自己对于人生最为真实的内心感悟。
 
For the designers of the garden, sins are no more than one of the aspects of life. It is thus that life develops in a naturally contrasted fashion between sin and transcendence. In the planted area, you are invited to conquer sins, as well as to express repentance in a light, convivial setting.
By entering the garden, you journey slowly, gradually, and in a festive manner towards repentance. The “purgatory garden” offers itself up as a purification pathway on seven levels, which are symbolised by flowers with a kaleidoscope of colours: blue, azure, mauve, and violet.
By following one stage after another, you are brought face-to-face with your own memories as a sinner.
Finally, with your introspection complete, take the time to sit inside giant cups that symbolise a party, in order to, at one and the same time, relax, share, exchange, and take the time, in a convivial fashion to reflect on your impressions and thoughts.
 
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LE JARDIN DES PÉCHERESSES
罪孽之园
 
园子由七个木质藤架空间组成,分别代表着人类的七宗罪。经过软垫材质的“忏悔门”,就如同跨越一面镜子,打量镜中的自己,仿佛照射出了自己性格中的另一面。
突然间,你的嗅觉被来自于地面的浓郁的巧克力味儿所牢牢掌控,原来是地面上洒满的可可粉在引诱着我们强烈的食欲。
园子在这一瞬间如同被注入了悠然的田园气息和淡淡的文艺色彩。
一个生命体属性的形成归因于它生长于怎样的环境之中。这些活生生的生命体却时刻以其静态表象欺骗着我们。忏悔之门向我们打开了另一个真实的世界,在里面,我们能够发现,其实在这些植物体的身上也存在在着人类的七宗罪:傲慢、妒忌、暴怒、懒惰、贪婪、贪食以及色欲。
在园中,你可以静静地阅读、静静地冥思,这是一个净化心灵的空间,但待到即将离开之时,你将再一次跨越“忏悔门”,回到纷繁而嘈杂的现实世界中去。
 
The garden comprises seven rooms representing the seven deadly sins. Go through one of the padded doors of the confessional and look at yourself in the mirror that greets you on the other side.
All at once, you will be seized by the strong smell of chocolate that comes up from the ground, because of the cocoa shavings that cover the ground, calling forth in us a strong desire to be gluttonous.
The garden is all at once botanic and literary.
The personalities attributed to the sinner plants are revealed on the basis of their manner of growth. They are living species, and they deceive us with their apparent immobility. The confessional reveals to us the truth about those plants linked to sins, and we discover their portion of humanity: pride, envy, anger, sloth, lust, greed, and gluttony.
Take the time to sit, read, and meditate, before leaving the “sinners’ garden” and having to, once again, go through the confessional in order to leave.
 
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DISSECTION DU JARDIN D’EDEN
剖析伊甸园
 
一个想象中的天堂,一种天国的景致,一座传说的伊甸园。
人们在一生之中,最经常思考的问题莫过于选择怎样的途径才能指引着他们顺利抵达梦中的伊甸园。于是,生存在这个充斥着各种诱惑与罪恶的世界里,他们别无选择,只能试图保持正直与善良。
在该园中,你可以试着朝顺时针的方向沿木质小道缓步前行,你会发现象征着七宗罪的各种花卉、水果和蔬菜,它们在渐渐地诱惑着你,瓦解着你的意志,使你与梦中的伊甸园渐行渐远,最终永远关闭通往伊甸园的通道。
当你打算离开该园时,你会猛然间意识到原来这条木质小道根本就是一个环形道,而你又回到了起点。
然而,此处这个伊甸园本身或许就是七宗罪的综合体,于是乎,这便是我们可以通往的那个伊甸园。
 
An imaginary Paradise, a celestial landscape, a Garden of Eden.
During their lifetimes, humans most often think of choosing the path that will lead them into the Garden of Eden. They try to remain upright, and virtuous, slaloming between the numerous tempting sins that the world offers them.
Start your visit to the garden by going to the right, clockwise, with time being measured out for us. Wandering along the wooden path, you will discover the various deadly sins symbolised by flowers, fruits, and vegetables, the very ones that slowly draw us away from our objective, away from the Garden that may be forever closed to us.
As you leave the garden, you will notice that the loop has been closed and that you have returned to the “starting point” opposite the forbidden garden.
However, that Eden is perhaps no more than the sum of all the deadly sins, a bringing together of forbidden sins, an Eden to which we shall then have access.
 
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HAUTE CULTURE
高调之园
 
处事高调的人往往内心自傲,喜好炫耀,渴望自己积极面的所做所为得到他人的认可与赏识,与此同时,贪婪与嫉妒也在不知不觉间在灵魂深入缓慢地滋长着。
在高调之园的中央,是一座由各色高雅礼服与鲜花装点而成的巨型雕塑式豪华花台,它恰恰象征着一种“高调”。而园中各处随性散置、缀饰着的黑色面俱让游客们可以从各个不同的视角来欣赏这些高雅礼服。而当游客们也尝试着穿上这些高雅的礼服、戴上黑色面俱游走于园中时,整个花园便瞬间变身为一个华丽T台,让每一个面俱背后的游客都可以从着迷欣赏的普通观众瞬间变换成顶级模特,角色转换间,尽情享受着高调快感。
实质上,该园的设计师试图为普通大众营造一处展示自我、发泄内心骄傲情绪的新大陆。其实,骄傲才是当下这个充斥着数字罪恶世界的核心。
 
“Haute culture” (High culture) evokes pride, the desire to be seen, to show off, to expose oneself to the gaze and covetousness of others – and it also evokes envy.
In the middle of the garden, a grid is the basis for what appears to be a podium displaying “haute culture” dresses in various colours, arrogant, extravagant, sculptural, and decorated with flowers. The garden is punctuated by black masks that give us the chance to discreetly admire the dresses from different, diverging points of view. As we try on the dresses, the garden allows us to experience and feel the emotions of a top model on the stage and behind the masks, to take the place of a fascinated spectator.
The area seeks to be the metaphor for the new continent of pride and of showcasing oneself, opened up by social networks. Pride is truly at the centre of our digital sins.
 
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TOUCHER D’OR
点石成金园
 
园子再现了古罗马诗人奥维德的作品《变形记》中所描述的场景——古希腊国王迈达斯是一个不折不扣的拜金主义者,他从酒神狄俄尼索斯那里求得点石成金的法力——让游客们有机会得以亲身体验“点石成金”的世界。
沿着园中一条不栽种任何植物的平坦环形小道往前走,你会发现你正在慢慢靠近一棵完全镀金的树木,这棵树,没有叶子,没有生命,有的只是高傲的冲天黄金树杆。其实,这棵树早已枯死,但它的外形却显得那么高大、宏伟与华丽,令人仰视而心生敬畏。
在环形小道的两旁,满园都清一色地种植着金色植物,而依据游客们各自不同的世界观,他们有的会被这象征着财富的满园金色迷得眼花缭乱、难以自拔,有的则会本能地拒绝周遭这所有的丰饶,独独迷恋这条不加修饰却也毫无生机的凄美小径。
让我们回到《变形记》中重新审视:迈达斯最终意识到拥有点石成金的魔力其实是一种莫大的灾难,因为所有他触碰到的一切生命体都将死去,无形之中剥夺了他所有的快乐。
 
Midas realised that the gift of changing everything into gold was a calamity, for all that he touched died, depriving him of all happiness.
The garden gives visitors the chance to relive the experience described in Ovid’s “Metamorphoses”: King Midas, who was obsessed by wealth, obtained by Dionysus the power to transform all that he touched into gold.
Following a circular path that is smooth and bereft of any plant life, you draw near, admiringly, to a tree that is entirely gilded. Its leafless, lifeless golden branches spread out proudly to the sky. The tree is dead, yet it is superb and resplendent.
On either side of the path, the garden is planted with uniformly golden plants, and, depending on visitors’ individual world view, they are bedazzled by that gold and fascinated by all that wealth, or they reject that opulence, bereft of flavour and of life.
 
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LES FLEURS MAUDITES
地狱之花
 
所有能够抑制精神的麻醉性植物往往都可以暂时舒缓人们焦躁的情绪。然而,一旦启用了这些麻醉性植物,这些人的命运就是灾难性的,行为受限、精神受限、失去自由,甚至自我毁灭,他们本身成了人类非公正待遇的受害者,他们心中的正义之火渐渐燃烧殆尽。该园的整体布局以一条蜿蜒曲折的迷宫式小径为主要通道,小径由金属丝网围裹着,向人们展示这些骇人听闻的麻醉性植物。
当我们随性地步入这条小径时,这些植物首先透过丝网进入我们的视线,似乎在集体引诱着什么。然而,最终,我们穿过整个园子后,我们的视线依然被束缚于丝网之内。如果我们试着坐下息片刻,我们会愕然地产生一种错觉,仿佛这些魔鬼般的植物正在审视着我们,锁定着我们。
园子本身实质上是一个隐喻体,以麻醉性植物的超强引诱力暂时慰藉和减缓人类的浮躁情绪,使得人们迷蛮上它们,依赖上它们。设计者透过园子告诫人们要远离这些麻醉性植物,远离诱惑。
 
Psychotropic narcotic plants have been used since the dawn of time to soothe the anger of humans. However, their fate is not an enviable one: repressed, prohibited, regulated, destroyed, they are themselves the victims of the injustice of humans, and they fuel a justified anger. The layout of the garden highlights how those plants are imprisoned, presenting a winding, labyrinthine path.
As we wander freely along that path, the plants initially appear to us as being shut in behind metal enclosures, simply exposed to our gaze as a collection. However, in the end, as we walk through the garden, we also feel closed in. If we take the time to sit for a moment, we can almost have the impression that the plants are observing us.
The garden is a metaphor for the anger of plants intended to soothe the anger of humans.
 
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LA BALANCE
平衡之园
 
我们应当如何控制自己的欲望?又应当如何在人生道路上避免为满足各种欲望而犯下“罪恶”,从而使得人生结局可以相对美好……?我们如何能够好好把握自己,让自己远离并摆脱来自于七宗罪的各种诱惑,进而获得真正的快乐与内心的平和?
我们在每一天的生活中,其实都在进行着自我矛盾的斗争:当内心的罪恶蠢蠢欲动时,我们就要借助意志力把它打压下去。平衡之园的设计理念正是巧妙运用景观语言对这种自我矛盾进行了形象的诠释。
园子的主体是七块平躺放置的巨型黑色木板块,它们的两端分别象征着相互对立的七宗罪与七美德,园中的中央步道把它们串连并分割成对半,形成“跷跷板”式的游乐设施,寓意着当这些罪恶和美德在我们的人生道路上寻找到平衡点时,我们的内心才能获得真正的平和。
 
How do we control our desires? How do we tread the path of life avoiding ‘sins’ that make true contentment impossible to achieve at the end...? How can we protect ourselves from temptation from the seven deadly sins? How then, do we attain happiness and harmony without falling prey to the seduction of sin? 
The concept behind this design is to highlight the internal conflicts we all endure in every day life in resisting the temptation to sin.
A key feature of the garden is to interrogate the definition of the 7 Deadly Sins and the 7 Heavenly Virtues in timber black rendered monoliths on two sides of the garden. Each post symbolises a sin and a virtue in conflict with each other. These opposite attractions are connected by ‘see-saw’ structures which symbolise the relationship between and indicate the need for ‘balance’ to achieve harmony in life.

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(待续To be continued)

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