在信息轰炸的时代，专注的视角成为稀缺。好似飞行建筑事务所第四次为YINGPEI STUDIO进行秀场设计，对应“此刻如诗”的主题，引入我们认为在诗中最有魅力的“音顿”，即诗行中间的停顿。在较以往更局促的布置及拆除的限制时间内，挑战用悬挂的装置将观众视角用匀质的节奏切成片段，使得被观察到的模特行走流线如虚线般断开，从而捕捉服装系列在整体和局部之间的转换。 01停顿=切割 先将完整的秀场空间一分为二，使得两侧观众在同一时刻拥有正好相反的观察视角。当一侧观众视线被局部遮照时，另一侧观众视线被局部强调，反之亦然。U形的模特流线使两侧的观众均可获得这两种观看体验。 九块装置单元的等距间隔切割出如 “虚线”般的停顿节奏，从遮罩2秒-显现1秒-遮罩2秒-显现1秒的节奏“切割”传统的观看体验。 对于两侧的观众而言，装置时而是一种视线停顿的分割面，时而又成为定格瞬间的背景板。 另两个轴向的视觉“切割”，将由装置单元的渐变高度和旋转完成。 02专注=定格 宽度相等的九个装置单元随一条中轴线向上下延伸，高度由高向低往两端渐变，对模特的遮挡或衬托的范围由全身至腰线。观众的视野也被定格，从而可以更专注地观察服装的不同部分。 在实验过程中发现，有些观众会如设计意图更聚焦未被遮罩的部分，而有些观众反而会聚焦在被遮罩的模糊部分。无论哪一种，都将游走的注意力聚焦起来。 在所有模特集体出场阶段，中间三个连接电机的单元旋转90度，配以贪食蛇般的绕行流线，捕捉到模特们穿行而过的叠影。此时原本直打幕布的灯光熄灭，只打在秀道上的灯光使得每个单元都透明了起来，开通了被分割的视野。观众不再聚焦局部，而是转换成对流动的定格，加深对整个服装系列的连续印象。 03享受停顿，捕捉专注视角 与以往秀场装置全程动态不同的是，这一次在时间轴设计中较为克制，装置没有随着模特的行动而发生变化，取而代之的是以一种更为衬托的角色来参与到整个表演过程中。 分割和定格的效果全部由一种相对静止的状态呈现，只在场上无模特时进行动作，让秀场上或人动，或装置动，两者动静配合。 04克制的材料与构造 为了实现不同方向和层次的视觉捕捉效果，需要装置同时可以拥有较低和较高的透明度，因此对于材料的选择和灯光的配合有着一定的考验。在进行对不同的幕布的材质和具体规格，以及不同的灯光的光源位置、投射方向和照射对象的对比试验后，选择了全息纱幕来结合灯光的切换来实现装置透明度的转化。 基于可承重的现有场馆桁架，进行低技派的安装方式，以节约造价。秀后的单块幕布框可作为投影板再利用。 05 Full of Spring & The Cutting Moments 装置中的“音顿”也将做动作，为谢幕做铺垫。接近高潮时，装置中段的九十度旋转将空间从另一轴向分割，一串模特在穿梭间形成叠影，如纪录片平铺直叙般的表达着服装理念。享受生活中的停顿，专注于当下的片段，迎来转机后就会发现，“此刻如诗”。
In the era filled with “information bombs”, a focus vision has become scarce. Corresponding to the theme of "Full of Spring", House Fiction introduced the concept of ‘caesura’, the pause in the middle of a verse line, which would be the most charming feature of poem for us, into the fourth fashion show designed for YINGPEI STUDIO. In a more limited time of assembly and disassembly than ever before, the architects challenged to design a hanging installation to ‘cut’ the audiences' views into segments with a constant rhythm, to break the walking streamline of the models into a dotted line, and it veered audiences’ views between the whole and the part of the fashion collection. 01 Pause: “Cutting” space and sights Firstly, the whole installation horizontally divided the entire space into two, so that the audiences on the two sides could have exactly opposite viewing angles at the same time. When the sight of the audience on one side was partially obscured, the sight of the audience on the other side was partially emphasized, and vice versa. The U-shaped flow of the models made it possible for the audience on both sides to obtain the two mentioned viewing experiences eventually. Secondly, the nine equidistant units subdivided the space, creating a rhythm like a ‘dotted line’to ‘cut’ the traditional viewing experience according to the rhythm of ‘2-second covering to 1-second revealing to 2-second covering and to 1-second revealing...’ As a result, from the view of the audience on the two sides, the installation sometimes blocked their sights, and sometimes it became a background panel to freeze the moments. The other two dimensions of visual "cutting" would be completed by heights changing and rotation of the units. 02 Focus: “Freezing” moments The nine units of equal width extended up and down along a central axis, and the height gradually changed from high to low towards to the both ends. Therefore, the range of covering or setting off the model was changing from the whole body to the waistline. The audience's views were also frozen, so that different parts of the costume could be observed more attentively. During the experiment, it was found that some viewers would focus more on the revealed part as designed, while some viewers instead would focus on the blurred part that was covered. Either way, the installation reached the goals to attract attentions. The finale began with the 90-degree rotation of the three units in the middle, that were connected to the motor fixed on the truss. When all the models passed through the units following a route like “Gluttonous Snake”, overlapping silhouettes of models were captured. At this time, the lights that were originally shining on the curtain units went out, and the lights that only shone on the runway made each unit transparent and opened up the blocked sights. The audience no longer focused on specific parts, but reviewed the show as a flowing whole which deepened the continuous impression of the entire fashion collection. 03 Pause and Focus We usually design installations moving throughout the entire fashion show. But the timeline of motion was designed in a more restrained way this time. The installation did not move according to the models’ movements but provided a kind of backdrop for the show instead. Both“cutting”and “freezing” the moments were completed in a relatively static situation which means that the installation moved only when there was no model on the runway. In other words, the models and the installation would never took action at the same time in The Cutting Moments. 04 Restrained techniques In order to achieve the goal of capturing moments in multiple dimensions, transparency of the curtains on the installation need to be adjustable. Therefore, the selection of the materials and the coordination of the lighting were the main challenge. After the comparative experiments by trying fabrics with different texture and thickness, as well as the different positions and directions of illuminance , a holographic veil was selected. The veil was cooperating with the lighting program, to achieve the the switch of transparency. Based on the existing load-bearing trusses on site, the low-tech installing methods were carried out to save the cost. Every single curtain unit could be reused as a projection board after the show. 05 Full of Spring & The Cutting Moments The movement of“ceasuras” paved the way for following finale . When approaching the climax, the 90 -degree-rotation of the middle part of the device divided the space from the other axis, and the overlapping silhouettes of the models looked like a documentary to speak the ideas of the fashion design by YINGPEI Studio. The Cutting Moments was trying to remind people to enjoy pauses in life and focus on every single moment of their lives. The poetry of life is always in the ups and downs，or sometimes in the turning point.