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这个独特的作品名叫“绽放的幻象”，由设计师为阿姆斯特丹灯光节建造。呼应今年灯光节的主题“仿生”，该作品平衡了自然中的灯光、形态和颜色等元素，并且深挖了这些基本元素之间的复杂关系，与时间、环境和人发生共鸣，呈现出不同的样貌。

This particular work , ‘flowering phantasm” was created and installed for the Amsterdam Light Festival. This year’s festival theme was “BioMimicry”, and broadly, as in nature, the project leverages elements of Light, Form, and Color. More explicitly, the project explores the systematic intertwining of these basic elements enacted through engagement with its context which are most resonantly experienced as responses to change in time of day, its physical and cultural surroundings, and most importantly to the people who come across it.

当代设计不仅要给人们带来新奇的体验，还要和其所处的环境相协调。该项目位于Hermitage博物馆附近的Hof Tuin花园入口处，是城市、景观和文化的交汇之地。

This kind of uncanny experience is one which resonates with questions of contemporary design’s ability to engage with the contexts in which it operates. Here the project is situated at the entry to the Hof Tuin Garden near the Hermitage Museum. This location is charged by its relationship between landscape and the city and through its cultural importance.

为了回应周边环境的丰富性，装置被设计成了自然的球根状，其表面由单独的“花瓣”结构组成，一侧覆有总长超过3000英尺的纤维“毛发”。装置使用的材料也考虑了当地的文化和环境。金色的“花瓣”与阿姆斯特丹传统建筑上的金色细部相呼应，而“毛发”及其生物一般的外观则和花园相和谐。

To engage this contextual richness, the form of the object takes on characteristics of nature through is bulbous shape and through its surface which is made up of individual forms which I call ‘petals’ which on one side are covered in over 3000feet of led fiber ‘hairs’. The material also begins to resonate with its cultural and physical contexts. The gold finish of the petals resonates with the tradition of gold details on buildings which are found throughout Amsterdam and the ‘hairs’ and biological resonances fit with the context of the garden in which the project is set.

这个装置之所以被叫做绽放的幻象，是因为它既活跃，又让人感到亲切，但却是独一无二的，人们无法在世界上找到与它直接相关的事物。装置的尺度、形态和材料也具有这种既熟悉又陌生的特征。整个项目如同一团绽放的花朵，邀请人们参与到其中；而同时它又是一个特殊的幻象，没有具体所指，仍保留有让人无法捉摸的部分。装置反射性的表皮使其融入到了周边环境之中，但这无法掩盖它新颖独特的本质。

People see and are drawn to experience an object that seems familiar without being referenced directly to anything in the world. The work is called flowering phantasm because it is active, familiar and elusive simultaneously. The project’s scale and form as well as its materials are those which people might find approachable while the pieces themselves are not directly tied to any particular reference. The project, like a flower in bloom, invites people to come to it and asks their engagement, but it also elusive, a phantasm, that defies exact references and remains partially inaccessible. Even its reflective surface allows it to blend in with its surroundings while it is clearly something new and alien.

Project size: 60 ft2
Completion date: 2016
Project team: studioMODO – Clay Odom

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