呼吸的灯笼艺术装置

公司：	NEON	Type：	景观
Area：	中国台湾	Label：	艺术装置

随着Covid-19在整个2020年的蔓延，世界各地的政府、企业和个人采取了类似于战时的空前措施。国家被封锁，学校被关闭，活动被取消，工厂被关闭，数百万人被告知在家工作，紧急资金被释放。但任何经济手段能没能阻止疾病的蔓延，冠状病毒正在证明，为拯救生命而做出巨大的改变和经济的牺牲会是常态。

As Covid-19 spread throughout 2020, governments, businesses, and individuals around the world undertook unprecedented measures akin to wartime efforts. Countries have been put into lockdown, schools closed, events canceled, factories shuttered, millions told to work from home, and emergency funds released. No economic cost has been too big to stem the spread of the disease. Coronavirus is proving that it is possible to make dramatic changes and economic sacrifices to save lives.

NEON和Frankie Boyle工作室希望合作开展一个项目，反应当我们面对新的情况时，我们如何能够适应变化和合作。最终的项目被设计成具有吸引力，提供一种希望和欢乐的灯笼，并激活最近一直很安静、感觉不安全的公共空间。这个项目被称为 "活灯笼"。灯笼是一个普遍的象征，象征着光明、超越和指导性的光芒。在不同的文化中，它们被看作是爱、智慧和照明的象征，也象征着引导灵魂穿越黑暗时期的内在之光，并有新一天的承诺。灯笼提醒我们有能力在这个世界上找到自己的方向，并表达了我们与生俱来的内在力量。

NEON and Frankie Boyle Studio wanted to collaborate on a project that illustrated the responsiveness of humankind, and how we are capable of adapting to change and working together when we face new situations. The resultant project has been designed to be inviting, to offer a sense of hope and joy, and to activate public spaces that have recently been quiet and felt unsafe. This project is called “The Living Lantern”. Lanterns are a universal symbol of brightness, transcendence, and guiding light. In various cultures, they are viewed as symbols of love, wisdom, and illumination, and also symbolize the inner light that guides the soul through periods of darkness with the promise of a new day. Lanterns remind us of our ability to find our way in the world and speak to our innate inner strength.

关于项目

项目是一个动态的灯光装置。它有一个动态的、对风有反应的外膜，可以打开和关闭以过滤来自其核心的光线。因为这个结构是根据风力运动和动画灯光序列之间的互动而不断演变的，参观者在此可以观察一个不断变化的光影艺术，并带来一种冥想的氛围。

About The Living Lantern

“The Living Lantern” is a kinetic and light installation. It has a dynamic, wind responsive outer membrane that opens and closes to filter the light from its core. Visitors are invited to spend time observing an object in constant transformation. This project has a meditative effect, as the structure is constantly evolving according to interaction between the wind-powered movement and the animated light sequences.

该艺术作品有两种 "模式"。在白天，游客可以体验到艺术品的木材物质性被表达出来。在晚上，当天黑的时候，艺术品被灯光激活，很像现实中的灯笼。

The artwork has two “modes”. During the day, the visitor can experience a version where the artwork’s timber materiality is expressed. In the evening, when it’s dark, the artwork is activated with light, much like a real life lantern.

项目采用了NEON工作室在以前的一些项目中使用过的动力机制（例如 "颤抖之家"）。所使用的部件是由Koskisen薄胶合板构成的，它用钢螺母和螺栓来配重。所使用的机制意味着，当没有风的时候，这个部件是水平放置的，但当有微风的时候，就会向上或向下抬起，以关闭结构。

The Living Lantern employs a kinetic mechanism that NEON have used in a number of previous projects (for example Shiver House). The component used is constructed of Koskisen Thin Plywood, which is counterweighted with a steel nut and bolt. The mechanism used means that the component sits horizontally when there is no wind, but lifts up or down when there is a breeze to close up the structure.

关于作品中使用的灯光，Frankie Boyle工作室的Frankie Boyle说："我强烈地感觉到，灯光应该反映并建立在灯笼的个性之上。灯光序列的设计是为了唤起观众的冥想状态，就像我们观察蜡烛随时间变化的方式一样。考虑到这一点，项目上的序列不是有一个明显的开始和结束，而是抽象的和不断变化的。这种方法意味着人们能够根据自己的选择在艺术品上花费更多或更少的时间。我们特意决定不使灯光具有互动性或反应性，相反，它被设计成一个门户，让观众进入他们自己的内心世界。”

On the lighting used in the artwork, Frankie Boyle of Frankie Boyle Studio said: “I felt strongly that the light should reflect and build upon the personality of the Lantern's breathing membrane. The light sequences have been designed to evoke a meditative state in the viewer in a similar way to when we observe a candle flicker over time. With this in mind, rather than having a noticeable beginning and end, the sequences on the Living Lantern are abstract and in constant transformation. This approach means that people are able to spend as much or as little time with the artwork as they choose. We purposely decided not to make the lighting interactive or responsive. Instead, it is designed to act as a portal for the viewer to access their own inner world.

"从技术角度来看，灯笼的照明是在三维体量的基础上开发的，它允许序列看起来是围绕雕塑的三维移动。这极大地改变了灯笼的外观，同时也改变了它周围的环境，因为它沐浴在彩色的光线中"Frankie Boyle。

“From a technical standpoint, the lighting for the Lantern was developed on a volumetric platform that allowed sequences to appear to be moving three-dimensionally around the sculpture. This dramatically changes the appearance of the lantern, but also the environment surrounding it as it is bathed in coloured light” said Frankie Boyle.

从一开始，项目就被设计成一个可以参观的艺术品。考虑到这一点，项目的框架是用数控技术开发的，它提供了精确性和准确性，并允许轻松地更换部件。这种方法意味着艺术品可以由一系列部件设计而成，在现场像拼图一样组合在一起，使其安装和卸载相对容易。工程师Elliott Wood参与其中，帮助完善艺术品的框架，并确保其在外部环境中的结构健全。

From the outset, the Living Lantern was designed to be a tour-able artwork. With this in mind, the frame for the project was developed using CNC technology, which offers precision and accuracy and allows parts to be replaced with ease. This approach meant that the artwork could be designed from a series of components that fit together like a jigsaw on site, allowing for its install and uninstall with relative ease. Engineers Elliott Wood were engaged to help refine the frame for the artwork and to ensure it is structurally sound in an external environment.

作为Word科学节和Curiocity的一部分，项目首次在澳大利亚布里斯班展出，这是一个为期17天的庆祝科学、技术、工程、艺术和数学（STEAM）的节日。该项目目前正在台湾新竹市展出，作为台湾灯光节（原台湾灯会，因Covid-19而重新安排）的一部分，然后将作为5年全球巡演的一部分出现在世界各地的许多地方。

The Living Lantern was shown for the first time in Brisbane, Australia as part of the Word Science Festival and Curiocity, a 17-day festival that celebrates science, technology, engineering, arts, and maths (STEAM). The project is currently on show in Hsinchu City, Tawain as part of the Taiwan Light Festival (formerly the Taiwan Lantern Festival, which was rearranged due to Covid-19), and will then appear at numerous locations worldwide as part of a 5-year global tour.