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20150613 奧德之旅14 施華洛世奇水晶世界




這座多媒體聲光水晶世界於1995年為慶祝施華洛世奇公司成立100周年、並由世界級媒體藝術家安德列•海勒(Andre Heller)設計建造而成,被譽為是光線和音樂完美結合的“現實中的童話世界”。




為慶祝施華洛世奇設立120週年,施華洛世奇水晶世界開幕20年,於20155月揭開奇觀新紀元的帷幕。國際知名建築師和頂尖設計藝術家合作創作獨特的形狀語言,提升這個品牌巨人的特殊位置。依循總策畫s o s architekten構想出的大膽轉型,目前的入口廳堂和出口區域將重新呈現完全展新的樣貌。
1、BLUE HALL藍色展示室

The subterranean world of the Giant begins in the Blue Hall, the first Chamber of Wonder in Swarovski Kristallwelten (Swarovski Crystal Worlds). Its slanted walls, painted in the color “International Klein Blue,” a shade developed by the artist Yves Klein, suggest the inside of a cave.

The Blue Hall gives the visitor an initial insight into the fascination of crystal and displays masterpieces such as Salvador Dalí’s “The Persistence of Time”, Niki de Saint Phalle’s “Crystal-bearing Nana”, and Andy Warhol’s “Gems”. Furthermore, the Blue Hall incorporates the Centenar, the black stallion “Chetak”, and the Crystal Wall.

The desire for transformation and fantasies is a force that affects human beings – and the machine-driven world of Jim Whiting. His “Mechanical Theatre” combines humans and technology, the bizarre and the aesthetic in a fashion show out of the ordinary. Protagonists are an Adonis and a “Walking Woman”, who represent the relationship between man and woman. Rigid objects suddenly spring to life, as clothes fly and dance through the air as if by magic.
The laws of gravity seem to be suspended and objects make movements that they should not be able to make. This creates an eerily beautiful scenario that provides plenty of scope for your own fantasies. The music in “Mechanical Theatre” is by Silvio Borchardt and Swarovski workshops provide the technology, demonstrating their high degree of expertise as far as precision engineering is concerned.

The dome of the Crystal Dome was modeled after Sir Richard Buckminster Fuller's (1895–1983) geodesic dome, whose architectural design perfectly reflects the principle of geodesy. Geodesy is the scientific discipline devoted to geographical measurement and representation of the Earth; in mathematics, it designates the shortest path between two points on a curved surface.
Geodesic domes are particularly stable, especially considering the relatively small amount of material used to build them. The dome of the Crystal Dome consists of 595 mirrors that create a special depth effect and give the viewer the feeling of being inside a crystal. Nine of the mirrors are so-called “spy mirrors” that conceal fascinating art objects by various artists. The music in the Crystal Dome was created by Brian Eno. Because it is such a spectacular backdrop, the Crystal Dome is a popular venue for weddings.
At the center of “Silent Light” is the eponymous, spectacularly sparkling crystal tree by designers Tord Boontje and Alexander McQueen, who created it in 2003 for the foyer of the Victoria and Albert Museum in London; it was later moved to Swarovski Kristallwelten (Swarovski Crystal Worlds). Its 150, 000 sparkling Swarovski crystals, which Tord Boontje uses to create a complete Chamber of Wonder, evoke images of a bone-chilling cold and yet heartwarmingly romantic winter wonderland.
Especially in the spring and summer, this miracle world creates a magical contrast to the reality outside the door. The design bears the typical imprimatur of Tord Boontje, in whose work nature plays a starring role.

For “Into Lattice Sun”, South Korean artist Lee Bul looked to modern architecture as her muse, translating it into a metropolitan, dramatic, and utopian landscape for the Chamber of Wonder. Lee Bul’s encompassing installation explores the interactions between visitor and space. Myriad crystals and mirrors give the Chamber of Wonder the spatial illusion of ever new vastness and depths, inviting visitors to think about themselves and their position within the space.

This deliberately staged interplay of the continually changeable, iridescent mirror landscape enables the visitor to discover all of its facets from the most diverse perspectives. The deeply symbolic bridge that leads us through this fascinating landscape of crystal and mirrors intensifies the visitor’s spatial experience.

The Crystal Calligraphy by American glass artist Paul Seide resulted from his desire to overcome all language barriers, and find an internationally legible form of expression for Charles Baudelaire’s famous poem “The Lovers’ Wine”. The light installation symbolizes the most significant lines from this poem, which is part of Baudelaire’s poetry collection The Flowers of Evil; they are engraved on the wall next to the work of art in a German translation by the poet Stefan George:
Let's, like two angels tortured by
Some dark, delirious phantasy,
Pursue the distant mirage drawn
O'er the blue crystal of the dawn!
Charles Baudelaire, Poem No. CXXXII from:
Les fleurs du mal (The Flowers of Evil) 
His argon and neon gas-filled spiral glass tubes are blown by mouth, measure approximately 10 meters in length, and are enhanced with crystals that are found beside the glass spirals.

At first glance, Tyrolean artist Oliver Irschitz's “Ice Passage” is an empty corridor; it does not come alive until you step inside. As you place your foot on the floor, a series of crystalline tracks start to appear, precisely revealing the path you have taken. The lights also trace these tracks, allowing the viewer to get sporadic glances into the surrounding world of glistening ice. The more visitors dare to venture in, the brighter and more luminescent the surroundings become, and the denser the tracks on the floor appear.
Each step that the visitor takes is accompanied by mysterious and sometimes alarming creaking and crackling – just as if you were actually on a frozen surface, with each step causing small fissures in the ice.

Transparent Opacity” by Arik Levy is an homage to the diversity of crystal. The title of this work already embraces both of its apparently contradictory aspects: its transparency and its impenetrability. The room installation is both a game with the most diverse array of materials – from glass, marble, and steel to synthetic 3-D prints – as well as a play on shapes and sizes.

Some of the exhibition pieces invoke the familiar silhouette of the cut chaton, while other works reach deep into the abstract realm of natural, archaic crystalline shapes. Additionally, visitors can interact with the space and become involuntary co-creators of the piece by virtue of their diversity. This interrelationship becomes utterly dynamic in the “Interactive Arena”, which captures and reflects each and every movement.

For the Studio Job Wunderkammer, the eponymous designers used none other than the term “Chamber of Wonder” itself to draw inspiration. Long ago, chambers of wonder were small curiosity cabinets that held a collection of scientific exhibits; today, the term signifies a wondrous, strange, all-encompassing spatial experience. Indeed, in the Studio Job Wunderkammer – the only Chamber of Wonder in Swarovski Kristallwelten (Swarovski Crystal Worlds), by the way, with no corners – everything revolves around the holistic experience of the space.

Colors, shapes, composition, and concepts invite the visitors to make their own discoveries. What at first looks like a fairground brimming with exuberant color is in reality thousands upon thousands of short stories in the shape of movement, music, reflections, and slight allusions to modern society.

The renowned soprano Jessye Norman, who over the course of her career has worked with classical music’s biggest names, such as Herbert von Karajan and Sir Georg Solti, and has been awarded no less than five Grammys, celebrated a spectacular performance at the Crystal Dome. She sang the final aria, “Thy hand, Belinda”, from Henry Purcell’s Dido and Aeneas. A separate Chamber of Wonder was dedicated to this moving performance.

A giant natural mountain crystal from Madagascar, impressive in its archaic grandeur, provided the counterpoint to the man-made art form of music and voice. With a touch of the crystal it can be determined that it is not at all cold but that the pure, concentrated energy of this enormous natural crystal radiates a subtle warmth.

The idea behind the Eden Chamber of Wonder is to create a landscape that evokes one of the strongest primal responses in man: the forest. But Eden is no ordinary forest – it is a fantastical, archaic primeval world. At its entrance, a waterfall, filmed in the surrounding Alps, cascades down a screen and is reflected by the walls, while the roar of the water permeates the entire Chamber of Wonder, creating a wall of background sound. Inside, the visitor follows a path that meanders through a dense wilderness of simple polished brass structures, which through mirrored walls appear to go on to infinity.
Within the depths of this dark forest, the wanderer encounters strange, hidden gems in the form of the biggest crystals Swarovski has ever produced. They emerge as beacons of light from the dark, like strange, exotic birds, reptiles, flowers, or fruit, symbolizing the magnificence of nature and the origins of life.

In FAMOS, the Russian artist duo, Blue Noses, with their notorious, madcap performances, meets Swarovski’s legendary art of cutting crystal. Four architectural landmarks are on display in a crystalline dimension that has yet to be surpassed: the Taj Mahal in Agra, the Pyramid of Cheops in Giza, the New York Empire State Building, and the Lenin Mausoleum in Moscow.

The Cheops Pyramid alone weighs 105 kilograms, and the Empire State Building consists of 386 individual parts. Subtle, humorous home videos are revealed inside the exhibition pieces only by viewing them from above. The crystalline splendor is placed in contrast to the tongue-in-cheek videos by the Blue Noses. Grandeur is put into perspective through clever humor.

55 Million Crystals”, is a synthesis of ambient music, light, hand-painted picture components, and state-of-the-art computer technology that merge into a grandiose object that changes with barely perceptible transitions and produces a meditative effect. At any moment, “55 Million Crystals” is an absolutely unique original. No one else has ever seen what you see in this particular moment, and no one else will ever see it quite this way again.
In an age of high-definition monitors and powerful computers, Brian Eno does not consider an original work of art something bound to an immovable, physical object. In his holistic hypnotic experience comprised of music and colors, Eno shows that there is an infinity of individual moments and that each is unique.

What strikes one as chaotic and bizarre at first glance, is nothing less than the principle of life: In “Reflections”, the most diverse aspects of the history of mankind and culture are presented on 300 facets and 48 polygons made of crystal. The spiral-shaped layout of the space is designed after the building blocks of life, such as the double helix or yin yang. The topics of humans and history are followed by the sciences: chemistry, physics, astronomy, mathematics.

In the center are religion, faith, and magic, followed by the microcosm of the homeland interplaying with the macrocosm of the universe, and finally nature with its flora and fauna. There are repeated references to the importance and use of crystal and reflections about the world that serves as a cradle for nascent crystals, on the one hand, and which is itself built of crystalline structures on the other.

The poetic “Crystal Forest” is a work of the Italian painter and video artist Fabrizio Plessi. This unique composition is dedicated to the elements of fire, water, and crystal and combines the natural material of wood with video technology. Technology is integrated into nature. Each of the tree trunks hanging from the ceiling is home to a monitor that displays the interplay of flickers, sparkles, and rushing sounds, crackling fires, rippling waters, and gleaming crystal. Like in the “Crystal Forest”, natural elements are the basis for man-made esthetics and beauty at Swarovski.

The sculpture “Leviathan” refers to the Biblical sea monster on the one hand and, on the other, to the eponymous publication by Thomas Hobbes from 1651 about government and the state. The object consists of more than 10,000 crystals, thus referencing the oldest description of society as a network: the whole is created only in a reciprocal network of relationships, symbolized here by the interplay of the crystals.

The Timeless area tells the history of Swarovski and crystal in all of its historical facets. An exciting exhibition that ranges from the company’s founding to magical moments on the stage, screen, and runway juxtaposes curiosities and glamour with nostalgia, history, and technology.

Timeless” here means that we should forget our own time as we experience the changing spirit of the times from 1895 to the present day and observe epoch-making exhibits. The architects and museum designers at HG Merz were responsible for creating this narrative flow in cooperation with the Swarovski Corporate Archive.





800.000顆人工懸掛的施華洛世奇水晶像星星般佈滿黝黑如鏡的池水上方,給人如奇幻般水晶雲彩的印象。這項由Andy CaoXavier Perrot設計的巨大的裝置藝術,模糊了藝術和景觀的界限,是園區的最高巨作。這項橫跨約1,400平方公尺區域,令人屏息的藝術品,是世上最大的水晶作品。

The crowning piece of the new garden is the Crystal Cloud, created by Andy Cao and Xavier Perrot. This monumental installation drifts above the black Mirror Pool, inviting visitors to pause for moment and be inspired. 

With a surface of around 1,400 square meters, this mystical masterpiece is the largest work of its kind in the world. The Crystal Cloud consists of around 800,000 hand-mounted Swarovski crystals. 
A descending path draws visitors to the Mirror Pool where the crystals’ light is captured like stars shimmering in the nocturnal sky – even in broad daylight. The innumerable fireflies create magic light; as if in an enchanted fairytale garden, they flit and dance through the air and accompany the visitors across the footbridge.