幻想与现实的单色之旅 AMonochromaticTripBetweenRealityandFantasy│Archi

AMonochromatic Trip Between Reality and Fantasy 

幻想与现实的单色之旅

Vincent Le Pendeven

Project/方案

Hong Kong, historical leader in Asia, faces a constant opening of its doors to China mainland, since decades.

香港作为亚洲历史上的领袖，几十年来一直在向中国大陆开放。

Seen by many as an asylum, Hong Kong has always been an extremely densified place, and is now expressing difficulties to find free space. After building high, Hong Kong is building deep: the islan food industry is located 150 metres below the historical Central Market. Receiving the products by multiple rail lines from China, the food is redistributed horizontally (in the island), and vertically directly to the underground market. The streets are going from the hills to the depths of Hong Kong city, bringing with them the crazed activity. Along the market ramp, the city grows organically: we build secure paths to manage chines and tourist flows (considered as merchandise), capsule accommodations for an efficient space use, and some more unofficial accommodations are created in the scaffoldings themselves. A narrow place is finally reserved, to remember what the extreme urbanity destroyed: nature. Rediscovered as a simple leisure artificially produced nature is, in 2046, the best way for the people to breathe and survive to this frenetic life. Hong Kong as a Disneyland, faces his success the day its doors definitely open to China. Over-densified, this anti-hill system pack activities wherever there is available space. As a symbol of the reminiscent greatness and independence of Hong Kong, the heritage of Bauhaus style Central Market, is a symbolic entrance for the city to its underground.

在许多人看来，香港一直是一个极其密集的地方，表达了寻找自由空间的困难性。建造后后，香港正在深入发展:islan食品工业中性位于历史中心市场下方150米的位置。从中国的多条铁路线接收到这些产品后，这些食品就会陆地(在港岛上)被重新分配在垂直于地下的市场。从山上到街道最后到香港的深处，引发了一连串疯狂的活动。作为香港怀旧的伟大和独立的象征，包豪斯传统风格的中心市场，是这座城市地下的入口。

Interview/采访

Whoinfluences you graphically?

是什么影响了你的图形？

I think that I am first of all inspired by drawings that tell us a great story. Boullée’s Cénotaphe, Hokusai’s fisherman, the 1910 Parisian metropolitan section or the Haussmann building section in 1845 are perfect examples of influences for this work. One of the main reference remains definitely Hiroaki Kani’s section of the Hong Kong Kowloon Walled City. I am also very inspired by drawings such as those of Atelier Bow Wow, Yukiko Suto or Anja Kempa. I particularly like the idea that despite of all the graphic tools we have, a simple dark line on a white background, can still tell a great story.

我觉得我首先是受到关于一个伟大故事的图像的启发。1845年布雷的纪念碑、葛饰北斋的渔民、1910年的巴黎大都会区或Haussmann建筑区，这些案例都是影响着这份方案。其中一个主要的参考点仍然是HiroakiKani’s画的香港九龙寨城的立面。同时也很受一些画家的启发，比如AtelierBow Wow,Yukiko Suto或AnjaKempa。我特别喜欢这样的一种想法，尽管我们拥有所有的图形工具，一个白色背景上的简单的黑色线条，仍然可以讲述一个伟大的故事。

What defined the method of representation of the project? 

是什么决定了项目的表现手法?

The idea was to express the effects of such a crazed city on our five senses. I quickly realised that it was impossible to display smells, touch, noise or the atmosphere of a street, in a simple image. I had many references in my head: feelings I expressed, photos I took, phenomenons I observed…but also concrete art works such as like Wong Kar Wai films or Fan Ho Photographies, that helped me a lot.The method I decided to use was therefore to keep a simple, monochromatic style, and to tell many stories in each of my images. I therefore inserted all these references I had, in my drawings (images, slogans, symbols, drawings of real photos such as the people living in cages…). I liked the idea to blur the limit between reality and fantasy. It was a good way to show how mad is the real Hong Kong of nowadays !

这个想法是为了用人类的五种感官来表达这个疯狂的城市的影响。而且我很快意识到，在一个简单的图像中，不可能显示街道的气味、触觉、噪音或大气。因此我有许多比喻:我的感情,我拍的照片,我观察到的现象…但也有具体的艺术作品如像王家卫电影或何蕃的摄影作品,所以我决定保持使用一个简单的、单色的风格。我插入了这些引用,在我的图纸(图像、标语、符号、生活在牢笼里面的人的照片…)中表现出来。

I finally told my story by simply mixing up my inventions with real phenomenons, under this monochromatic code.

最后，我把我创造的和真实的现象结合起来，在这些单色的图像中，我讲了我的故事。

Whatis your take on colour? What dictated the use of blue lines? 

你对色彩有什么看法?是什么决定了使用蓝色的线?

There is no specific reason for the use of blue, I wanted a deep color, but to avoid the classic black-and-white architectural language style. The aim was to tell the project as a story, a trip in the city more than the classic visit of a building.

没有具体的理由使用蓝色，我只想要一个深的颜色，但同时要避免经典的黑白建筑风格语言。目的是把这个项目讲成一个故事，一次在城市里的旅行，而不是一个建筑的普通浏览。

What programs did you use?

使用了什么软件？

Archicad, Sketchup (with its great plug-ins !) a lot of Illustrator and of course Photoshop.

Archicad，草图大师，还有更多的是Illustrator ，当然还有Photoshop

What was your work process interms of concept development and production of images?

在最初概念到图像制作方面的工作流程是什么呢?

This work is the result of a 6 months experience of living and exploring Hong Kong, it was therefore a long process, to order all the ideas I had about my experience. A big analysis was at first done during the writing of a thesis phase. Concepts were in my mind since a long time, and just needed to be drawn. A city such as Hong Kong stimulates automatically the imagination, and in this case, you don’t really need help to find ideas ! The story was much more stressful when came the time to produce the images. Each drawings had to evoque the density of the futuristic Hong Kong. It was also thought to be printed in very big panels, almost to vacuum the observer into a new world. It was therefore, never really done, and I still consider it as the most unfinished work I did. Frenetic as the city itself, the story of future Hong Kong continues to run out in my head and maybe one day, it will call me to take on my blue again !

这项工作是在香港生活和探索的6个月的经验的结果，所以它是一个很长的过程，来指导我所有关于我的经验的想法。在论文写作阶段，首先进行了一个大的分析。概念在我的脑海里已经很久了，只是需要画出来而已。像香港这样的城市会自动激发想象力，在这种情况下，你真的不需要什么东西来帮助你寻找想法!当拍摄这些照片的时候，故事的灵感更大了。每一幅画都要显示出未来香港的密度。

About/关于作者

Vincent freshly graduated from Strasbourg’s Ecole Nationale Superieur d’Architecture with honours, and is currently working as an architect in Munich, Germany. The thesis was written after his six months’ experience in Hong Kong and exists as a summary of his experience and impressions of the city. Making these the basis for the project he decided to centre his diploma argument around the future of Hong Kong and the evolution of the phenomena observed.

文森特刚毕业于斯特拉斯堡的国家建筑学院，以优异的成绩毕业，目前在德国慕尼黑当建筑师。这篇论文是在他在香港的六个月的经历后写成的，并以他对这座城市的经历和印象的总结。在此基础上，他决定把他的文凭论点集中在香港的未来和现象的演变上。

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