《城寻山水》香港艺术馆三部曲公共艺术装置丨中国香港丨AaaM建筑设计工作室

水孕众岛，山峦起伏，一座城依山傍水而生。受香港艺术馆及建筑师兼首席艺术家谭汉华先生的邀请，AaaM 建筑设计工作室非常荣幸能参与创作三部曲的系列装置作品，作为香港艺术馆经历四年扩馆后重新开馆的入口地标，同一时间亦为梳士巴利公园的公共空间创造无限想象。

AaaM Architects were invited by Hong Kong Museum of Art (HKMOA) and lead artist & architect Billy Tam to create a trilogy urban artwork for the reopening of the museum after four years of renovation. “Rediscovering Landscape” trilogy is located in Salisbury Garden at the end of Nathan Road, a major business street in the heart of Kowloon Peninsula and marks the entrance art square for HKMOA.

通过一系列的空间体验与探索旅程，三部曲分别为首章《山中寻》、中章《众山阅》、终章《水中山》，与背后的维多利亚港及世界闻名的香港山脊天际线开展对话。系列作品将于上址展出一年。

With a series of spatial experiences and journey of exploration, the installation trilogy including “Immersion”, “To engage, to compose” and “Transcendence”, opens up the dialogue between the Victoria Harbour, the world famous skyline and the mountainscape behind. The artworks will be exhibited outside the museum all through the year.

▼三部曲之《山中寻》，“Immersion” © Tugo Cheng Photo

▼三部曲之《众山阅》，“To engage, to compose” © Tugo Cheng Photo

▼三部曲之《水中山》，“Transcendence” © Tugo Cheng Photo

《山中寻》于九龙半岛主轴的尽头—梳士巴利花园，耸立起高低起伏的山形结构，把游走于森林的人带进山群之中，为一幅能走进去的立轴长卷拉开序幕。线描一般的弧形框架，层层叠叠地勾画出巍峨山峰；与一街之隔的摩天高楼展开对话，通透的山群贯穿城市与背后的海港，寻找城市与海港的关系。

▼《山中寻》概念草图，the sketch of “Immersion” © AaaM Architects

“Immersion” lies at the end of the main axis of the Kowloon Peninsula, marking the beginning of the trilogy. The undulating installations lead people from the concrete jungle to imaginary mountains, and raise the curtains for a hanging scroll, which one can step into and explore. The line-drawn curved frames outline tiers of peaks from a distance and hollow waves close up, which are in dialogue with the skyscrapers across the harbour.

▼三部曲的起点，《山中寻》，“Immersion”, marking the beginning of the trilogy © Kris Provoost Photo

在步近的过程中，山体透出变幻泛彩，演绎着五光十色城市风景与山水画墨彩的交汇重影，引发穿越古今的联想。重影与颜色变化流动着，把自然的四时变化转化为与城市环境的纷繁互动。弧线远看是座座山峰，近赏却似海浪，浪中有洞； 《山中寻》邀请观众走进山群之间屏息回首，在层层脉络之中寻找别有洞天的城市风景。

With precise overlay of curvilinear geometrical frames and application of radiating paint finish, the peaks change colour as you walk close to them. Expressing how the full-colour cityscape and ink landscape converge and overlap, they inspire thoughts that transcend past and present. Double images and changing hues are dynamic, transforming the seasonal changes into repeated interactions within the urban environment. Immersion invites the audience to step in, hold their breath, and look back, where they will find another cityscape amidst the intricate urban veins.

▼走近单体，walking close to the “Immersion” © Tugo Cheng Photo

▼景观和人的互动，interaction with the installation © Kris Provoost Photo

▼从景观中看城市，view of the surroundings from the installation © Kris Provoost Photo

《众山阅》延续城寻山水三部曲之旅，把山体逐步缩小，予人可赏可塑的亲和感，把户外空间构想成仿如传统园林艺术的奇山石阵。

▼《众山阅》概念草图，the sketch of “To engage, to compose” © AaaM Architects

“To engage, to compose” continues the three-chapter journey as the mid chapter. Affinity is created by gradually shrinking the hills and transforming the outdoor space into a rockery urban furniture commonly seen in classical landscaping.

▼亲和感的山体，gradually shrinking the hills © Kris Provoost Photo

众山是与人共存共生、联系城市与自然的媒介。与第一步曲如出一辙的自然弧线框架，成了供人休憩的依靠，在此静观城市生活百态，把焦点重新放回外在环境，阅读城市，而人在其中又成为园林景致的一部分。当中置于旋转的盘台上的山，带领着人山的互动，并邀请观众置身其中，更把创作权授予观众，重组众山的构图，与周边的城市环境建立各样的关系；既是供休憩静观的山，又是可变的，开启人与人对话的场景，就此成为各式生活故事的开端，让山水艺术与人生百态结合起来。《众山阅》使此山水空间时刻变幻，生生不息。

The naturally curved framework echoes that of the first chapter. The audience can lean against them to rest and quietly experience the current moment. Shifting the focus back to the external environment, we can observe the city and its people as they become part of the surrounding landscape scene. The peaks on the two turntables in the centre invite audience to immerse themselves in and take ownership of art. They can recompose the mountains to establish different relationships with the surrounding urban environment. On one hand, the mountains are for leisure and appreciation; on the other, they can change to create dialogue with people. They can start myriad life stories, enabling the integration of landscape art and the vicissitudes of life. To engage, to compose allows the landscape to change constantly.

▼走近单体，walking close to the installation © Tugo Cheng Photo

▼景观和人的互动，the interaction © Kris Provoost Photo

▼满足儿童使用的尺度，the scale for children © Kris Provoost Photo

《水中山》为三步曲带来空间体验的终章，以抽象的空间元素揭开香港艺术馆内一连串艺术欣赏体验的序幕。城中寻山，山中寻城；众山阅城，联系众人；山水本同源，水中有山，而山中又有水；《水中山》探索山与水这化不开的关系。原本耸立于墩的山体俨然悬浮于半空，汇山成川，让想像游走于山体、倒影与海浪之间，与之前的线描山势同出一脉，与后来的维港同出一辙，成为连接城市与海港的媒介。

▼景观与城市，connections between the installation and surroundings © AaaM Architects

“Transcendence” although being the finale of the installation trilogy, it raises the curtain for a series of art appreciation experiences at the HKMoA with abstract spatial elements – searching for mountains in the city and connect the people. The mountains and waterways share a common origin. There are peaks in the water and water on the peaks. Transcendence explores the inseparable relationship between mountains and waterways. Peaks that rear up from their base are suddenly floating in mid-air, and they come together to form rivers with shadows and waves.

▼终章，《水中山》，”Transcendence”, the finale of the installation trilogy © Kris Provoost Photo

悬浮的框架回归到含蓄沉稳的墨调，与地上的影子交叠为画，并随日月轨迹时刻变化，使艺术装置转化为生动的城市风景。以自然的光与影为墨、四时为笔触，日与夜为题，为香港艺术馆前的这幅立轴长卷以自然作最后笔触，开启一道艺术探索之门。

The floating framework returns to a subtle and solemn ink tone, forming a painting with overlapping shadows, and changing with the orbit of the sun and moon, transforming the art installation into a dynamic cityscape. Natural light and shadows serve as ink; the four seasons serve as brushstrokes; and day and night form the subject, adding a final brushstroke of nature to the hanging scroll in front of the HKMoA and opening a doorway to art.

▼走近单体，walking close to the installation © Tugo Cheng Photo

▼与景观的互动，the interaction © Kris Provoost Photo

▼透过景观看城市，view of the surroundings through the installation © Kris Provoost Photo

▼细部，details © Tugo Cheng Photo

▼夜景，night view © Kris Provoost Photo

▼与城市街景遥相呼应，transforming the art installation into a dynamic cityscape © Kris Provoost Photo

▼场景序列，sequential experience © AaaM Architects

▼流线推敲，the skyline © AaaM Architects

▼《山中寻》立面图，elevation of “Immersion” © AaaM Architects

▼《众山阅》立面图，elevation of “To engage, to compose” © AaaM Architects

▼《水中山》立面图，elevation of “Transcendence” © AaaM Architects

展览时期: 30/11/2019 – 30/09/2019 地址: 梳士巴利花园香港艺术馆艺术广场 客户：香港康乐及文化事务署 面积：~100平方米 项目年份：2019 类型：艺术灯光装置 设计团队: 陈树仁、萧健伟、彭展华、孙舒雯、庄毓麟、吴卓妍、唐锶铧 结构顾问:  领达项目有限公司 灯光顾问: 郭静璇 平面设计: 龙颖瑜 施工方: 葆冈工程有限公司 灯光供应商: 曼佳美(香港)照明电气设备有限公司

EXHIBITION PERIOD: 30 November 2019 – 30 September 2020 VENUE: Art Square, Salisbury Garden, Hong Kong Museum of Art Commissioned by: Leisure and Cultural Services Department Curated by: Billy Tam AREA: ~100 sqm PROJECT YEAR: 2019 PROJECT TYPE: Public Art & Lighting installation DESIGN TEAM:  Partner-in-charge: Shuyan Chan, Kevin Siu, Bob Pang Team: Sherman Sun, Allan Chong, Priscilla Ng, Victoria Dong Structural Consultant: Lead Projects Ltd. Lighting Consultant: Suen Kwok Graphic Designer: Leona Lung Contractor: Program Cotractors Ltd. Lighting Contractor: Megaman (HK) Electrical & Lighting Ltd