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LIKE IT HAS ALWAYS BEEN THERE

机译:就像总在那儿一样

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In 1969, Dan Pearson built his first childhood garden - a small roof garden of succulents for his trolls. It's easy to see, in the work now on show at the Garden Museum, that this was the first of many thoughtful conversations between a site, a client (in this case an imaginary one), and a designer with an intimate relationship with plants. 'I love working on private commissions,' says Pearson, in one of the three lushly produced videos that form the core of the exhibition. Much of his work is primarily accessible only to a privileged few, and thus the videos were conceived to convey an immersive sense of these landscapes to a wider audience. In addition to the videos, there is a cluster of monitors showing drawings and photographs of a variety of projects and, importantly, a long vitrine filled with memorabilia from Pearson's childhood and adolescence, and from his career in gardens, books, and television. What the vitrine gives us is not so much a glimpse of the designer's process on individual projects, but rather the emergence of the designer himself.
机译:1969年,丹·皮尔森(Dan Pearson)建造了他的第一个童年花园-巨魔的小型多肉植物屋顶花园。很容易看出,在花园博物馆现在展出的作品中,这是现场,客户(在这种情况下是虚构的)和与植物有亲密关系的设计师之间进行的许多深思熟虑的对话中的第一个。皮尔森说:“我喜欢从事私人佣金工作,”这是展览的核心,这三个华丽的录像带之一。他的大部分作品主要只供少数特权阶层使用,因此,这些录像带的构思是将这些风景的沉浸感传达给更广泛的观众。除视频外,还有一堆监视器,显示各种项目的图纸和照片,重要的是,长长的玻璃橱里装满了皮尔逊童年和青春期以及他在花园,书本和电视上的职业生涯的纪念品。玻璃橱窗给我们带来的不仅仅是在单个项目上瞥见设计师的过程,而是设计师本人的出现。

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