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Phoenix TV: Wang Kaifang’s New Year Plan

Trendy Guide Channel

Li Hui: At the beginning of the new year, we often do some work plans and plan to do a few big things during the year, but I have a friend who has actually done more than twenty major events. How does this person spend his one? In the year, what kind of discussions have been made during the year, and what kind of construction will these discussions bring to his professional and even non-professional fields? Today we want to ask Mr. Wang Kaifang to tell us about his major events of the year.

As the most representative cross-border artist in China, his works are mostly about his thoughts on human evolution, and through the integration of mathematics, geometry, logic, and structural mechanics with the most advanced digital technology. In 2014, his trophy for the fashion awards received attention. He presented his iconic works with complex curves, ring structures and uniqueness through 3D printing technology, interpreting macro and micro Between, the intricate connection between matter and consciousness.

Li Hui: Actually, from the perspective of the Bank, the building, the interior and the urban planning class are the ones when you were studying.

Wang Kaifang: Right.

Li Hui: If today I ask you in these three areas, what is your idea today, how do you express it?

Wang Kaifang: I think we should not be limited to the current development with what we learned at the time. So if I say what my business is, some people ask, how should I define me? I have no idea. Say that I am cross-border, I feel that I have not had the concept of “boundary”, so I feel that I don’t want to be too bound, and I will do it with my heart. At the same time, I feel that this “boundary” is not only that I am breaking, I think we are all It should be broken, because I think these are related to some of my ideas and even beliefs in recent years. Then this “boundary” not only constrains our thinking, but also constrains the behavior of our creation. Therefore, this era should be the era of “bounding”, and it requires various assistance, various forces, absolutely not What you can do alone.

Li Hui: Today, your thoughts will be very different from what it was ten years ago five years ago. You told me clearly today that in fact, this “world” should have a time of separation, and that is what you have today. With regard to the concept of the universe, and even the concept of life, under such a concept, what kind of understanding do you have about a larger spatial extent of architecture, space, and the city in which we live?

Wang Kaifang: I think this should be based on the book I wrote the year before, On The Species Of Origin By Means Of Design.In the process of writing this book, I am rethinking and recognizing. Our species is different from other species. We are descendants of the gods, so we have a special mission. We are not only designed, we are the only ones. Creative. The power of our creation is very powerful. It is related to the sentient beings. If we evolve well, we will evolve into a god to create a beautiful, and a bad evolution. If we are misguided, it is really a devil, a charcoal. At the same time, in fact, human beings are also dying. It seems that this thing is quite heavy.

In 2014, he also made new attempts in interior design: for example, in the design of Kuwait hotel, he used a Chinese perspective to present the essence of Muslim culture he understood, the symbolic flying carpet and the sculpture like the wind. Let us I feel the mysterious color of the Arab world. In China, he extends his tentacles to the coffee shop. He uses the best design language to interpret the coffee shop in the artistic atmosphere of the Chinese Art Museum, where the Chinese and Western thoughts collide.

Li Hui: Under this concept, do you think that your use of space is different from the previous design?

Wang Kaifang: I think the difference is great. Some designs like the ones I have done before, such as architecture, I hope it is beautiful and eternal; do the house hope that it is beautiful and more spacious, we should be larger and larger per capita. But look at the greater wisdom, they create these beautiful moments in our world, such as the birds in the forest, is each bird’s own family big? Not very big, but their public spaces are great and shared, and although each bird has only a small nest, each bird has the entire forest. So, is our home more demanding? Is it the resources that each of us is required to have more of our own collection? Or do we share our power to the people?

Including me also think that we have a hard time, of course, I am tired now, but our entire human beings are actually very tired. I have cats. Now many of my friends have cats and dogs. You see cats and dogs. It’s more lively than people. I admire our cats. It has a kind of comfort and a life that should be.

Copenhagen’s “Little Mermaid”, New York’s “the Statue of Liberty”, Lanzhou’s “Yellow River Mother”, Shenzhen’s “Pioneer Cow”, excellent urban sculpture is like a city card, you can feel the city’s style. The publicity of art works is Wang Kaifang’s long-standing propaganda and creative pursuit. In 2014, he created the urban sculpture Galaxy K: the Glory of Indonesia which for Indonesia. It combines music, color, optoelectronics, water fire, fireworks and other forms of expression to become an energy field for the city to gather emotions. The Wind series designed in the Netherlands With the oriental Zen, it became the first digital sculpture created by Chinese artists in the Netherlands.

Li Hui: I remember once we were at the exhibition. You said when you were showing your sculpture. You imagine how many meters tall it is, the kind of change that people can pass under it. Light and shadow and its energy give this kind of transmission to the following people. At the time, I thought: This is simply making a gas field! I want to know what kind of finishing touches should urban sculpture be in your values ​​and under your cosmic concept?

Wang Kaifang: I think urban sculpture should be an energy field. It conveys a beautiful power, a will, through a large space in the city. It is no longer a traditional, figurative, static sculpture. It should not just represent a certain statement. It should be There are more living beings, more non-material participation, that is, it has some interaction besides a solid shape, and there are more sound and light including flame, water or mechanical induction. Wait, it is a living body. I think that the sculpture of the future should not only be a concept of sculpture, it is like a field of energy with will, this idea can be cross-border. Including the sculpture of the “Wind” series I made, the beginning is One Square Meter Wind, 1.8 meters long and 55 cm wind, which can be enlarged in the Netherlands to make a sculpture, 5 meters high sculpture, it can also Shrinking into a jewelry, a necklace, the extension is particularly large, it can grow in different spaces, can convey its artistic conception, its Zen, the oriental cosmology in different ways. So many cross-borders, not across the field, not just space time, it is a series of aspects that can be related to all aspects of our human emotions. So the future world is connected by everything.

Compared with the field of architecture and design, the art field gives Wang Kaifang a broader and more free space for creation and expression, and also shows his unique talents and thinking in the field of art. In the jewelry design, he designed the “Wind” series to linger in the arm, and the movement is like a wind; while the “Buddhism” series works in a level, friendly and classic style, which makes the Italian exquisite hand-made glass technology and the traditional Chinese auspicious jewelry. To bless and peace, simple and beautiful.

Li Hui: What kind of experience did you get in the exploration of what you said? Where is the difficulty?

Wang Kaifang: This is not difficult in my opinion (laughs). Because I think this is much easier than anything else. Of course, I have to squash and experiment again, such as the bracelet of the wind. There are also many new technologies in it, such as 3D printing, pneumatic experiments, and my designers. Need to do a lot of experiments, play a lot of samples, study its shape, size, to see if it will scratch your hand, it and the degree of human body, is not looking good in the sketch on the computer. The original inspiration was just a superficial design. If you really want to make the wearer comfortable, you need a lot of human science. Including its weight, our jewelry is made of silk, not only has its rhythm, texture, but also minus 60% of the weight, I think this is very important. Jewelry needs a lot of thinking, but it is still easier than the city carving. At the same time, I think there is too much room for development of jewelry. It is not to say that it is a set of necklaces, earrings and rings. I think jewelry represents one. Kind of will or a beautiful one that attracts attention. Its presentation is not necessarily the traditional way, it can appear on the face, on the body and so on. Like the wind series I am doing now, it can float around. The wind is a kind of touch on life. It can grow in many places, caress you, and wraps you. I think that when you look at the definition of “jewelry”, when you look at the macroscopic ideas of cross-border, there is actually too much imagination in jewelry.

Li Hui: Is it only a woman’s patent to wear jewelry today?

Wang Kaifang: No! (laugh, showing his middle finger with gold nail)

Li Hui: Thank you Kaifang! (laugh)

Li Hui: From the sculpture to calligraphy, he is an artist with various art form; from landscape to interior design, he is a forward-looking architect; he is also a wide-ranging designer from furniture products to jewelry design. People say that Wang Kaifang is a cross-border person. Is there something that he does not design in this world? Ok, today’s show is coming to an end, and we will see you tomorrow at the same time.