感谢 UV LAB 予gooood分享以下内容。更多关于他们：UV LAB on gooood
Appreciation towards UV LAB for providing the following description:

Le Kraken是一座临时建筑装置，位于里昂历史城区的中央广场上，毗邻Les SUBS总部和里昂艺术大学ENSBA。该装置宽25米，高15米，并拥有长达180米的“触须”，整个作品共消耗了1000平方米的木材，于6周之内由30名专业人员和学生共同搭建完成。

▼视频，Video ©UV LAB

Le Kraken is an ephemeral installation that inhabits the central esplanade of the historical site that hosts Les SUBS and the fine arts university of Lyon ENSBA. The Kraken in few figures: 25m wide, 15m high, 180m of tentacles, 1000m² of proclaimed wood, 6 weeks of construction, 30 professionals & students mobilized.

▼项目概览，overall of the project ©Khaled Alwarea

▼近景鸟瞰，closer aerial view ©Khaled Alwarea

当人们第一眼看到UV LAB创作的Kraken时，不免感到浑身颤栗，这座巨大的宛若刚从水中爬出来的木结构“海怪”，仿佛来自另一个时代、另一段历史。然而，它就在这里，将它巨大的触角伸向了Les SUBS与里昂艺术大学，等待着和人们不期而遇。当人们靠近它，并亲手触摸它时，那种不适的感觉与对未知事物的敬畏感就会迅速消失，随着继续探索，人们就会发现“海怪”并没有那么可怕，而且还可以用于举办活动与演出。同时，它又高高耸立，接受着人们从远处传来的凝视。

▼区位分析，location analysis ©UV LAB

A chilling effect takes place upon one’s skin when realizing the size of the Kraken (UV lab), the wooden structure that crawled out of the water belongs to another epoch or maybe a different history. Yet here it is, spreading its tentacles over the “LES SUBS and ENSBA LYON” for us to encounter. The sublime Ora and the chilling effect rapidly disappear once we walk through the Kraken, touch it, and discover more making the beast less terrifying, it hosts events, and spectacles at the same time it stands tall for us to gaze at from distance.

▼鸟瞰，aerial view ©Gregory Rubinstein

我们可以从三种不同的角度来看待“海怪”（Kraken）。首先，使用代词“it”是有问题的，因为，这个装置是“活的”，它的结构形态赋予它动态与生机；同时，人们可以触摸它，在它下方行走，甚至在装置上面攀登，这些行为进一步增强了装置“有机”的性质。另一方面，撇开象征意义而从实际角度来讲，装置采用了木制结构，而木材本身是有“生命”的，它们会呼吸，会收缩，会随着时间变化。在这种情况下，尺度与美学就不再是评判这件作品最首要的因素了，因为，通常情况下，伟大的艺术作品往往是只可远观不可亵玩的，试问，谁能真正触摸到米开朗琪罗的《大卫》，又或者在Jeff Koons创作的巨型气球狗的闪亮表面滑动双手呢？

▼装置宽25米，高15米，并拥有长达180米的“触须”，The device is 25 meters wide and 15 meters high and has “tentacles” up to 180 meters long ©Alix Charter

▼近景，closer view of the project ©Khaled Alwarea

One can look at the Kraken in three different ways. First, using the pronoun “it” is problematic; the Kraken is “vivant”, and the installation approach to it, gives it a lively hood. We can touch it, walk it in it, climb it, at the same time it’s organic; not from a representational point of view but an actual one. In other words, the wood itself has a “life”: it breathes, shrinks, it changes through time. Size and the aesthetics of the sublime play a minor role in this case; since usually, one can’t touch a sublime work of art, ask yourself, can you touch Michel Angelo’s David? can you slide your hand upon the shining surface of Jeff Koons’s giant Balloon Dog?

▼由周边历史建筑看装置，viewing the project from the surrounding historical buildings ©Marianne Cuomo

▼装置与历史建筑的对比，visual impact between the installation and the historical building ©Alix Charter

从另一个角度来讲，Kraken装置代表了一种反叛的精神，它质问着建筑的完整性，将赌注押在倒塌与屹立的矛盾美感上。Kraken创造出来的宛如漂浮在球体上的脆弱感也传达了将“生命”带入结构之中的能力，其设计是具有功能性的，同时又不拘泥于刻板的空间尺度与预先设定的设计。怪模怪样的形象，“内”和“外”的模糊区分，激活了一种“包容”的过程。它不仅仅是一个构筑物，同时也是一种持续的实践，就如同将潦草的建筑、虚假的现实与神话的不确定杂糅在一起，以对话、游戏与探索的形式吸引着人们来到这里，为场地重新引入生机。

▼仰视“触角”，looking up towards the “tentacles” ©Khaled Alwarea

▼有机的形态使装置栩栩如生，the organic form brings the installation to life ©Alix Charter

▼装置细部，details ©Alix Charter / Gregory Rubinstein

▼顶部结构细部，details of the top part ©Alix Charter

Another aspect the Kraken represents is the ability to question the architectural integrity, betting on the paradoxical sense of collapse VS standing tall. But the sense of fragility that floats in the sphere -the Kraken creates- also conveys the ability to bring “life” to a structure that is functional yet doesn’t respect the traditional space measurements and their pre-set designs. A grotesque figure, where “inside” and “outside” are vaguely distinguished; activating a process of “inclusion”. It’s more than a gest; it’s an ongoing Praxis as if aliments of poor architecture, false- instability, and mythological indetermination entangle together to re-introduce human activity as a form of dialogue, play, and discovery.

▼活动场景，event scenarios ©Marianne Cuomo

第三种看待Kraken装置的角度是将其视为一只“野兽”，一种来自传统本体论范畴之外的政治形象。“野兽”有能力越过传统的边界自由奔跑，他的自由只受限于他的欲望和意想不到的自由意志。这就是为什为位于城市历史中心的Kraken装置能够呈现出一种不受限于传统事物秩序的姿态，即使它并“不属于”任何地方，但是它确确实实地存在在这里，这种存在甚至会威胁到周围的事物，让人们不禁发问“它还会做什么?”、“它还可能去哪里?”

▼夜景，night views ©Khaled Alwarea / Marianne Cuomo

A third way to look at the Kraken is to consider it a ”beast”, a political figure that comes from outside the realm of traditional ontological categories. The Beast has the ability to run freely bypassing traditional boundaries, his freedom is only limited by his desires, and unexpected-free-will. that is what makes the Kraken and his location such a representation of bypassing the traditional order of things, even though he doesn’t “belong”, he is present; threatening what’s around it, leaving us to wonder and ask “what else he might do?”, “where else he might go?

▼总平面图，master plan ©UV LAB

▼平面图，plan ©UV LAB

▼顶部结构平面图，plan of the top structure ©UV LAB

▼立面图，elevation ©UV LAB

▼剖面图，sections ©UV LAB

▼细部节点，detailed drawings ©UV LAB

Architects: UV LAB
Area : 300 m²
Year : 2022
Photographs: Collectif des Flous Furieux
Project Architect : Khaled Alwarea
Construction Architect : Mike Shnsho
Architect : Layla Abdul-Karim
Cg Artist & Renders : Sameh Saad
Fund : French Ministry of culture / France relance / Mondes Nouveaux programme
Total Width : 25 m
Total Height : 15 m
Text Author : Ammar Almamoun
Production: Les SUBS
Les SUBS, Lyon, France

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