湖北美术学院办学100周年艺术文献展设计类学科展览单元，北京/世纪美育

“世纪美育——湖北美术学院办学100周年艺术文献展”于2020年10月30日在中国美术馆正式开展。其中设计类学科展览单元展陈设计与制作自2020年6月1日持续至10月21日。此次展览的策划团队在解决所面临的现实条件限制的同时，也在努力表明自身对于展览的认知和立场：展览在时间层面上的属性是临时、无法长久的。策划团队尝试着将这种本质放大，让展览和展陈的结构组织显示出展览的纪实性与作品游牧式的驻足状态。同时，展览用建筑空间的实际功能与必要性也在他们的批判和思考范畴之内。

On October 30th, 2020, the “Century Aesthetic Education——Art Literature Exhibition of the 100th Anniversary of Hubei Institute of Fine Arts” was officially opened at the National Art Museum of China (NAMOC). The exhibition design and production lasted from June 1st to October 21st, 2020. While addressing the real constraints, the planning team of the exhibition is trying to show their understanding and position on the exhibition: in terms of time, the exhibition is temporary and will not last. The planning team tries to amplify this trait, enabling the exhibition structure to demonstrate both the documentary nature of the exhibition and the nomadic state of the works. Meanwhile, the real function and necessity of exhibition space are also under their criticism and consideration.

▼展览现场照片-2号厅，exhibition hall no.2 ©周振鹏

此次展览展陈设计灵感来源于“盒子”所具备的“变形”特质：关合形态态与展开形态之间的切换。设计的重点是将这种特质延伸（开发）出展陈的功用。设计团队设计了数十种不同结构的大型木制箱体（盒子），用于远距离运输途中作品的保存与展览时作品的安放。设计的箱体处于关合形态时，可作为常规的作品运输箱进行使用。箱体展开后，原本用于作品保护的结构变形成为展陈所使用的立面、横面、空间、展台等，箱体即时成为一个独立的展览空间，具备了展览各类作品的能力。

The exhibition design was inspired by the “deformation” nature of the “box”: the transformation between its closed form and its unfolded form. The key of the design is to extend (apply) this nature to the area of exhibition. The design team has designed dozens of large wooden cases (boxes) with different structures for the protection of works in long-distance transit and the placement of works at exhibitions. When the box is closed, it can be used as conventional transport case. When the box is unfolded and the structure used for the protection of works is transformed into vertical surface, transverse plane, space and booth for exhibitions, it becomes an independent exhibition space that is able to display all kinds of works.

▼箱体变形示意图，transformation of the boxes ©林子涵

这样的设计旨在用来应对极短的布展时间和布展过程中因大工作量所造成的精神与体力的快速消耗。此次展览的部分作品在武汉已完成在箱体上的安装，箱体进入中国美术馆的展厅后被展开，以单个箱体为单位的独立展览空间随即形成，作品随即就位，布展工作完成。独立展陈空间的形成，也大限度的避免了实际展览场地因原有空间结构、空间用色、基础设施等不可改变的因素对展览本身造成的干扰。保证展陈的纯粹性，提高展陈设计的适应性，也带来展陈方案的可重复利用与持续性。

The design is aimed at coping with the rapid consumption of energy and strength caused by the heavy workload during the extremely short move-in period. Some of the exhibition works have been installed on the boxes in Wuhan. When the boxes were unfolded in the exhibition halls of NAMOC, independent exhibition space based on each single box was formed. The works were immediately in place and the exhibition was installed. The formation of independent exhibition space also helps prevent the exhibition from being affected by some unalterable factors at the exhibition venue, such as the original space structure, space color and infrastructure. It will not only ensure the purity of exhibition and improve the adaptability of exhibition design, but also promote the reutilization and sustainability of exhibition plan.

▼箱体轴测图，axonometric of the boxes ©林子涵

设计类学科展览单元的展览空间位于中国美术馆一层2号、4号、6号、10号展厅，四个展厅总面积1370m²，展出作品479件，布展时长24小时。

The exhibition space of the design unit was located in hall 2, 4, 6 and 10 on the first floor of NAMOC. The four exhibition halls cover an area of 1370 m², with 479 works on display. The exhibition duration was 24 hours.

▼展厅平面分析图，layout analysis ©晏以晴

▼展厅分解轴测图，exploded axonometric of the exhibition hall ©晏以晴

所有箱体在武汉设计与制作。关合后的箱体处于运输状态，在武汉装车运至北京。箱体进入展厅后被展开，成为临时展览空间，进入展陈状态。各类箱体可以同时兼顾平面、装置、电子等多类别作品的展示。

All boxes are designed and made in Wuhan. The boxes were closed for transportation. They were loaded in Wuhan and shipped to Beijing. The boxes were unfolded in the exhibition hall, becoming a temporary space for exhibition. They can be used to display various kinds of works, including graphic, installation and electronics.

▼展览现场照片-2号厅，exhibition hall no.2 ©周振鹏

▼不同类型的箱体，different boxes ©周振鹏

▼2号厅箱体，boxes in exhibition hall no.2 ©林子涵

此类箱体针对此次展览中数量众多的平面类作品而设计。所有海报、图片等平面作品在武汉固定于箱体内，箱体闭合后进行运输，箱体展开后进行展览。布展时所需要做工作只是将箱体打开。6号展厅完成布展工作仅用3个小时。

This kind of box was designed for the numerous graphic works at the exhibition. All posters, pictures and other graphic works were fixed in the box in Wuhan. The boxes were closed for transportation and unfolded for exhibition. During the move-in period, all you need to do is unfold the box. It only took us three hours to complete the installation work in hall 6.

▼展览现场照片-6号厅, exhibition hall no. 6 ©周振鹏

▼6号展厅中开启的箱体，boxes in exhibition hall no. 6 ©周振鹏

▼6号厅箱体，box in exhibition hall no.6 ©林子涵

此次展览也使用了一批常规木箱用于作品的运输。这批箱体在完成运输功能后，被堆积在展厅中央，形成岛屿状大型展台，用于各类作品的展出。此举根据跨省大型展览的现状，在试图解决此次远距离展览过程中运输箱无处存放或者要承担较高存储仓租赁费用的处境。

A number of conventional wooden boxes were also used for the transportation of exhibition works. After the transportation process, the boxes were piled up in the center of the exhibition hall, forming a large island booth to display various kinds of works. Given the status quo of large trans-provincial exhibitions, this kind of design attempts to solve the problem of scarce storage space or high warehousing costs of transport cases during the long-distance exhibition process.

▼展览现场照片-4号厅，exhibition hall no. 4 ©应伟凡

▼展览导览页，exhibition guiding brochure ©林子涵

Producer：WU Ping, LI Haibing Exhibition Design：ZHOU Zhenpeng, WU Mian, YAN Yiqing Visual Design：LIN Zihan Art Work Co-ordinating: YANG Yang, ZOU Lu Design Assistant: YING Weifan, CHENG Song, LIU Yimeng, ZHOU Shasha, ZHANG Weigan, GUO Wei, ZHU Xiyi Video：YANG Wei, MA Tianyi, CHEN Pei Technical Adviser：CAI Xiaoyou Exhibition Construction：Wuhan Jinxiahaoqing Decoration Co., Ltd