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M+, Hong Kong. Gift of Siah Armajani and Fabio Rossi, 2018, © Siah Armajani
Siah Armajani 西亞．阿馬賈尼
The Art of Bridge Making 3 (Münster Pedestrian Bridge) 造橋的藝術三（明斯特行人天橋）
1974
Since the late 1960s, the Iranian-American artist Siah Armajani has designed and investigated bridges as metaphorical and physical structures that create connections. An influential public artist, Armajani focuses on architectural elements and questions of publicness. Many of his works are functional installations and social sculptures, including urban pedestrian bridges, gardens, gazebos, reading rooms, and furniture. His projects range from small handmade models to full-scale architectural structures that are either temporary or permanent. This proposal for a bridge in Germany was developed for the Münster Skulptur Projekte in 1977 but never realised. The goal was to link two parts of the town that were cut off due to a traffic artery.
The design itself is a suspension bridge, supported by cables and resting on piers. Its formal composition consists of strong vertical and horizontal elements that are opposed but balanced. One side is brown and the other black. The span between the two is not continuous but disjointed, attached in the middle by a short set of stairs. Below the bridge are smaller trusses, held up on a miniature ladder and chair via counterweights, but not touching. The physics of tension, compression, and stress mix with the artist’s interest in poetry, philosophy, and civic society. Armajani’s practice mediates between individuals and collectivity, and the bridge series negotiates the gaps and conjunctions of art, architecture, and design.
The design itself is a suspension bridge, supported by cables and resting on piers. Its formal composition consists of strong vertical and horizontal elements that are opposed but balanced. One side is brown and the other black. The span between the two is not continuous but disjointed, attached in the middle by a short set of stairs. Below the bridge are smaller trusses, held up on a miniature ladder and chair via counterweights, but not touching. The physics of tension, compression, and stress mix with the artist’s interest in poetry, philosophy, and civic society. Armajani’s practice mediates between individuals and collectivity, and the bridge series negotiates the gaps and conjunctions of art, architecture, and design.
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