观察城市60年：彼得·库克系列绘画和装置展览于伦敦开展

编辑：楼樱 | 校对：楼樱 | 2023.08.09 15:52

彼得·库克在伦敦的“城市”展览 ©Richard Saltoun Gallery

今年1月，库克哈夫纳事务所（CHAP）的主持建筑师、合伙人彼得·库克（Peter Cook）创作的《滤幕城市》（Filter City）和《城市作为房间》（City as a Room），首届北京艺术双年展的压轴展览——“蓝图北京”中亮相。展览作品以城市为题，凭借混合架构的手法和沉浸变化的空间体验，吸引了众多的关注。

In January this year, BLUEPRINT BEIJING, part of 2022 Beijing Biennial ‘Symbiosis’, was unveiled. Filter City and City as a Room created by Peter Cook, the lead architect and partner of Cook Haffner, attracted a lot of attention with the world being built integrated the drawn and the real.

“在这个装置的设计中，我开始探索一种混合架构——以由两幅作品被剖解成的、强图像性的设计元素或序列组成的一种更稳定的具象空间，特别是空间的内景，使得我们可以从观众变为参与者。和往常一样，这些‘概念性’作品创作至少有70%的可建成性。”

"The Exhibit takes two drawings: 'Filter City' of 2020 and 'City as a Room' of 2022. It then dissects them into elements or concentrates on sequences. As a result, we can begin to transcend from the role of distanced observer to participant. As always, I am making these 'idea' drawings with a 70% 'nod' in the direction of realisable architecture. With this installation I am moving towards a new 'hybrid' whereby more permanent spaces – particularly interiors, can be created from deliberately drawn and image-loaded fragments. My own deliberate form of 'Merzbau'* perhaps."

——彼得·库克

7月18日，彼得·库克的系列建筑绘画和装置作品，在伦敦的Mayfair多佛街理查德萨登画廊开展。这个主题为“城市”的展览，聚焦于库克在过去60年里的创作，追溯这位建筑师、艺术家的激进概念和视野。城市如何被拆解和重新想象？城市如何超越自身而衍生新的形式？团队期望观众从滤幕城市的一角，窥见库克五彩且富有光泽生机和奇特植被地貌的建筑世界。

The architect Sir Peter Cook is returning after 60 years to Dover Street to have a ‘visual discussion’ about cities – cities reimagined - cities dismembered - cities climbing over themselves to become new forms, at his new exhibition, ‘Cities’. CHAP invites you to peaking into Cook's colourful and spooky architectural worlds, through the lens of the Filter City.

横跨60年

从建筑电讯派到库克哈夫纳工作室

这次展览，恰逢当代艺术研究所ICA的展览“生活之城”（Living City）举办60周年。轰动一时的展览，与当时崭露锋芒的实验团体建筑电讯派（Archigram），提出了城市的一系列先锋想象。库克与建筑电讯派其他成员的激进想法，深远地影响了一批高技建筑师先驱，其中包括伦佐·皮亚诺、理查德·罗杰斯、诺曼·福斯特、雷姆·库哈斯等。

This exhibition coincides with the 60th anniversary of the ICA's Living City exhibition at the Institute of Contemporary Art. The exhibition, along with the celebrated experimental group Archigram, presented a series of pioneering visions of the city. The radical ideas of Cook and the other members of Archigram had a profound impact on a number of pioneering architects, including Renzo Piano, Richard Rodgers, Norman Foster, Rem Koolhaas and many others.

自20世纪60年代以来，库克对城市的话题始终保持浓厚兴趣。他尝试扩展建筑语汇，以绘画的形式来审视未来。绘画这一纸面媒介，使他得以摆脱场地和现实的种种束缚，撼动城市和生活方式的传统观念，塑造出新的城市景观和功能空间。

Since the 1960s, Cook has always been interested in the topic of the city. He has tried to push the boundary of architectural vocabulary to look at the future in the form of drawings. The medium of drawing on paper has enabled him to break free from the constraints of site and reality, to challenge the traditional notions of cities, and to shape new urban landscapes and living spaces.

库克曾经说过，他关注的不是整个城市或整个项目，而是积累的碎片和杂糅的灵感，但“城市”始终是库克探索的核心：紧凑的，由令人惊奇的部分集成的聚合体。

As Cook writes, he is not concerned with whole cities nor whole projects, but with accumulated fragments and scrambled bits of inspiration. Yet the ‘City’ has consistently remained central to his explorations: it is the essence of conglomeration, of confrontation of the unlike with the unlike, of the potential of unexpected mixtures.

库克的绘画，可以被看作是塑造城市和居住新模式的探索，这是贯穿他职业生涯的一个主题。过去的60年里，探索从未停止，不同时期的创作作品展现出不同的特质——1963年至1966年间，预制模块化的住宅胶囊，与交通方式结合，“插入”到一个中心型的超级城市结构体中。到了20世纪70年代，激进的设计趋于柔和，层次和植被开始出现。在20世纪80年代和90年代，自然与人工、机械杂糅生长。从那时起，建筑语汇的扩展，成为了一个主要的关注点，比如库克和科林福尼尔在2003年落成的奥地利格拉茨美术馆，被人们称为“友善的外星人”的这个作品，就是库克与其事务所持续创新其建筑语言有力的佐证。

Cook's paintings can be seen as an exploration of alternative models of living environments, a theme that has run through his career. Over the past 60 years, he kept exploring through drawings with working projects – between 1963 and 1966, prefabricated modular housing capsules, combined with modes of transport, were ‘inserted’ into a central mega-urban structure (Plug-in City). By the 1970s, the radical designs were softened, and layers and vegetation began to appear (Veg Village series). In the 1980s and 1990s, nature grew mixed with the artificial and the mechanical (Solar City, Sponge, Arcadia and so on).

在这个展览里，观众们被“环抱”入库克世界中的城市内部空间——现场的装置作品，试图探索一种混合的架构。作品被剖解成不同的序列，组成独特的空间内景，使得观众转变成空间的参与者。策展团队以与现实匹配的比例建造了库克的画作，将画中的世界与展厅空间重合，引入现实世界，使观者身在其中窥见滤幕城市的一角。细柱和拼贴画的共同营造，以及墙上背景鲜艳色块、反阴影、绘画的使用，弱化了展厅的转角，使得空间与展品融为一体。

The audience are ‘embraced’ by a new ‘hybrid’, whereby more permanent spaces, particularly interiors, are created from deliberately drawn and image-loaded fragments - becoming a glance into the Cities, as well as a visual discussion. Columns and colour blocks that act as partitions and directional paths, are extracted from Cook’s drawn works in a real-life scale, overlapping with, invading into the spatial sequence of the white-wall gallery, inviting Peter’s worlds into the real. The corners of the gallery are rendered softly by colour patches shaped as reverse silhouettes of elements and artifacts. The hybrid integration of the drawn and real worlds is further enhanced by creatures and artefacts, experiences, moments, open for interpretation.

“这个展览是一个将城市里的元素放大、切割、解剖、混合组装来进行融合，比如‘有厚度的生活墻’‘藏盖住的建筑物’‘空间中的多层次’——这些可以延伸至更小尺度元素的交织，比如空间中的‘胶囊’‘表皮’，它们可以是一个巨型结构的一部分。”这种独具实验性和交互性的布展所呈现的手法，与库克哈夫纳事务所鼓励在建筑设计中使用将研究的重点放在建筑的时刻和氛围营造上，有着异曲同工之处。

The journey starts from an architectural moment, of the living wall from the world of Cook as a portal:‘The exhibition hits the eye as you enter and are almost ‘embraced’ by a 2023 drawing that has been enlarged, cut, dismembered, and interwoven with elements from other drawings, as one of a series of improvisations on the possible components of cities, such as ‘inhabited wall’, ‘concealed building’, ‘layered space’, etc. Common to these are intersections of ‘capsules’, ‘skins’, partial megastructures. ’

这次展览的作品，是库克的城市系列绘画的采样。库克的绘画，大多数是在水彩纸上绘制出钢笔线稿，利用水彩、彩铅或水粉上色。这些看似复杂的画作里，建筑元素、城市景观和人，全部按照给定的比例，被精确地呈现出来。

The works in this exhibition are a sampling of Cook's urban series of paintings. Most of Cook's paintings are pen line drawings on watercolour paper, coloured using watercolour, coloured pencils or gouache. The architectural elements, cityscapes and people in these seemingly complex paintings are all rendered precisely to a given scale.

一起走近展览的绘画与装置，走近库克营造的城市大千世界。

Join us as we walk through the paintings and installations of the exhibition and the urban world that Cook has created.

所有作品都是城市的切片

“城市”这个展览，所有的作品都是城市在不同形态与尺度上的切片。这里既有对现实城市的投射，也有对未来城市的愿景，不同的作品里涉及到的对城市形态的观察、经典作品的回溯和近年的创作，皆在这里得以呈现。

In the exhibition "Cities", all the works are slices of the city in different forms and scales. There are projections of the real city as well as visions of the future city. Observations of the urban form are involved in different works, and retrospectives of classic works and creations of recent years are all presented here.

经典的《插入式城市》（Plug-in City），采用可变换的巨型结构来综合解决城市的发展与变化。《阿卡迪亚》（Arcadia）系列中，古典建筑语言与色彩斑斓舞台风格融为一体，是对小型城市的田园牧歌的构想。近几年的创作系列《滤幕城市》则以新的方式对城市进行填充，赋予了城市景观鲜活的想象……

'Plug-in City' uses transformable mega-structures to synthesise urban growth and change. The Arcadia series, with its classical architectural language and colourful staging, is an idyllic vision of a small city. In recent years the series ‘Filter City’ has been created to populate the city in new ways, giving the urban landscape a vibrant imagination.......