临时展览 “过去如何。空间与历史 “是奥地利施蒂里亚州四部分省级展览中的一部分,在格拉茨历史博物馆的一楼展示了该地区的文化遗产。该博物馆位于Palais Herberstein,是市中心的一座重要历史建筑。这个500平方米的展览,从我们的时代开始到20世纪,旨在使历史建筑、景观、边界、立法和社会的古老痕迹清晰可见。

The temporary exhibit, “how it was. Space and History,” is one piece of a four-part provincial exhibition in the Austrian state of Styria which showcases the region´s cultural heritage on the first floor of the History Museum in Graz. Located in Palais Herberstein, the museum is a significant historic building in the city center. The 500 square meter exhibition, spanning from the beginning of our era to the 20th century, aims to make ancient traces of historic architecture, landscapes, borders, legislation, and society legible and visible.

穿越时空的旅程从身临其境的声音和视觉开始,动画化的变形边界伴随着语言学和方言的变化。

The journey through time and space begins with immersive sounds and visuals, animated morphing boundaries accompanied by changing linguistics and dialects.

黑匣子 “电路,一个现有的系列密封的木制房间单元,从90年代起就根植于历史建筑中,为这个展览提供了框架。为了邀请参观者参与,并以一种出乎意料和朴实无华的方式感知历史,四个不同的感官体验被引入空间:外壳、结构、地板和声音。在10个房间的循环中,人们越往前走,体验就越密集,越复杂,规模越大,速度越快。

The “black box” circuit, an existing series of hermetically sealed wooden room cells from the 90s ingrained in the historic premises, provides the framework for this exhibition. To invite visitors to participate and perceive history in an unexpected and unpretentious way, four diverse sensory experiences were introduced into the space: shell, structure, floor, and sound. The further one progresses in the 10-room loop, the denser and more complex, scaled, accelerated the experience becomes.

将中性的外壳转变为一个艺术化的景观,不经人手,是第一步。一个无限的景观环线包裹着墙壁(Eva Stern的艺术作品),隐喻着人类在地球上发现的原始自然,然后被连续地修改、重塑和改造。这些人类干预的痕迹作为景观和墙壁上的缝隙变得清晰可辨,同时也在宫殿的历史背景下将物体之间的联系联系起来。

The transformation of the neutral shell into an artistically translated landscape, untouched by human hands, was the first step. An infinite landscape loop wraps around the walls (artwork by Eva Stern) and metaphorically depicts the pristine nature humans found on earth, which was then successively modified, reshaped, and transformed. Traces of these human interventions become legible as gaps in the landscape and wall, also contextualizing the connection between objects within the historical context of the palais.

从这些切口中,一个空间的木质结构出现了,参考了外壳的木架结构的材料和尺寸。一个单一的元素,在其坐标轴上旋转,从地板、墙壁和天花板上被倍增和扩散到一个三维空间,作为无数历史地图和比例模型的展示。 结构、物体和景观中的差距的相互作用提供了洞察力,揭开了以前隐藏的历史砖石和住房技术的层次。通过钢笔涂鸦的镜头,人类行动的充分性受到了挑战和反映。

From the cutouts, a spatial wooden structure emerges, referencing material and dimensions of the shell´s wooden-frame construction. A single element, rotated on its coordinate axes, is multiplied and proliferated into a three-dimensional space from the floor, wall and ceiling, acting as a display for a myriad of historic maps and scale models.⁠ The interplay of structure, objects and gaps in the landscape offers insights and unveils previously hidden layers of historic masonry and housing technology. The adequacy of human action is both challenged and reflected through the lens of penciled graffiti.

参观者在地板上大步走过,投射出城镇结构和类型,道路和路径的网络–成为它的一部分,沉浸在其中。大型展品,如罗马墓碑、枕头、精致的风琴碎片和军用帐篷,作为过去的浮渣和见证,在路边排列。

Visitors stride across the floor projected with town and city structures and typology, a network of roads and paths – becoming part of it, immersed in it. Large exhibits, such as a Roman tombstone, pillory, delicate organ fragment, and military tent, line the wayside as flotsam and witnesses of the past.

由13&9设计公司与Severin Su合作创造和制作的声音装置,是场景设计的一个关键元素,有助于多维的游客体验。两层的构成是基于一个抽象的和一个叙述性的声音层。抽象层强调了空间和概念设计的主题–密集化和复杂性,以及缩放和加速–通过三个元素:鼓点、噪音和心跳。叙述层伴随着空间的声音效果,反映了每个时期的气氛,同时也提到了具体的展品。

The sound installation, created and produced by 13&9 Design in collaboration with Severin Su, is a key element of the scenography contributing to the multidimensional visitor experience. The two-tier composition is based on an abstract and a narrative sound layer. The abstract layer emphasizes the spatial and conceptual design themes – densification and complexity, and scaling and acceleration – through three elements: drumbeats, noise, and heartbeats. The narrative layer accompanies the space with sound effects that mirror the atmosphere of each period while also referring to specific exhibits.

反思我们的过去,因为它关系到对我们的现在和未来的影响,最后一个房间,通过一个狭长的过渡空间进入,结束了展览并提出了问题。什么是即将到来的?还剩下什么?这个发人深省的装置由前几个房间的景观剪影重新排列和分层构建而成,将参观者留在一个新的自然环境中。

Reflecting on our past as it relates to its impact on our present and future, the final room, entered through a narrow and long transitional space, concludes the exhibition and poses the questions: What is forthcoming? What remains? The thought-provoking installation constructed from re-arranged and layered landscape cutouts of preceding rooms, leaves visitors in a new and natural environment.

为了满足当代人的贡献标准,这些作品都是在博物馆的车间里生产的,由可再生、可回收和部分再利用的材料制成。

To meet the standards of a contemporary and mindful contribution, the pieces were produced locally in the museum´s workshop, made from renewable, recyclable, and partially re-used materials.

Architects: INNOCAD
Area: 500 m²
Year: 2021
Photographs: Paul Ott
Manufacturers: Wever & Ducre, XAL, Derksen, Lambda Labs
Sound Design: Severin Su / 13&9 Design, Martin Lesjak
Lighting Design: GOL Lichtdesign
Design Director:Martin Lesjak
Creative Director:Anastasija Lesjak
Interior Designer:Jörg Kindermann
Project Management:Jörg Kindermann
Junior Interior Designers:Lisa Nett
Wall Art:Eva Stern
Printing:Raunjak intermedias, Reproteam
Art Projections:Projektionstechnik Drechsler
City:Graz
Country:Austria