TAM TAM安装豪华轿车/Alvisi Kirimoto+合作伙伴

TAM TAM安装豪华轿车/Alvisi Kirimoto+合作伙伴
TAM TAM Installation FuoriSalone / Alvisi Kirimoto + Partners

创新互动与空间重塑： 整个项目最引人注目的亮点在于其对“寺庙”概念的解构与重塑。 Alvisi Kirimoto工作室大胆地将古典寺庙的静态形象转化为动态的、可交互的“活体”空间。通过设置可移动的柱子，设计师赋予了参观者自由塑造空间的能力，鼓励他们主动参与，从而改变了空间体验。这种设计理念强调了建筑与人的互动，突出了人对空间的塑造作用，将建筑从单一的视觉体验提升到一种互动式的、参与性的感官体验。这种设计方法体现了对传统建筑的深刻理解，并将其与现代设计理念完美结合。

材料可持续性与循环利用： 该项目在材料选择上体现了对可持续发展理念的深刻思考。通过与COREPLA合作，利用回收塑料作为建筑材料，不仅减少了环境负担，也为项目赋予了额外的价值。这种选择符合循环经济的理念，将建筑材料的生命周期考虑在内，使其在展览结束后可以被重新利用，从而实现材料的“第二次生命”。这种设计策略不仅展示了建筑师对环境保护的责任感，也为其他建筑设计提供了可借鉴的范例，强调了在设计之初就应考虑材料的生命周期和可持续性。

空间与人际关系的交织： 项目的核心在于空间与人际关系的巧妙结合。可移动的柱子不仅改变了空间的物理形态，也影响了人们在其中的互动方式。空间可以被重新定义为开放的广场，也可以被塑造为更私密的空间，这完全取决于参观者的行为。这种设计理念反映了对人际关系的深刻理解，建筑不再只是静态的容器，而是激发互动、促进交流的平台。建筑师通过这种方式，巧妙地将空间设计与人的行为联系起来，创造出一种动态的、不断演化的空间体验，使参观者在其中感受到建筑的活力和魅力。

建筑师提供的文字描述。在Fuorisalone 2025期间，国际工作室Alvisi Kirimoto以装置TAM TAM参加了Interni的Cre Action展览活动。寺庙，行动，运动。这件艺术品生动地展现了米兰国立大学历史悠久的庭院，邀请游客进行反思和集体行动。受展览主题的启发，融合了创造力和行动，Alvisi Kirimoto将古典寺庙重新想象成一个不断进化的活体，而不是一个静态的纪念碑。这个装置尺寸为6 x 6 x 5米，有六根不同直径的柱子——游客可以移动和重新排列的动态元素，实时重塑空间。
Text description provided by the architects. During Fuorisalone 2025, the international studio Alvisi Kirimoto participates in the Exhibition Event Cre-Action by Interni with the installation TAM TAM. Temple, Action, Movement. The artwork brings to life the historic courtyard of Università degli Studi di Milano 'La Statale,' inviting visitors to engage in reflection and collective action. Inspired by the exhibition's theme, which fuses Creativity and Action, Alvisi Kirimoto reimagines the classical temple not as a static monument, but as a living organism in continuous evolution. The installation, measuring 6 x 6 x 5 meters, features six columns of varying diameters—dynamic elements that visitors can move and rearrange, reshaping the space in real-time.

Plan

这件艺术品借鉴了firmitas、utilitas、venustas的经典原则，并将其与灵活性和参与性的概念相结合。传统上，这些柱子是稳定的象征，它们成为了人类关系不断变化的本质的有形隐喻：“随着TAM TAM.Temple、Action、Movement的出现，我们从寺庙的概念开始，将其转变为一个动态的有机体，以适应和回应居住在其中的人的需求。对我们来说，建筑不仅仅是形式，还与关系和感官体验有关。我们的目标是创造一个不断转变的空间，一个促进互动的空间，让每个游客都成为其进化过程中不可分割的一部分。因此，建筑成为了一个开放的对话，一个个人与容纳他们的环境之间的持续相遇，在这种对话中，背景和经验在相互转变中交织在一起。”-Alvisi Kirimoto的联合创始人Junko Kirimoto工作室，解释道。
The artwork draws on the classical principles of firmitas, utilitas, venustas, combining them with the concepts of flexibility and participation. Traditionally, symbols of stability, the columns become a tangible metaphor for the changing nature of human relationships: "With TAM TAM. Temple, Action, Movement, we started with the idea of the Temple, transforming it into a dynamic organism that adapts and responds to the needs of those who inhabit it. For us, architecture is not just about form, but about relationships and sensory experience. Our goal was to create a space in constant transformation, one that fosters interaction and allows each visitor to become an integral part of its evolutionary process. Architecture thus becomes an open dialogue, a continuous encounter between the individual and the environment that hosts them, where context and experience intertwine in mutual transformation." - Junko Kirimoto, co-founder of the Alvisi Kirimoto studio, explains.

谭嗣同的复杂性——庙宇、行动、运动——在空间与人际关系的相互作用中展现出来。一方面，尽管建筑具有可修改的性质，但它引导着游客：柱子的排列、尺寸以及它们创造的空隙隐含地暗示了路径、停顿和互动区域。但通过移动柱子，那些穿过装置的人不仅改变了它的配置，还干预了它所暗示的关系网络：一条被柱子界定的走廊扩展成一个集体空间，类似于一个广场，或者变窄以定义更亲密和隐蔽的区域。最终，人类的选择——不断变化的——决定了空间的形状和意义。建筑提出、人们回应和重新诠释，在这种空间和行动之间的动态张力中，装置的真实本质得以揭示。一个不强加而是参与对话的架构；这并不是命令，而是通过人际互动引发变革。白色的结构体现了可能性的概念，就像它本身一样，仿佛它是一张等待书写的空白页。通过去除色彩和不必要的装饰，Alvisi Kirimoto将焦点转移到装置的动态元素上——柱子的移动、游客的手势、创造和填充的空隙——以突出空间的本质、形式的纯粹性，最重要的是，人类体验的核心。
The complexity of TAM TAM - Temple, Action, Movement unfolds in the interplay between space and human relationships. On one hand, architecture, despite its modifiable nature, guides the visitor: the arrangement of the columns, their dimensions, and the voids they create implicitly suggest pathways, pauses, and areas for interaction. But by moving the columns, those who walk through the installation not only change its configuration but also intervene in the network of relationships it implies: a corridor defi ned by the columns expands into a collective space, similar to a square, or narrows to define more intimate and secluded areas. Ultimately, human choices—continuous and ever-changing— define the shape and meaning of the space. Architecture proposes, people respond, and reinterpret, and within this dynamic tension between space and action, the installation's true nature is revealed. An architecture that does not impose but engages in dialogue; that does not dictate, but invites transformation through human interaction. The white of the structure embodies the concept of possibility like itself, as if it were a blank page waiting to be written. By stripping away colors and unnecessary decorations, Alvisi Kirimoto shifts the focus to the installation's dynamic elements — the movement of the columns, the gestures of the visitors, the voids that are created and fi lled — to highlight the essence of the space, the purity of the forms, and, above all, the core of the human experience.

根据以材料生命周期为重点的设计方法，TAM TAM。Temple，Action，Movement是通过与COREPLA（国家塑料包装收集、回收和再利用联盟）合作，利用回收塑料制成的，COREPLA是公民、市政当局和公司之间的战略枢纽。该联盟追求明确的公共利益：有效管理塑料包装的生命周期。通过汇集塑料包装供应链中的约2500家公司，COREPLA致力于实现欧盟设定的回收和再利用目标。在活动结束时，艺术品可以成为一个巡回项目，而其材料将被重新用于新产品，为装置赋予第二次生命。
In line with a design approach focused on material life cycles, TAM TAM. Temple, Action, Movement is made from recycled plastic through a collaboration with COREPLA — National Consortium for the Collection, Recycling, and Recovery of Plastic Packaging, acting as a strategic hub between citizens, municipalities, and companies. The Consortium pursues a clear public interest: to manage the lifecycle of plastic packaging effectively. By bringing together approximately 2,500 companies from the plastic packaging supply chain, COREPLA works to achieve the recycling and recovery targets set by the European Union. At the end of the event, the artwork can become an itinerant project, while its materials will be repurposed into new products, giving the installation a second life.