“消失的穹顶”结构

Dome of Disappearance / Poh Sin Studio

Archive of the disappearing heritage elements of the city around it

Dome of Disappearance / Poh Sin Studio

Introduction

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Architect

Poh Sin Studio

Category

装置艺术

Project Year

2020

Site Area

unkown m²

Location

吉隆坡 / 马来西亚

编辑推荐

新锐设计

Text description provided by the architects

在马来西亚吉隆坡的历史中心，伫立着由Pamela Tan设计的Domeof Disappearance，这是一个斜切的骨灰龛结构，记录了周围城市正在消失的遗产元素。从苏联建筑师亚历山大·布罗茨基（Alexander Brodsky）和伊利亚·乌特金斯（Ilya Utkins）的《骨灰龛建筑》（Columbarium Architecturae）（莫斯科一座因快速工业化项目而消失的骨灰龛建筑作品）的启发下，Pamela Tan将该设计构思移植到21世纪的吉隆坡——一个遵循自己独特的现代化愿景的城市背景下。

Right in thehistoric heart of Kuala Lumpur, Malaysia, stands Pamela Tan’s Dome ofDisappearance, a columbarium slash structural archive of the disappearingheritage elements of the city around it. Drawing inspiration from Sovietarchitect Alexander Brodsky and Ilya Utkins’ Columbarium Architecturae (a paperarchitecture work of a columbarium for “disappearing buildings” in Moscow lostto the project of rapid industrialisation), Tan has transplanted the idea intothe context of 21st-century Kuala Lumpur — a city following its own uniquemodernising vision.

雕塑的造型象征着骨骼、易碎的和转瞬即逝的东西：它的形状灵感来自历史悠久的苏丹阿卜杜勒萨马德贾梅克清真寺（Masjid Jamek）的影子，该清真寺位于吉隆坡交汇处的圆顶背景中，城市有其根源。汇合处和清真寺（该市最古老的清真寺之一，可追溯到1909年）已经有些不合时宜地坐落在笼罩在笼罩着它们的混凝土丛林中，而圆顶的加入及其幽灵般的白色光泽和极简主义美学与城市不断变化的景观形成了鲜明的对比。圆顶由激光切割的金属和棉线沿着其结构编织而成。棉线在风中沙沙作响时，末端松散地解开，让人觉得穹顶也随时会随风而去。

The sculptural formsuggests something skeletal, fragile, and evanescent: its shape is inspired bythe shadow cast by the city’s historic Sultan Abdul Samad Jamek Mosque (MasjidJamek), which stands in the background of the Dome at its location at KualaLumpur’s confluence where the city has its roots. The confluence and the mosque(one of the city’s oldest, dating back to 1909) already sit somewhatanachronistically amidst the concrete jungle looming over them, and theaddition of the Dome with its ghostly white sheen and minimalist aestheticcreates another provocative contrast to the city’s shifting landscape. The Domeis created with laser-cut metal and cotton thread woven interstitially alongits structure. The cotton threads unravel loosely at their ends as they rustlein the wind, evoking a sense of ephemerality — as if the Dome too may soon beblown off along the winds of change.

▽结构内部的棉线

Tan's Dome比它的名字所蕴含的意义更乐观，因为它以骨灰龛为设计理念，用以容纳吉隆坡快要消失但尚未消失的元素，旨在是突出存档、记忆和呈现我们周围发生的变化。

Tan’s Dome is moreoptimistic than its name suggests, because it is a pre-emptive columbarium tohouse elements of Kuala Lumpur that are at risk of disappearing but have notdisappeared yet, with the aim of highlighting the urgent tasks of archiving,remembering, and being present to the changes happening around us.

为此，Tan计划在四个月的时间内对圆顶进行三阶段的改造方法，使其与自然和人文的气质共同蜕变。在繁华的城市中，圆顶最初是作为一个静止的结构对象竖立起来的，有意呈现出一种未完成的形态。在第二阶段，公众被授予使用圆顶作为骨灰龛的自主权，在公共瑜伽和素描课程中用他们对吉隆坡的记忆进行描绘，以填充这座“空架子”。然后，它演变成一个安全的空间，公众通过在其间隙编织植物再次参与其中，这是一种抵抗和团结的姿态，反对现代主义蚕食人们一直以来生活的热带雨林。

To this end, sheplanned a three-phase transformational approach for the Dome over a period offour months, allowing it to metamorphose alongside natural and humantemperament. Within the bustling city, the Dome was first erected as a stillstructural object — deliberately unfinished. In its second phase, the publicwere granted the autonomy to use the Dome as a columbarium by filling its“empty shelves” with their sketched memories of Kuala Lumpur in a communal yogaand sketch session. Then, it evolved into a safe space as the public again wereengaged to weave plants through its interstices, a gesture of resistance andsolidarity against modernism’s enforced disappearance of our rainforests.

▽公众通过素描他们对吉隆坡的记忆填充该结构的框架

在吉隆坡市中心，一个高度可见和人口稠密的地区，在这里，现代主义进程带来的的后果一览无遗，这就是Pamela Tan的消失圆顶所选择的场地。凭借其包含的大众记忆，以及其精致而富有意义的形态，它作为对逝去的城市的一种控诉而存在。通过它自身的结构性虚无，作为倾诉对现代主义的集体焦虑的容器，它是为数不多的将人类存在建立在创造性而不是破坏性目的的行为之一。

Within a highlyvisible and populated area in the centre of Kuala Lumpur where the consequencesof modernism can be seen at full force, that is where Pamela Tan’s Dome ofDisappearance sits. With its crowdsourced memories, followed by small butmeaningful corrective gestures, it acts as an indictment and a safe space. Throughits own generous structural nothingness serving as a vessel for confidingcollective anxieties about modernism, it is one of the few acts establishinghuman presence towards a creative rather than destructive end.