第二现代性的颜值:博朗设计1951-1967

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  • 展览时间:2019/10/29 — 2020/01/29
  • 展览地点:浙江省杭州市西湖区象山路352号
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第二现代性的颜值:博朗设计1951-1967

A Face of Second Modernity: The Braun-Design 1951-1967


展览时间:2019年10月29日- 2020年1月29日

Duration 2019.10.29-2020.1.29


特展门票:60元

Special Exhibition Ticket Price  60 RMB

(门票一次有效, 所有票券一经售出恕不退票,敬请谅解)


展览地址:中国美术学院中国国际设计博物馆7、8、9号展厅

location  China Design Museum of CAA ,7、8、9 exhibition hall.


20世纪初,德国轻工业在英法等现代观念的影响下,快速发展。在欧洲,几乎没有一个国家像德国那样,激进地争论着工业与艺术的问题。1907年,德意志制造联盟(Der Deutsche Werkbund)的成立,促进了艺术、工业及手工艺之间的联合。设计师、工程师与建筑师在工业领域中致力于艺术与技术的整体推进,通力合作、交叉互补并达成共同的意识。这种模式在当时的德国及在战后国家经济重振时期,都具有前瞻性和推动力。1919年包豪斯的诞生及1925年至1930年在莱茵地区推行的“新法兰克福”城市建设运动对博朗设计的产生有着巨大的影响。


半个多世纪以来,博朗(Braun)以现代设计思想为主导,因其产品功能优质、品质卓越,生产领域涉及个人护理、食品加工、视听等,从而成为战后“德国经济奇迹”期间对社会作出独特贡献的企业。1951年-1967年期间,博朗设计在全球范围内获得广泛认可与巨大成功,其产品“以人为本”的功能与外观“纯粹到极致”的创新统一,主要归因于企业家、工程师和乌尔姆设计学院(1953-1968)以及众多设计师在不同领域所做出的努力。博朗设计是乌尔姆设计学院教学思想及系统方法的现实呈现,两者的成功合作确立了工业设计在德国的地位。代表了第二现代性“颜值”的博朗设计— 依据马克斯•比尔(Max Bill)“好的造型”要求,倡导一种永恒的设计:通过功能性、实用性和美学上的有效设计,创造出超越时代精神的事物,为现代设计提供了美学准则。

At the beginning of the 20th century, German light industry developed rapidly under the influence of modern concepts from Britain and France. In Europe, almost no country, like Germany, is radically arguing about industry and art. In 1907, the establishment of the German Deutsche Werkbund promoted the union of art, industry andcraft. Designers, engineers and architects are committed to the  advancement of art as well as technology in the industrial field. They working together, cross-complementing and achieving a common sense. This mode was forward-lookingand has driving forcein Germany and the post-war countries. The birth of the Bauhaus in 1919 and the “New Frankfurt” urban construction movement in the Rhine region from 1925 to 1930 had a tremendous impact on the design of Braun.


这次展览,是博朗设计在中国的首次全面展示。意在通过追溯影响博朗设计发展至关重要的起源与根基;介绍其作为战后欧洲现代主义设计(第二现代性)典范的发展历程;展示与乌尔姆设计学院合作期间最具代表性的产品设计及设计方法;以此探讨博朗设计理念及乌尔姆教学模式对未来可持续设计的影响的可能性。

This exhibition is the first comprehensive display of Braun design in China. It is intended to trace the origin and foundation of Braun's design development; to introduce its development as a model of post-war European modernist design (second modernity); to show the most representative design and methodology during the cooperation with Ulm School; to explore the possibility of Braun's design philosophy and the impact of Ulm's teaching model on future sustainable design.


本展览分为七个板块,以期用客观的陈述、系统的分析、多元的展示、理性的为观众呈现:

The exhibition is divided into seven sections, with a view to objective presentation, systematic analysis, multiple displays, and rational presentation to the audience:

1.  博朗设计的起源与传承

2.  博朗设计与乌尔姆模式

3.  企业的社会责任

4.  经典产品的聚焦

5.  博朗设计的缔造者

6.  博朗设计对后世的影响

7.  影片“博朗设计故事”

1. The origin and inheritance of Braun design

2. Braun design and Ulm mode

3. The Corporate social responsibility

4. Focus ontheclassic products

5. The foundersof Braun design

6. The influence of Braun design on future generations

7. The film "Braun Design Story"


本次策展所挑选的展品含有其自身历史、社会和个性特征,述说着设计师的思虑、工程师的酝酿、销售者的谋略。它们保留着物品自身原有的直接性和存在性,依照黑格尔的物品“扬弃”概念,不再作为日用品而是以学术研究为出发点,存在于一种“总体的直觉”中。在这个升高的瞭望台上,这些物件向观众诉说着历史,与观者产生共鸣,进而鼓励他们找寻到新的想法。很多时候,这些想法超越了颜值的本身,证明着塑造世界和改造世界的无限可能。

The exhibits selected in this exhibitionshow their own historical, social and personal characteristics, describing the designer's considerations, the brewing of the engineers, and the strategies of the sellers. They retain the original directness and existence of the object itself. According to Hegel's concept of "aufheben", it is no longer used as a commodity but as an academic research, and exists in a "universal immediacy." On this elevated observatory, these objects tell the audience about history, resonate with the viewers, and encourage them to find new ideas. Many times, these ideas transcend the value of the self,demonstrating the infinite possibilities of shaping and transforming

the world.


所展出的约130件展品和近百件文献, 除少数展品和文献由德国博朗档案馆、德意志制造联盟档案馆、中国国际设计博物馆及私人收藏提供外,其余均选自维尔纳•艾特(Werner Ettel)先生在柏林的博朗设计收藏系列。艾特先生毕业于柏林艺术大学,从事艺术教育工作,他从上个世纪80年代开始系统、规模地收藏博朗1950年以来的产品及文献,以此为基础在柏林成立了艾特博朗收藏-设计博物馆。该馆自2000年起向公众开放,归属于柏林博物馆协会。艾特先生通过他的收藏、整理、研究、展示,目的和宗旨是向公众提供一个专业的研究和交流平台,并于2011年组织建立了博朗设计爱好者协会。今天,他的私人收藏已成为博朗遗产不可或缺的组成部分。

About 130 exhibits and nearly a hundred documents, except for a small number of exhibits and documents provided bythe German Braun Archive Kronberg in Taunus, the WerkbundArchive – Museumof Things Berlin,China Design Museum of CAA and private collections, the rest are selected from the Braun Design Collection of Mr. Werner Ettel. Mr. Ettel graduated from the Berlin University of the Artsand works at art education. He has systematically collected products and literature from Braun since 1950s in the 1980s. Based on this, he established the Braun-Sammlung Ettel Museum forDesign in Berlin.The museum has been open to the public since 2000 and belongs to the Berlin Museum

Association. Through his collection, organization, research, and display, Mr. Ettel aims to provide the public with a professional research and communication platform, and in 2011 organized the Braun Design Amateur Association. Today,

his private collection has become an integral part of Braun's design heritage.


主 办  中国美术学院中国国际设计博物馆

Organizer  China Design Museum of CAA

协 办  柏林维尔纳•艾特设计博物馆

Co-organizer  Braun-Sammlung Ettel,Museum for Design

支 持

德国博朗档案馆(Kronberg)

德意志制造联盟档案馆/ 物博物馆(Berlin)

乌尔姆设计学院档案馆/乌尔姆博物馆(Ulm)

Jo Klatt 出版社(Hamburg)

古格洛特设计事务所(Hamburg)

威廉•华根菲尔德基金会(Bremen)

Artur Braun私人档案馆(Kronberg)

歌德学院(中国)


【Supporters】

Braun Archive Kronberg in Taunus

Werkbund Archive – Museum of Things Berlin

HfG Archive Ulm / Museum Ulm

Jo Klatt Publishing House, Hamburg

Gugelot Gmbh Digital+Design, Hamburg

Wilhelm Wagenfeld Foundation,Bremen

Artur Archive Kronberg in Taunus

Goethe Institut in China


总策划  许 江   杭 间

Chief Planners  Xu Jiang, Hang Jian

学术主持  袁由敏

Academic Supporter Yuan Youmin

策展人  吴 霜

Curator Wu Shuang

联合策展  Prof. Dr. Michael Fehr (柏林德意志制造联盟档案馆/物博物馆馆长)

Co-curator Prof. Dr. Michael Fehr (Head of the Board ofWerkbundArchive – Museum of Things Berlin)

展览顾问 Hartmut Jatzke-Wigand ( Design + Design 杂志主编)

Exhibition Advisor Hartmut Jatzke-Wigand ( Chief Editor,Design + Design-Magazine)

项目管理  胡 佳    高 原

Project  Managers  Hu Jia, Gao Yuan

展览出版  王 洋

Publication

Supporter Wang Yang

公共教育  刘一蓝

Public Education Liu Yilan

藏品管理  高米叶

Collection

Manager Gao Miye

展览行政协调  王剑红 王 娜   马 颖

Exhibition

Administrative Coordinator Wang Jianhong, Wang Na, Ma Ying

志  愿  者  范影青  沈小琛  马 俍  孙 旭  龙 芮  王金扬  沈佳琪  卢 意  唐 暄

Volunteer  Fan Yingqing, Shen Xiaochen, Ma Liang, Sun Xu, Long Rui, Wang Jinyang, Shen Jiaqi, Lu Yi, Tang Xuan


展陈设计  米格建筑

Exhibition Design  Hangzhou MIG Architectural Design Co.Ltd.

视觉设计  袁由敏   陈 铮   栾嘉辉

Visual Design  Yuan Youmin, Chen Zheng, Luan Jiahui

作品安装  杭州迷墙文化艺术有限公司

Work Installation Hangzhou Wonderwall  culture art co.LTD

展览工程及制作  杭州皓泰装饰工程有限公司

Exhibition Engineering  Hangzhou haotai decoration engineering co.LTD

展品运输  浙江华宸设备进出口有限公司

ExhibitsTransportation Zhejiang huachen equipment imp.&exp. ltd. co.

服务前台  0571-8720-0881Front Desk  0571-8720 0881

开馆时间  星期二-星期日 上午:9:30-16:30 (16:00停止入馆)

Opening Time Tuesday-Sunday Morning: 9:30-16:30 (Closed at 16:00)

地    点  中国美术学院(象山中心校区)中国国际设计博物馆

Location China Academy of Art (Xiang Shan district) China Design Museum

小 帖 士  团队参观需要提前7个工作日进行预约,团队需要向保卫门岗出示单位介绍信进校,个人进校参观博物馆请带身份证件,在保卫门岗刷证件进学校,感谢观众们的理解与配合!

Tips Team visit require 7 days in advance to make an appointment.The team need to present a letter of introduction to the defending gate.Individual visit needs to show ID cards to the defending gate.Thanks for you understanding and cooperation!



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