《大地｜树》装置丨丹麦哥本哈根丨隈研吾建筑都市设计事务所

2026/05/11 10:27:48

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在日语中，有一个独特的词汇用来描述阳光穿过树冠叶隙洒落下来的景象：Komorebi（木漏れ日）。很少有语言拥有对应的词语，但我们的身体都能感知这种体验。研究表明，仅仅置身森林之中，就能够降低压力激素水平、减缓心率，并缓解焦虑、抑郁与疲劳。

There is a unique Japanese concept that describes sunlight filtering through the leaves of a tree canopy: Komorebi (木漏れ日). Few languages have an equivalent word – but our bodies know the feeling. Research shows that simply spending time in a forest lowers stress hormones, reduces heart rate and alleviates anxiety, depression and fatigue.

▼展厅内部概览，Interior exhibition overview © Dinesen

这正是建筑师隈研吾/KKAA在哥本哈根当代艺术中心中转化为实体空间的感受。装置《大地｜树》植根于人类最根本的冲动之一：对庇护的需求。它并非一种抽象概念，而是一种身体记忆——如同站立于一棵大树之下，被庇护于外部世界与日常纷扰之外的感受。

This is the feeling that architect Kengo Kuma/KKAA has turned into a physical space at CC. The installation Earth | Tree is rooted in one of humanity’s most fundamental impulses: the need to seek shelter. Not as an abstract idea, but as a bodily memory – the feeling of standing beneath a large tree, sheltered from the outside world and the rumination of everyday life.

▼装置整体鸟瞰，Installation aerial overview© Dinesen

▼装置局部鸟瞰，Installation aerial partial view© Dinesen

带有记忆的材料

Materials with memory

隈研吾以其对材料的感知性运用而闻名，其设计哲学建立于一种“柔性建筑”之上——一种在与物理空间、自然及人之间的对话中生成的建筑。

Kengo Kuma is known for his sensory approach to materials and works from a philosophy of “soft architecture” – an architecture that emerges in dialogue with the physical space, nature and people.

▼展厅中的装置场景，Installation within exhibition hall© Dinesen

▼展厅中的装置近景，Installation within exhibition hall close view© Dinesen

在《大地｜树》中，木材与砖被选用，正因它们兼具触觉性与历史维度。木材将森林的气息带入空间；砖则让装置扎根于延续数千年的建造传统之中。这两种材料同样深深植根于日本与北欧的自然观，而正是这两种传统之间的相遇，被负责此次装置项目的池口友纪（Yuki Ikeguchi）塑造成统一的表达。

In Earth | Tree, wood and brick have been chosen for their tactile and historical dimensions. The wood brings the scent of the forest into the space. The brick anchors the installation in a millennia-old building tradition. Both materials are culturally rooted in Japanese and Nordic attitudes to nature alike – and it is the meeting between these two traditions that Yuki Ikeguchi, who has led KKAA’s work on the installation, has shaped into a unified expression.

▼阶梯与装置，Steps and installation © Dinesen

▼木构座椅与长桌区，Timber seating and table area© Dinesen

树冠由木质织构构成，仅使用了来自Dinesen的废弃边角木板——这些材料原本会被当作废料处理。砖砌平台亦是如此，仅使用破损砖块以及来自Petersen Tegl生产过程中堆积的砖废料建造。织物则由Kvadrat提供，其质感近似日本和纸，使前后空间之间形成一种半透明的联系。

The tree canopy is a wooden fabric, using only discarded offcut planks from Dinesen that would have otherwise been wasted. Same goes for the brick stage, where only broken bricks have been used together with a pile of brick waste from the Petersen Tegl production. The fabric has been donated by Kvadrat, which resembles Japanese washi paper, allowing a translucent connection between front- and side space.

▼木构树冠装置，Wood canopy installation© Dinesen

“光、空气与阴影的变化，是最重要的材料之一。”——池口友纪

“Play of light, air and shadow is some of the most important materials to play with.” – Yuki Ikeguchi

▼木构树冠装置近景，Wood canopy installation close view© Dinesen

▼木构网格细部，Timber lattice detail © Dinesen

在这一装置之中，所有感官都被调动起来：木材与泥土的气味、指尖触碰砖块时的粗粝质感、光线在地面上缓缓移动的轨迹。在这里，建筑并非主要通过视觉被感知——而是通过整个身体来体验。正如池口友纪所说：“我们只是希望，人们会被它吸引、产生好奇，并单纯地享受其中。”

Within the installation, all senses are invited: the scent of wood and earth, the roughness of brick beneath your fingertips, the movement of light across the floor. Architecture is not experienced here primarily through the eyes – but with the entire body. Or as Yuki Ikeguchi puts it: “We just hope that people would be drawn to it, be curious and simply enjoy it.”

▼材料互动装置，Material interaction display © Dinesen