感谢 灰空间建筑事务所（联系邮箱：press@igrey.cn）予gooood分享以下内容。更多关于他们，请至：Greyspace on gooood
Appreciations towards Greyspace (Contact: press@igrey.cn) for providing the following description:

项目背景及源起
Background and Origin

1919年并非盛世，一战刚刚结束，世界各地还处于动荡之中。一百年过去，一个在设计界耳熟能详的名字却留了下来——包豪斯。“第一次世界大战结束后，德国作为战败国，思想与道德上都被击垮了，包豪斯所处的魏玛共和国，释放出一种人类与生俱来的生命力，作为生命力的表达，是关于建造的理想，建造，成为这个国家重新爬起来的信仰。”更为难得的是，它不是一具仰望中遥远的空壳，而是世界意义上广泛的现代设计启蒙，甚至催生了如今众多一线中国设计院校的初始教学构架。

2011年，在杭州市人民政府的大力支持下，“以包豪斯为核心的西方现代设计系列收藏”落户中国美术学院。这不仅仅是对西方现代设计的收藏，也是引进西方设计的源头。按照中国美术学院副院长、美术博物馆总馆长杭间的话来说“作为20世纪上半叶的一所艺术和设计学校，包豪斯已经成为‘现代设计思想和教育’的伟大创始者载入历史，虽然百年间科技与社会生活的发展日新月异，但包豪斯的复杂精神却一直有常读常新之感。而关于包豪斯的研究，也已经从功能、形式和教育等的一般关注，转向更广阔深入的社会技术问题和哲学伦理等问题的探讨。”

1919 was not the heyday, the First World War was just over, and the world was still in turmoil. A hundred years later, a name which is familiar to the design world has remained: Bauhaus. “After the First World War, Germany was defeated ideologically and morally. The Weimar Republic, where the Bauhaus was located, released a kind of natural vitality of human beings as an expression of vitality. It is about the ideal of building. Building has become the faith of this country to re-rise. “What is even more rare is that it is not an empty shell being looked up at a distant world, but an extensive enlightenment of modern design of the world, and even gave birth to the initial teaching framework of many front-line Chinese design colleges today.

In 2011, with the strong support of Hangzhou Government, the “Western Modern Design Collection with Bauhaus as the core” was settled in the China Academy of Art. This is not only a collection but also the source of introducing western modern design. According to Hang Jian, deputy dean of the China Academy of Fine Arts and chief curator of the Fine Arts Museum, “As an art and design school in the first half of the 20th century, Bauhaus has become a great founder of ‘modern design thinking and education’ and made its history, although the development of science and technology and social life has changed rapidly in the past century, the complex spirit of the Bauhaus has always been a constant spotlight. And the research on the Bauhaus has also changed from the general aspects of function, form, and education to broader and deeper socio-technical issues and the discussion of philosophy and ethics. “

▼西扎与包豪斯的隔窗对话，dialogue between Siza and Bauhaus ©陈颢

我们正在见证包豪斯在中国静水流深。中国美术学院中国国际设计博物馆作为亚洲收藏西方近代设计最为全面的博物馆及研究机构，于12月6日向公众开放了自主策划的“包豪斯学校创立100周年纪念特展：包豪斯的四个问题——“总体艺术”影响及不同的选择”，展览从馆藏出发，以“中国关切”的视角梳理了包豪斯的历史重要线索，为观众呈现了全新的思路和对包豪斯的不同理解。

接到这个展览空间设计任务之初，我们感到既兴奋又棘手。在包豪斯这个宏大叙事主题下，如何努力保持原有建筑空间的感受的同时，与策展主题及展品进行对话，成为我们设计需要解决的关键问题。

We are witnessing Bauhaus running deep in China. The China Design Museum of the China Academy of Art, as the most comprehensive museum and research institution in the collection of Western modern design in Asia, opened an independently curated exhibition “Special Exhibition of the 100th Anniversary of the Bauhaus. Four Issues of the Bauhaus: Influence and Different Choices of Gesamtkunstwerk” on December 6. The exhibition starts from the series collection and sorts out important historical clues of Bauhaus from the perspective of “China Concerns”, presenting new ideas and differences Bauhaus understanding to the public.

At the beginning of the design, we felt both excited and challenging. How to respond to the curatorial theme under the grand narrative theme of Bauhaus while trying to maintain the original spacial feeling has become the key issue of our design.

▼展览海报，post of the exhibition

切入点：西扎与包豪斯的隔窗对话
Entry Point: the dialogue between Siza and Bauhaus through a window

项目所在的中国国际设计博物馆的2号展厅位于展览主流线的必经之路，是一个长16.5m、宽12.3m、高7.9m的规整矩形空间，唯二的两处切割就是入口的折角开口以及进门面对的一个高4m往上的高窗洞口。这就是我们面对的所有空间前提，简洁干练，西扎的标志语言。

The exhibition is located in hall 2 along the mainstream of the China Design Museum. It is a regular rectangular space with a length of 16.5m, a width of 12.3m and a height of 7.9m. The only two cuttings are the entrance in the corner and a high window with a height of 4m facing the entrance. These are the spacial premise we have, simple and pure, typical language of Siza.

▼原始展厅空间，original exhibition space

这个透着微妙天光，2.4米x3.15米的高窗引起了我们的注意。窗是西扎雕塑般建筑实体中的虚，也是空间静谧感的由来。而窗户在包豪斯体系话语中却有着截然不同的象征。在宣扬艺术与技术结合的指导思想下，包豪斯的窗户不仅是对墙体的切挖，也是包裹着框架结构骨架的皮肤。是法古斯工厂的转角窗和包豪斯校舍的玻璃幕墙。

This 2.4mx3.15m high window with subtle skylight caught our attention. The window is a void part in Siza’s sculptural architectural entity, as well as the reason of space tranquility of the space. However, window has a very different symbol in Bauhaus discourse. Under the guidance of promoting the combination of art and technology, window of Bauhaus is not only a cut out of the wall, but also the skin of the framework. It is the corner windows of the Fagus Factory and the glass facade of the Bauhaus school building.

▼西扎的窗与包豪斯校舍的窗，the windows of Siza and the Bauhaus classroom

None

1923年，二十世纪最具影响力的艺术家和艺术理论家之一，彼时包豪斯首位留校任教的学生，约瑟夫·艾尔伯斯（JosepAlbers）设计了格罗皮乌斯在魏玛办公室的彩色玻璃窗。他为玻璃窗设计的彩色几何图形并非成熟老练，但就像早期包豪斯作为设计界的崭新窗口一样，画面中色块与线条的构成与秩序，却能在包豪斯留给后世众多的经典作品中看到它的影子。

In 1923, Josep Albers, one of the most influential artists and art theorists of the twentieth century, was the first Bauhaus student to stay and teach at school. He designed the stained glass windows in Gropius’s office in Weimar. The colorful geometric figures he designed for the glass window are not that mature and sophisticated, but just like the early Bauhaus as a brand new window in the design world, the composition and order of the color blocks and lines can be traced in many other later works of Bauhaus.

▼约瑟夫·艾尔伯斯的彩色玻璃窗，stained glass window by Josef Albers

这扇可以与西扎留在展厅内的高窗对话的，校长室的彩色玻璃窗成为了我们设计的起源和缩影。正如这个展览本身也正是中国国际设计博物馆为参观者打开的一扇窥探包豪斯神秘故事的窗。

This stained glass window in the president’s office, which can form a dialogue with Siza’s high window left in the exhibition hall, has become the origin and epitome of our design. Just as the exhibition itself is a window welcomed visitors to the mysterious story of Bauhaus.

▼展览入口，entrance of the exhibition ©陈颢

基础逻辑：立体网格的提取
Basic logic: extraction of spacial grids

我们将艾尔伯斯设计的彩色玻璃窗的几何构成提取成为展厅的平面网格，并与展厅内中轴线上西扎留下的窗洞开口形成轴线对位，形成了展览的平面参观流线；然后将平面网格系统垂直升起形成展厅内悬挂体系的结构支撑网架。展墙被归纳成为高低不同、围合方式各异的四组盒子，再依据不同主题以网格为轴将四组盒子置入，围合穿插形成相互连结又相对独立、环绕分布在矩形展场之中的展示空间。

▼空间生成示意图，generation diagram

We extracted the geometric composition of the stained glass windows designed by Albers into a flat grid of the exhibition hall, and aligned with the window hole left by Siza on the central axis, forming an axial flow of the plane’s visit to the exhibition; Then the plane grid system is raised vertically to form the structural support grid of the suspension system. All the exhibition walls are summarized into four groups with different heights and enclosing methods. The four groups enclosures are placed on the grid according to different themes, and interspersed to form interconnected and relatively independent, distributed around the rectangular exhibition hall.

▼展览空间分解图，以彩色玻璃窗为原型置入新的空间结构
exploded axonometric, new space structure based on stained glass window by Josef Albers

空间逻辑：看、被看、与空间中的盒子
Logic of space: see, be seen, and boxes in space

策展团队将这次纪念特展的内容分为4个主题，分别为：“技术的分歧”、“教育真相：迟来的建筑系”、“女性的觉醒”、“人民意志：批量化的实现”。每个主题下作品种类涵盖海报、书籍封面、明信片、文献内页、图纸、模型、家具、灯具、工业产品、编织毯等多种介质和表现形式。其丰富程度决定了展场的多元化和片段性。

The curatorial team divided the content of this commemorative special exhibition into 4 themes, namely: “Differences in Technology”, “Truth in Education: Belated Architecture Department”, “The Awakening of Women”, “The Will of the People: Mass Achieve”. The types of works under each theme include posters, book covers, postcards, literature pages, drawings, models, furniture, lamps, industrial products, woven blankets and other media and expressions. The richness of works determines the diversity and fragmentation of the exhibition venue.

▼展览主题内容分区，partition of different themes

这四个相对独立的主题被归纳成为四组盒子环绕分布在矩形展场之中。每个主题分区内的展品内容都极尽精致、包容。空间的分隔与常规不同，自由漂浮的盒子高度不尽相同，开口也错落多样，空间在多层分割之后依旧透明，与多层次的主题相得益彰。

These four relatively independent themes are summarized into four groups of boxes distributed around the rectangular exhibition hall. The contents of the exhibits in each thematic zone are extremely refined and inclusive. The separation of the space is more than conventional, the free-floating walls have different heights, and the openings are scattered and diverse. The space is still transparent after the multi-layer division, which complements the multi-level theme.

▼主题一：技术的分歧，
Theme one: Differences in Technology ©陈颢

▼主题二：教育真相：迟来的建筑系，
Theme two: Truth in Education: Belated Architecture Department ©陈颢

▼主题三：女性的觉醒，
Theme three: The Awakening of Women ©陈颢

▼主题四：人民意志：批量化的实现
Theme four: The Will of the People: Mass Achieve ©陈颢

我们把展品划分为二维和三维两个大类，这一归类的方式决定了展场内的四组盒子或漂浮或落地的状态，同时也为盒子开洞的位置寻找到依据。其中二维平面展品的观看形式又可以细分为张贴（悬挂）观看、台面观看、投影或视频观看，此类展品被置入位于人视线高度的漂浮的展墙及其构成的“盒子”中；三维实体则根据物体的尺寸大小可分为地台摆放观看、壁龛摆放观看，其被置入落地的“盒子”中。根据不同的观看类型我们设计了相对统一的，以展架及盒子构成的主体空间形态，试图弱化多元片段造成的零碎体验，加强观展的舒适性和完整感受，再将这些不同的观看空间片段词句整合写出一篇干练的文章。

We divide the exhibits into two categories: two-dimensional and three-dimensional. This classification method determines the floating or landing state of the four themed spaces, finding the basic positions of the boxes to open. The viewing form of two-dimensional exhibits can be subdivided into post (hanging) viewing, countertop viewing, projection, and video viewing. Such exhibits are placed on the floating walls at the height of human sight; The three-dimensional entities can be divided into platform display and alcove display according to the size of the object. They are placed in the “box” on the floor. According to different viewing types, we have designed a relatively unified main space form composed of exhibition frames and boxes. The fragmented experience caused by multiple fragments are tried to be weakened and integrated, enhancing the comfort and complete feeling of viewing.

▼观看方式的层叠错落，people could look into various layers in the exhibition ©陈颢

▼从内向外及从外向内的互看，view from in an dout ©陈颢

整个游览路径又与城市游走的过程相似，从纵横交错的街巷中穿行，到创造视觉交流的门窗洞口两侧相互佐证的展品处停留，以及最后驻足在信息层层叠加的仪式感广场，这些富有张力的空间形成了这个小尺度展厅里面高密度的观展体验。而线条、形体、色彩、光影、布局和对比度等形式因素都被压缩集合在这样的观展流线中。

整个游览路径又与城市游走的过程相似，从纵横交错的街巷中穿行，到创造视觉交流的门窗洞口两侧相互佐证的展品处停留，以及最后驻足在信息层层叠加的仪式感广场，这些富有张力的空间形成了这个小尺度展厅里面高密度的观展体验。而线条、形体、色彩、光影、布局和对比度等形式因素都被压缩集合在这样的观展流线中。

▼展览平面及流线，plan and circulation of the exhibition

色彩逻辑：颜色所指
Color logic: References

色彩一贯是包豪斯中核心却鲜被提及的主题。约翰·伊顿（Johannes Itten）、保罗•克利（Paul Klee）、瓦西里•康定斯基（Wassily Kandinsky）、约瑟夫·亚伯斯奠定并完善了包豪斯的色彩理论体系。在这次的展场设计中，不论是出于对包豪斯内容核心板块——色彩的尊重，还是作为约瑟夫·亚伯斯彩色玻璃窗的映射，颜色都是不得不考量到的重要环节。

还是以彩色玻璃窗为基础要素，我们在展场设计中提取了其中出现频率最高的三种颜色：暗红、灰黑、橙黄作为内容支线的提示。暗红色墙面框选的空间提示了展览中团体形象的呈现；灰黑色则作为当年特殊事件再见的高光，指出1923年包豪斯展览、大师之屋、及魏森霍夫住宅展上首次出现的设计产品和场景；橙黄被用来作为女性的觉醒之色，和地毯编织元素共同形成女性空间的标识和底色。

Color has always been the core but rarely mentioned theme in Bauhaus. Johannes Itten, Paul Klee, Wassily Kandinsky, and Joseph Abbers laid and improved the Bauhaus color theory system. In this exhibition design, color is an important link that has to be considered, whether it is due to respect for the core part of Bauhaus content, or as a mapping of Joseph Abbers’ stained glass windows.

Based on the glass window, we extracted three colors with the highest frequency: dark red, gray black, and orange yellow as hints for the content branches. The space selected by the dark red wall framed the presentation of the important groups in the process of Bauhaus; the gray black was the highlight of special events pointing out the Design products and scenes in first Bauhaus Exhibition, the House of the Masters, and the Weisenhof Residence Exhibition in 1923; orange yellow is used as the awakening color of women, acting as the background color of female space together with the carpet weaving elements.

▼色彩及其空间内容关系
relationship between color and sapce

展览：微小而坚定的力量
Exhibition: A tiny but determined force

宣传的力量一直是包豪斯无法回避的有力工具。不论是刚刚提到的1923年展览、大师之屋、魏森霍夫住宅展，还是在各大媒体上发布的关于包豪斯的理念和框架建构，都可以看到其对于话语塑造的野心。展览这一形式正是表现其建筑核心地位与曾经并置的舞台概念的调和。

克利早期包豪斯理念结构图上将建筑与舞台并置，但最终的结构图中舞台被隐去，因为建筑自带的社会介入功能，相比舞台的象征意义更能在现实意义上去建构包豪斯的理想。然而“包豪斯黄金时代的集体创作气象正是在格罗皮乌斯意义上的建筑与施莱默意义上的舞台的辩证运动中涌现的”。展场这种形态，既吸纳了舞台对异质的包容，又将变形、怪异和伪装向社会进行挤压。

这个小小的展览空间设计或许也正是对“一种长期被宣扬但又从未得以实现的包豪斯”进行的一次解读和再现。尽管不够成熟，但我们必须去做，全世界的设计从业者也一直在做这个尝试。

The power of propaganda has always been a powerful tool for Bauhaus. Whether the 1923 exhibition, the House of the Masters, the Weissenhof House Exhibition just mentioned, or the concept and framework of Bauhaus published in major media, are ambitious in shaping the discourse. The form of exhibition is the harmony between the core position of “building” and the juxtaposed concept “stage”.

Klee’s early Bauhaus concept structure diagram juxtaposed “building” with “stage”, but “stage” was hidden in the final structure diagram, because the built-in social intervention function of “building” can be used to construct the ideality in a realistic sense than the symbolic meaning of “stage”. However, “the collective creative meteorology of the Bauhaus Golden Age emerged from the dialectical movement of the buildings in the sense of Gropius and the stage in Schlemer’s sense.” The form of exhibition not only absorbed the stage’s tolerance for heterogeneity, but also squeezed deformation, weirdness, and camouflage to the society.

This small exhibition space design may also be an interpretation and reproduction of “a Bauhaus that has long been advertised but never realized”. Although not mature enough, we must do what design practitioners all over the world have been trying to do.

项目信息
包豪斯学校创立100周年纪念特展：包豪斯的四个问题——“总体艺术”影响及不同的选择展场设计
项目地点：中国美术学院中国国际设计博物馆2号展厅
设计时间（起迄年月）：2019.07-2019.11
建设时间（起迄年月）：2019.11-2019.12
用地面积（平方米）：204.9
建筑面积（平方米）：204.9
空间设计: 灰空间建筑事务所
主持建筑师: 刘漠烟、苏鹏
设计团队：琚安琪、高永胜、张莹莹
展陈顾问：邓圆也
结构顾问：张准
照明顾问：WAC Lighting
建筑摄影：陈颢

展览信息
时间：2019年12月6日 – 2020年12月6日（12月6日 14:30对公众开放）
地点：中国美术学院中国国际设计博物馆2号展厅
主办：中国美术学院中国国际设计博物馆，中国美术学院包豪斯研究院
总策划：许江、杭间
学术主持：袁由敏
策展人：王洋
展览协调：高原
藏品管理：高米叶
公共教育：刘一蓝
行政协调：王剑红、王娜、马颖
视觉设计：袁由敏、陈铮、栾嘉辉
展览助理：赵孟希、俞峙彤、沈佳琪、卢意、王金扬、龙芮、周向力
展览翻译：俞默、何健、罗瑜、石依茜、唐雪娇、封戈童
作品安装：杭州迷墙文化艺术有限公司，杭州市恒尚广告有限公司
展览工程及制作：杭州皓泰装饰工程有限公司
展厅管理：浙江浙大新宇物业集团有限公司
视频及动画制作：杭州光能合成文化艺术策划公司
特别感谢：上海布科文化艺术有限公司，德国朗饰壁纸

Exhibition Space Design
Special Exhibition of the 100th Anniversary of the Bauhaus
Four Issues of the Bauhaus: Influence and Different Choices of Gesamtkunstwerk
Exhibition Location:No.2 Hall, the China Design Museum of CAA
Desgin Period: 2019.07-2019.11
Construction Period: 2019.11-2019.12
Area (m2): 204.9
Space Design: Greyspace Architecture Design Studio
Chief Architects: Liu Moyan, Su Peng
Design Team: Ju Anqi, Gao Yongsheng, Zhang Yingying
Exhibition Supervisor: Deng Yuanye
Structure Supervisor: Zhang Zhun
Lighting Supervisor: WAC Lighting
Photographor: Chen Hao

Exhibition Information
Open Time: 2019.12.06 – 2020.12.06
Exhibition Location: No.2 Hall, the China Design Museum of CAA
Organizers:The China Design Museum of CAA, The Bauhaus Institute of CAA
Chief Planners: Xu Jiang, Hang Jian
Academic Supporter: Yuan Youmin
Curator: Wang Yang
Exhibition Coordinator: Gao Yuan
Collection Manager: Gao Miye
Public Education: Liu Yilan
Exhibition Administrative Coordinators: Wang Jianhong, Wang Na, Ma Ying
Visual Design: Yuan Youmin, Chen Zheng, Luan Jiahui
Exhibition Assistants: Zhao Mengxi, Yu Shitong, Shen Jiaqi, Lu Yi, Wang Jinyang, Long Rui, Zhou Xiangli
Translators: Yu Mo, He Jian, Luo Yu, Shi Yiqian, Tang Xuejiao, Feng Getong
Work Installation: Hangzhou Wonderwall Culture Art Co., Ltd, Hangzhou Hengshang Advertising Co., Ltd
Exhibition Engineering: Hangzhou Haotai Decoration Engineering Co., Ltd
Exhibition Management: Zhejiang Zheda Sinew Property Group Co., Ltd
Video and Animation: Hangzhou Photosynthetic C&A Co,. Ltd
Special Thanks: BookArt Tapetenfabrik Gebr. Rasch GmbH & Co.KG

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