……综上所述，自阿尔伯特以来的古典理论是，房子之所以是好房子，因为它能与身体构成类比；城市之所以是好城市，也基于同样的原因。若参照萨特所言，身体的存在，只能通过房子的存在而被看到，亦即“身体只能存在于可以包含身体的世界里。”摧毁房子的炸弹，并不能破坏身体的原形，而只能破坏身体本身，因为房子是映射身体的必需条件。

Thus where, in classical theory since Alberti, the house is a good house only insofar as it is constituted analogically to the body, and the city a good city for the same reasons, in Sartrean terms the body is only seen to exist by virtue of the existence of the house: “it is only in a world that there can be a body.” The bomb that destroys the house does not destroy a model of the body, but the body itself because the house is needed for the body to project it.

——安东尼·维德勒 《建筑的异样性》/ Anthony Vidler, The Architectural Uncanny

▼展览概览，overall of the exhibition© angle gallery

▼展览现场，exhibition© angle gallery

▼由退化建筑设计的《屏障》，5.3 Barrier by DEVOLUTION© angle gallery

▼展览现场，exhibition© angle gallery

我们试图将建筑这一设计的复杂对象回溯至家具上，通过将建筑视为身体的表征，限制身体作为人类理解外部环境工具的延伸范围，将建立关联的尺度停留在家具上。如萨特的总结: “身体，并非事物与我们自身的屏障，它只是独立个体的表现，同时也反映我们与工具之间存在的原始关系的某种偶然性。”身体作为一种先验，而家具作为与身体关系更为亲密的媒介，帮助我们认识并理解与世界的原始关系。

We attempt to trace the complex object of architecture back to furniture, viewing architecture as a representation of the body, limiting the range of the body as an extension of human understanding of the external environment, and keeping the scale of connections within the realm of furniture. As Sartre summarized: “The body is not a barrier between things and ourselves; it is merely the expression of the individual, and at the same time, it reflects the contingent nature of our original relationship with tools.” The body, as a priori, and furniture, as a medium more intimately connected with the body, help us recognize and understand our primordial relationship with the world.

▼由15 STUDIO设计的半月系列 HALF MOON SERIES，

0.8 HALF MOON SERIES by 15 STUDIO© angle gallery

▼由恺慕建筑设计设计的像素桌，

6 Pixel table by AIM ARCHITECTURE© angle gallery

▼空间细部，details of space© angle gallery

▼由退化建筑设计的中国宴会椅，

6.1 Chinese Banquet Chair by DEVOLUTION© angle gallery

▼由dark details设计的蛇皮椅《snake pattern chair》，

1.5 《snake pattern chair》 bydark details© angle gallery

▼由atelier und设计的DREI花架，1.6 DREI by atelier und© angle gallery

德语heimlich一词有“属于住宅或家庭的”的意思，它与私密相关联；在弗洛伊德的解读中，“unheimlich”与“heimlich”具有互相生成的关系，指在熟悉环境中不寻常的个人体验。异样性 (unheimlich)作为一种角度，解释现代方法在与重复过去对比中展示出的不寻常。展览中，异样性成为方法，拆解建筑师在家具设计中的角度与意图，以异样暗示熟悉：当身体这一熟悉媒介以异样 感知被凸显，外部世界与自己的关系被重新审视。

The German word heimlich means “belonging to the home or family” and is associated with intimacy; in Freud’s interpretation, unheimlich and heimlich have a reciprocal relationship, referring to an unusual personal experience in a familiar environment. The concept of the uncanny (unheimlich) serves as a perspective to explain the unusual nature of modern approaches when contrasted with the repetition of the past. In the exhibition, the uncanny becomes a method, deconstructing the architect’s perspective and intentions in furniture design, suggesting familiarity through strangeness: when the body, as a familiar medium, is emphasized through an uncanny perception, the relationship between the external world and the self is reexamined.

▼由或间建筑设计的间几 ，3.3 Aruma-Trolley by Aruma Architects© angle gallery

▼由八荒设计 Studio 8设计的《青漠长凳》，2.7 Green desert Bench by Studio 8© angle gallery

▼由nihilii studio设计的收纳架，5.5 SHELVING UNIT by nihilii studio© angle gallery

在更广延的想象中，家具作为与身体尺度、与日常生活更紧密的媒介，超越创作者或展览的意图， 与使用者产生更深层的关联。将身体作为媒介无限延伸，延伸至身体下的椅子，延伸至包含椅子的建筑……而我们自身、我们与我们之外的关系亦随着想象有机生长并演变。

In a broader imagination, furniture, as a medium closely connected to the body’s scale and daily life, transcends the intentions of the creator or the exhibition and forms a deeper connection with the user. Extending the body as a medium, it stretches to the chair beneath the body, extending to the architecture that contains the chair… and as we imagine, both our own existence and our relationship with the world around us grow and evolve organically.

▼由八荒设计 Studio 8设计的奥托壁灯 “8 gradi”，

0.025 Otto“8 gradi” by Studio 8© angle gallery

▼由Prankie设计的《朝颜》Asagao Lamp，

0.17 Asagao Lamp by Prankie© angle gallery

▼由SAY ARCHITECTS设计的《火柴灯》，

1 Match light by SAY ARCHITECTS© angle gallery

▼由dark details设计的桥架灯《bridge frame floor lamp》，

2.4《bridge frame floor lamp》by dark details© angle gallery

▼由atelier und设计的adapter烛台，

0.005 adapter by atelier und© angle gallery

以人身体的平均体积0.06立方米为一个标准单位，展览所有展品的体积和为39个标准单位，画廊体积为3440个标准单位。将两个数字对立，作为此地此时进行展览的题目。通过身体的尺度比例与展品和展览空间产生联系，回应展览主题，同时暗示建筑师特有的设计角度：尺度。每件作品以自己的标准单位数字为编号，通过编号的逻辑数字顺序(由小及大)形成空间的串联。当观展人进入空间，便将自己的身体带入场地，自己的身体体积作为参照物(一个标准单位)，每一件展品都与自己产生关联。

Using the average volume of the human body, 0.06 cubic meters, as a standard unit, the total volume of all the exhibits in the exhibition equals 39 standard units, while the gallery’s volume is 3440 standard units. These two figures are contrasted as the theme for the exhibition at this particular time and place. By relating the scale of the body to the exhibits and the exhibition space, the exhibition responds to the theme, while also hinting at the architect’s unique design perspective: dimension. Each work is numbered according to its own standard unit, and the logical numerical sequence of these numbers (from small to large) forms a connection between the spaces. When a visitor enters the space, they bring their own body into the venue, using their body volume as a reference (one standard unit), and each exhibit is thus connected to the visitor.

▼展览海报，poster© angle gallery

主办方：angle gallery

策展人：15 STUDIO & angle gallery

家居作品艺术家：atelier und、八荒设计、Prankie、15 STUDIO、SAY ARCHITECTS、dark details、或间建筑、退化建筑、無億设计、恺慕建筑设计

墙面作品艺术家：haotian，小工，刘通

平面设计师：Enkit

公众开放日：2025年3月1日至3月10日

开幕：2025年3月1日

地址：上海市徐汇区五原路89号

Organizer: angle gallery

Curator: 15 STUDIO & angle gallery

Furniture Art Artist: atelier und, Studio 8, Prankie, 15 STUDIO, SAY ARCHITECTS, dark details, Aruma Architects, DEVOLUTION, nihilii studio, and AIM ARCHITECTURE

Wall Art Artist: haotian, xiaogong, Liu Tong

Graphic Designer: Enkit

Public Day: March 01 - March 10, 2025

Opening: March 01, 2025

Add: 89 Wuyuan Road, Xuhui Shanghai