Hangzhou, CN
朔望
Creators: YAANK LAB
Structure: YAANK LAB
Location: White Pagoda Park（Hangzhou）
LUNATION
朔望
Creators: YAANK LAB
Structure: YAANK LAB
Location: White Pagoda Park（Hangzhou）
Hanging high above you and me.
Its symbolic meaning remains the ancient and universal language of our exploration that
between ancient and modern civilizations.
We have crushed the ornate rhetoric and left the pure emotional core.
‘Lunation’ It is an experimental installation in which we try to have a dialogue with history.
高悬于你我之上，
它所象征之意依旧是我们探索古文明 与现代文明之间古老而普世的语言，
我们碾碎华丽的辞藻，剩下纯粹的情感内核，
"朔望"是我们尝试与历史对话的实验性装置。
Its symbolic meaning remains the ancient and universal language of our exploration that
between ancient and modern civilizations.
We have crushed the ornate rhetoric and left the pure emotional core.
‘Lunation’ It is an experimental installation in which we try to have a dialogue with history.
高悬于你我之上，
它所象征之意依旧是我们探索古文明 与现代文明之间古老而普世的语言，
我们碾碎华丽的辞藻，剩下纯粹的情感内核，
"朔望"是我们尝试与历史对话的实验性装置。
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Imagery Derivation
Imagery Derivation
杭州闸口白塔（957年）
白塔
White Tower
位于西湖之南，钱塘江畔白塔岭上，与六和塔遥相对峙。因用纯白石材筑成，故名“白塔”。 闸口白塔为仿木构楼阁式实心石塔，八面九级，通高约14.12米，原附属的寺院早已不存。
关于闸口白塔的建造年代，有不同说法，但大致都认同不会晚于形制上十分相似的灵隐寺双塔（约960年）。魏祝挺考证文献，进一步将闸口白塔营建时间确定为显德四年（957）。
Located south of the West Lake, on the banks of the Qiantang River, the White Pagoda rises up against the Liu he Pagoda. It is named "White Pagoda" because it is made of pure white limestone.
It is a solid stone pagoda with eight faces and nine steps, with a total height of about 14.12m. The original temple attached to it has long since disappeared.
There are different theories as to the date of the construction of the White Pagoda, but it is generally agreed that it is no later than the twin pagodas of Lingyin Temple (c. 960), which are very similar in form. Wei Zhuting has further dated the construction of the White Pagoda at Zhakou to the fourth year of Jiande (957).
梁思成测绘立面图
其建筑形制，底层以上各层都由塔身、塔檐和平坐三部分组成，石块雕造拼叠。塔的最下边是基座，雕刻有山峰、海浪等纹饰，象征着“九山八海”，其上立有须弥座。塔座的束腰上刻有佛经，塔身上浮雕有佛、菩萨和经变故事，人物形象生动。闸口白塔是现存的五代吴越末期仿木构塔建筑中较典型的一座。
The form of the pagoda consists of three parts: the body, the eaves and the flat seat, all carved in stone. The lowermost part of the pagoda is the base, which is carved with mountains and waves, symbolising the 'Nine Mountains and Eight Seas', on which stands the Sumeru pedestal. On the waist of the base are carved Buddhist sutras, and the body of the pagoda is carved in relief with Buddhas, Bodhisattvas and stories of transformation, with vivid figures. The White Pagoda of Zhakou is one of the more typical of the surviving imitation wooden pagodas from the late Wu-Yue period.
a）西南隅文殊骑狮 b）东南隅毗卢遮那佛 c）东北隅普贤骑象
1316年（元延祐三年），龙山河疏浚，龙山闸修建，古代船只从钱塘江进入杭州城内水系，都需要从龙山闸口进入，这也是钱塘江进入京杭大运河的唯一通道，船只在钱塘江邻近龙山闸时就能远远的望见闸口白塔，闸口白塔就起到类似导航的作用，也是杭州地标。
In 1316, the Longshan River was dredged and the Longshan water gate was built. In ancient times, ships entering the Hangzhou city water system from the Qiantang River had to enter through the Longshan water gate, which was the only way for the Qiantang River to enter the Beijing-Hangzhou Grand Canal, and ships could see the White Pagoda at the entrance of the water gate as the navigator.
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闸口火车站
On 23 August 1907, it became the starting station of the first railway in Zhejiang. Over the millennia, the White Pagoda has seen a lot of prosperity, but with the development of the times, it has gradually gone from being crowded with tourists to being little known, as if it was resting in a corner.
In 1316, the Longshan River was dredged and the Longshan water gate was built. In ancient times, ships entering the Hangzhou city water system from the Qiantang River had to enter through the Longshan water gate, which was the only way for the Qiantang River to enter the Beijing-Hangzhou Grand Canal, and ships could see the White Pagoda at the entrance of the water gate as the navigator.
闸口火车站
1907年8月23日，成为浙江第一条铁路的始发站。千年的时光中，白塔阅尽繁华无数，但随着时代的发展，白塔也渐渐地从游客众多变成鲜有人知，仿佛偏安于一角。
On 23 August 1907, it became the starting station of the first railway in Zhejiang. Over the millennia, the White Pagoda has seen a lot of prosperity, but with the development of the times, it has gradually gone from being crowded with tourists to being little known, as if it was resting in a corner.
月
Moon
在现代天文望远镜中，月亮是一颗死寂的星球，可是在中国古人的想象中，那里却是琼楼玉宇的世界，有着种种美丽的传说。月亮是中国文学史中出现频率最高的意象之一，月影清辉，洒落在自《诗经》以来古典诗歌的长河上：
In modern astronomical telescopes, the moon is a dead planet, however, in the imagination of the ancient Chinese, it was a world of jade buildings with all kinds of beautiful legends. The moon is one of the most frequent images in the history of Chinese literature, with its clear shadows, spilling over the length of classical poetry since the Book of Songs.
“人生得意须尽欢，莫使金樽空对月”是李白忧愤深广的人生感慨；
“人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。”是苏轼抒发对胞弟的思念和乐观旷达的自我宽慰；
“况屈指中秋，十分好月，不照人圆。”是辛弃疾对眼前的别筵的遗憾；
“阴晴圆缺都休说，且喜人间好时节。”是徐有贞共度佳节的邀约。
“人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。”是苏轼抒发对胞弟的思念和乐观旷达的自我宽慰；
“况屈指中秋，十分好月，不照人圆。”是辛弃疾对眼前的别筵的遗憾；
“阴晴圆缺都休说，且喜人间好时节。”是徐有贞共度佳节的邀约。
Li Bai's sorrowful and deep-rooted sentiments on life are "Life must be lived to the fullest, do not let the golden bottle be empty against the moon".
"People have their sorrows and joys, and the moon has its lunar and sunny periods. I wish that people will live for a long time, and that we will be together for a thousand miles." This is Su Shi's self-satisfaction in expressing his longing for his brother and his optimism and optimism.
"In the mid-autumn festival, the moon is very good, but it does not shine on people." This is Xin Qiji's regret for the farewell feast before him.
"It is not necessary to say that the moon is full, but it is a good time on earth." It is Xu Youzhen's invitation to spend the festive season together.
月圆月缺，月明月晦，虽然都只是自然现象，却逐渐成为文人抒发情感的载物，容纳着无数文人的憧憬与幻想、希望与失望、困惑与觉悟、欢欣与感伤……
“月”从古至今被赋予了无数传奇和情感，“白塔”千百年来伫立于钱塘江边，静默如斯，风雨不改，瞭望了千年的沧海桑田，是一位时光的见证者。
Although the moon is full and the moon is short, the moon is bright and the moon is dark, although they are only natural phenomena, they have gradually become the carriers of literati's emotions, accommodating countless literati's longings and fantasies, hopes and disappointments, confusions and realizations, joys and feelings ......
The "moon" has been endowed with countless legends and emotions from ancient times to the present day, and the "White Pagoda" has stood by the Qiantang River for thousands of years, silent as ever, unchanged by wind and rain, looking out over the millennia of vicissitudes, a witness to time.
“月”从古至今被赋予了无数传奇和情感，“白塔”千百年来伫立于钱塘江边，静默如斯，风雨不改，瞭望了千年的沧海桑田，是一位时光的见证者。
Although the moon is full and the moon is short, the moon is bright and the moon is dark, although they are only natural phenomena, they have gradually become the carriers of literati's emotions, accommodating countless literati's longings and fantasies, hopes and disappointments, confusions and realizations, joys and feelings ......
The "moon" has been endowed with countless legends and emotions from ancient times to the present day, and the "White Pagoda" has stood by the Qiantang River for thousands of years, silent as ever, unchanged by wind and rain, looking out over the millennia of vicissitudes, a witness to time.
这次我们以杭州“白塔”为灵感，赋予“月”的含义，尝试跨越千年进行时空的对话：
This time we have taken the "White Pagoda" in Hangzhou as our inspiration and given it the meaning of "moon",
trying to have a dialogue across the millennium：
结合地方文化，提取历史进程中最具代表性的“塔”、“月”意向，用这个时代鲜明的风格，尝试用艺术与杭城的历史产生共鸣。
Combining the local culture and extracting the most representative 'pagoda' and 'moon' intentions from the historical process, and using the distinctive style of the era, the art attempts to resonate with the history of Hangzhou.
Combining the local culture and extracting the most representative 'pagoda' and 'moon' intentions from the historical process, and using the distinctive style of the era, the art attempts to resonate with the history of Hangzhou.
我们的最终目的是“找回历史感”。与注重宏大叙事、精英叙事的历史观不同，历史感是勾连严肃历史和普通人生活的一种微观体验。这种微观体验，也是人们对严肃历史产生兴趣，并真正进入其中的开始。可以说，一个民族如果缺乏完备的历史观，可能会迷失方向；但如果人人缺乏历史感，则可能走向心智的普遍没落。
Our ultimate aim is to 'recover a sense of history'. Unlike the grand, elite narrative view of history, a sense of history is a micro-experience that connects serious history with the lives of ordinary people. This micro-experience is also the beginning of people's interest in serious history and their real entry into it. It can be said that a people may lose their way if they lack a complete view of history, but if everyone lacks a sense of history, they may be headed for a general decline of the mind.
Our ultimate aim is to 'recover a sense of history'. Unlike the grand, elite narrative view of history, a sense of history is a micro-experience that connects serious history with the lives of ordinary people. This micro-experience is also the beginning of people's interest in serious history and their real entry into it. It can be said that a people may lose their way if they lack a complete view of history, but if everyone lacks a sense of history, they may be headed for a general decline of the mind.
我们以“光”为表达形式，在新的时代潮流中重新发现历史，这不仅意味着接续历史和传统，更意味着结合其所处时代，对历史文化精神进行再理解和新创造。
We are using "light" as a form of expression to rediscover history in the new zeitgeist, which means not only continuing history and tradition, but also reinterpreting and creating a new spirit of history and culture in the context of the times in which we live.
We are using "light" as a form of expression to rediscover history in the new zeitgeist, which means not only continuing history and tradition, but also reinterpreting and creating a new spirit of history and culture in the context of the times in which we live.
“光”像一个信号，吸引好奇的行人驻足观看。层层叠叠缓慢变化的月相塔，用半透明的织物包裹，被隐去细节，看不真切，踱步围绕月相塔，光若影若现，安宁与静谧的情韵，创造出静与美的审美意境，或许在这虚实之间能感受到古人空灵的情怀...
The light is like a signal, attracting curious passers-by to stop and watch. The layers of slowly changing moon phase towers, wrapped in translucent fabric, are concealed from view, with details hidden from view.
The light is like a signal, attracting curious passers-by to stop and watch. The layers of slowly changing moon phase towers, wrapped in translucent fabric, are concealed from view, with details hidden from view.
“朔望”拥有两个模式：静态和动态，动态的模式以朔月至望月的周期变化为灵感，对应一个月中的月相进行变化，周而复始，代表着时间的流逝和循环。
The "lunar cycle" has two modes: static and dynamic. The dynamic mode is inspired by the change in the cycle from the lunar cycle to the lunar cycle, which corresponds to the phases of the moon during the month, and represents the passage and cycle of time.
The "lunar cycle" has two modes: static and dynamic. The dynamic mode is inspired by the change in the cycle from the lunar cycle to the lunar cycle, which corresponds to the phases of the moon during the month, and represents the passage and cycle of time.
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Design Thoughts
Design Thoughts
设计的创新往往不是一蹴而就，不是天才的灵光乍现，而是很多人漫长协作的结果。“朔望”的诞生是经过多次尝试和优化后的结果。
Innovation in design is often not the result of a single stroke of genius, but rather the result of a long collaborative effort by many people. The creation of "Illuminate" is the result of many trials and optimisations.
“朔望”采用模组式简洁的外观可以使用多种场景， 外部使用白色织物包裹，建立起人与装置之间一道浅浅的阻隔，过滤的光线最美，有感情的装置也更动人。
The modular and simple appearance of the 'Lunation' can be used in a variety of scenarios. The exterior is wrapped in white fabric to create a shallow barrier between people and the installation, filtering the light most beautifully and making the installation more moving with emotion.
The modular and simple appearance of the 'Lunation' can be used in a variety of scenarios. The exterior is wrapped in white fabric to create a shallow barrier between people and the installation, filtering the light most beautifully and making the installation more moving with emotion.
ABOUT
光说梦话文化（Talking about dream painting culture）
光说梦画文化以光学为设计内核，通过将艺术性的姿态融入日常生活，旨在用作品呈现地方感（sense of place）和社区感（Community Psychology）。作品结合了基于研究的设计实践以及技术、工艺和材料，探索光与其他学科和公众之间的关系，用光对未来商店，城市装置等其他空间进行设计和重塑。
光说梦画文化并不是将这个世界合理化或赋予其秩序，而是从其无序中得到启发，并试图通过作品进行再理解和新创造。
Using optics as the core of design, Light Says Dream Painting Culture aims to present a sense of place and community psychology in its work by incorporating artistic gestures into everyday life. The work combines research-based design practices with techniques, processes and materials to explore the relationship between light and other disciplines and the public, using light to design and reinvent other spaces such as future shops and urban installations. Light says that dream painting culture does not rationalise or give order to the world, but rather draws inspiration from its disorder and attempts to re-understand and recreate it through the work.
“朔望”是光说梦画的起点，也是YAANK的新起点
未来请多指教！
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The " Lunation " is the starting point of Light and Dream Paintings,
and a new beginning for YAANK.
Please tell us more about the future! !
未来请多指教！
-
The " Lunation " is the starting point of Light and Dream Paintings,
and a new beginning for YAANK.
Please tell us more about the future! !
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YAANK LIGHTING DESIGN
