一个关于漂浮的项目，在精神上和身体上经历某种悬浮状态，在一个相当安全的空间里，外面是想象的，被唤起的，通过图像独特地生活。从一个非常内部化的经验，一个人被扔到外面，在里面旅行和出来。
A project about floating, mentally and bodily experiencing a certain state of suspension, in a rather safe space, where the outside is imaginary, evoked, lived uniquely through imagery. From a very interiorized experience, one is thrown outside, traveling in and out.
很明显，这不是作品的简介，而是对它的诗意理解，关于如何创造一个人们可以休息和想象的世界，令人回味的，抽象的，但有点可把握的。当人们闭上眼睛时，被吸收的光线，活生生地转化为颜色，闪烁着与未定义的感觉相联系。连接现实，在空间中被感知，但也有大部分是在空间之外的。
Obviously, this was not the brief, but a poetic take on it, on how to create a world from which one can rest and imagine, evocative, abstract yet somewhat graspable. When one closes the eyes, the light that has been absorbed, lived transforms into colors, flashes that connect with undefined sensations. Connecting realities, perceived in the space but also, most of them, outside of it.
ORIGIN的空间是关于向这种状态的进展，通过颜色、材料、生命体（植物），伴随着在高度盐化的水舱上裸体漂浮的经验。Shirana Shahbazi的作品是一个直接的灵感来源。她的摄影作品的真实性，以及她所提出的空间的多种可能性。旅行，通过感觉的旅行，生活的现实，精确的时刻，但也是未曾有过的关系，液体的，不需要解释，当然也不可能解释所有的东西，没有必要。
The spaces in ORIGIN are about the progression towards that state, through colours, materials, living beings (plants) that accompany the experience of floating naked on a highly salted water pod. The work of Shirana Shahbazi was a direct inspiration. The realness of her photography, but also the multiple possible(s) of the spaces that she proposes. Travels, journeys through sensations, lived realities, precise moments but also unprecise relations, liquid ones, without the need to explain, certainly with the impossibility to explain all of it, no need.
所提出的是一系列的颜色，包裹和展开他们所遇到的一切，打开一个空间的书，提出一个孤立的暂停，在一切之外，但在一个强大的内部性。进展试图流畅地排列用户的步骤，把她带入内部，从一种虚幻的双维图像–展示窗，或杰夫-沃尔的灯箱–到水舱的极端亲密性。窗帘、栏杆、垂直线、水平面、架子、长椅子、更多的线、作为指导措施的瓷砖网格。所有这些都有助于形成一个强烈的主观感知框架，它被其他的颜色斑块和空间支架所改变。
What has been proposed is a series of colours that wrap and unfold everything they encounter, opening the book of a space that proposes an insular pause, outside of everything but in a strong interiority. The progression attempts to fluidly sequence the steps of the user, taking her inside, from a sort of unreal, bi-dimensional image – the show window, or Jeff Wall’s lightboxes – to the extreme intimacy of the water pod. Curtains, rails, vertical lines, horizontals surfaces, shelves, long chairs, more lines, tile grid as a guiding measure. All of it contributing to a strong subjectivity of perceptive frames that are altered by other patches of colours, space- holders.
在这个相当抽象的旅程中，一系列可笑的具象元素扰乱了可能的纯粹性或整体一致性。长椅，一个来自20世纪初城市公园传统的 “物品-装饰品”。还有最奇怪的反转不道德的东西从天花板上出现，超现实主义的触摸。形式、颜色、物体、生物、空间，所有这些都俏皮地相互微笑，聚集在一个亲密的、胆怯的色情的、平静的旅行中。
Within that rather abstract journey, a series of ridiculous figurative elements perturb a possible purity or integral coherence. Benches, an “objet-trouvé” from early 20th-century urban park tradition. And the strangest reversed immorality emerging down from the ceiling, surrealist touch. Forms, colours, objects, living beings, spaces, all of them playfully smile at each other gathered in an intimate, timidly erotic, and calm trip.
Architects: BUREAU
Area: 190 m²
Year: 2020
Photographs: Dylan Perrenoud
Lead Architects: Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide
Concept Design:Daniel Zamarbide, Carine Pimenta
Construction Supervision :Carine Pimenta, Jolan Haidinger
Construction Drawings & Documentation:Marco Pallaoro, Flavio Gorgone, Léo Raphaël, Loïs Weber
Publication Drawings:Laëtitia Chauveau
City:Geneva
Country:Switzerland