American artist James Casebere has produced a series of staged photographs portraying a future world in which people are forced to build shelters to escape catastrophic flooding.

Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.

“Forty per cent of greenhouse gases are created by buildings,” the artist told, highlighting one of the key factors contributing to global warming. “It’s imperative that we reduce that number drastically through design, insulation, and alternative energy sources.”

“The impact is inevitable and architects must take responsibility for reducing it,” he added, “as well as adapting to a more precarious, dangerous, environment.”

美國藝術家詹姆斯·凱斯伯瑞(James Casebere)製作了一系列分階段的照片,描繪了一個未來世界,人們被迫建造避難所以躲避災難性洪水。

Casebere創作了題為《在水邊》的叢書,以引起人們對與氣候變化有關的問題的關注,尤其是人類需要創造性地應對海平面上升帶來的威脅。

畫家告訴記者:“百分之四十的溫室氣體是由建築物產生的,”他強調了造成全球變暖的關鍵因素之一。 “必須通過設計,絕緣和替代能源來大幅度減少這一數字。”

他補充說:“這種影響是不可避免的,建築師必須承擔減少這種影響的責任,並適應更加不穩定,危險的環境。”

An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán.

The Emotional Architecture exhibition at New York’s Sean Kelly Gallery presented a stylised version of Barragán’s buildings, which the artist recreated in miniature and photographed to express the sense of spirituality inherent in the spaces.

對建築和沿海生活的興趣促使Casebere開發了該項目,這是他在2016年根據路易斯·巴拉甘(LuisBarragán)的建築物創作的一組圖像的後續作品。

紐約肖恩·凱利美術館(Sean Kelly Gallery)的“情感建築”展覽展示了Barragán建築物的風格化版本,藝術家將其重新製作成微型照片,並進行了攝影,以表達空間固有的靈性感。

For On the Water’s Edge, Casebere looked to the future rather than the past, whilst incorporating some of Barragán’s values into the design of the futuristic hybrid structures he modelled at his studio in Pittsfield, Massachusetts.

對於“在水邊上”,Casberre著眼於未來,而不是過去,同時將Barragán的某些價值觀納入他在馬薩諸塞州Pittsfield的工作室建模的未來派混合結構的設計中。

“Climate change has been a concern of mine,” he said, “and for years I had been strangely enamoured of a 19th-century lifesaving station at Caffey’s Inlet on the Outer Banks of North Carolina.”

“So, I began to create my own structures for the beach; lifesaving stations as social infrastructure for migrant populations fleeing the devastation of ever-increasing storms – safe spaces for a drowned world.”

他說:“氣候變化一直是我的關注點,多年來,我一直被北卡羅來納州外灘卡菲入口處的19世紀救生站迷住了。”

“因此,我開始為海灘創建自己的結構;作為逃離不斷增長的風暴的移民人口的社會基礎設施的救生站-溺水世界的安全空間。”

The models are made from foam core, paint and plaster, with the effect of water created using melted resin that is carefully shaped with a heat gun and placed onto a painted wooden base.

Backgrounds are compiled in Photoshop using Casebere’s own images or shapes based on his personal memories.

這些模型是由泡沫芯,油漆和石膏製成的,其效果是使用融化的樹脂產生的水產生的效果,並用熱風槍仔細定型並將其放置在粉刷過的木製底座上。

根據Casebere的個人記憶,使用Photoshop自己的圖像或形狀在Photoshop中編譯背景。

Casebere said his abstract refuges reference the work of architects as diverse as Herzog and deMeuron, Japan’s Akihisa Hirata and Costa Rican firm Studio Saxe, as well as residential buildings he encountered near Puerto Vallarta in Mexico.

卡斯伯雷說,他的抽象避難所提到了建築師的工作,包括赫佐格和德默龍,日本的秋田平田和哥斯達黎加的Studio Saxe等建築師,以及他在墨西哥的巴亞爾塔港附近遇到的住宅建築。

In particular, Paul Rudolph’s Florida houses, built between 1946 and 1961 in response to their subtropical setting, informed the idea of creating structures that appear to be in perfect synergy with nature.

保羅·魯道夫(Paul Rudolph)的佛羅里達房屋於1946年至1961年間為響應亞熱帶環境而建,它傳達了創造與自然完美融合的結構的想法。

The composite ensembles are intended to suggest a new form of social space that is a hybrid of various architectural forms, including lifeguard stations, bath houses, beach houses, hostels and emergency shelters.

“I may be inspired by, influenced by, and I might even steal from existing buildings, but I am trying to create new spaces out of that, to generate possibilities and new thinking about the future,” said Casebere.

這些合成樂團旨在提出一種新的社交空間形式,它是各種建築形式的混合體,包括救生站,浴室,海濱別墅,旅館和緊急庇護所。

Casebere說:“我可能會受到啟發,受到影響,甚至可能從現有建築物中偷竊,但我正在嘗試以此為基礎創造新的空間,以產生可能性和對未來的新思考。”

Despite their realistic appearance, the buildings have an unfinished quality that means they seem ready to welcome any refugees seeking shelter.

The artist added that it was an ambition to “collaborate with others to get things built for the more vulnerable around the globe”, but stated that the objective of his photographs is simply to provoke an emotional response in the viewer.

儘管建築物外觀逼真,但其質量仍未完成,這意味著它們似乎準備歡迎任何尋求庇護的難民。

這位畫家補充說,“與他人合作為全球各地的弱勢群體建造東西”是一個雄心勃勃的計劃,但他表示,他的攝影作品的目的僅僅是激發觀眾的情感反應。

“They are done to inspire others and [are] not concrete finished designs,” he pointed out.

The photographs that form the On the Water’s Edge series were created for an exhibition that opened on 11 January at Galerie Templon in Paris. The exhibition will run until 7 March 2020.

他指出:“這樣做是為了激勵他人,而不是具體的成品設計。”

構成“水邊”系列的照片是為1月11日在巴黎的Templon畫廊開幕的展覽而創作的。 展覽將持續到2020年3月7日。

FROM:https://www.dezeen.com/2020/01/12/james-casebere-on-the-water-edge-photography/

CONTACT US

We're not around right now. But you can send us an email and we'll get back to you, asap.

Sending

Log in with your credentials

or    

Forgot your details?

Create Account