義大利羅馬　樹冠的羞澀裝置藝術

Atelier POEM

該作品以「節慶」為創作理念，旨於重新探索其具歷史性的落址處，且作為周圍環境與屋內生活之間的過渡，適合舉辦藝術和文化活動，可供人們休憩、閱讀與玩耍。

The work was born in line with the philosophy of the Festival, as a means of social connection and rediscovery of the historic gardens of the Villa, whose project was developed by Ferdinando de Medici at the end of the 16th century. The installation is identified as a place of transition and contamination between the surrounding environment and the housed life inside; a space that lends itself to hosting artistic and cultural events, suitable for rest, reading and play.

設計團隊反思建築、人與自然的關係，透過探索建築本質，綜合過去至現今的設計理論、美學和實用價值。坐落於羅馬美第奇別墅的遺跡廣場內，並位於花園入口處，該量體尺寸和結構以編織型態為本，同時是別墅的臨時延伸部分；並藉由簡單的幾何造型構成黃金比例，以因應不斷變化的用途，讓人感受全新的空關係。

The project develops from a reflection on the relationship among architecture, man and nature. By exploring the essence of architecture itself, it seeks to synthesize through the form those theoretical, aesthetic and practical values valid in the past as well as nowadays.

La timidité des cimes is inserted inside the Carré des vestiges, one of the sixteen gardens that make up the ve- getable maze of Villa Medici in Rome; it is configured, by size and structure, as a basic element of fabric reading and temporary extension of the Villa itself. The cabane, located at the entrance of the garden, takes its proportions through a simple and harmonious geometry based on the golden ratio and is proposed as a threshold. A changing place that can adapt to different uses, where you can experiment with new relational and spatial configurations.

量體由十五個模組規律地排列而成，由上至下呈現猶如馬賽克的型態，彼此間保留之空隙形成對於作品本質的停頓，其光影產生的明暗亦使人聯想到森林中的樹冠羞避現象。設計概念體現德國哲學家海德格所提出的樹木隱喻，建築與花園被視為單一個體，於樹林中若隱若現，帶人展開一場森林的漫步之旅，觀覽樹木之疏密形塑的光影變化，樹冠層的間隙彷彿展示著光明與黑暗之間的微妙作用。

The fifteen modules that compose it follow each other regularly without touching, composing what from above and below is described as a mosaic. The gaps between one module and another establish essential pauses to the understanding of the work. Indeed, the subtle play that is created between clarity and darkness helps to evoke the image of the forest and in particular the phenomenon of the crown shyness. The key to the work is the wooded metaphor of the clearing used by Heidegger. The work and the garden are seen as a single space, alternating between concealment and unveiling: the clearing. A sensory journey that can be like- ned to a walk in the forest, where the trees thicken or lighten, creating suggestive plays of light. The shyness of the treetops reveals itself to the visitor as a chiaroscuro born of the subtle interplay between light and darkness.