“少即是多-包豪斯鋼管椅”綜合體驗(yàn)——紀(jì)念2019年包豪斯100周年
“Less is More-the Bauhaus Tubular Steel Chairs” Comprehensive Experience—to Commemorate the 100th Anniversary of Bauhaus in 2019.
【活動(dòng)時(shí)間】5月18日-8月18日
【體驗(yàn)場次】
【上午】9:30-10:20 ； 10:40-11:30
【下午】13:30-14:20； 14:40-15:30
【地點(diǎn)】中國美術(shù)學(xué)院中國國際設(shè)計(jì)博物館大廳
【活動(dòng)介紹】作為現(xiàn)代設(shè)計(jì)的先驅(qū)，一百年來“包豪斯”成為一個(gè)歷久彌新的話題。其中，包豪斯的設(shè)計(jì)強(qiáng)調(diào)功能至上，通過藝術(shù)和新興技術(shù)的結(jié)合，設(shè)計(jì)出適應(yīng)現(xiàn)代工業(yè)生產(chǎn)和人們生活需要的產(chǎn)品，成為新的美學(xué)創(chuàng)造。以密斯·凡·德·羅、馬塞爾·布勞耶等設(shè)計(jì)師為主導(dǎo)設(shè)計(jì)的一批鋼管椅子，充分體現(xiàn)了“少即是多”的設(shè)計(jì)理念，成為大家熟悉的包豪斯風(fēng)格代表作。2019年5月18日國際博物館日，中國美術(shù)學(xué)院中國國際設(shè)計(jì)博物館將舉行包豪斯風(fēng)格作品藏品級別的椅子體驗(yàn)活動(dòng)，從功能、材料，藝術(shù)與技術(shù)，人體工學(xué)等角度出發(fā)，向廣大愛好者提供零距離的體驗(yàn)經(jīng)典設(shè)計(jì)的機(jī)會。每次體驗(yàn)人數(shù)有限，歡迎大家現(xiàn)場登記預(yù)約。
【系列椅子介紹】
設(shè)計(jì)師：密斯·凡·德·羅
Designer:Mies van der Rohe
▲MR10鋼管邊椅（MR10 Tubular Steel Side Chair）
▲MR休閑扶手椅（MR Lounge Armchair）
1927年，路德維?！っ芩埂し病さ隆ち_(Ludwig Mies van der Rohe)為德國斯圖加特的魏森霍夫展覽(Weissenhof exhibit)設(shè)計(jì)了“MR椅子”。在材料的使用方面，椅子的懸臂式設(shè)計(jì)使用鋼管；在技術(shù)創(chuàng)新方面，創(chuàng)造了一個(gè)直觀的并且符合人體工程學(xué)的座位。(有人問密斯·凡·德·羅為什么要設(shè)計(jì)座椅尺寸如此之大的椅子，據(jù)說他回答說，這樣設(shè)計(jì)的椅子坐起來最舒服。)扶手椅仍然按照他的規(guī)格制作，非常平衡，使用創(chuàng)新材料，減少裝飾，體現(xiàn)國際風(fēng)格。這件作品在1977年獲現(xiàn)代藝術(shù)博物館獎(jiǎng)、1978年獲斯圖加特設(shè)計(jì)中心獎(jiǎng)。
Ludwig Mies van der Rohe’s MR Chair was designed in 1927 as part of his contribution to the Weissenhof exhibit in Stuttgart, Germany. The chair’s cantilevered design uses tubular steel, then a technological novelty, to create an intuitively accessible and ergonomic seat. (When asked why he created chairs with generously sized seats, Mies van der Rohe allegedly replied that he designs chairs he’d be most comfortable sitting in.) The MR armchair, still made to his specifications, is perfectly balanced, featuring the material innovation and lack of ornamentation that epitomize the International Style. It was awarded the Museum of Modern Art Award in 1977 and the Design Center Stuttgart Award in 1978.
設(shè)計(jì)師：馬塞爾·布勞耶
Designer:Marcel Breuer
▲瓦西里椅（Wassily Chair）
瓦西里椅子所用的名字不是別人的，而是畫家瓦西里·康定斯基(Wassily Kandinsky)。這把椅子由諾爾國際公司制作，它起源于包豪斯，當(dāng)時(shí)康定斯基在這所著名學(xué)府任教。瓦西里椅由藝術(shù)家兼設(shè)計(jì)師馬塞爾·布勞耶于1926年設(shè)計(jì)，康定斯基對布勞耶的皮革和管狀鋼制椅子的設(shè)計(jì)十分著迷，以至于在這種椅子進(jìn)入批量生產(chǎn)之前，他在德紹大師住宅綜合樓特別制作了一張樣椅。大家都稱它為“瓦西里的椅子”。據(jù)傳聞，馬塞爾·布勞耶的靈感來自于彎曲的鋼管自行車車把——他決定使用同樣的材料——從而使其能夠容易和穩(wěn)定地成型，用于家具制造。因此，瓦西里椅是第一件鋼管家具。不同尋常的結(jié)構(gòu)主義框架是設(shè)計(jì)的核心元素，它的靜力學(xué)，包括運(yùn)用皮帶的張力創(chuàng)造靠背和座椅的方式，在這里從根本上顯露出來，并賦予椅子獨(dú)特的美學(xué)品質(zhì)。由于它嚴(yán)謹(jǐn)正式的形式語言，瓦西里椅取得了巨大的成功，以至于在很短的時(shí)間內(nèi)，市場上發(fā)現(xiàn)了許多仿制品。因此，一種新型的流行家具——鋼管椅誕生了。馬塞爾·布勞耶又將其大大擴(kuò)展和豐富。由于其在設(shè)計(jì)歷史上的獨(dú)特重要性，最初包豪斯版本的椅子現(xiàn)在已經(jīng)成為所有相關(guān)設(shè)計(jì)博物館收藏品的永久收藏品，并且仍然是經(jīng)典設(shè)計(jì)的教科書式范例。
The Wassily Chair owes its name to none other than the painter Wassily Kandinsky. Produced by KnollInternational the chair originated at the Bauhaus school at a time when Kandinsky taught at the renowned institution. Designed by the artist and designer Marcel Breuer in 1926, Kandinsky was so taken with the design of Breuer's leather and tubular steel chair that he had an example produced especially for his apartment in the Dessau Master House complex, and that before the chair entered series production - hence everyone referred to it as 'Wassily's Chair'. According to legend, Marcel Breuer was inspired by his bent tubular steel bicycle handlebars - and decided to use the same material - and thus its ability to be easily and stably formed - for furniture manufacturing. The Wassily Chair was thus the first piece of tubular steel furniture. The unusual constructivist frame is a central element of the design and its statics, including the way in which the tension of the leather straps create a backrest and seat, are here radically exposed and bequeath the chair its unique aesthetic quality. Contrary to Breuer's expectations the Wassily Chair became a great success, largely on account of its rigorous formal language, and within a very short time many copies were to be found on the market - and thus a new type of popular furniture was born: the tubular steel chair, a genre to which Marcel Breuer was to greatly expand and enrich. On account of its unique importance in the history of design the original Bauhaus chair has now found its way into the permanent collections of all relevant design museum collections, and remains a textbook example of timeless design with mundane touch.
▲S285鋼管寫字桌（S285 Tubular Steel Desk）
1935年，馬塞爾·布勞耶(Marcel Breuer)設(shè)計(jì)了這件杰作，它干凈的線條和均衡的比例，不僅是家具歷史上的經(jīng)典，而且每一個(gè)細(xì)節(jié)都與今天的設(shè)計(jì)息息相關(guān)。優(yōu)雅、連續(xù)的鋼管框架與木質(zhì)存儲元素的組合形成了令人愉悅的對比。抽屜和桌面如此固定在桌子框架內(nèi)，因此它們似乎漂浮著，這賦予包豪斯家具一種特殊的和諧。
Marcel Breuer designed the masterpiece in 1935, yet with its clean lines and balanced proportions the desk is not only a classic of furniture history, but every bit as relevant today as ever. The combination of the elegant, continuous, tubular steel frame and the storage elements made of wood form an exciting contrast. The drawers and the table top are so set into the table frame that they seem to float, which bequeaths the Bauhaus furniture a particular harmony.
▲S32懸臂椅（S32 Cantilever Chair）
▲S64懸臂椅（S64 Cantilever Chair）
懸臂椅子在家具設(shè)計(jì)史上具有里程碑意義。懸臂椅被公認(rèn)為是馬特·斯塔姆(Mart Stam)的作品。馬塞爾·布勞耶(Marcel Breuer)也參與了這種前衛(wèi)的包豪斯時(shí)代的椅子流派。1925年，布勞耶發(fā)明了彎曲鋼管瓦西里椅（B3），但直到1927年，馬特·斯塔姆(Mart Stam)和路德維?！っ芩埂し病さ隆ち_(Ludwig Mies van der Rohe)在斯圖加特的魏森霍夫住宅展覽上展示他們的懸臂椅時(shí)，才首次向公眾展示了這種懸臂形式。1928年，布勞耶展示了他的版本——沒有扶手的S32和有扶手的S64，自1929/30年以來一直生產(chǎn)，也被稱為切斯卡(Cesca)椅子。和它同系列的椅子一樣，S32是由其彎曲的鋼管框架定型的，這種結(jié)構(gòu)否定了傳統(tǒng)的四腳結(jié)構(gòu)的需要，并賦予了椅子漂浮的特性。然而，與該流派的其他樣式相反，布勞耶在他的S32 / S64中使用柳條裝飾座椅和靠背，這種材料曾裝飾過托內(nèi)特著名的咖啡館椅子，從而在托內(nèi)特的歷史上創(chuàng)造了傳統(tǒng)與現(xiàn)代之間的聯(lián)系。
The cantilever chair represents a milestone in the history of furniture design. Officially recognised as being the work of Mart Stam, Marcel Breuer can also lay claim to having been involved in the development of this free-swinging Bauhaus era chair genre. In 1925 Breuer developed his bent steel tube Wassily Chair B3, it was however not until 1927 when Mart Stam and Ludwig Mies van der Rohe presented their cantilever chairs as part of the Weissenhof Estate exhibition in Stuttgart that the cantilever form was first presented to the public. In 1928 Breuer then presented his version, a chair since that has been produced since 1929/30 as the Thonet S32 without armrests or S64 with armrests, a chair also known as the Cesca chair. As with its relatives the Thonet S 32 is defined by its curved tubular steel frame, a construction which negates the need for a conventional four-leg construction and which gives the chair the its floating character. In contrast to other examples of the genre however, for his S32 / S64 Breuer used wickerwork for the seat and back, a material that once adorned Thonet's famous coffee house chair, thus creating a link between tradition and modernity in the Thonet history.
設(shè)計(jì)師：馬特·斯塔姆
Designer:Mart Stam
▲S33懸臂椅(S33 cantilever chair )
▲S34懸臂椅(S34 cantilever chair )
立方體的形式，清晰的設(shè)計(jì)，精細(xì)的比例和彎曲的運(yùn)動(dòng)感:懸臂椅S33和S34的發(fā)展與成熟，是同類產(chǎn)品中最早的，在當(dāng)時(shí)結(jié)合了時(shí)代精神和傳統(tǒng)感。1927年，藝術(shù)家?guī)鞝柼亍な┚S特(Kurt Schwitters)在看到家具史上第一張懸臂椅子后寫道：“兩條腿就夠了，為什么還要四條腿呢?”。這兩把椅子——S33和S34,在斯圖加特魏森霍夫住宅的制造聯(lián)盟展覽上引起了轟動(dòng)。從1925年開始，馬特·斯塔姆就開始試驗(yàn)小直徑煤氣管道，起初他用水管工使用的標(biāo)準(zhǔn)管件連接這些管道。進(jìn)一步的發(fā)展之后，斯塔姆創(chuàng)造了不再用四條腿站立的懸臂椅，這成為一個(gè)制造鋼管椅的原則，其在鋼管椅的形式上的限制成為現(xiàn)代家具設(shè)計(jì)歷史上的一個(gè)重要的基石。他的懸臂式椅子S33和S34不僅僅是作為室內(nèi)設(shè)計(jì)產(chǎn)品的一部分，它們是對建筑和生活的新態(tài)度的整體革命性概念的一部分。
Cubic form, clear design, fine proportions, and flexing movement: The development of the perfected cantilever chairs S33 and S34, among the first of their kind, today combines spirit of the age and a sense of tradition. “Why four legs if two will suffice?”, wrote artist Kurt Schwitters in 1927 after seeing the first cantilever chairs in furniture history. The two chairs S33 and S34 caused a sensation at the manufacturing alliance exhibit at the Weissenhof Estate in Stuttgart. Starting in 1925, Mart Stam experimented with small diameter gas pipes, and at first he connected them with standard pipe fittings as used by plumbers. As a further development, Stam created cantilevered chairs that no longer stood on four legs, and it was a construction principle that became an important building block in the history of modern furniture design with its formal restraint. His cantilever chairs S33 and S34 were more than matter-of-fact designed interior design objects; they were part of the overall revolutionary concept of a new attitude towards architecture and life.
【總策劃】杭 間 袁由敏
【Chief Director】 Hang Jian, Yuan Youmin
【策 劃】劉一藍(lán)
【Director】Liu Yilan
【研究支持】張春艷
【Research Supporter】Zhang Chunyan
【出版支持】王 洋
【Publication Supporter】Wang Yang
【展覽支持】胡 佳 高 原
【Exhibition Supporter】Hu Jia, Gao Yuan,
【典藏支持】高米葉
【Collection Supporter】Gao Miye
【公共教育】劉一藍(lán)
【Public Education】Liu Yilan
【行政協(xié)調(diào)】王劍紅 王 娜 馬 穎
【Administrative Coordination】Wang Jianhong, Wang Na, Ma ying
【視覺設(shè)計(jì)】江 航
【Visual Design】Jiang Hang
【展品攝影】孟慶偉
【Photographer】Cheng Chi, Meng Qingwei, Wu Ruozheng
【志 愿 者】吳 桐 楊曉斌 徐 娣 范影青 趙孟希 沈小琛 唐 暄 俞峙彤 王夢佳 龍 芮 彭子洵 王雨露 李怡君 王夢婷 鐘凱悅
【Volunteer】Wu Tong, Yang Xiaobin, Xu Di, Fan Yingqing, Zhao Mengxi, Tang Xuan, Shen Xiaochen, Yu Zhitong, Wang Mengjia, Long Rui, Peng Zixun, Wang Yulu, Li Yijun, Wang Mengting, Zhong Kaiyue.
【主 辦】中國美術(shù)學(xué)院中國國際設(shè)計(jì)博物館
【Sponsor】China Design Museum of CAA
【協(xié) 辦】中國美術(shù)學(xué)院包豪斯研究院
【Co-sponsor】Bauhaus Institute of CAA
【Public Support】C Foundation
【合作支持】上海布科文化藝術(shù)有限公司
【Cooperation Support】Bookart Trade Co., Ltd
【地 點(diǎn)】中國美術(shù)學(xué)院（象山中心校區(qū)）中國國際設(shè)計(jì)博物館
【Location】China Design Museum of CAA(Xiang Shan district)
中國國際設(shè)計(jì)博物館位于中國美術(shù)學(xué)院象山校區(qū)（杭州西湖區(qū)轉(zhuǎn)塘鎮(zhèn)），毗鄰即將投入使用的杭州地鐵6號線象山站出口，建筑整體呈現(xiàn)三角形布局，外觀主色及材料為印度紅色阿格拉砂巖輔以米白色大理石，是西扎現(xiàn)代主義建筑風(fēng)格和美學(xué)典型體現(xiàn)。總建筑面積為1.68萬平方米，其中展廳面積6300平方米，庫房面積4500平方米，公共教育空間3000平方米，研究空間約1200平方米。配套設(shè)施等約2000平方米，博物館功能齊全，除展廳外，還擁有文獻(xiàn)中心、駐館設(shè)計(jì)師工作室、兒童工坊、多功能廳、報(bào)告廳、設(shè)計(jì)品商店、咖啡館/餐廳和屋頂花園及規(guī)劃中的設(shè)計(jì)書店等。
中國國際設(shè)計(jì)博物館的使命，是以建設(shè)國際一流設(shè)計(jì)博物館作為目標(biāo)，通過館藏作品，推出研究性的近現(xiàn)代設(shè)計(jì)作品展覽，揭示設(shè)計(jì)與生活、藝術(shù)、社會、科技發(fā)展等的關(guān)系；通過教育互動(dòng)，促進(jìn)公眾對物質(zhì)文化變遷意義的了解，從而激發(fā)本土制造的創(chuàng)造特質(zhì)，并建立中國的設(shè)計(jì)價(jià)值與產(chǎn)業(yè)發(fā)展的觀察體系；同時(shí)，依托中國美術(shù)學(xué)院的學(xué)術(shù)資源，系統(tǒng)策劃跨界其他的中外當(dāng)代重要設(shè)計(jì)師的設(shè)計(jì)作品展覽，追蹤當(dāng)代設(shè)計(jì)前沿，致力當(dāng)代文化消費(fèi)的觀念更新，推動(dòng)文化創(chuàng)意產(chǎn)業(yè)的發(fā)展，服務(wù)全社會的公共文化服務(wù)體系。
編輯 | 劉一藍(lán)
審校 | 王 洋 張春艷 高 原
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