(即日起，原da大 in print更名为da-in-print)Olivier Goethals与我们最初的相识与合作，是从2020年4月开始的，当我们的周围的世界以惊人的速度改变的时候，他在c-site.3中写下了对自我和他者的想法。他者由于其本身的特质，像藏匿在阴影之中无迹可寻的状态，而Goethals却能够以无懈可击的逻辑为我们提供了一个让视野可以准确停留的空间。这段文本以其独有的清晰、清醒、深度和自信使我们着迷，他甚至在后面聊起时承认，那次的文本内容和语言于自己也是一个惊喜。当然，它又很适合来自于Goethals，因为他的实践似乎可以很细致地填补了建筑和艺术之间的距离，提供了可以被触碰到的、来自于两者之间的物理形式的表现，它使我们能够看清这两个存在于不同框架之间的边界。于是，这就变成了编制POEM! 书籍的起源——虽然要把这些特征记录下来，编集成一本书，本身就是带有一种令人畏惧但又无法抗拒的可能性的挑战。当Goethals的想法也一拍即合的时候，我们感到无比欣慰。在筹备的过程中双方亦都希望通过这个过程最终产生的内容可以提供某种意义上的 “工作和身份”，并通过这本书的移动、结构和构建来产生一些更纤细和复杂的思考。在很大程度上，原始图像本身没有被触碰和改变，相反，图像之间最纯粹的关系被用来说明使Goethals作为建筑师和艺术家这种复杂、活跃的完全独特的关系。在这次共同的合作中，我们尝试超越以项目分析/概述的构建为中心的书籍价值，通过创造一个阅读它所需的运动和轨迹、图像的特殊使用和定位，以及自身的缺乏秩序的对象，给读者一种在跨越了38个项目、48首诗和132张图像的线条中所出现的具有内在联系的假象——We initially began our collaboration with Olivier Goethals in April of 2020, as the world changed around us at an alarming pace, he wrote about his thoughts on self and other. It was a surprise, admittedly even to himself, how detailed and seemingly accurate the text was; the infallible logic bringing clarity to space which through its own nature is shrouded in shadows and cannot be clearly seen. It seems fitting for this to have come from Goethals, who’s own practice appears to successfully fill the gulf which lies between architecture and art; providing tangible, physical manifestations stemming simultaneously from both which allow us to see clearly the borders that exist between these two disparate frames of existence.
And thus this became the impetus for the creation of the POEM! book - a daunting yet irresistible possibility, which we were overjoyed with upon Goethals accepting our initial invitation.
Our collaborative hope is that what has ultimately been produced via the resulting process will provide some semblance of the sense and identity of the work and thinking though the actions, structure, and construction of the book. We have sought to transcend the typical utility of a book centered on the construction of an analytical overview of projects, creating an object that rather gives readers, through the actions required to read it, the particular use and positioning of images, and it’s lack of order, a semblance of connectedness which appears in lines crossing 38 projects, 48 poems, and 132 images.
*1——A面 / 书籍系统所产生的独一无二的多种副本。Side A - Each copy is a unique composition.POEM!这本书籍难以为建筑师/艺术家Olivier Goethals的实践提供一个全面的概述。相反，它在尝试超越每种孤立的作品的特殊性和背景，展示着由它们建立的一种整体的共生关系。书籍的标题 "POEM"可以从两个方面来解释。第一方面，由于每个副本的排列方式不同，图像以不断变化的顺序并列存在，但又敏感地产生着内在联系，一个接一个的产生组合，不合逻辑但又具建设性的系统似乎本身就是Goethals实践中产生的叙事的诗意表现，而这种表现方式单靠语言是无法准确表达的，它是一首由图像和文字组建的空间性的诗。The compilation which follows does not provide a comprehensive overview of the work and practice of Architect/Artist Olivier Goethals. Rather, it is an attempt to transcend the particularities and context of various works in isolation, and to instead demonstrate the cohesive relationships which work to build a coalescing whole. The title of this book, POEM, can thus be interpreted in two ways. The first being, as each copy has been arranged differently, images juxtaposed in a constantly changing order, but inexplicably interlinked combination after combination, the somehow illogical yet constructive system seems itself to act as a poetic manifestation of the narrative born out of Goethals practice in a way which words alone can not properly express. A spatial POEM of image and word. 第二个方面是POEM这个词本身的性质。它从希腊语 "poieses"在哲学中，poiesis（源自古希腊语：ποίησις）是 "一个人把以前不存在的东西带入的活动" 或 "to make / 制造" 而来，这个词似乎可以恰当地描述这本书的意图，它通过不能被描述为相似的手段，结合了各种场景、绘画、素描、写作，试图制造一些由于新揭示的关系而在以往不存在的内容（及作品）。The second derives from the nature of the word POEM itself. From the Greek “poieses” or “to make”, it seems to fittingly describe both this book, which itself combines various scenes, paintings, drawings, writings to make something which by virtue of newly revealed relationship, did not exist before, and the work, through means which cannot be described as dissimilar.每本书都是由一系列的组合和并列组成的，书籍没有采用静态的顺序，在那里，无形的东西突然有了物理形式，预先存在的逻辑，在一个不断变化的周期中慢慢显示出来。Each book is comprised of a series of combinations and juxtapositions, and no static order has been applied, as to demonstrate a pre-existing logic which slowly reveals itself in a constantly shifting cycle, where suddenly the intangible takes on physical form.*2——B面 / 书籍的正背面为镜像结构，与A面均为不同的内容和关系。Side B - The structure is mirrored, lacking a clear front and back.
01 / 结构 (STRUCTURE)
如何创造一个不包含预先确定的秩序的物理结构，或者更简单地说，这个结构缺乏一个开始和结束，是我们在这本书的制作过程中着重考虑的部分。为了实现这一点，四个独立的模块被绑定到一个中央的 "Z" 形结构的左右边缘。这在 "前 "和 "后"、"上 "和 "下 "之间创造了完全的平衡和对称性，并意味着所有这些变量在感知方面是完全可以互换的。这四个模块可以进一步分为两种尺寸，较大的模块直接靠着中心板向内绑定，较小的模块直接在大模块的顶部向外绑定。它们的位置然后向上或向下移动，创造出运动的效果，并允许所有四个模块作为一个单一的表面，一个结构性的网络和空间，在整个阅读体验中保持可见。We focused on creating a physical structure which does not incorporate a pre-determined order, or in simpler terms, lacks a beginning and end. To achieve this, four independent modules have been bound to a central ‘Z’ structure on both its left and right edges. This creates complete balance and symmetry between ‘front’ and ‘back’, ‘top’ and ‘bottom', ‘up’ and ‘down’, and means all of these variables are completely interchangeable in terms of perception. These four modules can be further divided into two sizes, larger modules bound inward directly against the central board and smaller modules bound outward directly on top of the large modules. Their positions are then shifted upwards or downwards creating the impression of movement and allowing for all four modules to act as a single surface, a network of structure which remains visible throughout the experience of reading. ![]()
*3——书籍的系统建立在一个中间的连接件（"Z" 形结构）之上，四个模块被其连接在一起，书籍由手工装帧来保证灵活性，装帧前每个模块会被随机地打乱顺序。因此导致了书籍产生了每个不同副本的结果。A central "Z" structure connects four modules, which are each individually sorted randomly before being hand assembled and bound.
POEM!书中所选择的图像被裁剪、放大和重新排列，以揭示没有直接联系的项目之间的相似性和内在关联。"揭开 / uncover" 这个词对于这本书很重要，它比 "创造 / created" 或 "强加 / imposed" 更能准确地描述了书籍被使用的过程。当开始处理这些图像时，便发现，如果你把两个完全不同的项目（地理 / 时间 / 目的性）放在一起，线条会连接起来，纹理会啮合起来，或者颜色会均匀地散布在一起，尽管Goethals自己说，这些连接完全不是故意为之的。为了强调这个看似不合逻辑却又有建设性的、可以在表面下发现的连接系统，为了避免内容的任意性和不必要的固化性，我们随机地组织了每一本单独的书。这意味着每一本的组成和顺序都是独一无二的，它们共同构成了一个单一的系统，展示了Goethals实践的这种独特的品质，在这里，无论是在物理上还是概念上，看似不同的实体被凝聚成了一个单一的整体。Images have been cropped, zoomed in, and rearranged as to uncover similarities and relationships between projects that have no direct connection, and which were designed in isolation from one another. It is important to focus on the word “uncover”, as it describes the process we used more accurately than “created” or “imposed”. As we began to work with the images, we found that if you were to lie two completely different projects next to one another, lines connected, textures meshed, or colors scattered evenly across the spread, even though Goethals stated himself that these connections were completely unintentional. In order to place emphasis on this seemly illogical yet constructive and connected system which could be found just beneath the surface, and to avoid the arbitrary and unnecessary solidification of content, we organized each individual book randomly. This means that each copy is unique in composition and order, and together they form a single system which demonstrates this unique quality of Goethals practice, where seemingly disparate entities coalesce to form a single whole, both physically and conceptually.![]()
![]()
![]()
![]()
![]()
文本被作为另一个层面被带入到这本书籍中，准确的来说，它们来自于Goethals的工作簿和草图的各种笔记。这些 "笔记"，或者更准确地说像是 "诗句"，云一样漂浮在图像之上，以没有装订的环状结构，在纸张上可以自由地移动。从这种不连贯的关系中得到的物理多重性给人的印象是，这些抽象的诗歌片段得以生活在它们自己的意识层上，尽管它们的意义可能显得不那么明确或者破碎，但它们的存在对Goethals的思想提供了另一层的敏感度。A layer of text has been incorporated, taking the form of various notes from workbooks and sketches. These ‘notes’, or perhaps more accurately ‘poems’ float above images like clouds on unbound sleeves which can freely shift from side to side. The physical multiplicity derived from this disconnected arrangement gives the impression that these abstract poetic fragments live on their own strata of consciousness, and although their meaning can appear as unclear or broken, that they undeniably come to provide a heightened sensitivity toward Goethals thoughts.![]()
*4——环状结构的文本在页面上可以左右移动，它们没有被装订在书籍之中，不会对图像关系进行干扰，随机地分布在不同的页面之上。Text has been applied to sleeves which are completely independent from the rest of the structure and can freely move from side to side, allowing for uninterrupted viewing of images.
![]()
通过建筑和艺术的融合，以及无论在焦点和思想上都是非传统的空间干预的实践的状况之中，如何不寻求改变现有的环境，而是直接与这种环境发生联系，如何在 “崭新的” 和 “给定的” 之间产生一个附电空间，这些问题在我们的头脑中旋转着，是否有可能通过一本书在读者之中创造空间意识？于是，这本书籍通过不断变化的关系系统来构建，由它们内在的同一性揭开，植根并流淌于一种非个人的维度，所有创造性行动也通过它逐渐生长出来。正如Olivier Goethals所说："像呼吸一样，创造性的行动发生了"。
With a practice which is both unconventional in focus and in thought, through the combination of architecture and art, and in the design of spatial interventions which seek not to transform existing environments but rather relate directly to said environment, generating a charged space between new and given, questions swirled in our minds as to if it were possible to create spatial awareness in readers through a book which is constructed out of a constantly shifting system of relationship uncovered by their intrinsic sameness, rooted in and flowing from the impersonal depths through which all creative action derives. “Like breathing, creative action happens.” - Olivier Goethals *5——因为关系的随机性，导致了每两页之间关系都是相异的，于是，建筑与艺术之间、建筑与建筑之间，点线面都在发生着新的关联。As the order is random for each copy, relationships between images constantly shift and connect through various means, between architecture and art, points and lines.
![]()
图1/ —— 四个模块分别经过归序 / 整理，等待装订。Four modules are first randomly sorted, waiting to be assembled.
图2/ —— z形连接件。Central "Z" structure.
图3/ —— 定位及装订。Positioning and binding.
图4/ —— 双面装订及套入环状结构。Double sided binding and application of sleeves.
最后，我们由衷地感谢帮助实现和支持这本书的每一位！
*书中除了Olivier Goethals的建筑和艺术实践，还可以在选定的图像中找到019, Filip Dujardin, Moritz Kung, Karel Martens, Lucy Mcrae, De Cleene & De Cleene, Goldin+Senneb, Sharon Van Overmeiren, Rudy Guedj等作者的作品片段。
*本文内容未经与da-in-print确认，切勿转载或改动。
![]()
![]()
Olivier Goethals
主要活动据点位于比利时的根特。曾学习建筑与城市规划。他的身份同时是建筑师和艺术家。在领域广泛的实践中, 他研究着物理空间和意识之间的联系。曾为Z33 Hasselt, CIAP Hasselt, Extra City Antwerp, HNI Rotterdam, SMAK Ghent & Palais De Tokyo Paris等场馆进行了空间干预和艺术装置。此前, 他曾作为首席建筑师/自由职业为德⋅维尔德⋅文克⋅泰利欧（De Vylder Vinck Taillieu）工作了8年。自2010年起, 他在比利时鲁汶大学建筑系任教。也曾担任鲁根特建筑学院、卢卡艺术学院实验室和苏黎世ETH建筑学院等机构的客座教师。Goethals目前正在负责艺术集体019的所有空间干预的设计和实施。Based in Ghent. Studied Architecture and Urban Development. He works simultaneously as architect and artist. In his wide practice he researches the connection between physical space and consciousness. Goethals has made spatial interventions and artistic installations for venues such as: Z33 Hasselt, CIAP Hasselt, Extra City Antwerp, HNI Rotterdam, SMAK Ghent & Palais De Tokyo Paris, etc,. Previously he worked as a freelance senior architect for De Vylder Vinck Taillieu for eight years. Since 2010, he has taught at the KU Leuven Architecture Department. He was a guest teacher at RU Ghent faculty of Architecture, LUCA School of Arts Experimental Studio and ETH Zurich faculty of Architecture, among other institutes. Olivier is in charge of the design and implementation of all spatial interventions for art collective 019.http://oliviergoethals.info![]()
![]()
✻所有书籍均为手工装帧，将于11月15日起按顺序由顺丰发货。页数 : 134页
装帧 : 胶版印刷 + 手工装帧
设计 : ori.studio
语言 : 英语
出版社 : da-in-printISBN : 978-1-9995159-5-9![]()
![]()
© da-in-print 2021
公众号: dainprint
微店：dainprint
Instagram: dainprint
Twitter: ori.studio
http://dainprint.com
-
◉合作或其他事宜请与我们联系 - info@ori.studio
↓ 此处点击阅读原文
