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RITUAL | REPETITION
Ritual | Repetition is one of seven essays that explore correlations between architecture and textiles, those surfaces that both enclose and enclothe us, and foregrounds the significance of the surface in our understanding and experience of place. Arising from a series of photographs of Melbourne’s mid-twentieth century façades, Urban Fabric: Greige, in which the latent image of Harris Tweed was exposed, readings of correspondences between surfaces are drawn from a photograph of a curtain wall façade and a swatch of Harris Tweed juxtaposed. It is not these image themselves that are so much transcribed, but rather those that have emerged in their wake.
In Ritual | Repetition the body’s shaping of the world through semblance and play is considered, in light of the rhythms of work and labour. The significance of ritual, as demonstrated in the waulking of the cloth, in its perpetuation of an ever-changing tradition, is contrasted with the deadening nature of labour, evidenced in the production of the curtain wall. The effects of these two differing modes of production are reflected in the nature of crafted artefact or artwork, and the commodity. While technological reproducibility was seen to disengage the artwork from the domain of ritual, through translation and transmission, it is suggested, it also enables its return, through the playful re-engagement of the thinking hand and the marks that it makes, giving rise to meaningful impressions.
A version of this essay was originally published in Textile: The Journal of Cloth & Culture 13, no. 1 (2015), 80-99.
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仪式|重复
《仪式|重复》是探讨建筑与织布之间的相互关联的七篇文章之一，包括我们生活周遭事物的表面以及为我们披上衣裳的表面，并且强调我们对一个地方的表面的理解和体验的重要性。灵感来自于墨尔本20世纪中一系列的外墙照片，《交织都会：坯绸》曝光了哈里斯花呢的潜像，从幕墙外表的图像和哈里斯布样中诠释表面之间的对应关系。其蕴藏的意义并非在于图像本身的呈现，而是在于潜象的体现。
《仪式|重复》探讨了工作和劳动的节奏，通过外在肢体和欢乐塑造了世界的传统。仪式的重要性从踩布的传统中显而易见，永续的传统与劳动的疲乏本质形成鲜明对比，由此而体现于幕墙作品中。这两种不同的生产方式反映在人工制品、艺术品或商品性质上。虽然技术的批量化通过传动使得手工艺制品脱离其传统仪式，但仍有人认为技术造就了传统的回归，通过巧妙地运用新思维以及追溯传统的印记再度使意义重现。
本篇文章的初版发表于Textile: The Journal of Cloth & Culture 13，no。 1（2015），80-99。
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PLACE | DRESSING
Philosopher Jeff Malpas once observed that ‘[p]art of the secret of a place lies in the other places with which it communicates’; suggesting that places are necessarily interconnected and cannot be experienced in isolation. Place | Dressing explores connections between Melbourne and the Outer Hebrides, and focuses on the relationship between the handcrafted, geographically specific and culturally grounded fabric of Harris Tweed, handwoven by islanders in their homes in the Hebridean islands, and the phenomenon of the mass-mediaised surface of the curtain glass wall that patterns our cities across the world.
Conceiving of place as a garment, this scholarly and poetic essay discusses the traditional practices involved in the production of Harris Tweed , and juxtaposes this fabric with the disconnected and globalised surface of the curtain glass wall. The vestiary metaphor is extended to encompass Gottfried Semper’s concept of Bekleidung, and the concept of inhabitation is further explored.
Departing from the reading of photographs juxtaposed, an image of a curtain wall façade and a swatch of Harris Tweed, this essay calls into question how we clothe the body and dress the building, in a weave that enables us to rethink the complex relationships between landscape, identity and place, and their investment in craft and design practices, with particular emphasis on textile design and architecture.
A version of this essay was originally published in Craft + Design Enquiry 7 (2015), 69-80.
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地点|着衣
哲学家杰夫·马尔帕斯（Jeff Malpas）曾经说过：“一个地方的秘密在于与之交流的其他地方”。这表明了地点之间必然有相互关联性，而非一种独立的体验。 《地点|着衣》探讨墨尔本与赫布里底群岛之间的关联，聚焦于手工、地理和文化的产物，通过对比赫布里底群岛岛民于家中手工编织的哈里斯粗花呢（Harris Tweed）以及刻画世界各地市容的批量生产玻璃幕墙而得以体现。
将一个地方视为一件衣裳，这篇充满学术性和诗意的文章探讨了制作哈里斯花呢的传统手工织法，并将这种织物与全球量产的玻璃幕墙面做对比。隐喻引用了戈特弗里德·森佩尔（Gottfried Semper）的“衣着”（Bekleidung）概念，并深入探讨了居住的概念。
以解读幕墙面的图像和哈里斯花呢布样作为出发点，这篇文章对于我们如何着衣和装饰建筑的方式提出质疑，引领我们重新思考景观、识别和地点之间的复杂关系，及其在工艺和设计方面的实践，并深入探讨纺织品设计和建筑之间密不可分的关系。
本文的初版发表于Craft + Design Enquiry 7（2015），69-80。
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READING AND WRITING: IMAGES JUXTAPOSED
For Walter Benjamin, photography’s unrealised potential resided in its capacity to generate associations, the scrivener conceiving of photographers as metaphysicians, 'descendent[s] of augurs and haruspices', those whose knowledge of the world was based on analogy, a form of metaphor, deciphering latent signatures manifest on the surface of things. Reading what was never written, meaning and sense were woven between correlates however near or far, this method underpinning the foundations of Western epistemology, a system of knowledge and erudition in operation until the end of the sixteenth century.
In the early decades of the twentieth century, Benjamin was to observe of photography that it revealed 'an entire [and] unsuspected horde of analogies', bringing the doctrine of universal correspondences again to light, a doctrine that despite its decline under the sway of Enlightenment reasoning, endured in the work of artists and poets.
Speaking in and even more out of images, this paper explores the role of images juxtaposed in revealing newfound contexts and correlations between different practices and disciplines. Surveying examples from the twentieth and twenty-first century it proposes that the revival of the ancient art of reading images is a valuable design research approach for discrete and interdisciplinary art and design practices.
This essay is forthcoming.
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读与写：图像联想
对于瓦尔特·本雅明（Walter Benjamin）来说，摄影的无限潜力在于其产生联想的能力，书写者将摄影师喻为形而上学家、预言家和占卜师的后裔，他们对世界的知识是基于类比和比喻的形式，对于事物表面下的潜在意义加以解读。解读那些从未被记载过的事物，无论这些事物的距离有多远，意义与感知之间的关联仍密切交织。这种方法为西方认识论奠定了基础，此博大精深的知识论广为流传直到十六世纪末。
在二十世纪初，本雅明通过深入探讨摄影，揭示了“令人意想不到的类比组合”，使得万物皆相关之学说再次受到重视，尽管此一学说在启蒙推理的盛行下衰落，其思维在艺术家和诗人的创作中仍得以体现。
本篇论述探讨了图像在类比中扮演的角色，揭示了新发现的语境以及不同的实践和学派之间的关联。二十世纪到二十一世纪的实例中显示，古代解读图像艺术的复兴是一种宝贵的设计研究方法适用于独立和跨学派的艺术和设计实践。
本文即將出版。
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