© Floto + Warner

弗洛托·华纳

架构师提供的文本描述。服装研究所2018年春季展览的主题是来自西斯廷教堂的教皇长袍和配饰(其中许多在梵蒂冈以外从未见过)，以及20世纪初至今的时尚，在拜占庭和中世纪画廊以及大都会博物馆展出。DS R的这个项目的方法审查了‘天主教空间’的概念，以使时尚和中世纪基督教艺术之间的对话，展览的不公平的策展人姿态。

Text description provided by the architects. The Costume Institute’s spring 2018 exhibition features Papal robes and accessories from the Sistine Chapel sacristy (many of which have never been seen outside The Vatican) and fashions from the early twentieth century to the present, shown in the Byzantine and medieval galleries and at The Met Cloisters. DS+R’s approach to this project examines the notion of ‘Catholic space’ to enable a dialogue between Fashion and medieval Christian art, the exhibit’s inceptive curatorial gesture.

 © Brett Beyer

C.Brett Beye

天主教空间是一个错综复杂的场景。该剧标题中引用的天主教想象暗示了一个形象星座，一个内在的世界，在这个世界里，精神可以通过感官接触到。教堂礼拜仪式是各种艺术形式的沉浸式交织。经文、音乐、建筑、艺术和装饰艺术协同工作，产生集体、仪式和奉献。天主教空间不仅仅是一个舞台或一个容器，而是一种多感官审美体验的整体整合。

Catholic space is an intricate mise-en-scene. The Catholic imagination invoked by the show’s title suggests a constellation of images, a world of immanence in which the spiritual is accessible via the sensual. Church liturgy is an immersive interweaving of diverse art forms. Scripture, music, architecture, art, and decorative arts work in concert to engender collectivity, ritual, and devotion. More than a stage or a container, Catholic space is the holistic integration of a multisensory aesthetic experience.

 © Floto + Warner

弗洛托·华纳

时尚是这一模式的自然延伸，将无法言说的幻想塑造成一个关于文化传承的论述-包括天主教。当代设计师常常与大都会博物馆藏品中所代表的拜占庭和中世纪艺术家一样，利用永恒的基督教意象，在现代服装和历史艺术品之间创造出强大的共鸣。为了促进这种交流，DS R提出了天主教空间的一体化和沉浸式框架。

Fashion is a natural extension of this model, sculpting ineffable fantasies into a discourse on cultural inheritance—Catholicism included. Contemporary designers often draw on the same pool of timeless Christian imagery as the Byzantine and medieval artists represented in The Met’s collection, creating potential for powerful resonances between modern garments and historic artworks. To facilitate this exchange, DS+R conjures the integrative and immersive framework of Catholic space.

 © Floto + Warner

弗洛托·华纳

游客将发现服装和配饰作为一系列离散的干预，横跨27个画廊分布在两个地点。一个定制的展示系统将许多画廊拼接在一起。这些展览反映了他们所展示的艺术的特殊性以及画廊网站的不同条件。它们将空间和物质特性转化为一系列的物体(例如基座、平台、玻璃等)。有一种连贯的体系结构语言，让他们从上下文中脱颖而出。顺序中的每一次展示都将历史艺术和建筑融入到与时尚的对话中，创造出一种注重节奏、叙事和氛围的持久体验。

Visitors will discover the garments and accessories as a series of discrete interventions across 27 galleries spread over two locations. A custom display system stitches the many galleries together. The displays respond to the specificities of both the art they display as well as the diverse conditions of the gallery sites. They translate dimensional and material qualities into a family of objects (e.g. pedestal, platform, vitrine, etc.) with a coherent architectural language that lets them stand out from their context. Each display in the sequence draws the historic art and architecture into dialogue with the fashions to create a durational experience with an emphasis on rhythm, narrative, and atmosphere.

 © Floto + Warner

弗洛托·华纳

在天主教的空间里，这个装置发挥着光的突出作用。自然光是中世纪教堂最动人的维度之一。它给人一种时间感和深刻的外在感。在展览中，服装的行进节奏周期性地被“超自然日光”的投影所打断。仿佛通过天意，关键的作品是在窗形框架内展现的清脆的光。他们与世隔绝，与他们的建筑环境和天空有着直接的联系。作为博物馆经验代码的中断，这创造了一座通往另一个世界的情感桥梁，也许更多的是精神世界。

The installation plays on the preeminence of light within Catholic space. Natural light is one of the most moving dimensions of medieval churches. It imparts a sense of time and a deep exteriority. Within the exhibition, the marching rhythm of the garments is periodically punctuated with projections of ‘supernatural daylight’. As if by providence, key works are revealed within window-shaped frames of cool crisp light. Isolated from their neighbors, they are brought into a direct relationship with their architectural environment and the sky implied beyond. As an interruption of the codes of museum experience, this creates an affective bridge to another, perhaps more spiritual, world.

 © Floto + Warner

弗洛托·华纳

虽然现代和当代的时装对象是活跃在他们的参考来源(和灵感)附近，教皇的长袍和配件从西斯廷教堂的圣礼是在一个抽象的背景，展示家具，以回应每一件物品的质量。这种视觉的“去文本化”使他们的宏伟物理和超凡脱俗的工艺优先。

While the modern and contemporary fashion objects are enlivened by their proximity to their sources of reference (and inspiration), the papal robes and accessories from the Sistine Chapel sacristy are presented in an abstract setting, in display furnitures that respond to the qualities of each object. This visual ‘decontextualization’ gives precedence to their magnificent physicality and otherworldly craftsmanship.

 © Brett Beyer

C.Brett Beye

展览设计在一种感觉高尚的体验和一种允许在更广泛的物质文化中达到必要的临界水平之间取得了一种平衡。一方面，宗教是神圣和不可侵犯的，但另一方面，它一直从事艺术和设计。这个展览所探讨的紧张关系，以及它所表达的价值观，如何随着时间的推移而改变。

The exhibition design strikes a balance between an experience which feels elevated, and one which allows for the requisite level of criticality within a broader material culture. On the one hand, religion is sacred and inviolate, but on the other, it has always engaged with art and design. The tension this exhibition explores is how that relationship, and the values it expresses, change over time.

 © Brett Beyer

C.Brett Beye

Architects Diller Scofidio + Renfro

Location 1000 5th Ave, New York, NY 10028, United States

Team Elizabeth Diller (Partner in Charge), Kumar Atre (Project Lead), Ricardo Scofidio, Matthew Johnson, Anthony Saby, Alex Knezo, Swarnabh Ghosh, Jack Solomon

Area 60000.0 ft2

Project Year 2018

Photographs Floto + Warner, Brett Beyer

Category Installation