深圳·“Show”主题展厅揭示艺术的边界

过去我们讨论艺术，倡导生活需要艺术的融入。如今，每个追求品质生活的人们，都已意识到生活中艺术的重要性。然而，如何将艺术融入生活，构建属于自己的艺术日常？

Discussions about art in the past focused on advocating for its integration into everyday life. Nowadays, it's widely acknowledged that art plays a crucial role in enhancing the quality of life for individuals. The question now becomes: how can we incorporate art into our daily routines and create individual artistic practices?

正如海德格尔所说，艺术品的本质是揭示真理，以文化造物，既是设计更是艺术。

Martin Heidegger regarded art as a source of truth. Thus, creating objects with culture is not just about design but also about art.

在不久前落幕的设计深圳盛会中，异开设计受FRAME之邀共同策划一场关于“Show”的展厅、与泡泡艺廊、Moooi、CASA BRAVA 意美家、瑞士LAUFEN一起，探讨可持续背景下的艺术生活真谛。

A recent example of this integration was seen at Design Shenzhen, where EK Design collaborated with FRAME to curate a booth centered around the theme of "Show", in partnership with PP Design Gallery, Moooi, CASA BRAVA, and LAUFEN. This collaboration aimed to explore the essence of living an artistic life within the sustainability framework.

#01

艺术与生活的跨界，正藉由设计达成

Crossover of art and life fostered by design

设计是将艺术引入日常的重要媒介，设计师们将艺术精华转译在产品与空间中，成为我们可触达的，日常的一部分。

Design is a fundamental medium for introducing art into everyday life. Designers play a pivotal role in bringing art to the masses by translating its essence into tangible products and spaces that are part of our daily lives.

设计前夕，异开设计与FRAME团队共同探讨策展的关键词：日常、艺术、可持续。基于此，引导观众思考。

家具可以是艺术品吗？

艺术品可以具有日常功能吗？

当代家具的收藏价值几何？

In the collaborative effort between EK Design and FRAME, the key themes of everyday life, art, and sustainability were carefully considered. And they posed three thought-provoking questions:

Can furniture be a work of art?

Can works of art have everyday functions?

What is the collection value of contemporary furniture?

用最日常的材料、可持续的材料，搭建一个艺术的“秀场”，为家具、瓷砖、洁具....这些我们日常生活中最常见的产品呈现先锋艺术化的表达。异开设计携手FRAME的策展团队，完成了本次展厅的设计与策展展品的规划。

EK Design collaborated with FRAME to create an "Art Show" by using common and sustainable materials. It displayed furniture, ceramic tiles, sanitary ware, and other everyday products, showcasing their avant-garde artistic expressions. The booth design and the curation of exhibits were carefully executed to provide a visually captivating and thought-provoking experience for visitors.

在过去的传统展览中，观众习惯于挑选心仪的产品和家具。然而，本次展览设计打破常规，以“秀场”为核心理念，异开设计团队别出心裁地提出了一个设想：让家具“活”起来。家具不再只是静态的展品，而是被赋予了生命和个性。

Departing from conventional exhibitions where visitors select among rows of displayed products and furniture, this exhibition brought all furniture to life by presenting the design concept of a "Runway Show". The innovative concept allowed furniture to transcend its static nature and become imbued with personality and interactivity.

当观众漫步在展览空间中，仿佛置身于一场家具界的时尚秀场。这里的家具不再是冷漠的物件，而是像人一样，能够感知并回应观众的存在。它们仿佛坐在观众席上，静静地观察着人们的每一个动作，每一个表情，甚至能够“读懂”观众对它们的喜好和兴趣。

As visitors navigate through the exhibition space, they are immersed in an ambiance reminiscent of a runway show, where furniture appeared sentient and responsive to their presence. Though stationary, the exhibits seemed like an audience, calmly taking note of every gesture and expression of the individuals, as if they can understand the visitors'  preferences and interests.

异开设计团队认为，这种“赋予家具生命”的概念不仅能为展览增添趣味性和互动性，还能让观众更加深入地了解和感受家具背后的设计理念和制作工艺。

This concept not only added an element of fun and engagement to the exhibition but also provided a deeper understanding of the design concepts and craftsmanship behind each piece of furniture.

在这个独特的展览中，观众将有机会与家具进行一场别开生面的“对话”，一场“Show”，走上天桥的却是参观者，在展厅的设计中，异开设计团队试图将“展”与“观”的二元调换，以一道亮眼的粉红天桥，串联展厅，邀请观者踏入秀场。

The exhibition evokes a novel "dialogue" between the visitors and the furniture. In this show, visitors were invited to walk on the striking pink stage that ran through the booth, exchanging the role of visitors and exhibits.

▽FRAME构架中文新媒体主编 周三霞、异开设计&泡泡艺廊创始人毛桦、moooi品牌创始人Marcel Wanders，携手揭幕展厅

Rita Chow, Editor-in-Chief of FRAME China, Mao Hua, Founder of EK Design & PP Design Gallery, and Marcel Wanders, Founder of Moooi at the FRAME Show

在开展期间moooi品牌创始人，荷兰国宝级设计师Marcel Wanders来到展台。在Wanders看来创作应当尽可能多的创造价值，“价值”不仅在于经济价值，更在于带给人们的个性和意义。这与“艺术的本质是揭示真理”的理念不谋而合。在与异开设计的合作策展中，moooi系列产品大胆、幽默与艺术化的表达，也无疑激发了展厅设计的创作灵感。

During the exhibition, Marcel Wanders, the founder of Moooi, visited the booth and shared his perspective on creation. He emphasized that the value of creative works goes beyond economic value and includes the impact on people's lives, happening to coincide with Martin Heidegger's view of art as a source of truth. The bold, playful and artistic Moooi products undoubtedly inspired the design of the exhibition booth.

▽展厅分析图

Booth diagram

在展览中，引发观展者探讨最多的话题，除了精致的展品之外，就是展厅设计中所使用的独特面材——我们日常生活中再平常不过的纸质鸡蛋托。

The exhibition sparked lively discussions among visitors, not only because of the exquisite exhibits but also the materiality of the booth, which was made of paper egg trays commonly seen in daily life.

当下艺术家使用重复利用材料创作现已成为一种趋势，这一特殊材料的使用，即是对可持续理念的回应，也是一场日常材质的艺术化探索。同时，也启发邀请人们更加自觉和有效地利用材料，让原本被丢弃的物品发挥更大的价值。

Under the trend of art creation using recycled materials, the use of paper egg trays responded to sustainability and showed an artistic exploration of everyday materials. It inspired and encouraged people to utilize materials efficiently and make the most of the things to be abandoned.

虽然设计时间非常有限，但异开设计还是希望在有限的时间里打造出一些特色。选择鸡蛋托这一特殊材料，不仅顺应当前可持续发展的趋势，而且能够引发行业思考。异开设计将蛋托进行喷涂后，上墙拼装，借由蛋托正反两面不同的构造模式，让展厅墙面形成了错落有致的特殊肌理。结合大胆的色彩应用，令人印象深刻。

Despite a limited design timeframe, EK Design intended to create distinctive features in the exhibition space using egg trays, which not only embraced sustainability but also sparked industry reflection. By spraying bold colors on egg trays and subtly combining  structural patterns of their front and back sides, the design team created a distinctive texture on the walls, resulting in a strong visual impact.

此外，异开团队在策划秀场主题展厅时，做了一个较为大胆的色彩应用。在以“秀”为主题的环境中，家具被赋予了特殊的角色——作为静默的观众，它们关注的焦点在于“人的表现”。

Additionally, this "show"-themed exhibition space featured a bold color scheme, and the products on display were given a special role—as silent spectators, focusing on visitor behaviors.

为了凸显观众的中心地位，异开设计挑选了黑白2色的展品呈现反差中的聚焦。这种低调的色彩选择旨在引导观众更多地关注“人的表现”，而非被家具本身所分散注意力。家具在此成为了秀场中不可或缺但又不过于张扬的一部分。

The deliberate choice of black-and-white exhibits aimed to form a contrast and highlight the visitors as the focus. The low-key colors of furniture were chosen to emphasize "human behaviors". As a result, the furniture on display became an indispensable yet unassuming part of the show.

色彩的选择是设计团队逐步推导出来的，主题色选择了粉色，回应了泡泡艺廊与FRAME的品牌色彩，也与设计团队的个人喜好有关。另外在普世价值中，粉色被视为女性的代表色，在某种程度上蓝色更为男性化。黑色则配合屏幕展现中性的媒介意向。

The theme colors were a result of the design team's step-by-step analysis and deduction. Pink aligns with the brand colors of PP Design Gallery and FRAME, as well as the personal preferences of the design team. Furthermore, pink is widely recognized as a feminine color, while blue is often associated with masculinity. Additionally, black is used in combination with the screen to provide a neutral setting.

蓝、粉、黑3个不同体块构成的展区中，沿“天桥”依次排布，展示着来自泡泡艺廊、Moooi、CASA BRAVA意美家、瑞士LAUFEN3个不同品牌的艺术化产品。为观者展现日常生活中使用的器具，亦可拥有艺术质感。

Three distinct volumes in blue, pink, and black, were arranged along the "runway", showcasing artistic products from PP Design Gallery, Moooi, CASA BRAVA, and LAUFEN, demonstrating to visitors the artistic nature of everyday objects.

每个踏入展厅的人们，或是驻足留影，或是交流探讨，此刻停留的观者成为秀场的主角，展品则成为启发与探讨的引子。

Every visitor who stepped into the booth became the protagonist of the show, whether they stopped to take photos or engage in discussions. The exhibits served as inspiration and starting points for meaningful conversations.

▽展览现场

FRAME Show booth

#02

历时13天的极限挑战

Extremely tight timeframe of 13 days

似乎诸多展会展览，都会面临在极短时间内头脑风暴并落地实施的挑战，这一次也不例外。

The process of design brainstorming and execution within a short period is a common challenge in exhibition planning, and this project is no exception.

从接到策展邀约到展厅搭建落地，一共13天的时间，留给异开设计的时间仅有几天。在这几天里，对异开团队来说设计构思、材料选择及搭建落地，每一步都是极具挑战的存在。

For this project, the exhibition booth's design and construction had to completed within just 13 days, leaving only a few days for the EK Design team to work their magic. The design team faced numerous challenges, from conception to material selection and construction.

设计团队与策展团队紧密配合，在敲定策展主题后，快速的拉通了展厅的呈现形式。异开设计创始人毛桦笑称犹如做了一次极速快题。没有多年的设计积累，无法达到极限一刻的爆发。

Working closely with the curatorial team, the design team quickly finalized the form of the booth after determining the curatorial theme. Mao Hua, the founder of EK Design, humorously referred to this project as an extreme game of rapid-fire questions. Only years of design experience can make this breakthrough under such pressure.

由于采用了特别的非标饰面材料，展厅在落地阶段也充满挑战。毛桦聊起建造过程，她说：“我们并没有明确告诉工人们（鸡蛋托）哪一块是正面哪一块是反面，而是让他们在安装时自由发挥，一同参与到设计中，这个共创过程很有趣。”

The use of special non-standard cladding materials posed additional challenges during the construction phase. Mao Hua described the construction process as a co-creation effort, noting that the workers were not given specific instructions regarding which side of the egg tray was the front or the back. Instead, they were encouraged to freely engage with the tray during installation and contribute to its design. This collaborative construction approach was both engaging and rewarding for all involved.

▽展厅搭建现场

Construction site

“一开始，当他们被给予空间去发挥时，依然固化的去寻找棋盘式的安装规律。但后来，我们告诉他们放轻松随意一点，没想到最后出来的效果反而有惊喜。实际上，每个环节的建造工人都参与到了设计中，他们的参与让设计更加有趣。”

"Initially, the construction workers rigidly adhered to a checkerboard-style installation pattern, despite being given creative freedom. However, after encouraging them to relax and be more casual, the final effect turned out to be surprisingly impressive. Every member of the construction team participated in the design, and their involvement made the design even more interesting." said Mao Hua.

或许这样共创的过程，也是另一种日常的艺术。

This kind of co-creation is another type of daily art.

#03

当代家具的收藏价值几何

The collection value of contemporary furniture

本次展览试图探讨艺术品与日常家具的边界，展览中，也展出了毛桦与艺术家蔡赟骅合作的长凳，而在她看来家具是否具有收藏价值这一议题涵盖的范畴非常广。一是以时间为范畴来看，一件家具要成为具有收藏价值的艺术品，是需要通过时间来检验的。

This exhibition aimed to delve into the boundary between art and everyday furniture, featuring a bench series collaboratively designed by Mao Hua and artist Jacky Tsai. From Mao Hua's perspective, the question of whether furniture holds collection value is quite extensive. One approach is to consider its longevity; a piece of furniture must endure the passage of time to be regarded as a collectible work of art.

它的艺术价值也许不能在当下完全被市场“读懂”，但是经过时间的沉淀，十年、二十年以后，人们依然喜欢并视为珍品，才能成为可收藏的艺术品。就像明式家具或古董，它们代表着时间积淀，在设计整体的形体没有问题的情况下，就能被收藏。

The current lack of market recognition for its artistic value does not diminish its potential to become a collectible work of art in the future. Similar to Ming-style furniture or antiques, the appreciation and desirability of an artistic piece can grow over time. As long as the design maintains its integrity, it has the potential to be a valuable and sought-after item in the future.

▽毛桦 × 蔡赟骅合作艺术长凳系列、右：《斓漫》、中：《暗涌》、左：《赞放》

From right to middle and left are "Permeating", "Undercurrent", "Blooming" from the art bench series collaboratively designed by Mao Hua and artist Jacky Tsai

另一个范畴是关于我们怎么去定义艺术品，因为每个人的眼光不同。毛桦认为原创的概念也非常重要，以moooi为例，它们的灯具和椅子，特别是Marcel设计的碳纤维椅，在设计上具有独特的艺术张力。他把碳纤维这种高科技材料创新应用在家具设计中，这些新颖的概念和尝试，使其不仅成为视觉和功能相结合的艺术品，还能引发人们对原创与设计本质的思考。

Another important aspect to consider is the definition of artwork, which varies greatly from person to person. Mao Hua emphasizes the significance of originality in art. For instance, Moooi's lamps and chairs, particularly the Carbon Chair, embody a distinctive artistic tension in their design. The innovative use of high-tech materials like carbon fibers in furniture design reflects a novel approach. These pioneering concepts result in pieces that blend vision and functionality while prompting contemplation on the fundamental nature of originality and design.

▽Marcel Wanders与毛桦在泡泡艺廊展出单元中交流。

Marcel Wanders and Mao Hua exchanged insights in the PP Design Gallery section

除了设计师的身份，毛桦同样是泡泡艺廊的主理人，多年以来对高端家居市场中，消费者对品牌和艺术的认知变化有着独到的观察。

Designer Mao Hua is also the founder of the PP Design Gallery. Over the years, she has gained unique insights into customers' evolving perceptions of brands and art within the high-end home furnishings market.

毛桦谈到：“站在泡泡艺廊的角度来看，在2011年左右的初创期，品牌推广是比较艰难的。当时，富人阶层更倾向于购买豪车、豪宅和名表等品牌商品，对家具的投资很少。他们认为家具的价格并不需要太高，更倾向于自己熟悉的大牌。在这种情况下，泡泡艺廊品牌经营起来颇为艰难，大众对其认可度较低。

Reflecting on the challenges faced by PP Design Gallery in its early days around 2011, Mao Hua noted that brand promotion was particularly difficult during that time as the wealthy class showed a preference for luxury cars, housing, and watches, investing very little in furniture. There was a belief that furniture did not need to be too expensive, and well-known big brands were favored. This made it challenging for PP Design Gallery to gain brand recognition among the public.

随着社会的进步，这些高阶人群开始逐渐接受小众品牌，但也只选择大牌家具，他们认为大牌家具更能彰显身份和地位。后来，设计师开始引导他们，提醒他们不要一味地追求大牌，混搭家具和投资艺术品或许是个更好的选择。泡泡艺廊希望高端市场能够凸显个体的特点，不一定要和别人一样，他们要拥有真正属于自己的艺术品和定制化的家具。

As society develops, upscale groups have gradually become more open to niche brands. However, they still tend to favor well-known furniture brands, believing that it represents their status and identity. Over time, designers have started to advise them against blindly pursuing big brands, suggesting that the mix and match of furniture and investment in art might be a better choice. PP Design Gallery aims to encourage the high-end market to embrace individuality and uniqueness, promoting the idea that they don't have to conform to others. Instead, they can have their unique works of art and customized furniture.

而投资艺术品在当今社会已经成为一种趋势，它们在家的设计中的比例应该会逐渐增加，我觉得未来艺术品投资市场会繁荣起来的，这是不可避免的，艺术品不仅承载了文化，也体现了主人的品位和喜好。”

Investing in works of art has become a growing trend in modern society, and their presence in home design is anticipated to continue rising. Mao Hua predicts that the art investment market will thrive in the future, and this growth is unavoidable. Artworks not only embody culture but also mirror the owner's taste and preferences.

在探讨设计与艺术、品味、品质之间的关系时，毛桦认为，这三者虽然各自独立，但却相互关联，在家居设计中散发着独特的魅力。

In discussing the relationship between art, taste, and quality, Mao Hua believes that while these three aspects are independent, they are interconnected, emanating a unique charm in home design.

“即使一个人对艺术有深入的了解，这也不代表他就拥有高品味或高品质的生活。品味与艺术虽然相关，但它们是两个独立的概念。同样，即使我过着高品质的生活，也并不意味着我就是一个艺术家或者有着超凡的品味。有时候，我选择某样东西并不是因为它是一件艺术品，而是因为它符合我追求的其他特质或元素。因此，我们需要清晰地理解和区分这三者，以更好地把握艺术与生活品质之间的关系。”

She said that having a deep understanding of art does not necessarily equate to having good taste or living a high-quality life. Taste and art are related but distinct concepts. Similarly, leading a high-quality life does not automatically make someone an artist or indicate extraordinary taste. Sometimes, choices are made based on other qualities or elements being pursued, rather than solely on artistic merit. It is important to differentiate these three aspects in order to better understand the relationship between art and quality of life.

项目信息：

策展团队：FRAME构架

设计团队：异开设计EK Design

展品品牌：泡泡艺廊PP Design Gallery、Moooi、CASA BRAVA 意美家、瑞士LAUFEN

摄影及摄像：FRAME、自由意志摄影工作室、川禾文化

Project information

Curator: FRAME

Design team: EK Design

Exhibition brands: PP Design Gallery, Moooi, CASA BRAVA, LAUFEN

Photography: FRAME, Free Will Photography, CHvision