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[p]ARTech[/p] 是一只由才华横溢的全球顶级艺术家和科技极客组成的团队，长期专注于注艺术与科学科技的完美结合。本文将为你带来著名艺术家 Janet Echelman的标志性装置介绍，探寻其中科技与艺术的奥秘。资讯与图片内容均整理自网络。

[p]ARTech[/p] is a team of talented global top artists and tech geeks, focusing on the perfect combination of art and science and technology for a long time. This article mainly shows the contents of science and technology in artist Janet Echelman's iconic artworks! Information and pictures are organized from the Internet.

 Janet  Echelman 

美国雕塑家和纤维艺术家。目前在哈佛大学监督员委员会任职。

她的雕塑被作为公共艺术品展出，通常是针对特定地点的装置。

作为古根海姆奖学金的获得者，Echelman因“改变了城市空间的本质” 而被评为《建筑文摘》 2012年创新者。并获得了史密森尼美国视觉艺术独创奖，被表彰为“当今美国最伟大的创新者”。纽约时报，新闻周刊，时代杂志都收录过她的作品。

American sculptor and fiber artist. 

She currently serves on the Harvard Board of Overseers.

Her sculptures have been displayed as public art, often as site-specific installations.

Recipient of a Guggenheim Fellowship, Echelman was named an Architectural Digest 2012 Innovator for "changing the very essence of urban spaces." She also received the Smithsonian American Ingenuity Award in Visual Arts, honoring “the greatest innovators in America today.” Her artwork has been reviewed in The New York Times, Newsweek, Time. 

她的TED演讲“想象力的重要性”被翻译成35种语言，观看点击量超过两百万。演讲中，Echelman讲述了在遭到七所艺术学校的拒绝之后，她是如何从与印度渔民和立陶宛织带制造商的合作，制造出了在世界各地最著名的公共空间上方悬挂着的错综复杂的工程雕塑，它们随风翻动，在晚上发光变色。

Her TED talk "Taking Imagination Seriously" has been translated into 35 languages with more than two million views. In the speech, she explained how, having been rejected by seven art schools, she went from collaborating with Indian fishermen and Lithuanian lace-makers to suspending intricately engineered sculptures above some of the world’s most famous public spaces, where they billow with the wind and change color at night.

     Wide, 1997

1997年，Echelman前往印度渔村Mahabalipuram办展览，因为艺术材料丢失，受到当地渔民编织渔网的启发，她产生了一种新的雕塑方法，一种无需笨重的固体材料即可制作体积形式的方法。Wide就是她与渔民合作手工制作的第一个令人满意的雕塑。

On the way to Mahabalipuram, a fishing village in India famous for sculpture, Echelman lost all she art materials. Inspired by watching the fishermen bundling their nets into mounds on the sand, she came up with a new approach to sculpture, a way to make volumetric form without heavy, solid materials.

Her first satisfying sculpture, Wide, were hand-crafted in collaboration with those fishermen.

 下面让我们来欣赏一些其它有趣的雕塑 

 Let's see some other interesting sculptures 

SHE CHANGES 

材料 ｜喷漆镀锌钢 打结编织纤维

Materials ｜ Painted Galvanized Steel and Knotted, Braided Fiber

这个三维多层网“漂浮”在葡萄牙波尔图的Cidade Salvador广场上，利用色彩和材料唤起人们对该地区作为渔业和工业中心的历史记忆。它被认为是第一个使用了完全柔软且灵活膜片的永久性的，纪念性的公共雕塑，可以随风流动。

Using color and material to invoke the memory of the site’s history as a fishing and industrial center, this three-dimensional multi-layer net floats over the Cidade Salvador Plaza of Porto, Portugal. It is credited as the first permanent, monumental public sculpture to use an entirely soft and flexible set of membranes moving fluidly in wind. 

该作品像电影般将阴影投射到地面上，进一步突出了“风舞”。这座城市以雕塑为图形象征，居民可以对作品进行不同的解读，从葡萄牙航海历史的渔网，船舶和桅杆，到该地区工业历史的红白条纹烟囱，再到葡萄牙的织物，海洋生物，以及水中的涟漪。

The work casts cinematic shadow drawings onto the ground, further highlighting the “wind choreography.” The city has made the sculpture its graphic symbol and residents give different interpretations of the work, from fishing nets, ships and masts of the Portuguese maritime history, the red-and-white striped smokestacks of the area’s industrial past, to Portuguese lace, sea creatures, and ripples in water.

参考了附近的烟囱和灯塔，三根高25至50米的钢杆涂成了带有红色条纹白色。这些钢杆支撑着20吨重的钢环，钢环上悬挂着的正是一吨的雕塑网。钢环向海洋倾斜，其最低点是离地面13.5米，最高点27米。该网由36个不同密度的独立网状部分组成，沿各个方向手工连接成多层形式。

Three steel poles, ranging in height from 25 to 50 meters, are painted white with red stripes to reference nearby smokestacks and lighthouses. The poles support a 20 ton steel ring, from which the one-ton net is suspended. The ring greets the ocean at a slant, ranging from 13.5 meters off of the ground at the lowest point and 27 meters at the highest. The net is comprised of 36 inpidual mesh ps in different densities, hand-joined along all sides into a multi-layered form.

 1.26 

材料 ｜Spectra®纤维  高强度聚酯纤维  彩色照明

Materials ｜ Spectra® Fiber, High-tenacity Polyester Fiber, Colored Lighting

1.26于2010年首次展出在美国科罗拉多州的丹佛市，以纪念首届美洲双年展。

For its first installation, 1.26 was suspended from the roof of the 7-story Denver Art Museum above downtown street traffic to commemorate the inaugural Biennial of the Americas.

丹佛市要求艺术家创作纪念性的临时作品，探讨构成西半球的35个国家/地区相互联系的主题。Echelman从美国宇航局喷气推进实验室的公告中汲取了灵感，该公告指出2010年2月的智利地震通过稍微重新分配地球质量而将地球的时间缩短了1.26微秒。进一步探索后，Echelman利用了美国国家海洋与大气管理局（NOAA）对地震随后发生的海啸的模拟，将海啸振幅在太平洋上的3维形式作为其雕塑形式的基础。

The City of Denver asked the artist to create a monumental yet temporary work exploring the theme of the interconnectedness of the 35 nations that make up the Western Hemisphere. She drew inspiration from the NASA Jet Propulsion Laboratory’s announcement that the February 2010 Chile earthquake shortened the length of the earth’s day by 1.26 microseconds by slightly redistributing the earth’s mass. Exploring further, Echelman drew on a National Oceanic and Atmospheric Administration (NOAA) simulation of the earthquake’s ensuing tsunami, using the 3-dimensional form of the tsunami’s amplitude rippling across the Pacific as the basis for her sculptural form.

双年展的临时性质及其紧张的时间安排使艺术家无法使用永久性的钢质电枢。取而代之的是，1.26开创了Spectra®纤维的拉伸支撑基质，该材料的强度比钢强15倍。这种低冲击，超轻的设计使其可以将雕塑临时直接附着到建筑物的立面上，这种结构系统为艺术家在城市空域的工作开辟了新的轨迹。

The temporary nature of the Biennial and its accelerated timeline precluded the artist’s use of a permanent steel armature. Instead, 1.26 pioneers a tensile support matrix of Spectra® fiber, a material 15 times stronger than steel by weight. This low-impact, super-lightweight design makes it possible to temporarily attach the sculpture directly to the façade of buildings – a structural system that opens up a new trajectory for the artist’s work in urban airspace.

*1.26在世界各地展出 1.26 Exhibited around the world

柔软的材料使艺术品可以随风而动。它的流动形式与周围城市建筑的刚性表面形成鲜明对比。到了晚上，黑暗将支撑电缆隐藏起来，彩色灯光将作品转变为漂浮的发光形式。

The soft materials allow the artwork to be animated by the wind. Its fluidly moving form contrasts with the rigid surfaces of the surrounding urban architecture. At night, colored lighting transforms the work into a floating, luminous form while darkness conceals the support cables.

1.8 Renwick

材料 ｜高分子量聚乙烯 高强度聚酯纤维 彩色LED照明 纺织品地板

Materials ｜ High-Molecular-Weight-Polyethylene, 

High-Tenacity-Polyester, Colored LED Lighting

史密森尼美国艺术博物馆委托Echelman创作艺术品，以改造伦威克美术馆的标志性大沙龙。伦威克美术馆经过2年的密集整修，首次举办了WONDER展览，“将整个博物馆转变为沉浸式艺术品。” 

The Smithsonian American Art Museum commissioned Janet Echelman to create an artwork to transform the Renwick Gallery’s iconic Grand Salon. The WONDER Exhibition, the Renwick Gallery’s first after an intensive 2-year renovation, “transforms the entire museum into an immersive artwork.”

该作品的标题是1.8 Renwick，这是指由于物理事件，2011年东北地震和海啸对日本造成破坏性影响而缩短了地球日的时间长度（以微秒为单位）。雕塑和地毯上的形状灵感来自太平洋海啸浪高的数据集。The work’s title is 1.8 Renwick, which refers to the length of time measured in microseconds that the earth’s day was shortened as a result of a physical event, the 2011 Tohoku earthquake and tsunami which hit Japan with devastating effects. The forms in the sculpture and carpet were inspired by data sets of the Tsunami wave heights across the Pacific Ocean. 

*不同角度下的1.8 Renwick
1.8 Renwick from different angles

Echelman创造了一个柔软而庞大的网状雕塑，在百尺长的空气中奔腾，与历史悠久的拱形天花板相交。复杂的形式由多层结构缠绕而成，缠结成鲜艳的色调，与彩色光和墙上的“阴影图”相互作用。精心设计的灯光程序可以从各个角度巧妙地改变雕塑的体验。

Echelman created a soft, voluminous net sculpture that surges through the air of the hundred-foot length Grand Salon, intersecting with its historic cove ceiling. The complex form is composed of many layers of twines, knotted together in vibrant hues that interplay with colored light and “shadow drawings” on the walls. A carefully choreographed lighting program subtly changes the experience of sculpture with everyperspective.

占地4,000平方英尺的纺织地板以单色色调呼应空中形式的有机地形，与雕塑上方51英里缠绕的鲜明色调形成了有趣的对比。地板由废弃的渔网中重新利用的再生尼龙纤维组成。在地板上，布置了家具，邀请观众躺下来，迷失在上面的缠绕层中。

A 4,000 square-foot textile floor echoes the organic topography of the aerial form in monochromatic hues, providing a playful contrast to the vibrant hues of the sculpture’s 51 miles of twine above. The flooring is composed of regenerated nylon fibers repurposed from discarded fishing nets.

*米歇尔 奥巴马在1.8 Renwick

Michelle Obama beneath 1.8 Renwick

在Echelman的工作室中，墙上挂着各种各样的彩色纤维。她的灵感来自于渔网的编织，而现在，她使用高科技，阻燃，超强合成纤维等科技型材料，与结构、航空工程公司以及编织厂和照明工厂合作，将古老的手工艺传统与最新的计算机设计功能融合在一起。

A variety of colored fibers hang on a wall in Echelman’s studio. She was inspired by watching fishermen bundling their nets into mounds. She now works with high-tech, flame-resistant, superstrong synthetic fibers, collaborating with structural and aeronautical engineering firms as well as braiding and looming factories to merge ancient craft traditions with the latest computer design capabilities. 

Echelman始终在探索雕塑，公共艺术和城市转型的前沿。她将艺术和科技结合起来，创造出能响应自然力量的，生动的，有生命力的雕塑。这些雕塑环境体现了当地特色，并邀请人们与艺术和地方形成个人和动态的关系。

Echelman explores the cutting edge of sculpture, public art, and urban transformation. She combines Art and Tech to create living, breathing pieces that respond to the forces of nature. These sculpture environments embody local identity and invite people to form a personal and dynamic relationship with art and place.

整理编辑/Editing：Ellie