![]() From afar, the viewer perceives a sculpture vibrant with light. “These three aspects can be more or less dominant according to the different scales of perception. “Inside the installation there is an opposite temporality one that is slow and marked not only by the shadows of the poles that are aligned as in a solar clock, but also by the lighting effects created by the rays of sunlight passing through the perforations of the artificial clouds placed on top.” Hand Sketches by Aurelien ChenĬhen considers Dragon Mountain Pavilion to be many things: sculpture, architecture and landscape, all at the same time. The images of cars passing by are reflected over the poles, which later disappear behind the poles and reappear between the gaps. I counterposed a poetic experience, a temporal and spatial pause, creating a moment of calm and reflection on the elements that make up a traditional Chinese landscape. “It refers to ‘time’, or more precisely, to different temporalities. “The second effect is more abstract,” he continues. With the effect of the speed, the poles become a single surface and the reflections created by the different materials composing the poles reveal the shape of a mountain. Each pole is made of three different materials, which are, from the base to the top: stainless steel, polished stainless steel and white paint. “The first effect is an optical illusion given to the visitors who arrive by car. He explains how the main effects that trigger differences in perception are down to the use of materials. It allows a transition between these two spaces, dimensions and states of mind, and emotions that are evoked in the visitor,” Chen reflects. “The installation is a gateway, a space in between the hectic and trafficked road and the majestic, still natural landscape of the mountain. The perforations on the mirror panels create an interplay of light and shadow, marking the passing of time.Īt night, thousands of stars appear on the poles, perforated randomly, giving shape to a mountain vibrant with light. In this peaceful setting, urban life continues reflecting itself on the mirror canopies and on the surfaces of the poles. The canopies placed above the visitors’ heads to represent clouds turn out to be mirrors. The poles become a forest, while a black marble river invites visitors to walk towards the real mountain that stands out against the horizon. While moving closer, one discovers a miniature landscape in which one can move and stroll at leisure. With speed, the poles become a single surface and the effects created by the different materials making up the poles reveal the shape of a new mountain. While approaching the site from the street, a vibrant mountainous structure composed of 200 inox poles subtly appears in the distance, almost like an optical illusion. Read more: Wuyuan Skywells Hotel allows guests to experience the beauty of rural China The perforations on the mirror panels create an interplay of light and shadow marking the passing of time It is also a space for “pause, shelter and transition between travel and a visit to the natural site,” he says. Chen compares the structure of the pavilion to a painting that has been realised in a physical, contemporary form. The structure primarily serves as a roadside landmark to draw attention to the natural park, featuring a variety of sequences through which it can be approached and many more levels in the way it can be perceived. The general shape – a mountain – is identical for both projects.” In these two projects, mass is an answer to lightness, while stones are cemented together and poles are separated from one another. ![]() “They are opposites and yet they complete each other, just like the unity of opposites of Yin and Yang. ![]() “My goal was to create a dialogue between these two projects,” Chen explains.
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