Masters of Turning Plants into Works of Art/當綠葉成為主角

東京中的城市綠洲「代代木Village」
荷蘭園藝大師 Piet Oudolf
東京中的城市綠洲「代代木Village」
代官山蔦屋書店的聖誕裝置
上海K11
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Video Art Asia by COBOSocial.com

Since ancient times, flowers in all their glory have been the stars of a wide range of settings and visual cultures, and a mainstay for men trying to win the hearts of women. There have been some changes in recent years, however. Grass, all kinds of grass, is no longer a side player often forgotten under bridges or roadsides, no longer a weed people rush to uproot, or a mere backdrop for flowers, but upgraded to a major figure used by the media, creatives, even designers and artists to change the face of the city and enhance understanding of nature. These days, grasses are all the rage, the center of attention.

自古以來,嬌豔繽紛的花總是各種場合和視覺文化的主角,男士為討女性歡心,什麼稀罕的花也要到手。但近年,情況卻慢慢有了轉變。草,各式各樣的草,它們不再是天橋底或路邊被遺忘的配角、叫人除之而後快的雜草,或只是繁花的陪襯,草已榮升各大媒體、創意人,甚至設計師和藝術家用之改變城市面貌、或對大自然理解的重要功臣。如今,草系(botanical )才是潮流。

 

荷蘭園藝大師 Piet Oudolf

 

Piet Oudolf from the Netherlands is a master you absolutely must know if you’re in the creative field. He has a long list of famous works, including the High Line and Battery Park in New York, and Lurie Garden in Chicago. These are all international landmarks and important cases in urban renewal. We can see he’s not in the business of producing ordinary things.

荷蘭的Piet Oudolf,絕對是創意界別不可不知的大師級人物。他的作品名冊全都擲地有聲,紐約High Line和Battery公園、芝加哥千禧公園等,全都是國際級地標、城市更新規劃的重要案例,可見大師一出手,絕對是非同凡響。

 

His creative style is quite distinct: wild, crazy, irreverent, his pavilions and gardens are anything but orderly, providing a rich visual feast at every step. The proliferation of plant varieties appears random, but are actually painstakingly planted together with an artisan’s spirit, alternating to form a multilayered wall of plants. He is adept at the use of perennials to create different scenes.

他的創作風格極為鮮明:狂亂的、野性的、不遵常規,他手下的庭園絕不工整規範,每走一步均是滿滿的視覺盛宴——極多的各式品種植物看似隨意、卻經仔細匠心的栽種在一起,交疊成一層層的植物牆,他擅用各式各樣的多年生植物(perennials)築構不同的場景,「蓬草生輝」,是我第一次到訪他作品時想起的字眼。

 

 

Yarrow, deschampsia, false hellebore, weeds in the eyes of others, he carefully sorts and arranges them into moving canvases. Not only do they have a powerful impact, they are also quite functional. “When I make a design, I’m thinking about the future,” he says. “This is a solution. Beyond being easy to maintain, it can better coexist with local plants and wildflowers.”

蓍草、發草、藜蘆……這些常人眼中的「雜草」,均被他仔細搜羅分類,組合成震撼的畫布。它們不但擁有一股充滿力量的視覺震撼,也有實際功能上的考量。「我設計時總是構想將來,」他說道。「這是一種解決方案,容易打理維繫之餘,也較容易與當地生植物或野花共生。」

 

 

Dubbed the “plant hunter,” Seijun Nishihata is a hot name in Japan of late. He is the fifth generation representative of Japan’s storied plant supply company Hanau Co. This company, founded in 1868, is a giant of the Japanese horticulture scene, and holds a near monopoly on the sale of imported trees, but the company also focuses a great deal on plant cultivation. Their headquarters in Hyogo Prefecture houses over 3,000 types of flowers, making for Japan’s largest, most diverse collection.

被稱為「植物獵人」的西畠清順可說是近年日本炙手可熱的名字。西畠清順是日本花藝樹木百年老店「花宇」的第五代傳人。這家成立於明治元年(1868年)的企業,可說是日本花藝樹木界的巨擘,幾乎壟斷了所有巨木的進口銷售,但除了營商外亦十分注重植物的保育,其位於兵庫縣的總部收藏了逾3000種奇珍異卉,是日本最大型多樣的收藏。

 

 

Seijun had no interest in plants as a child, but after being enchanted by the world’s largest carnivorous pitcher plants on a trip to Mount Kinabalu, he began his plant hunter journey. He traveled deep into the primeval forests and uninhabited islands of Indonesia, sought out the dragon blood tree in Yemen, and even encountered wild bears in the Southern Alps. As soon as he sees a rare plant in a photograph, he begins packing his gear to set out, often just to see it with his own eyes, or to ensure its survival.

我知道,他自小對植物毫無興趣,是在一次旅行迷上基納巴盧山上世上最大的食肉植物豬籠草後,才開始了他植物獵人的旅程的。走遍了印尼的原始森林、潛入無人孤島;到也門尋訪龍血樹,甚至在南阿爾卑斯山遭遇野熊;他只要看見珍奇植物的照片,便會立即預備工具出發,往往只是為了看上一眼,或是令植物存活下去。

 

In 2011, he successfully transplanted a century-old, nearly dead olive tree to the island of Shodoshima in Japan. Four years later, the tree was covered in a lush coat of green leaves. This giant transplantation shocked the horticultural world.

2011年,他將一棵在西班牙超過100歲樹齡卻快要枯死的橄欖樹,成功移植到日本的小豆島。四年後橄欖樹枝葉繁密,這場浩大的跨國移植工程也震撼園藝界。

 

 

What’s more, he has developed the urban oasis Yoyogi Village in the middle of Tokyo, worked with various brands, designing Louis Vuitton’s Omotesando store, creating a garden installation at the Shiki Juraku Hotel in Kyoto, and designing a Christmas installation for the Tsutaya Shoten Bookstore.

不但如此,他更開發了東京中的城市綠洲「代代木Village」,又與各大創意人及品牌聯乘,給Louis Vuitton表參道店的設計,京都酒店四季十樂的庭園裝置、或是代官山蔦屋書店的聖誕裝置等。

 

東京中的城市綠洲「代代木Village」
代官山蔦屋書店的聖誕裝置

 

More importantly, he uses his fame to share ideas of greenification, landscape art and nature conservation with the greater public. He has been tasked by the city of Ikeda with turning the city greener and more natural by 2030. When I wander the design buyer’s stores of Tokyo, I also often see his small plants for sale. This introduces green thinking to the masses in an easy-to-digest way, much like the idea behind the K11 Art Mall - we reveal the interactive cycle of – art, people and nature, as we believe this is the door to a way of living that future generations can enjoy as much quality of life as we do today.

更難得的是,他亦利用自己的名氣,將綠化、園藝、自然保育這些理念與大眾分享。他不但接受池田市的任命,在2030年前將池田市變得更綠化自然,我最近走在東京的設計買手店,便不時看見由他精選的小型植物在店內發售,將綠化理念以容易消化的方式介紹給更廣闊的大眾——這正與K11的art mall概念不謀而合,我們希望揭示藝術、人文、自然的互動循環。因為這是讓我們下一代得以享受我們現在擁有的生活質素的方向。

 

上海K11

 

 

 
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