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「从未来到未来」展览空间设计：探寻边界与关系

由Lenovo联想集团与UCCA Lab打造的「从未来到未来——数字文明艺术展」，通过“未来序曲”、“奔腾时代”、“数字新生”、“瞬息万物”、“遇见未来”5个篇章，为人们呈现了一场科技探索之旅。1190㎡的大型展览空间，由KiKi建筑设计事务所创始人及主持建筑师关佳彦打造，设计师用时间轴的叙事形式，将人类、电子通信设备与环境之间的关系，内化为空间逻辑，并以大事记为线索，表述了“数字信息”在速度、尺度、框架、边界等维度上的发展与变革。

The "From the Future to the Future - Digital Civilization Art Exhibition," created by Lenovo Group and UCCA Lab, presents a journey of technological exploration through five chapters: "Prelude to the Future," "Pentium Era," "Digital Renewal," "Instant Everything," and "Encountering the Future. A large exhibition space of 1190 square meters was created by KiKi architectural design firm founder and lead architect Guan Jiayan. The designer used a timeline narrative to internalize the relationship between humans, electronic communication devices, and the environment into spatial logic, and used events as clues to illustrate the development and transformation of "digital information" in dimensions such as speed, scale, framework, and boundaries.

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项目名称：「从未来到未来」展览空间设计：探寻边界与关系

项目类型：展览空间

设计公司：KiKi建筑设计事务所

项目面积：1190㎡

「从未来到未来」展览空间设计

Exhibition Space Design from the Future to the Future

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▼展览概览

▼入口处

▼入口通道

展览空间结合抽象的建筑元素，运用廊道、独立空间、半开放体块的穿插，阐述数字文明的发展历程。其中，起到衔接作用的廊道，是整个空间的核心构架，它以年代为界线，模拟“时空隧道”，串联5个章节。伴随着每个章节的开启，观众在廊道中阅读信息的方式也被持续更新。展览的大事记图文，从传统的展台跃于墙面，继而转印于亚克力盒子、悬挂于金属网，最后停驻在飘渺的网纱上。人们的视角也从最初的俯视，转变为平视，再到多维度的环视、仰视。借助材料质感的虚实变化，KiKi建筑设计事务所巧妙的表达了：信息的框架边缘慢慢消失，承载信息的媒介逐渐轻盈。

The exhibition space combines abstract architectural elements and interweaves corridors, independent spaces, and semi open blocks to illustrate the development process of digital civilization. Among them, the corridor that plays a connecting role is the core structure of the entire space. It simulates a "time and space tunnel" with time as the boundary, connecting five chapters. With the opening of each chapter, the way the audience reads information in the corridor is continuously updated. The major events of the exhibition are depicted in pictures and text, jumping from the traditional booth onto the wall, then transferred onto an acrylic box, hung on a metal mesh, and finally stopped on a misty mesh. People's perspective has also shifted from a top-down view to a head up view, and then to multi-dimensional panoramic and upward views. With the help of the virtual and real changes in material texture, KiKi Architectural Design Firm cleverly expressed that the edges of the information framework gradually disappear, and the medium carrying information gradually becomes lighter.

▼第一章空间

▼第二章空间

与此同时，多种形式的独立空间，充实了展览的各个章节。它们分别呈现了与时代背景相呼应的艺术作品、Lenovo联想品牌的各代产品。值得一提的是，各代产品的展陈形式，均由产品特质提炼、衍生而来。例如“M”字母投影区，对应了人们熟悉的摩托罗拉手机；红色立柱区代表着ThinkPad的经典红点标；彩色镜面陈列区提取了YOGA双屏翻转本的年轻、新颖之态；而以键盘为概念的深色陈列墙，则是对游戏笔记本“拯救者”系列的致敬。

At the same time, various forms of independent spaces enrich the various chapters of the exhibition. They respectively present art works that correspond to the historical background and various generations of Lenovo brand products. It is worth mentioning that the exhibition forms of each generation of products are extracted and derived from the characteristics of the products. For example, the "M" letter projection area corresponds to the familiar Motorola phone; The red column area represents the classic red dot logo of ThinkPad; The color mirror display area extracts the youthful and innovative style of YOGA dual screen flip book; The dark display wall with the keyboard as its concept is a tribute to the "Savior" series of gaming laptops.

▼第三章

随着展览动线的回旋，立面上的若干“窗”，形成了新的视觉交错点，如同一幅幅动态画框，捕捉时间轴上不同章节的场景与人物。身处其中，观众可以透过这些窗回望过去，洞悉未来，体会人类在数字文明中的耕耘和收获。而“窗”本身，也被作为设计要素，集中阵列于展览第5章节中的“码头”。在KiKi建筑设计事务所看来，电子通信设备的屏幕，恰如建筑上的“窗”，尺寸与孔径的大小，直观反应了人类在不同历史阶段的技术与眼界，也预示着边界与关系的无限革新。

With the rotation of the exhibition route, several "windows" on the facade form new visual intersections, like dynamic frames, capturing scenes and characters from different chapters on the timeline. Being immersed in it, the audience can look back through these windows, gain insight into the future, and experience the cultivation and harvest of humanity in digital civilization. And the "window" itself is also used as a design element, concentrated in the "dock" in Chapter 5 of the exhibition. In the view of KiKi Architectural Design Firm, the screen of electronic communication devices is like a "window" on a building. The size and aperture of the screen intuitively reflect the technology and vision of human beings in different historical stages, and also foreshadow the infinite innovation of boundaries and relationships.

▼第四章空间

▼第五章空间

▼以键盘为概念的深色陈列墙

展览的尾声以深邃的镜面步道、透明的碎片，烘托沉静氛围。无数的“窗”，最终汇于码头一侧，它们由小至大依次排开，描摹了天津城市的历史、河流与建筑景观，同时告诉观众：在过去和未来的时光中，在不确定和难以言说的变革间，穿梭于时间长廊的人们，无论是停驻与漫游，终将能体会到“数字文明”、“自然”、“生活模式”演变下的自由与生机，在三者的平衡共生中，得以抵达突破想象边缘的未来。

At the end of the exhibition, a deep mirrored walkway and transparent fragments create a serene atmosphere. Countless "windows" converge on the side of the dock, arranged in order from small to large, depicting the history, rivers, and architectural landscapes of Tianjin city. At the same time, they tell the audience that in the past and future, amidst uncertain and indescribable changes, people who shuttle through the corridor of time, whether they stay or wander, will eventually experience the freedom and vitality of "digital civilization", "nature", and "lifestyle" evolution. In the balance and coexistence of the three, they can reach a future that breaks through the edge of imagination.

▼码头场景

▼码头场景处的窗

艺术装置：承载已知与未知

除却展览设计本身，KiKi建筑设计事务创始人关佳彦，同时跨界参与了部分艺术装置的创作。这些装置作为展览内容、空间构成、互动元素，以Lenovo联想各时期产品设备为部分元素，结合艺术作品，记述了数字文明的已知、未知。

郭锐文、关佳彦《流与量》，2023

新媒体互动装置，尺寸可变

陈列于展览第二章节。信息在时间的移动下，形成裹挟着大量数据的“流”；物质在空间的累积中，构建物理存在的“量”。由艺术家郭锐文、关佳彦联合创作的影像互动装置，以CRT显示器作为传播介质，通过5×4的阵列布局，演绎数字文明发展过程中特定的时代现象。20个悬空堆叠的Lenovo联想复古显示器，描绘了实体经济时期的缩影。体积硕大的计算机，紧密排列，散发出强烈的存在感，象征着上世纪90年代，琳琅满目商品货架、原始的购物模式、量化消费所带来的满足感。玻璃地面内缠绕的数据线缆，喻示着时代洪流里，新事物的涌动之势，以及无序无惧的生长活力。计算机显示屏上，Windows操作系统的GUI元素，为人们加载了互联网初期的虚拟世界，随着民用计算机的普及，有关未来的形式与效率，即将被重塑。通过操控机械鼠标，观众可以实时干预GUI元素的运动轨迹，在庞大的网络坐标中，重新确立定位。伴随着一次次人机互动，物理的“量”与虚拟的“流”，形成一种“对冲”，速度和路径的转换，将人们引入一场跨时空的磁场效应。

Art Installation: Carrying Known and Unknown

In addition to the exhibition design itself, KiKi's founder of architectural design affairs, Guan Jiayan, also participated in the creation of some art installations across industries. These installations serve as exhibition content, spatial composition, and interactive elements, with Lenovo's products and equipment from various periods as part of the elements, combined with artistic works, describing the known and unknown aspects of digital civilization.

Guo Ruiwen and Guan Jiayan's "Flow and Quantity", 2023

New media interactive device, variable size

Displayed in the second chapter of the exhibition. Under the movement of time, information forms a "stream" that carries a large amount of data; The accumulation of matter in space constructs the 'quantity' of physical existence. The interactive video installation, jointly created by artists Guo Ruiwen and Guan Jiayan, uses CRT monitors as the medium of communication and interprets specific historical phenomena in the development of digital civilization through a 5 × 4 array layout. 20 suspended Lenovo retro displays, depicting a microcosm of the real economy era. The large computers, tightly arranged, emit a strong sense of existence, symbolizing the satisfaction brought by the dazzling shelves of goods, primitive shopping patterns, and quantitative consumption in the 1990s. The data cables wrapped around the glass floor symbolize the surging trend of new things and the fearless growth vitality in the tide of the times. On the computer screen, the GUI elements of the Windows operating system loaded the virtual world of the early Internet for people. With the popularity of civil computers, the future form and efficiency will be reshaped. By manipulating the mechanical mouse, the audience can intervene in real-time in the movement trajectory of GUI elements and re-establish their positioning in the vast network coordinates. With repeated human-machine interactions, the physical "quantity" and virtual "flow" form a "hedge", where the conversion of speed and path introduces people into a cross temporal magnetic field effect.

▼《流与量》

关佳彦《升腾》，2023

艺术装置，尺寸可变

陈列于展览第三章节。自然界中，覆载高动能的气流涡旋而升，直抵云霄，其内在的分子势能，不断蓄力，持续积累，正如一个品牌的耕耘过程。关佳彦以“气流”为蓝本，创作了承载联想品牌发展历程的环形立体装置。垂直贯穿的装置，占地30㎡，高达4.8米，由白色钢架、亚克力盒子和Lenovo联想各时期产品、文字信息、照片、大事件物料组成，自下而上的，平等叙述了始于上世纪80年代的数字化故事。近40只亚克力盒子，在虚实透明和灯影变幻中，呈螺旋形向上递进，从外部看去，仿佛阳光映入云层般，纯粹而轻盈，表达面对时代挑战与机遇时，前行者所坚守的积极、腾跃的精神态度。步入其中，丰富的展示内容，在信息交换中，伴随着视线的抬升，向更高更远处迁移，引向未来的未来。

Guan Jiayan's "Ascending", 2023

Art installation, variable size

Displayed in the third chapter of the exhibition. In nature, the airflow carrying high kinetic energy spirals upwards and reaches the clouds, with its inherent molecular potential energy constantly accumulating and accumulating, just like the cultivation process of a brand. Guan Jiayan created a circular three-dimensional device based on "airflow" to carry the development history of Lenovo brand. The vertically penetrating device covers an area of 30 square meters and reaches a height of 4.8 meters. It is composed of a white steel frame, acrylic box, Lenovo products from various periods, textual information, photos, and materials from major events. It narrates the digital story that began in the 1980s from bottom to top and equally. Nearly 40 acrylic boxes, in the midst of virtual and real transparency and changing lamp shadows, spiral upwards. From the outside, it seems as if sunlight is shining into the clouds, pure and light, expressing the positive and leaping spirit attitude of the pioneers when facing the challenges and opportunities of the times. Stepping into it, the rich display content, accompanied by the lifting of the line of sight, migrates to higher and farther places, leading to the future in information exchange.

▼《升腾》

▼《升腾》装置内部

关佳彦、三千流明工作室《雨》，2023

影像装置，尺寸可变

陈列于展览第四章节，由关佳彦与三千流明工作室联合创作，以暗调空间与影像作品的结合，塑造出一个思辨的场域。装置表达了在智能时代，人类已借助互联网与电子设备，冲破物理的空间边界。信息、时间、地域、语言之间不再受既定框架的束缚，世界因此虚实相融。超现实深色空间中，18个Lenovo联想显示屏散发出的“光”，引导观众停留、穿行，如同漂浮于信息媒介之间，在交互与不确定中，寻求一种熟悉的人文感知。屏幕上，来自不同时空的“同一场雨”不间断播放，隐喻当下万物互联的世界场景，蕴含着无法被移除的人文精神。

Guan Jiayan, Three Thousand Lumens Studio "Rain", 2023

Imaging device, variable size

Displayed in the fourth chapter of the exhibition, jointly created by Guan Jiayan and Sanqian Lumen Studio, a speculative field is created through the combination of dark space and visual works. Devices express that in the intelligent era, human beings have broken through the physical space boundary with the help of the Internet and electronic equipment. Information, time, geography, and language are no longer bound by established frameworks, and the world is thus blended with reality. In the surreal dark space, the "light" emitted by 18 Lenovo display screens guides the audience to stay and walk, as if floating between information media, seeking a familiar humanistic perception in interaction and uncertainty. On the screen, the continuous playback of "the same rain" from different time and space metaphorically represents the interconnected world scene of all things, containing an irreplaceable humanistic spirit.

▼《雨》