<市民廣場藍圖-深圳>是一件讓城市廣場的公民性格具體被看見的作品。
整件作品包含了三個部分:
一是林梢:站在抬高的雄偉廣場,透視著不可見的地下。我們見到了向上竄升的樹林,林間市民笑談日常。
二是遠行:如河通道從地底升起,被遺忘的腳踏車終究浮現,往遠山鄧小平同志的步伐前去 。
三是夢舟:空中飄浮著記憶中的絲縷船舟,是思念漁鄉的烈火融蝕現實之 後的殘跡。
有一些人一直對於真實與虛構之間的模糊地帶有著高度的興趣;在立體與平面之間;在永恆與瞬間之間;在過去與未來之間遊移往返。藍曬圖系列(The Blueprint Relief)是劉國滄與打開聯合工作室從2005年開始的創作計畫,從台灣的古都台南殘屋藍圖開始,到德國柏林的藝術村IMA Design Village柏林圍牆藍圖等,均是利用基地現場的元素,在單消點的透視裡看見了記憶與夢想。作品均是試圖捕捉記憶的樣貌:在當地尋找被丟棄遺忘的傢俱,一是透過裁切、上色、描邊、形成浮雕的效果;二是透過纏繞鐵絲、焚木成灰、形成鏤空效果。既成物的功能因為被人丟棄而消失之後,卻藉著再度的去物質化,反而在現實的輕薄社會裏沉重了起來。像沉墜遺忘的記憶一樣沉重。
作品以藍曬圖(Blueprint)作為意象。一般來說,藍圖是代表著對未來的期待,是即將具體的工程計畫藍圖。但在這個作品中所呈現的卻是過去的記憶,現場地面透視著市民廣場地底下的平面,還有過去這片土地上曾經存在的元素,如單車、稻田、樹林、水路與消逝的舢舨船。 在特定節日燒船,是台灣漁民特殊之祈福儀式(燒王船)。這次我們探索收集關於過去深圳海港船隻的形貌,以船體做為骨架,以千絲萬縷如思念般的鐵絲纏繞,於引火焚燒後,存其焦鐵殘絲而成“夢舟”。一方面紀念實體船隻以不復現形於城市當中的過去,也表達出對深圳港岸記憶的追溯。
藉此焚船儀式,我們為這個城市的未來祈福,也希望讓公眾深入去體會及發現城市中未知或遺漏的景觀。

What a city needs to mobilize is not only its citizens’ bodies, but also their souls. The work “Civic Center Blueprint- Shenzhen” means to visualize the character of the Civic Center’s citizens and tries to look into the underneath of the Civil Center, from where some elements that used to prevail, like bicycles, rice paddies, channels, and the disappearing Sampans, are found vivid. The ground-based work consists of three parts. The first part is “The Top of Trees”. Here trees grow high to form an elevated part of the Civic Center, from where the citizens seem to be able to penetrate the ground and see the invisible underneath while chatting about their everyday life. The second part is “A Long Journey’. A riverbed rises so high that some abandoned old bicycles emerge and are activated to follow Comrade Deng Xiaoping’s footprints in the far mountains. The third part is “The Dream Boats”. Boats are wrapped with wire and then ritually burned by the fire which symbolizes homesickness for a fishing hometown. The wire survives to embody the memory which suspends in the air. Oustudio have always been greatly interested in the ambiguous state between the real and the fictitious. Liu started The Blueprint Relief series in 2005. Whether in Memory of the Wall in Hai-an Road in the ancient Taiwanese city Tainan or Six Ways to Re-do a wall at the at IMA Design Village in Berlin, Liu used a high wall at the site to simulate the effect of one-point perspective. Generally speaking, a blueprint represents anticipations of the future and a project that is going to be realized. But what this work show is memory of the past. Liu looked for discarder and forgotten furniture locally and by cutting, colouring and contouring them, Liu produced a relief. After losing their functions and being dematerialized, these found objects seem to become flat and light.As the work tries to incarnate memory, what it does is: Find pieces of discarded furniture on the site and follow either of the following ways. (1) Cut, color, and delineate them into relief-like objects; (2) Wrap them with wire, after which burn them into ashes and the fire-carved remains. In fact, burning fishing boats is a special ritual in Taiwan that prays for blessings upon fishermen. This work collects the appearances of the old boats that once harbored in Shenzhen and adopts their bodies as the frames which are then wrapped with the dense wire that represents the yearnings for hometown. After fire combustion, the remaining, burned wire is “The Dream Boats”, which commemorate the past of the old boats and invoke the memory of Shenzhen Port. The work wishes to pray for the future of Shenzhen through the ritual of burning boats, by means of which also hopes to promote the public awareness of experiencing the forgotten scenes of their city.(Translate/ P.K Tsai)  

 
2009年 深圳,深圳市民廣場   2009深圳‧香港城市建築雙城雙年展
2009 Shenzhen & Hong Kong Bi-City of Urbanism/Architecture

打開聯合工作室
樹德科技大學室內設計室 劉國滄
林育漢、許芳瑄、鄭婉柔、翁慈吟、王浩瀚