William Turner and Sou Fugimoto: Solidlessness!

摘要

The architects of the revolution have set light and colour to be defined by accurate rules of geometry. Solid and void coexisting in the world of sharp shapes and volumes arrived at the centre of architectural imagination. The night stars of Newton's Cenotaph would not twinkle but instead they would display the sharpness of the laws of geometry and arithmetic and yet the internal light fires of Boullee's Metropole (1 781-1782) and Museum (1783) seemed week to challenge the accuracy of the lines that placed them in space and time. Solid shapes and colours appeared to be the distinct mark of the new scientific era that was to rise firmly. Yet the universe of a rational mind was soon challenged by the eyes that see, by the body that feels the world beyond geometric mathematical frameworks: frames of reference that were nothing more but confmed ways of abstract representation. William Turner shaked the solidity of solid and void such as Mount Tambora shaked the solidity of Earth in 1815. The fresh world of shapes such as we experience them could not be hidden behind geometric-mathematical formulas and world representation to be accepted as such should then be invented afresh. Yet such challenge seemed hard at the core of architecture because even Modern Architecture seemed to prefer accurately defined volumes and shapes. Post-modern architecture proceeded likewise and only developments on structural glass or Plexiglas like materials would make architects imagine other shapes that would question appearance of solidity afresh. Sou Fugimoto's constructive 3D matrix cloud that gave life to 20 13 Serpentine Gallery Pavilion seemed to display the important characteristics that Turner's world brought into the art world. Embodying the world we live in and fashion as well as presenting the world as representation of being-in-the-world. Turner-Fugimoto's massness-colourness-solidlessness may thus rise at the core of contemporary art production and theory of art.