Studio Job 在 KunstKerk 前創作“古典教堂窗戶的超現實主義風格”
Studio Job creates "surrealist take on classical church windows" in front of KunstKerk

由專筑網澄鏡之水，小R編譯

總部位于荷蘭的 Studio Job 為荷蘭藝術學院 KunstKerk 設計了一個名為 The Embrace 的彎曲青銅和玻璃雕塑，作為對傳統彩色玻璃窗的幽默更新。

這是Studio Job 有史以來最大的雕塑，The Embrace 以位于荷蘭多德雷赫特的一座前教堂的 KunstKerk 外墻輪廓為基礎。

Netherlands-based Studio Job has created a curved bronze-and-glass sculpture named The Embrace for Dutch art institute KunstKerk as a humourous update on traditional stained-glass windows.
The largest sculpture ever created by Studio Job, The Embrace was based on the outline of the facade of KunstKerk, which is located in a former church in Dordrecht, the Netherlands.


▲ 大型青銅雕塑位于多德雷赫特的 KunstKerk 藝術學院前
The large bronze sculpture is located in front of the KunstKerk art institute in Dordrecht

“建筑師 Andries Lugten 和開發商 Dudok 要求我創造一些東西來幫助他們提出重建建議�！盨tudio Job 創始人 Job Smeets說。

“所以我的想法是利用建筑物的背面，這是一個未使用的空間，但有可能成為藝術教堂和藝術電影院之間的聯系�！�

Smeets 用青銅和彩色玻璃手工制作了這座 13 米高的雕塑，工作室將其描述為“對古典教堂窗戶的超現實主義演繹”。

最終的設計具有兩個起伏的“窗戶”，它們似乎在一個較小的中央窗戶上方相互伸展。

每個都安置在同一個大型有紋理的青銅框架內，頂部是一個裝飾性的兩米高的公雞雕塑，重達 300 公斤。

"The architect, Andries Lugten, and the developer, Dudok, asked me to create something to help with their proposal for the redevelopment," Studio Job founder Job Smeets told Dezeen.
"So my idea was to use the back of the building, which was an unused space but had potential to be a connection between the art church and the art cinema."
Smeets hand-crafted the 13-metre-tall sculpture, described by the studio as a "surrealist take on classical church windows," from bronze and pigmented glass.
The final design features two undulating "windows" that seem to stretch towards each other above a smaller, central window.
Each is housed within the same large, textured bronze frame, which culminates in a decorative two-metre high cockerel sculpture at the top weighing 300 kilograms.


▲ 它被設計成對傳統彩色玻璃窗的現代詮釋
It was designed to be a modern take on traditional stained-glass windows

“青銅的優點是它非常柔韌，你可以做任何形狀，而且它是液體，所以我可以做出任何形式�！盨meets 解釋說。

“青銅是我作品的重要組成部分，在我的工作室中，我們完成了從自然形態到最終拋光和繪畫的每一步�！彼�補充道。

“青銅結構讓我想起了工業金屬鑄造和舊橋的工業鋼梁。我想成為城市中的一顆明珠，一件珍貴的東西——甚至是一個華麗的珠寶盒�！�

選擇使用青銅是因為工作室經常使用這種材料，Smeets 說這種材料既完全耐用又完全可回收。

The choice to use bronze was based on the fact that the studio has often worked with the material, which Smeets said was also both completely durable and fully recyclable.
"The advantages of bronze is it's very pliable; you can do it in any shape and it's liquid so I can make any form," Smeets explained.
"Bronze is a significant part of my work; in my atelier, we do every step of the process from the natural form to the final polish and painting," he added.
"The bronze structure reminds me of the industrial metal casting and the industrial steel girders of old bridges. The final look I wanted to be a jewel in the city, something precious – maybe even an ornate jewelry box."


▲ 銅框底部擱在四尊龜背上
The bottom of the bronze frame rests on the back of four tortoise sculptures

青銅框架由四只手工雕刻的青銅烏龜支撐，龜殼位于其上。

根據工作室的說法，這些是根據古代亞洲習俗設計的，在房子后面放一只烏龜可以提供“保護和智慧”。

鑲嵌在青銅中的玻璃窗朝外，而不是像教堂窗戶通常那樣朝內。

所描繪的人物大致基于傳統上在彩色玻璃窗上看到的人物，但已進行了現代更新。

The bronze frame is held up by four hand-sculpted bronze tortoises on whose shells it rests.
These were designed in reference to an ancient Asian custom where a tortoise placed at the back of the house gives "protection and wisdom," according to the studio.
The glass windows set into the bronze face outwards, rather than inwards as church windows usually do.
The characters depicted are loosely based on those traditionally seen on stained-glass windows, but they have been given a modern update.


▲ 雕塑呈波浪形
The sculpture has an undulating form

其中有一個被 Smeets 描述為“帶著風車的耶穌被雞攻擊”的人物，以及一個以 Smeets 的兒子為原型的長著惡魔角的孩子。

“如果你看許多教堂，你會經�？吹綈耗О愕纳�物，經常出現在浮雕和雕塑中，尤其是在比利時的教堂上——這些動物很可怕，也許也是為了保護建筑物或嚇唬你，這是一個非常經典的想法�！盨meets 說。

“所以對我來說，他是建筑的守護者，也是以我兒子的魔性為原型�！�

Among them is a figure that Smeets describes as "Jesus with a pinwheel being attacked by chickens", as well as a child with devil's horns based on Smeets' son.
"If you look at many churches you see constant references to devilish creatures, often seen in reliefs and sculpture, especially on the churches in Belgium – animals that are scary, maybe it's also to protect the building or to scare you, it’s a very classical idea in many cultures," Smeets said.
"So for me, he's a guardian of the building, he's also based on my son who has a devilish nature."


▲ 中央窗口描繪了一個基于 Smeets 兒子的孩子
A central window has a depiction of a child based on Smeets' son

窗戶背后的想法，還有火箭、蜜蜂、蝴蝶和炸彈，是為了讓人們越靠近就能看到更多的東西。 對 Smeets 而言，這些設計是經典設計的自然演變。

“圖像是一個融合了現代元素的家庭場景�！彼�說，“教堂的窗戶總是結合當時的參考，這也不例外�！�

Smeets 希望這座建筑能成為引人注目的地標和新公共廣場的開端。

The idea behind the windows, which also feature rockets, bees, butterflies and a bomb, was for people to see more things the closer they look. To Smeets, the designs are a natural evolution of classic designs.
"The imagery is a family scene with modern elements integrated," he said."Church windows have always incorporated references of the time, this is no different."
Smeets hopes the building will become an eye-cathing landmark and the beginning of a new public square.


▲ Smeets設計的雕塑從內部看也是具有裝飾性的
Smeets designed the sculpture to also be decorative when seen from the inside

“從內部，你可以看到五彩繽紛的細節，到了晚上，建筑呈現出新的形式，窗戶從里面發光，真的很漂亮�！� Smeets說。

“我將窗戶設計為朝外——教堂的窗戶通常只有里面的人才能看到，因此我希望外面的人也能看到�！彼�補充說。

“當我們安裝它時，鄰居已經下來感謝我們從他的屋頂露臺上看到了新的兩米高青銅雞�！�

Studio Job 之前曾為布宜諾斯艾利斯的一個藝術中心設計彩色玻璃窗，并為其自己的安特衛普總部提供了極簡主義的室內設計。

攝影：Jeroen Musch

The sculpture was also deliberately designed to be appreciated from both the exterior and interior of the arts centre, where a cafe is located.
"From the inside, you get this multicolored detailed view and in the evening the building takes a new form and the windows glow from the inside, its really beautiful," Smeets said.
"I designed the windows to face outwards – church windows usually are only to be seen by the people inside, I wanted to make this for everyone outside," he added.
"Already when we were installing it, the neighbor came down to thank us for the new view of the two-metre high bronze chicken from his roof terrace."
Studio Job has previously designed stained-glass windows for an art centre in Buenos Aires and given its own Antwep headquarters a maximalist interior design.
The photography is by Jeroen Musch.