‘Contoured Playground’ by Isamu Noguchi recreated at The Noguchi Museum in Queens, New York. Photography: Nicholas Knight. © INFGM / ARS

Isamu Noguchi’s sculpture and design work might seem focused on the individual’s experience, but in fact, the legendary artist also greatly considered the realm of public space, too. In a new exhibition currently on view at The Noguchi Museum in Queens, New York, one of Noguchi’s unrealised designs for a playground takes centre stage.

木口的雕塑和设计作品可能会集中在个人的经验上，但事实上，这位传奇艺术家也极大地考虑了公共空间领域。在一个新的展览中，在纽约皇后区的野口博物馆的一个新的展览中，一个野口的没有意识到的游乐场的设计是一个中心阶段。

Created in 1941, ‘Contoured Playground’ was a concept utilising ‘earth modulations’ to delineate a landscape where children could play. Like many of Noguchi’s other designs for playgrounds, it was never built, though one archival photograph clearly depicts the fully completed concept in a two x two ft plaster model, which Noguchi cast of the design.

创建于1941年的“等高线游乐场”是一个利用“地球调节”来描绘儿童可以玩耍的景观的概念。就像野口的其他游乐场设计一样，它从来没有被建造过，尽管一张存档的照片清楚地描绘了完全完成的概念，在一个2×2英尺的石膏模型，由野口铸造的设计。

It’s from this photo that the museum, together with Naomi Frangos, an architect and visiting associate professor at Cornell University, has created a 10 ft square enlargement of the original model, along with recreations of the original playground equipment that Noguchi had designed for it. (The equipment proposals only were only ever documented in one archival photograph.)

从这张照片看，博物馆和康奈尔大学的一位建筑师和客座教授NaomiFranos一起创造了一个10英尺的原始模型，以及为它设计的原始游乐场设备的娱乐。（设备建议书只记录在一份存档照片中。)

Model of ‘Contoured Playground’ by Isamu Noguchi. Photography: Nicholas Knight

Noguchi 的“轮廓游乐场”模型。 摄影： 尼古拉斯·奈特。

The installation is further complemented by a 1:1 scale silhouette of the topography that Noguchi envisioned for the playground, giving viewers the feeling of standing at the heart of it, should it have ever been built. Also present is a newly made bronze cast version of the original model, together with several other schematic interpretations of the playground space that all provide a multilayered experience of understanding this large-scale, unrealised design.

这个装置还得到了1：1比例的地形剪影的补充，这是野口为操场设想的，如果它曾经建成的话，它会让观众感觉站在它的中心。也有一个新的青铜铸造版本的原始模型，连同其他几个示意图的解释游乐场空间，都提供了一个多层次的经验，以了解这一大规模的，未实现的设计。

Noguchi’s other explorations in spatial design can be further seen in an additional curation of models, being presented at the same time. Five designs for projects have been grouped together to form ‘Models for Spaces’, a secondary exhibition highlighting some of Noguchi’s endeavours where little is known. These include a model for gardens for the Connecticut General Life Insurance Company (1956-57), which did get built, a memorial to Buddha (1957) in New Delhi, India, which was never realised, as well as a design for the interior flower garden of the Sogetsu Flower Arranging School (1977-78) that was realised.

在另外的模型化过程中，还可以看到在空间设计中的其他探索，同时也同时给出。已经将五个项目的设计分组在一起，以形成“空间模型”，这是次展览，突出了一些小口的努力，在那里很少有人知道。其中包括康乃狄格通用人寿保险公司(1956-57)的花园模型，该公司在新德里、印度、从未实现过的佛陀纪念馆(1957年)，以及《索格苏花布置学校(1977-78年)》的内部花圃设计(1977-78年)。

Viewed as a whole, both exhibitions exemplify Noguchi’s belief in sculpture’s ability to manipulate our experience of space. In his own words, ‘If sculpture is the rock, it is also the space between the rock and a man, and the communication and contemplation between.’ §

从整体上看，这两个展览都体现了野口对雕塑操纵我们空间体验的能力的信念。用他自己的话说，“如果雕塑是岩石，它也是岩石和人之间的空间，是人与人之间的交流和沉思。”

“空间模型”是由野口（isamunouchi）来的。摄影：尼古拉斯·奈特。IamuNouchi的FGM/ARS“空间模型”。摄影：尼古拉斯·奈特。(c)INFGM/ARS

Noguchi的“等高线游乐场”模型。摄影：Noguchi的“轮廓游乐场”的尼古拉斯·奈特模型。摄影：尼古拉斯·奈特

Noguchi的“等高线游乐场”模型。摄影：Noguchi的“轮廓游乐场”的尼古拉斯·奈特模型。摄影：尼古拉斯·奈特