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“不要坐下”:献给东京建筑遗产的挽歌

发布时间: 2019-10-11 17:36:06 编辑:刘雅琪 来源: Eric David 浏览次数:
在像东京这样快节奏的城市中,每一个角落都耸立着摩天大楼,数字屏幕和先进的机器人技术,现代性似乎是驱逐一切旧的,过时的或多余事物的强大动力。人们普遍认为,超过30年的任何房屋都已过时,实际上,一旦其实用性或同期性受到挑战,城市中的大多数建筑物都会被替换 -这种做法根植于该国地震,海啸和二战期间广泛分散力量的历史。

公共浴室Kodakara-Yu,1929年。从Senjo-motomachi移植的房屋,于1993年恢复



葡萄牙摄影师Inês d'Orey在她的最新作品“ 不要坐下”中着手寻找东京那些罕见的20世纪中叶建筑,以某种方式摆脱了这种漫长的更新周期。她的追寻是受到了1933年的一本书《阴影赞美》启发,作者是日本作家谷崎淳一郎(Junichiro Tanizaki),他在书中展示了一系列保存完好的内部照片,这些照片记录了这座城市的历史遗产的转变。
 
For her latest project, ‘Do Not Sit Down’, Portuguese photographer Inês d'Orey set out to find those rare mid-20th century buildings in Tokyo that have somehow escaped this relentless cycle of renewal. Her quest, which was inspired by the 1933’s book In Praise of Shadows by Japanese author Junichiro Tanizaki, evolved into a series of photographs of preserved interiors that document the transformation of the city’s historical heritage.
 

科伊德故居,1925年。ute田幸美(Sutemi Horiguchi)移植的房屋,来自西kata,1998年恢复



这些照片覆盖着该艺术家在东京发现的第一版《阴影中的赞美》中的页面。他们在影像上隐隐约约地展现了传统的内饰,这些传统的内饰深深吸引着Tanizaki和D'Orey,它们像照片中的字体一样慢慢消失。
 
The photographs are overlaid with pages from the first edition of In Praise of Shadows that the artist found in Tokyo. Faintly unfolding across the images, they speak of the traditional interiors that have so captivated both Tanizaki and D’Orey, which are slowly disappearing just like the fonts in the photographs.
 

三井住所(Mitsui Residence),1952年。西麻布(Nishi-Azabu)移植的房屋,于1996年恢复


摄影作品目前在艺术家故乡波尔图的Galeria Presença画廊展出,D'Orey照片中的空间充满了忧郁之美,通常与当代东京不相关,令人回味地传达着这座城市无情的前进时,散落的余波。
 
Currently exhibited at Galeria Presença in the artist’s home town of Porto, the spaces in D’Orey’s photographs are imbued with a melancholic beauty not usually associated with contemporary Tokyo, evocatively conveying the fallout from the city’s inexorable march towards the future.
 

八王子卫队首领之家,十八世纪。从大岩町搬来的房子,于1993年复原

 

日本路德教会学院,1969年


谷崎润一郎(Junichiro Tanizaki)的《阴影中的赞颂》是一本关于日本美学的小冥想论文,涉及手工艺品,造纸和漆器等一系列主题设计。在整篇文章中,日本传统室内装饰与现代主义精神的并列表现为前者的微妙阴影与后者的耀眼光芒之间的挣扎。从这个意义上说,他的论文与他的小说作品并没有什么不同,因为两者都是对日本在现代寻求文化身份的个人反思。
 
Unlike his novels that explore the shifting nature of 20th century Japanese society through themes of sexuality and family dynamics, Junichiro Tanizaki’s In Praise of Shadows is a small meditative essay on Japanese aesthetics expanding on a series of topics from arts and crafts, paper making and lacquerware design, to food, cosmetics and the lavatories of Japanese monasteries. Throughout the essay, the juxtaposition of traditional Japanese interiors with the Modernist ethos is represented as a struggle between the subtle shadows of the former and the dazzling light of the latter. In this sense, his essay is not that different from his fictional work as both are personal reflections on Japan’s search for a cultural identity in the modern age.
 

高桥故居(Korekiyo Takahashi议院),1902年。从赤坂移植而来的房屋,于1993年恢复

 

奥诺大厦,1932年



在日本文化遗产亲密性与现代西方生活的精致复杂性之间的拉锯战中,谷崎站在前者的一边;D'Orey也是如此。受塔尼崎(Tanizaki)对传统日本室内装饰的赞誉的启发,德奥雷(D'Orey)着手寻找他一生中建造的建筑物——他于1965年去世——与现代主义时期的高峰相吻合。这不是一件容易的事,因为从那时起保存的建筑物很少,而且还没有官方记录。更不用说D'Orey不会说日语,这使事情变得更加困难。
 
As the essay’s title suggests, in the tug-of-war between the wistful intimacy of Japanese cultural heritage and the polished sophistication of modern western life, Tanizaki is on the side of the former; and so is D’Orey. Inspired by the Tanizaki’s paean on traditional Japanese interiors, D'Orey set out to find buildings built during his lifetime—he died in 1965—which coincided with the height of the modernist era. It was no easy task since there are very few buildings that have been preserved from that time and what’s more, there is no official record. No to mention that D’Orey does not speak Japanese which made things even more difficult.
 

圣安斯莱姆的目黑天主教堂,1954年



D'Orey辛苦发现的这些建筑内部,被阴影和古老的古铜色所软化,呈现出沉思般的宁静状态。内部没有人和家具,荒凉而迷人,通过过滤的日光或分立的灯增强了幽灵般的美丽。它们的凝视具有博物馆的气场,敦促观众四处走走,近距离观察,以便融入这个空间。实际上,大多数空间现在都是博物馆,这解释了为什么它们逃脱了拆除 (以及这个摄影项目的标题“不要坐下”)。
 
The interiors D'Orey painstakingly found are captured in a state of mindful tranquility, softened by shadows and the patina of age. They are depicted devoid of people and furniture, desolate yet entrancing, their ghostly beauty enhanced by filtered daylight or discrete lamps. Their meditative starkness has a museum quality, urging viewers to walk around, look closer, to just be in the space. In fact most of the spaces are now museums which explains why they have escaped demolition (as well as the project’s title).
 

日本路德教会学院教堂,1969年


不仅在任何地方都没有坐着或触摸任何东西,在许多情况下,她甚至没有被允许将相机三脚架放在地板上。具有讽刺意味的是,它位于当时使用的为数不多的建筑物之一,筑地鱼市场中,D'Orey在此发现了一个实际的“请勿坐下”标志,该标志贴在通往一些办公空间的楼梯上。她后来发现该建筑物已计划拆除。
 
 Not only was there no sitting anywhere or touching anything, in many cases she was not even allowed to set her camera tripod on the floor. Ironically, it was in one of the few buildings that was in use at the time, Tsukiji Fish Market, where D’Orey found an actual 'Do Not Sit Down' sign, plastered on a staircase leading up to some office space. Unsurprisingly, she later found out that the building was scheduled for demolition.

 

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关键字:不要,坐下,in,s,d,orey,对,东京,建筑,遗产,的,挽歌
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