149 MILAN DESIGN WEEK 2.0
20-04-2024
20-04-2024
"Pan Yuan: Momentality Unfold," by Wu Bin, combines Eastern culture with Milan's rich history, creating a dreamlike narrative of the "Modern Oriental" at the heart of the event.
Wu Bin showcased artworks, part of the ongoing "Travelogue on Mountain" series, continue to explore art with imagination, spreading Chinese design worldwide and serving as a bridge for global exchange. He embodies limitless design, fostering cross-disciplinary integration and contributing to the global dialogue on design and art.
Chinese sculpture, painting, calligraphy, and even architecture represent the art of lines. Therefore, Oriental architecture focuses more on changes, seeking eternity in the midst of impermanence.
Impermanence is eternity. In the Oriental aesthetics, subtle changes in the environment embody the beauty of day-to-day life, and one's each little epiphany echoes the nature of the cosmos. By observing changes in nature and meditating on the monumentality of each moment, one realizes that each moment is synonymous with eternity. When history and reality are infinitely close, and the architecture and aesthetics of the East and the West meet within a stone's throw, momentality is monumentality of the moment.
"Pan Yuan" serves as a route to the Oriental garden and an individual's journey of self-awakening. The artwork's extensive use of "white" provides the installation with a clear sense of volume, contrasting with the surrounding grand historical architecture. This multisensory experience transforms the installation into an Eastern garden, a miniature universe, leaving an ephemeral, poetic, and memorable Oriental dream in Milan.
"Pan Yuan"(爿园) or "Pan Garden" signifies the installation as an Oriental garden. Chinese characters are pictographic. The character "Mu" (木) for wood has two mirrored halves, with the right half being the character "Pian"(片) for pieces, and the left half the character "Pan"(爿). Thus, "Pan" (爿) means a piece, a building, and fragments of an entity.
Being in it, one experiences time and space as if in a real landscape. The hanging "paper," reminiscent of Chinese scroll paintings, divides the installation's space-time body as people experience the spatial intervals at varying speeds and observe them from different angles. Light, wind, and temperature are recognized by physical bodies and captured by the "paper's " movement. Changing scenery with every step, sensory experiences continuously layer upon one another, solidifying into eternity within impermanence.
Wu Bin showcased artworks, part of the ongoing "Travelogue on Mountain" series, continue to explore art with imagination, spreading Chinese design worldwide and serving as a bridge for global exchange. He embodies limitless design, fostering cross-disciplinary integration and contributing to the global dialogue on design and art.
Chinese sculpture, painting, calligraphy, and even architecture represent the art of lines. Therefore, Oriental architecture focuses more on changes, seeking eternity in the midst of impermanence.
Impermanence is eternity. In the Oriental aesthetics, subtle changes in the environment embody the beauty of day-to-day life, and one's each little epiphany echoes the nature of the cosmos. By observing changes in nature and meditating on the monumentality of each moment, one realizes that each moment is synonymous with eternity. When history and reality are infinitely close, and the architecture and aesthetics of the East and the West meet within a stone's throw, momentality is monumentality of the moment.
"Pan Yuan" serves as a route to the Oriental garden and an individual's journey of self-awakening. The artwork's extensive use of "white" provides the installation with a clear sense of volume, contrasting with the surrounding grand historical architecture. This multisensory experience transforms the installation into an Eastern garden, a miniature universe, leaving an ephemeral, poetic, and memorable Oriental dream in Milan.
"Pan Yuan"(爿园) or "Pan Garden" signifies the installation as an Oriental garden. Chinese characters are pictographic. The character "Mu" (木) for wood has two mirrored halves, with the right half being the character "Pian"(片) for pieces, and the left half the character "Pan"(爿). Thus, "Pan" (爿) means a piece, a building, and fragments of an entity.
Being in it, one experiences time and space as if in a real landscape. The hanging "paper," reminiscent of Chinese scroll paintings, divides the installation's space-time body as people experience the spatial intervals at varying speeds and observe them from different angles. Light, wind, and temperature are recognized by physical bodies and captured by the "paper's " movement. Changing scenery with every step, sensory experiences continuously layer upon one another, solidifying into eternity within impermanence.
Paper, as an inherently Eastern material, perfectly aligns with Wu Bin and W.DESIGN's design philosophy deeply rooted in tradition while refining contemporary aesthetics. The choice of DuPont™ Tyvek® for this installation not only embodies its lightweight and durable characteristics, suitable for outdoor environments, but also, from a distance, beautifully captures the texture and emotion of traditional Eastern Xuanzhi paper.
"Material innovation is crucial in design; technology and materials are intimately linked to design innovation." - Wu Bin
Whether it's the "Travelogue on Mountain—Mountain Whispers: Echoes of Deep Time" showcased at the 2024 Maison & Objet in Paris, France, or the furniture crafted from recycled pulp, giving paper a second life, or the exploration of the fusion of paper fibers with modern metal materials, these are all extensions and reflections of W.DESIGN 's embodiment of Eastern spirit into tangible forms. They signify W.DESIGN 's contemplation and examination of future technology, nature, and the relationship between human habitats.
Using the mirror