影之道

年份: 2022-2023
地点: 中国上海
类型: 展览
状态: 完成
建筑面积: 800 m2
设计团队：陈东华、林峻田、陈欣如、何海风、陈炼、刘瑞科等
结构咨询：张准
摄影：上海当代艺术博物馆、香奈儿、卷宗、隋思聪、吴元锴、林峻田、陈东华

“影之道”是陈东华团队策展与设计的一个展览，在上海当代艺术博物馆举行，并由香奈儿文化基金赞助支持。

在雨热同期的中国南方，有一种必不可少的共享空间， 它似乎无所不在而又被我们熟视无睹。 它摆脱了密封的物理围护和现代空调设备， 回到一种原始的活力， 一种半自然、 半人工、 半室内的集体空间状态。 它就是“阴影”。对于南方的热土，“阴影”往往是一种免费的、公共的、开放的、自然的、遮护的、可持续的、全天候的集体空间。它是后疫情时代的集体性、真实性的回归。这次展览是以普通市民、建筑师、研究者的多方视角来观察、分析与演绎南方阴影里的活性。“阴影”，是一种反映气候性的物理环境，一种承载公共性与日常性的集体场所，一种延续与修正现代主义建筑架空特征的空间概念。正是这些多种特性的共同呈现，使得“阴影”成为了南方的情动之所与活力之源。同时，南方不仅异于北方或其他地方，南方与南方之间也是不尽相同。“南方阴影”在“城-镇-乡”各地所凸显的复杂性与连续性，亦体现了其“活性”所在。阴影本是无形无色，但建筑赋予了它的形状，生活增添了他的色彩。

“影之道”展览中挑选十个位于中国南部的建筑作品。这些建筑渗透着当代的日常性与复杂性，散落在“城-镇-乡”三种不同的环境状态里，呈现出一种跨阶段、跨区域的多样性。福田增量美术馆、颐园养老社区接待中心、观湖中心公园S云廊为城市带来了一抹凉快的阴影，连州摄影博物馆、顺德黄涌市集重塑了镇街郊区的共有地面空间，吴川父母之家、古劳水乡木桥、发昌村文化活动中心、游溪瑶客共生广场、平和县桥上书屋则旨在重振乡村质朴的公共性。然而它们的“城-镇-乡”的环境特性又是相互叠加和影响的。这些项目虽然造价和规模有限，却能深入民间，粗中有细，小中见大，在开放的和无形的阴影中展现出惊人的活力。

整个展厅将分为三个并排的部分：最大的展厅A厅为主要的作品展示空间，入口处B厅为前言与研究部分的空间，里面最小的C厅调整为影像播放厅。A厅结合较明亮的均匀灯箱，引入“伞构”概念，并结合参展作品、回收的竹藤家具，共同营造出一种南方市集的空间场所。B厅为亮度适中的入口长厅，主要通过二维展墙介绍前言与研究部分。C厅则为没有灯源的黑盒子，通过重新搭建的水平挑檐以及十五米的超长投影，在室内构建一个恍如户外的檐下空间，记录了华南现场的多变天气，包括雷天、雨天、晴天等。

伞状结构由具有曲度和弹性的钢管支撑，通过拉索吊起一个圆环。在支撑杆轻微摇曳的时候，圆环和拉索始终保持一直动态的水平平衡，为底部提供一个休憩的灰空间和多媒体展示空间。同时，伞构顶部为转动的轴承，圆环与屋面因此可以缓慢转起来。这种日常生活场景的转译，以及这种轻微的摇曳与转动，正是“活性”、“动态”的最好体现。

The Shape of Shadow

Year: 2022-2023
Location: Shanghai, China
Type: Exhibition
Status: Complete
GFA: 800 m2
Design team: Chen Donghua, Lin Juntian, Chen Xinru, He Haifeng, Chen Lian, Liu Ruike, etc.
Structural consultation: Zhang Zhun
Photography: Shanghai Power Station of Art, Chanel, Wallpaper*, Sui Sicong, Wu Yuankai, Lin Juntian, Chen Donghua

“The Shape of Shadow” is an exhibition curated and designed by us at Shanghai Power Station of Art, supported by Chanel Culture Fund. In the south China with the abundant sunshine and rain exists a dispensable shared space; it seems ubiquitous but merely recognized in the daily life, it gets rid of the sealed physical envelope and modern air-conditioning equipment, and it returns to the primitive vitality, a collective space of semi-natural, semi-artificial, semi-interior condition. That kind of space is Shadow. Such shadow on the south land, is always free, public, open, natural, sheltered, sustainable, all-weathered space for collective. It is a return to public reality after the covild-19 period. This exhibition will have three different lenses including ordinary citizen, researcher and architect to look into the phenomenon and analysis of shadow. Shadow is a physical environmental reflection on tropical or subtropical climate condition, a collective space accommodating everyday and public life, as well as a spatial concept that extends and fixes the modernist pilotis and elevated ground. It is such convergence of different levels in terms of physical, cultural and historical that makes shadow a place of collective affects and endless vitality in the south. What’s more, not only is the South different from the North or other places, but the South is also different from the South. The “south shadow” is not fixed in a specific form, but shares a similarity while complexity around the “city-town-countryside” of south China, which also reflects its dynamic energy in our life of different areas. Shadow is formless and colorless, but the architecture gives its shape and the dynamic life brushes its tint.

The ten exhibited works are imbued with the ordinariness and complexity in contemporary life. They are scattered in three different environmental conditions, city, town and village, presenting a diversity that spans stages and regions. Delta Gallery in Futian, the Reception Center of Yiyuan Elderly Community, and the S corridor in Guanhu Central Park bring a cool shade to the city. Lianzhou Museum of Photography and Huangchong Market in Shunde reshape the shared ground space in towns. Canton House in Wuchuan, Timber Bridge in Gulou Waterfront, Community Center of Fachang Village, Yao-Hakka Yard in Youxi, and School Bridge in Heping County aim to revitalize the public nature of villages. However, their city– town–village environmental characteristics are overlapping and influencing each other. Although these projects are limited in cost and scale, they are grounded in the living environment, from both a macro and micro perspective, seeing the bigger picture from small matters, and showcasing remarkable vitality in open and intangible shadows.

The largest hall A, is the exhibition hall for the main exhibitors’ works, hall B at the entrance is the preface hall, and the smallest hall C is changed as a multimedia broadcasting hall. Hall A continues the umbrella structure concept, and combines exhibited works and daily furniture to create a space of a southern market. Hall B serves as the entrance and preface hall, which mainly introduces the preface and research part through the two-dimensional exhibition wall. Hall C builds a space under the cantilevered timber eaves, and displays external photography and video under the eaves through projections, simulating the changeable weather in South China, including thunderstorms, rainy days, sunny days and other scenes.

The umbrella-like structure is supported by a flexible steel column, with a ring and an umbrella roof suspended by a cable. The base of the support column allows for subtly swaying, while the ring and cable maintain a dynamic horizontal balance. Underneath the umbrella, a gray space for rest and a display space for multi-media works are created. Additionally, there are rotating bearings installed atop the umbrella-like structure, enabling the ring and the umbrella roof to rotate slowly. This translation of everyday life scenes and the subtle swaying and rotating of the structure is the perfect demonstration of dynamic.