Concept: The Pavilion
Editors: Rain Mountain, Pang Yeekuen
Designer: Feng Zhiyin
Publisher: The Pavilion
Language: Chinese, English
14.5×21cm I 6 in 1 I 224
If we could consider the architectural spaces to be models of thought, then the space of Mirrored Gardens attempts to be a reciprocal reflection and measurement of topography, air, water, and light, as well as of the people who enter the space. Just like the emphasis in quantum mechanics on the idea that the observer necessarily becomes an organic component of the system, when we put ourselves in a space, we naturally cannot avoid assuming a sense of responsibility toward that space.
More than a physical formation of the landscape, the topography here should be understand as being part of a cultural topology which allows us to imagine the potential for a “homeopathic architecture” (an architecture that conforms to human scale of perception).
—Excerpts from Those Things Beyond Our Intent of Silent Journey (Vol.1)，P42
[ Contents ]
07 Why We Look at Plants
24 Those Things Beyond Our Intent
42 Forgotten in Shanshui
Relying on the situation of the Mirrored Gardens, this set of books takes a series of daily happenings and observations related to the spatial practices of the Mirrored Gardens to discuss how to carry out thinking and practices on aspects of human and nature, individual and reality, collaboration and openness. “Every tree in a forest could be an autonomous individual, and the forest is an outcome of collaboration between individual activities.” In the conversation between artist Koki Tanaka and architect Sou Fujimoto, “forest” is used as a metaphor for an ecosystem that can be potentially formed through collaborations between individuals, as well as a perceptual basis of an ecosystem. Sou Fujimoto stated, “architectures designed by architects need to reflect on how to strategically create this kind of complex and diverse system and embrace the openness of the real world to which the architectures should make connections.” “I’d like to take all sorts of things into considerations, but at the end they should be translated into a shape, or a space in order to develop an architectural or spatial form. If so, we will be able to perceive these different things through our experiences in a space, which might take more time, but if you’re willing to keep searching you’ll notice the different characteristics of this space.” From a series of concept hand drawings and model testing by Sou Fujimoto on the Mirrored Gardens, we can learn in details about the processes of exploring such forms of space.