gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是业主，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第29期为您介绍的是古巴裔建筑师Anthony Morey，他同时也是洛杉矶A+D美术馆的执行总监和主要策展人。

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.29 introduces Anthony Morey, an architect and designer who currently serves as Executive Director and Chief Curator for Architecture and Design Museum in Los Angeles.

出品人：向玲 / Producer: Xiang Ling
特邀编辑：王耀华（更多关于他，请至：Yaohua Wang on gooood）/ Guest Editor: Yaohua Wang (more: Yaohua Wang on gooood)
文本整理：Melody Ho / Text: Melody Ho
排版编辑：武晨曦 / Editor: Wu Chenxi

▼Anthony Morey目前就职的、位于洛杉矶艺术区的建筑与设计美术馆（A+D Museum）旨在提供一个教育、多样性及产生体验的平台，The Architecture and Design Museum that Anthony Morey works for is located in the art’s district of Los Angeles, whose aim is to provide a platform for education, diversity and experiences

____
背景
Background

“对于年轻时的我来说，建筑是能将历史、思想及情感传递到物质世界的一种媒介。”

“…我热衷的并不是制作建筑物，而是建筑的更多的可能性 – 它可以是理论、历史、建筑物以及图像。”

“Architecture to me from a young age was a beautiful project that allowed you to pass along history, thoughts, and emotions into the physical world. ”

“…I was not a fan of working on buildings, that architecture could be more, it could be the theory, the history, the buildings, the drawings, the possibilities became broadened in my mind and in the end, Architecture as a way of thinking is what attracted me the most.”

▼Anthony Morey

1.
你在什么样的环境下长大？为什么选择学习建筑？
What kind of environment did you grow up in and why did you choose to study architecture?

我的古巴裔父母 Jorge 和 Daysi Morey 在迈阿密生下我。在迈阿密成长是一种被文化、充沛的活力及多样的设计围绕着的奇特体验。当时许多移民带来各自独特的故事、文化、习气及才能，在这种丰富和多样的环境里长大是一种纯粹的快乐。于此同时，大量的资金涌入，使得建筑以及设计成为了塑造城市形象的重要因素。对于年轻时的我来说，建筑是能将历史、思想及情感传递到物质世界的一种媒介。这个媒介将想法空间化并变成现实，使得大众能够参与到其中。

I was born in Miami to Cuban parents, Jorge and Daysi Morey. Growing up in Miami was an amazing experience which was surrounded by culture, energy, exuberance and design. The various communities which immigrated to Miami during those times Brough their own stories, cultures, tendencies and abilities and with that, the city produced an area of richness that was a pure joy to grow up in. With that also came the large influx in money into the city that allowed architecture & design to take a key role in how the city began to shape its identity. Architecture to me from a young age was a beautiful project that allowed you to pass along history, thoughts, and emotions into the physical world. It was a way to spatialize and realize ideas and then allow the public to engage with them.

2.
告诉我们你的教育背景和在不同学校的求学经验。
Tell us more about your educational background and your experience at different schools.

我受到的建筑教育是多元的，虽然对建筑的欣赏一直存在，但在某些时候我感觉我没有真正理解该如何参与、参与什么及要怎么教育我自己才能够融入其中。同时，我在成长时是个糟糕的学生，因此我无法了解该如何善用教育机会去回答这些问题。我从14岁时开始在一间建筑师事务所工作，并在那里待了7年，在这期间我学了很多，但也怀疑自己是否已准备好一辈子都做这件事。当要选择学位时，我有点叛逆地选择了生物医学工程，而且天真的认为那就是身体的建筑设计，但是做了3年后，我发觉那不适合我，我最爱的仍然是被我偷渡进课表的建筑理论课程，因此转而学习建筑，这也使我了解到我热衷的并不是制作建筑物，而是建筑的更多的可能性 – 它可以是理论、历史、建筑物以及图像。这些可能性拓展了我对于建筑的理解，最终，建筑作为一种思维模式是最吸引我的，从那时开始，我在迈阿密的一所社区大学完成了主要的建筑课程后，转学到洛杉矶的南加州建筑学院，然后到哈佛大学设计研究生院学习理论、历史及媒体哲学。这趟旅程虽然长且多样化，它让我找到在设计领域的立足之地，并且能去探索理解这世界的思维框架。

My education into architecture was a diverse one. While I knew there was always an appreciation for it, at points I did not feel as through I really understood what and how I wanted to engage with and how I wanted to educate myself to be able to engage with it. Also, I was a horrendous student growing up so I was simultaneously unable to understand how to engage with the educational possibilities to answer these questions. I started working at an architecture firm when I was 14 and stayed there for 7 years, during this time, I really learned a lot but questioned if this is what I was ready to do for the length of my life. When it came to choose a degree, I had a slight rebellious moment and decided to do Biomedical Engineering, and really thought that it was just architecture and design for the body but after 3 years doing that, I realized it was not for me and that my favorite classes were still the architectural theory ones that I had smuggled into my schedule and so I decided to switch to Architecture. What this did allow me to do was understand that I was not a fan of working on buildings, that architecture could be more, it could be the theory, the history, the buildings, the drawings, the possibilities became broadened in my mind and in the end, Architecture as a way of thinking is what attracted me the most. So from there, I completed my key architecture studio classes at a community college in miami, transferred to SCI-Arc in Los Angeles and then attended Harvard’s Graduate School of Design for Theory, History and Philosophy of Media. This journey while, long and diverse really allowed me to find my place and home in the design discipline and allowed me to discover what frame of thought allows me to understand the world.

“初次尝试进入职场对我来说是关键的时刻，它使我很早就确定了我对追寻建筑本身没有兴趣。”

“This first foray into the job market was a key moment for me as it solidified my definite noninterest in pursuing buildings at that early point in my career.”

3.
你在毕业后的第一份工作为何？它如何引领你到现在的工作？
What’s your first job after graduation? How does it lead to your current career?

我在南加州建筑学院的最后一年的毕业设计课程，很荣幸地是由Thom Mayne（更多关于他：Morphosis Architects on gooood）担任我的特别指导老师，以及Dwayne Oyler（更多关于他：Oyler Wu Collaborative on gooood）担任课程指导老师。在毕业前，Dwayne让我在毕业后可以到他的事务所工作，我很快地接受了。初次尝试进入职场对我来说是关键的时刻，它使我很早就确定了我对追寻建筑本身没有兴趣。虽然事务所的工作很好，充满能量且快速，但在这领域内执行的方式与我认知自己的强项并不相符，这样的冲突促使我另辟蹊径，有了就读哈佛设计研究生院的想法。从哈佛毕业后，我作为助理总监加入了洛杉矶建筑与设计美术馆，很快地我发现其实这是我想走的路，并且在这个领域中找到了满足感。

▼洛杉矶建筑与设计美术馆外观，exterior view of The Architecture and Design Museum

During my last year at SCI-Arc during my thesis semester, I had the privilege to have Thom Mayne (More: Morphosis Architects on gooood) as my special advisor and Dwayne Oyler (More: Oyler Wu Collaborative on gooood ) as my section advisor. Before graduating, Dwayne offered me a position at his office upon graduation and I quickly accepted. This first foray into the job market was a key moment for me as it solidified my definite noninterest in pursuing buildings at that early point in my career. While the work at the office is amazing, filled with energy and fast-paced, the means of operating within the discipline did not match what I had come to think my strengths were and this confrontation is what made me declare a need for another approach and is what sparked me to attend Harvard’s Graduate School of Design. Upon graduating from Harvard, I was offered a position as Assistant Director of the Architecture and Design Museum in Los Angeles which of course, is where I have found my path at this point in my career and found an approach and means into the discipline that makes me feel fulfilled.

_______
综观美术馆
Museum in general

1.
向我们描述多一点你的美术馆、它的历史和现况。
Tell us more about your museum, its history and current course.

我工作的美术馆是位于洛杉矶艺术区的建筑与设计美术馆，我现在担任其执行总监与主要策展人。美术馆于20年前由Stephan Kanner成立，一开始纯粹只是个兴趣项目。美术馆曾在市区迁移过几次，找寻永久馆址，三年半前落脚于艺术区，在这里，我们目前拥有大型的场地以及逐渐成长的独特潜力。美术馆的代理总监Leila Wahba与我合作打造了美术馆与洛杉矶这座城市互动的模式，她的人类学背景使我们的合作产生出了独特的活力，我们日常思想的碰撞与讨论营造了一种增进发现及探索的环境，我觉得这是少见且难得的。这样的活力使得我们的美术馆有了现在的成绩。对我来说，美术馆的目标并不是展现它本身，而是提供一个教育、多样性及产生体验的平台。

The Museum I work at is the Architecture and Design Museum and is located in the art’s district of Los Angeles. I currently serve as its Executive Director and Chief Curator. The museum was founded 20 years ago by a man called Stephan Kanner and was a true passion project from the beginning. The museum has moved around the city a few times in search of its permanent home and landed in the arts district roughly 3.5 years ago. Here, the museum with a large venue and new potential has really grown into its own. The museum’s deputy director, Leila Wahba and myself work together to forge and built the museum’s course and means of engagement with the city. Her background in anthropology creates a unique dynamic between us that allows for friction and discussion to happen on a daily basis which fosters a unique environment of discovery and exploration which is rare and hard to come by. This dynamic I would say is what makes the museum what it is today. The aim of the museum is not the shows themselves but to provide a platform for education, diversity and experiences.

▼A+D美术馆展厅空间概览，overview to the exhibition space of the A+D Museum

“似乎许多创作者只想住在表达和创造的世界里，对于商业和财务逃避，但这是现实中成就他人的必需。”

“A lot of creatives seem to only want to reside within the world of expression and creation but shy away from the world of business and financial waviness, this is what enables the other and in reality is the king to the others yang.”

2.
你是如何开始你的美术馆总监的工作？你当时面临到什么样的困难？
How did you start your career as a museum director? What were the challenges you were facing at the time?

这真是一言难尽，不过简而言之，挑战非常多。在六个月内，从研究生毕业到营运一所机构、成为一名文化经纪人，就像是坐地狱般的过山车。即使大部分的人想像策展是个不断发现才能、参与艺术的一份工作，作为美术馆领导者的角色是更庞大且更紧凑的。筹募资金、建立人脉、规划策略、思考如何创造价值、构建团队，当然还有策划展览，都是属于领导者的责任。如何平衡商业思维和艺术创造力的关系，是个充满混乱的发现的过程，不过当我看到文化世界的各种面向，我开始喜爱并且享受成为其中的一部分。似乎许多创作者只想住在表达和创造的世界里，对于商业和财务逃避，但这是现实中成就他人的必需。对世界的认知的拓展，才是真正使人了解如何在这领域中成功的条件。

This would be one long journey if I were to work through this topic perfectly but as short version. The challenges and starts were extensive. I mean going from graduating school, to running an institution, a cultural agent within 6 months is one hell of a roller coaster. While most people envision running and curating as a constant discovery of talent and engagement with the arts, the role of a museum leadership is much larger and much more intense. Fundraising, relationship building, strategic planning, thinking of how the institution fits within the community, impact value, staff, and of course exhibition planning and curation are all part of the leadership’s responsibilities and change direction at an email reception. This variation of entrepreneurship and business minded engagements along with the creative aspects were a world of turbulent discovery but ones that showed all the various aspects of the cultural world, that I grew to love and really enjoy being a part of. A lot of creatives seem to only want to reside within the world of expression and creation but shy away from the world of business and financial waviness, this is what enables the other and in reality is the king to the others yang. This broadened exposure to the world, if not for a bit really allows one to understand what it takes to become successful in the discipline.

▼Anthony Morey作为策展人与观众沟通，Anthony Morey as a curator communicating with the visitors

“一个成功的展览的关键是能够跳脱出展览所存在的世界中，如果展览的观众基本上是产生它的那些人，这样的展览不会成功。”

“A key element of a successful show is being able to get out of the world that the show exists in. If the audience of a show is merely the same audience that spawned it then it will not succeed as a show and is merely a project of vanity. ”

3.
有哪些关键的问题是你认为现今建筑领域该探索的？这与你的策展决策有什么关联性？
What do you think are the critical questions for current architecture field to explore? How does that relate to your curation decisions?

凡是带着展览提议来我们美术馆的艺术家，我都会先问他们一个问题：“如果没有这项展览，有谁会真正在意？” 真正思考过这个问题的人，才会让人感到真诚，做出来的展览才会有影响力，我们才愿意和他合作。当下的建筑领域充满了为了打造履历、寻找任职的提案，这是我们过滤作品及瞄准美术馆走向的关键元素，我们真的很明显地对那样的展览没有兴趣。相反地，我们寻找那些没有办法利用像美术馆这样平台发声的题材、社群及声音。也因为美术馆没有永久馆藏，这强迫我们对于现在世界上的主题、趋势及对话极度警觉。我们不断在寻找我们可以作为平台的主题，还有能够提供多样观点的群体对话。我们的美术馆可以同时展出五种不同的展览，所以我们策展过程中的重要元素是看到对于美术馆整体的策划思维，从中我们寻找符合策划目标的各种观点及对话，并且设法将它们呈现在一起。

▼策展过程中的重要元素是看到对于美术馆整体的策划思维，a key element of the curation process is looking at an overall curatorial thought for the museum

If those who come and present exhibition proposals in today’s world sat down beforehand and said “If this exhibition did not happen, would anyone really care?”, if they really asked that and understood what that means then I would have to admit that today’s proposals and actual exhibitions would be astonishingly more impressive, impactful and genuine. Today’s architecture discipline is filled with resume building, tenure searching proposals. This is a key element in how we filter through work and how we look to aim the museum’s trajectory. We are really and explicitly not interested in those forms of exhibitions and instead look for topics, communities and voices that would not have the opportunity to use such a platform such as the museum. Due to the fact that the museum does not have a permanent collection or archives forces us to be extremely vigilant to the current themes, trends and conversation going on in the world. We are in constant search for topics that we can be the platform for and also for conversations that when grouped together, can give us a diverse perspective on themselves. The museum can hold unto five different exhibitions at a given time and so a key element of our curation process is looking at an overall curatorial thought for the museum, from there, we look to find the various perspectives and conversations that could participate in the curatorial agenda and find ways to position them with each other.

▼美术馆宽阔而开放的空间可以同时展出五种不同的展览，the museum with an large open plan can hold unto five different exhibitions at a given time

4.
对于一个建筑展览来说，能够成功和大众沟通的关键是什么？
What is the key for an architecture exhibition to successfully communicate with the public?

和大众沟通是一个美术馆成功的必需条件，也是美术馆的管理者必须要思考的问题。一个成功的展览的关键是能够跳脱出展览所存在的世界中，如果展览的观众基本上是产生它的那些人，这样的展览不会成功，而它会沦为一个纯粹被虚荣心驱使的项目。在现今的世界中，一个展览的目的应该是创造一种体验，并且了解最终产生和支持这个平台的是公众。了解公众、讨论方法、宣传、参与及消化是一个成功的展览的关键。这样的成功不单单是指视觉上的愉悦，因为做的漂亮是很容易的。成功的展览应该能够包含各种领域，教育、关联性、多样性、清晰度，当然还有美感。

▼美术馆通过活动与公众建立紧密关系，the museum connects itself to the public through various events and activities

This is not a key at all, it is an imperative element to the museum’s success and a key result to the dynamic that the leadership contains. A key element of a successful show is being able to get out of the world that the show exists in. If the audience of a show is merely the same audience that spawned it then it will not succeed as a show and is merely a project of vanity. The goal of an exhibition in today’s world is to create an experience and to understand that the public is who generates and supports the platform in the end. Understanding the public, the means of discussion, disseminating, engagement and digestion are key to a successful show. This does not mean successful in the means of visual beauty, that part is so easy in today’s world, a successful exhibition is one that attacks on various fields, education, relevance, diversity, clarity and of course aesthetics.

▼了解公众、讨论方法、宣传、参与及消化是一个成功的展览的关键，understanding the public, the means of discussion, disseminating, engagement and digestion are key to a successful show

5.
你认为你的美术馆和其它相比有何不同？
How do you see your museum differently compared to other museums?

在洛杉矶丰富的文化环境以及整体产业中，了解美术馆的定位是一个我们每日都要面对的大问题。从本质上来说，我们的美术馆与众不同的地方在于它没有永久馆藏，当然这有好有坏。虽然从历史上来看，永久馆藏是一种被验证过的可以稳定资金，巩固美术馆地位的方式。但是当下文化领域关注的重点已经不再是藏品本身，而是收集藏品的过程以及这些过程当中包含的可能性。没有永久馆藏使得我们可以保持一种敏锐感，在文化上保持多元，并且能够及时参与当下的议题，这对许多仍然依靠永久馆藏的美术馆来说是非常困难的。

Understanding the museum’s place in the rich cultural landscape of Los Angeles and the industry on a whole is an incredible question to deal with on a day to day basis. One thing that does separate the museum on a pure logistical nature is that the museum does not contain a permanent collection and this has its pluses and minuses. While a collection has historically been a true and tried way to solidify funds, engagement and power; today’s world has begun to shift the paradigm on what a collection is, how it is collected and what could be possible avenues of exploration when it comes to the topic. Not being tied to a certain historically based collection allows us to be nimble, culturally diverse and engage with extremely contemporary issues that would be difficult for many collection based institutions to do.

▼没有永久馆藏使得美术馆可以保持一种敏锐感，not being tied to a certain historically based collection allows us to be nimble, culturally diverse

▼展览细部，detailed view

6.
你的美术馆如何应用科技及其可能性？
How does your museum work with technology and the possibilities enabled by it?

承上题，因为我们的美术馆没有馆藏，而且我们试图回应当下的文化趋势，所以我们参与了许多建立在科技技术基础之上的项目，甚至可以说这是我们独到的一个方面。在传统的美术馆模式下，你会发现任何对于科技的应用都是经过审查、测试并且需要经过一个漫长的过程才会推出，而我们尝试做的是这个将测试及探索的权力交给观众，让大众一同参与解决问题的过程——将过程、问题和试验带到公众场域。

Working from the previous question, seeing as though the museum does not have a collection and that we respond to extremely current trends we do find ourselves in the middle of many projects based on turns and advances within technology. This is actually an avenue that we occupy and explore that is potent and rare. When it comes to a traditional museum’s approach, you would find that any implementation of technology would be vetted, tested and then launched at a time period in the future, what we try to do is bring that testing, and exploration to the audience, bringing the questions that we may have and allow the public to participate in the process — bringing the cables, questions and trials to the public arena.

▼将过程、问题和试验带到公众场域，bringing the cables, questions and trials to the public arena

▼媒体互动墙，interactive media wall

_________
美术馆的创造
Museum in the making

1.
你如何开始一项展览？在这过程中，你寻找什么？
How do you initiate an exhibition, what do you look for?

我们的美术馆的核心任务是寻找、培养想法并且将它们呈现给大众，我们非常认真看待这件事。从策展的目标来说，我们每段时间会构思一个整体的概念，根据这样的概念规划所有项目、展览和活动内容。我们的展览场地是大型的开放平面，展与展之间只有少数的分隔，因此，有一个明确的主题能够激发大众在展场的互动是至关重要的。

Understanding how to look for, cultivate and present ideas to the public is at the core of the museum’s mission as such is taken extremely seriously. When it comes to curatorial ideas and objectives within the museum we look to first generate a global thought for a certain rotation, this thought is what guides the projects, shows and programming for that period. Seeing as the building the museum resides is in a large open plan with few separations between shows, it is of the utmost importance to make sure we have certain conversations guiding the public’s interactions within the space at any given time.

▼激发大众在展场的互动是策展的一个明确主题， it is of the utmost importance to guide the public’s interactions within the space

▼美术馆外的空地和广场，孩子们可以在上面自由画画，the terrace and plaza outside the museum, where children can draw freely

“展场风格必须与作品产生连结，这是关于展品如何呈现，以及人们如何体验空间的心理学。”

“The style has to be tied to the work itself, what is the psychology of the space at the time, of the objects being presented and of those that will come to experience it.”

2.
你有非常特殊的展览设计风格，能告诉我们你是如何发展它的吗？
You have a distinct style for exhibition design, how did you develop it and could you tell us more about it?

从加入美术馆开始，拥有风格对我来说一直是一种挣扎。一开始，你会以为是风格成就了展览，那些图像、颜色和展台设计是组成展览的元素，然而，我花了很长的时间才体认到，在现今，那些并不是展览的全部。展场风格必须与作品产生连结，这是关于展品如何呈现，以及人们如何体验空间的心理学。每一场展览、每一组内容及其所涉及的问题都为我们提供了许多回应设计及其趋势的方法，并且有探索及实验的空间。我们希望自己可以一直勇于冒险并且不被传统所限制，因为这样才能不断的质疑那些已经僵化的传统，这个过程中的惊喜及挫败都是帮助我们前进的养分。

Having a style is something that has been a struggle for me since joining the museum. At first, you think that a style is what makes a show, that the graphics, the color, podium design is what makes it and it took me a long time to recognize that for today’s world, that is not the whole story. The style has to be tied to the work itself, what is the psychology of the space at the time, of the objects being presented and of those that will come to experience it. Each show, each set of content and each set of questions all provide different approaches to design and trends and allow for certain explorations and experimentation to happen. Taking those chances and not worrying about the tradition at certain points allows us to question all of those cemented traditions along the way and find surprises and failures to help us onto the next one.

▼独特的空间体验，a unique spatial experience

“如果要说我们有什么风格，我会说是一个非视觉或形式主导的实验风格。”

“So, if I say what style are we looking for, I would say it is a style of experimentation not of visual or formal tendencies.”

如果要说我们的美术馆现在有什么盛行的风格，那会是我们寻求材料的真实性以作为引导观众体验和参与的方式。许多美术馆有特定的风格，像是白墙、白展台、固定形式的文字和安静的展场，这些都是我们想要在展览中挑战的。我们使用外露的木头、中密度纤维板和非传统材料，使空间能够挑战那些有时是美术馆强加于参观者的界线。在现今的文化场域，这些界线不断的变动，而且还有许多探索的空间，因此，如果要说我们有什么风格，我会说是一个非视觉或形式主导的实验风格。

If there is a style now trending in the museum is that we look to adopt the truthfulness of materials as a means to guide the experience and engagement of the audience. Museums have certain trends, white walls, white podiums, text presented in a certain way, quiet galleries and these are all the things that we look to challenge in our shows. Using the visuals of exposed wood, mdf and nontraditional materials allow the spaces to challenge the hardline thresholds that museums sometimes impose on visitors. In today’s cultural arena, these hard lines are in constant flux and a space for exploration. So, if I say what style are we looking for, I would say it is a style of experimentation not of visual or formal tendencies.

▼外露的木头展现了材料的真实性，the exposed wood express the truthfulness of materials

“对于自己作品感到谦虚并且让大众感到舒适，或是至少能够参与，是展览设计和策划对话的核心。”

“Being humble with one’s own work and allowing the public to feel comfortable or at the least, capable of engaging is something that is at the center of the exhibition design and curatorial dialogue.”

3.
在一项展览中，你如何平衡你自己的风格与艺术家/建筑师的风格？
How do you balance your taste and the artist/architect’s taste during the curation of an exhibition?

要达到这样的平衡，你必须愿意了解这两者的功能是不同的。一种是展览的设计，而另一种是策划，这两者之间是一个相互的反馈。它们各有自己的声音，你必须愿意平衡地与它们合作。如果任何一方占上风，那么大众会很明显地感受到其中的不足。这其实是缺乏经验的展览设计师常见的问题。当参观者来到美术馆，他们会认为作品具有自明性，没有必要多加解释，或是在诠释上的多样性就是他们寻找的解释。能够让我们达到平衡的就是身为一组团队，我们在创造、建造及排列每场展览时都是非常积极的。在布展期间，美术馆成了一间不断创造和修改的工厂。用手建造展览、筑墙、粉刷、增加图说使我们更习惯面对各种情况，并能理解到什么是欠缺的或过多的，并且在当场做出决定。能够觉察这些小现象，了解作品本身只是整体呈现的一部分是任何展览的关键。对于自己作品感到谦虚并且让大众感到舒适，或是至少能够参与，是展览设计和策划对话的核心。

In order to create this balance you have to be willing to understand that these two functions are not the same. There is the design of the exhibition and then there is the curation of it and these two avenues are in a constant feedback loop. Each of these has a voice and you have to be willing to work with both of them equally along the way, if one of them starts to overrule the other then it becomes extremely evident and then the only group of people that feel the shortcomings are the public. This is actually an extremely common problem with inexperienced exhibition designers and even more, designers themselves. When participants in the museum first come to the museum their first mode is to say that the work stands for itself, that they is no need to go further or that the diversity of interpretations is the interpretation they are looking for, this in the end is absolutely useless. Something that does allow us to balance these is that as a team, we are extremely active in the production, construction and layout of every show. During build out times the museum turns into a factory of production, conversation and changes. Building the show with your hands, building the walls, painting them, adding graphics allows for you to get comfortable with the various stages and also allows you to understand what might be missing or what might be surplus and make those decisions at the moment. Being aware of these small moments, understanding that the work itself is just one piece of what is presented is key to any exhibition. Being humble with one’s own work and allowing the public to feel comfortable or at the least, capable of engaging is something that is at the center of the exhibition design and curatorial dialogue.

▼布展期间，美术馆成了一间不断创造和修改的工厂，during build out times the museum turns into a factory of production, conversation and changes

作为一名文化经纪人，以及一个试图影响公众知识和精神的人，必须搭起知识的桥梁，并且引导大众进入对话。如果仅是要将物品放在展台上然后宣称你有参与过展览，那我们的美术馆不是做这件事的地方。为了平衡策展者与设计师两种角色，对于对话有一个宏观的视野是极其重要的，并且要能够适时地、平等地使用这两个角色所拥有的能力。

As a cultural agent, as someone who looks to impact the knowledge and psyche of the public, it is absolutely necessary to take on the responsibility of bridging that gap and guiding the public to the conversation. If the mere goal is to put objects on a pedestal and say that you have done so, then the museum is not the place to do it. In order to balance the curatorial hat and the designer hat then, it is extremely important to have the global view of the conversations at hand then understand the tools available to both those roles and then use them as needed but never hierarchically.

▼布展现场，build out process

4.
现在美术馆正在进行什么？你如何看待其发展及进化？
What is on the table for your museum now? How do you see it develop and evolve?

我们的美术馆曾经有很长的时间在找寻自己的方向，现在已经20周年了，处于扩张与稳固的阶段，终于能够规划一个长远的未来，并且开始理解并探讨下个世纪的美术馆该是什么样子。了解美术馆的角色、它该如何运作、创造合作并且寻找明日之声以提供有力的平台，这些都是正在进行的任务，我们身在其中，确实是一种美好的冒险。

Currently, the museum is in an era of expansion and solidification. The museum has had a long history of finding its way but now coming on its 20th anniversary, the museum is finally planning for a successful future and beginning to understand and question what the museum of the next century is. Understanding the museum’s role, how it should operate, creating partnerships and finding the voices of tomorrow in order to give them a potent and powerful platform are all on the table now and truly an amazing adventure to be a part of.

▼成立20年的A+D美术馆已经进入了扩张与稳固的阶段，the museum coming on its 20th anniversary is finally planning for a successful future

More: Ryan Tyler Martinez ; Architecture and Design Museum