戈尔德，艺术之地
Gordes, land of artists
继Les Baux-de-Provence、Hossegor和Courchevel之后，Joséphine Fossey携手Iconic House来到吕贝宏山区，为坐落在戈尔德山上的一座普罗旺斯乡村住宅带来艺术的概念。
After Les Baux-de-Provence, Hossegor and Courchevel, Joséphine Fossey accompanies Iconic House to the Luberon, designing the artistic concept for a Provencal bastide nestled in the hills above Gordes.
▼普罗旺斯村庄环境，Provencal bastide setting© Mr. Tripper
为了设计一种独特的体验，Joséphine Fossey开始深入研究这个村庄的历史——这里的与世隔绝，光线，矿物美景和景观，多年来一直启发和吸引着艺术家们。André Lhote是第一批折服于这里的魅力的人之一。Jean Deyrolle, Serge Poliakoff，摄影师Willy Ronis和Izis都前赴后继。
To design a unique experience, Joséphine Fossey began by delving into the history of this village – the isolation, light, mineral beauty and landscapes that have inspired and charmed artists throughout the years. André Lhote was one of the first to fall under the region’s spell. Jean Deyrolle, Serge Poliakoff, and photographers Willy Ronis and Izis followed.
▼酒店延续着戈尔德地区的迷人魅力，the hotel continues the spell of theGordes © Mr. Tripper
▼酒店庭院概览，overview of the hotel courtyard© Mr. Tripper
▼泳池平台，pool platform© Mr. Tripper
戈尔德山区对Victor Vasarely作品的影响引起了Joséphine Fossey的特别兴趣。对村庄的发现——光线的力量，土地的垂直性——为这位艺术家带来了真正的感官冲击，导致他的风格向抽象演变，从直接观察自然到将其转化为纯粹、抽象、运动的形式。
The impact of Gordes on Victor Vasarely’s work was of particular interest to Joséphine Fossey. The discovery of the village – the power of the light, the verticality of the place – provoked a real sensory shock in the artist, resulting in an evolution of his style towards abstraction, starting from direct observation of nature to translate it into pure, abstract, moving forms.
▼随着水的运动而变化的线性图案，a graphic and linear motif evolving with the movements of the water © Joséphine Fossey Office
错觉、运动、感知 – 这些光学艺术和动感艺术所珍视的概念引导着该场地的艺术特征。Joséphine Fossey希望通过邀请画家、雕塑家和当地手工艺者参与对话，通过室内和室外的作品形成名副其实的艺术之旅，从而探索在地与人文、自然与艺术、真实与想象之间的联系。
Illusion, movement, perception – these notions dear to the optical and kinetic art movements have guided the artistic signature of the property. It’s this link between locality and humanity, nature and art, real and imaginary that Joséphine Fossey wanted to explore by inviting painters, sculptors and local craftsmen to engage in dialogue through works that form a veritable artistic journey both indoors and outdoors.
▼艺术家Gaultier Rimbault-Joffard设计的彩绘金属大门，the painted metal gate by artist Gaultier Rimbault-Joffard © Mr. Tripper
Les Hauts de Gordes，一次艺术之旅
Les Hauts de Gordes, an artistic journey
远离人群和眩光，在室内建筑师Jérémie du Chaffaut设计的环境中，Les Hauts de Gordes酒店为客人提供完美的隐私和壮观的山谷景色。对于jossamphine Fossey来说，这是一个建立独特作品收藏的机会，其中一些为特别委托，具有纪念意义，引导住户发现这个地方的奥秘，反思并觉察光线和运动，质疑自身的感知。
Away from the crowds and glare, Les Hauts de Gordes offers guests perfect privacy and spectacular views over the valley, in a setting designed by interior architect Jérémie du Chaffaut. It’s an opportunity for Joséphine Fossey to build up a collection of singular works, some of them monumental and specially commissioned, that guide visitors in the discovery of a place by reflecting a certain sensitivity to light and movement, questioning perception.
▼室外的艺术装置，outdoor art installation© above by Mr. Tripper, below by Joséphine Fossey Office
室外是定制装置的展示橱窗。一进门，由艺术家Gaultier Rimbault-Jo ffard设计的彩绘金属大门定下基调，材料与光线交织。这是旅程中的第一个动态作品，邀请你一点一点地去发现其余的地点。在花园中，Charles Kalpakian的几何镜子雕塑反射着天空和无垠的周围景观，模糊了真实与想象的界限。再向前走一点，游泳池本身就变成了一件艺术品：Joséphine Fossey邀请来Robin Vermeersch，一位专注于视觉语言和感知概念的艺术家，他与比利时“Ceci n’est pas une piscine”团队合作，绘制了一个随着水的运动而演变的图画式的线性母题。在露台上，Atelier Felicita二人组与Sonia Rinaldi合作，以现代的方式重新审视了方位桌的概念。纯色和珐琅熔岩线描在三层木结构上再现了周围的环境，如同三联画一般。
The exterior is a showcase for bespoke installations. As soon as you enter, the painted metal gate by artist Gaultier Rimbault-Jo ffard sets the tone, with material and light vibrating. It’s the first kinetic work on the journey, an invitation to discover the rest of the property bit by bit. In the garden, Charles Kalpakian’s geometric mirror sculpture reflects the sky and the infinity of the surrounding landscape, blurring the boundary between real and imaginary. A little further on, the pool itself becomes a work of art: Joséphine Fossey called on Robin Vermeersch, an artist fascinated by visual language and the notion of perception, who, in association with the Belgian collective “Ceci n’est pas une piscine”, drew a graphic and linear motif evolving with the movements of the water. On the terrace, the duo of Atelier Felicita, in collaboration with Sonia Rinaldi, were given the task of revisiting the concept of the orientation table in a contemporary way. Solid colors and a line drawing in enameled lava represent the surroundings on three-tiered wooden structures, functioning as a triptych.
▼室内概览，interior overview© Joséphine Fossey Office
▼起居室，living room© Mr. Tripper
▼庭院座椅，seatings© Mr. Tripper
在室内，Victor Marqué探索了二维与三维，创造了六个图腾形式的定制雕塑，绘制了让人联想到Vasarely的绘画作品。Ilka Kramer和Yosigo的照片与Jesus Perea的作品相呼应，并回应了普罗旺斯古董商发现的物品。每件作品都在运动、光线、垂直性与光学效果上做文章。
Inside, Victor Marqué has created six bespoke sculptures in totemic forms and drawings reminiscent of Vasarely’s work, exploring both 2D and 3D. Photos by Ilka Kramer and Yosigo rub shoulders with works by Jesus Perea, and respond to objects found through Provencal antique dealers. Each piece plays with movement, light, verticality and optical effects.
▼Victor Marqué创造的图腾式雕塑与绘画，totemic sculpturesand drawings byVictor Marqué© Mr. Tripper
▼卧室概览，bedroom overview© Mr. Tripper
▼Victor Marqué创造的图腾式雕塑与绘画，totemic sculpturesand drawings byVictor Marqué© Mr. Tripper
Les Hauts de Gordes的艺术之旅体现了Joséphine Fossey的设计手法：将每个项目视为人文的、协作的探险之旅，在历史与新篇章、复古与当代、地方性与文化融合之间找到适当的平衡，通过兼收并蓄使自己立足于环境之中。
The artistic journey of Les Hauts de Gordes embodies Joséphine Fossey’s approach: to look at each project as a human, collaborative adventure, to find the right balance between history and new chapter, vintage and contemporary, locality and cultural mix, to anchor yourself in an environment by making it your own.
▼房间一角，corners in the room© Mr. Tripper
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