2019年11月在哈佛大学设计研究院展示视觉地图集进入未知世界的心理航程-新东方前途出国

　　Socks Studio: Part visual atlas, part psychological voyage into the unknown 

　　袜子工作室：一部分是视觉地图集，一部分是进入未知世界的心理航程 在线咨询

　　November 26, 2019 Text by Alice Bucknell

　　2019年11月26日爱丽丝·巴克内尔（Alice Bucknell）撰文

　　What do textured Aurelian walls, a Franciscan friar’s dabblings in typography, and a telecommunicated exhibition from the 1990s have in common? They are all featured in Socks, a sidelong look at architecture and design as social phenomena capable of uniting discrete ideas across space and time. Like the trippy half-formed portraits of dogs rendered by Google’s hallucinogenic Deep Dream AI, Socks is an aesthetic exquisite corpse: part visual atlas, part historical cabinet of curiosities, and part psychological voyage into the unknown.

　　有纹理的奥勒良墙，方济会修士在排版上的涉猎，以及90年代的电信展览有什么共同点？它们都以短袜为特色，从侧面将建筑和设计视为社会现象，能够将空间和时间上的离散思想结合起来。就像谷歌（Google）的幻觉深层梦幻人工智能（Deep Dream AI）所描绘的三层半成形的狗肖像一样，袜子是一具美学上精致的尸体：一部分是视觉地图册，一部分是好奇的历史橱柜，一部分是对未知世界的心理探索。 在线咨询

　　Mariabruna Fabrizi and Fosco Lucarelli–who presented their work at Harvard Graduate School of Design in November, 2019–founded Socks in 2006 while studying at the University of Roma Tre. At the time, the two were more interested in emergent technologies and their cultural impact than in architecture proper—or any other discipline in isolation. As its audience grew, Socks stretched beyond architecture and academia, attracting a diverse readership that included artists, video game designers, and technologists who helped shape the discussion through an increasingly interdisciplinary perspective. Over time it became a shared network, a place to prod beyond the already-known maxims of the built world and into new, softer territory. On this rapidly evolving informational ecosystem, the imaginary, speculative, and curious sides of architecture were freed from the progressive trajectory and precise terminology that often envelops the discipline.

　　Mariabruna Fabrizi和Fosco Lucarelli于2019年11月在哈佛大学设计研究院展示了他们的作品，2006年在罗马特雷大学（University of Roma Tre）学习时创立了Socks。当时，两人对新兴技术及其文化影响的兴趣，远高于对建筑本身或任何其他孤立学科的兴趣。随着观众的增长，袜子的范围已经超出了建筑和学术界，吸引了包括艺术家、视频游戏设计师和技术专家在内的不同读者群，他们通过一个越来越跨学科的视角帮助形成了讨论。随着时间的推移，它变成了一个共享的网络，一个超越已经建成的世界的准则，进入新的、更柔软的领域的地方。在这个快速发展的信息生态系统中，建筑的想象、推测和好奇的一面从不断发展的轨迹和经常包含在学科中的精确术语中解放出来。

　　Yves Klein’s Le Vide, (1958) and Arman’s Le Plein (1960) featured on Socks Studio.

　　Yves Klein的Le Vide（1958年）和Arman的Le Plein（1960年）在Socks Studio上亮相。

　　“Now that there’s a critical mass of thousands of posts,” says Lucarelli, “we’ve been able to group our interests into 11 main categories, a process that we refer to as a sort of ‘reverse psychological analysis.’” The categories range from particular conceits arrived at over the years, including “photography as time” and “walls as rooms,” or veer into the paradoxical, such as “dysfunctional plans,” and finally embrace more quotidian architectural terms like “fields,” “housing,” and “axonometric projection”—but take them to very different ends. Distortion, a triumph of anachronism, ambiguity, interconnectivity, and the defiance of easy categorization are the connective tissues between the thousands of entries that comprise Socks’ online database. Reflecting on the categories, Lucarelli adds: “They chose us, we didn’t choose them.”

　　卢卡雷利说：“现在有成千上万的帖子，我们已经把自己的兴趣分成了11大类，我们称之为一种‘逆向心理分析’的过程。”，包括“摄影作为时间”和“墙壁作为房间”，或转向矛盾，如“功能失调的计划”，并最终拥抱更多的日常建筑术语，如“田”，“住房”和“轴测投影”-但把他们到非常不同的目的。扭曲、不合时宜、模棱两可、相互关联的胜利以及对简单分类的蔑视，是构成Socks在线数据库的数千个条目之间的连接组织。卢卡雷利在反思这些分类时补充道：“他们选择了我们，我们没有选择他们。” 在线咨询

　　Socks adopts the language of the infinite scroll and grid that have become part and parcel of our internet experience, from mood boards delivered via Pinterest to your Instagram feed. But unlike similarly structured projects such as Archive of Affinities, Socks doesn’t revel in total ambiguity, nor does it claim to have all the answers. Instead, Fabrizi and Lucarelli provide a continually shifting editorial direction that ranges from a light curatorial prod to several paragraphs of detailed information per entry. The duo feel no pressure of consistency; there is neither fetish for novelty nor devotion to a traditional mode of presentation. They prefer to bring this information into daily life as practitioners and educators of architecture, both on-screen and off-line.

　　Socks采用了无限滚动和网格的语言，从Pinterest提供的情绪板到Instagram订阅，这些语言已经成为我们互联网体验的一部分。但与类似结构的项目（如亲缘关系存档）不同，Socks并没有完全沉浸在模棱两可中，也没有宣称拥有所有答案相反，法布里齐和卢卡雷利提供了一个不断变化的编辑方向，从一个光策展产品到每个条目的几段详细信息。两人没有一致性的压力；既没有对新奇的迷恋，也没有对传统表达方式的执着。他们更愿意把这些信息带到日常生活中，作为建筑的实践者和教育者，无论是在屏幕上还是离线。

　　“Inner Space,” (2019), a book by Mariabruna Fabrizi and Fosco Lucarelli.

　　《内部空间》（Inner Space），Mariabruna Fabrizi和Fosco Lucarelli合著。

　　“It’s a two-way response to the way the internet shapes how we work,” says Fabrizi. “Socks replicates the exquisite corpse created as people contribute alternative ideas to the collective consciousness of the internet; it also steps beyond that increasingly insular bubble of algorithmically tailored information to provoke curiosity, which is the most crucial part of architectural education.”

　　“这是对互联网塑造我们工作方式的双向反应，”法布里齐说。“袜子复制了当人们为互联网的集体意识贡献不同的想法时所创造的精美尸体；它也超越了日益孤立的算法定制信息泡沫，以激发好奇心，这是建筑教育中最关键的部分。” 在线咨询

　　While Fabrizi and Lucarelli continue to expand their digital atlas, they have anchored their practice in a physical space in Paris. In 2010, they founded Microcities, an architecture and design practice that runs independently of Socks but engages with many shared concerns. Ranging from Parisian apartment redesigns to Finnish libraries and entire neighborhood propositions in Sweden, their projects arrive at architecture through several other disciplines. Microcities incorporates principles of sociology, urban planning theory, and psychology, as well as pop culture and everyday life in their speculative designs. Hammarö Boogie-Woogie (2013) was an urban renovation plan for the Swedish city of Hammarö that draws on the partners’ ongoing interest in interstitial spaces, where the private meets the collective. Its title is in homage to Mondrian’s jazzy final painting, Broadway Boogie Woogie (1958)—wherein the sterile urban grid becomes a rhythmic romp through the picture plane. Similarly, their plan for Hammarö brings value to voids, transforming the spaces between housing clusters into vibrant sources of life.

　　当法布里齐和卢卡雷利继续扩展他们的数字地图时，他们已经在巴黎的一个物理空间中固定了他们的实践。2010年，他们创建了Microcities，这是一个独立于Socks运行的体系结构和设计实践，但涉及许多共同关注的问题。从巴黎的公寓重新设计到芬兰的图书馆，再到瑞典的整个街区规划，他们的项目通过其他几个学科到达建筑领域。微城市将社会学、城市规划理论、心理学以及流行文化和日常生活的原理融入到他们的思辨设计中。HammaróBoogie-Woogie（2013）是瑞典城市Hammaró的一项城市改造计划，该计划利用了合作伙伴对间隙空间的持续兴趣，在间隙空间，私人与集体会面。它的名字是为了向蒙德里安爵士风格的最后一幅画，百老汇布吉·伍吉（1958）致敬，在这幅作品中，贫瘠的城市格调在画面平面上变成了一种有节奏的嬉戏。同样，他们对哈马尔的计划也为空旷地带带来了价值，将住宅群之间的空间转化为充满活力的生活来源。 在线咨询

　　From the catalog of the exhibition “Melotti” at the Galleria Nazionale d’Arte Moderna Roma in 1983. (Electa), featured on Socks Studio.

　　1983年在罗马国家美术馆举办的“梅洛蒂”展览目录。（Electa），袜子工作室的特辑。

　　But Fabrizi and Lucarelli believe the best translation of Socks’ ideology from url to irl is Inner Space, their contribution to the current Lisbon Architecture Triennale. The 36-foot-tall cabinet of curiosities they erected in the main exhibition hall offers a physical rendition of their research methodology of “inner space.” The project explores collective imagination through different media including models, photographs, objects, installations, drawings, and VR. In an effort to democratize and repopulate old imagery with new meaning, Fabrizi and Lucarelli only used images that have gone out of copyright and are readily downloadable from the internet.

　　但法布里齐和卢卡雷利认为，袜子的意识形态从url到irl的最佳翻译是内部空间，他们对当前里斯本建筑三年展的贡献。他们在主展厅中竖立的36英尺高的古董柜为他们的“内部空间”研究方法提供了一个物理再现。该项目通过不同的媒体探索集体想象，包括模型、照片、物体、装置、图画和虚拟现实。为了使旧图像民主化并重新填充新的含义，Fabrizi和Lucarelli只使用那些已经失去版权并且可以从互联网上下载的图像。

　　As the plywood structure ascends, it travels through time and gradations of publicness to ask how the visual presentation of images throughout history has shaped the image of architecture within the public imagination. Beginning on the ground level with a series of maps—from otherworldly medieval speculations to existential topographical drawings by the contemporary artist Grayson Perry—architecture then ascends through media and categories to become a common representation. Reflecting on this project, the duo ask: “Is it possible to consider collective imagination as a sort of territory uniting disparate ideas? If so, how might you materialize it?”

　　当夹板结构上升时，它会穿越时间和公共性的等级，询问历史上图像的视觉呈现是如何在公众想象中塑造建筑形象的。从地平线上开始，由一系列的地图从当代世界的中世纪思辨到当代艺术家的存在地形图，Grayson Perry建筑然后通过媒体和类别上升成为一个共同的代表。在反思这个项目时，两人问：“有没有可能把集体想象看作是一种融合不同思想的领域？如果是的话，你如何实现它？” 在线咨询

　　“When we started Socks, we didn’t think it would last a long time—the title was a random placeholder for our website that just sort of stuck,” confess Fabrizi and Lucarelli. “But in the end, we are happy because it obliges us to not take anything too seriously.” Whether with their presentation in Lisbon, their research through Socks, or their role as educators in architecture and design schools worldwide, the duo care little for having all the answers. Rather, they want to provoke a second take on images and encourage the pursuit of new meanings. As the post-truth politics of the present evolves into a hybrid of fact and fiction, their unconventional approach to archiving—which values the speculative as much as the real—makes Socks a vital tool for unlearning and provoking curiosity in the realm of architecture and beyond.

　　“当我们开始穿袜子的时候，我们认为它不会持续很长一段时间，标题只是我们网站的一个随机占位符，有点卡住了，”坦白说，法布里齐和卢卡雷利。“但最后，我们很高兴，因为这迫使我们不要太认真对待任何事情。”无论是在里斯本的演讲，还是通过袜子进行的研究，还是在世界各地的建筑和设计学校中作为教育者的角色，这对组合都不太关心所有的答案。相反，他们希望激起对图像的第二次拍摄，并鼓励人们追求新的意义。随着当代后真理政治逐渐演变成事实与虚构的混合体，他们对存档的非传统方法将思辨与真实同等重要，这使得袜子成为在建筑领域和其他领域忘却和激发好奇心的重要工具。