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北京国际设计三年展 (The First Beijing International Design Triennial)是目前国内最具学术价值、最具前瞻性、最高端的综合性设计大展。展览采取国际通行的三年展模式，以三年为周期，面向全球征集设计师和设计作品。

首届北京国际设计三年展将于2011年9月28日━10月17日在位于天安门广场东侧的中国国家博物馆举行。展览空间总面积约6000平米，共由五个展厅构成。首届三年展将采取主题展的形式，围绕“仁：设计的善意”这个总题目，在以上五个展厅中举办五个分主题展览。

展览采取国际通行的策展人制度，在策展委员会统一协调下，聘请海内外策展人进行组织策划。策展人的任务包括确定展览分主题、联络设计师、确定和运输展品、确定展陈方案。在首届三年展上，每一个分主题展将由一名（组）境外策展人和一名内地策展人联合策划，共有五组策展人参与本次活动。

北京国际设计三年展简介 179

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Beijing International Design Triennial (BIDT) is the most academic, the most forward-looking and the most high-level comprehensive design exhibition in China.The Beijing International Design Triennial adopts the prevailing international“triennial” mode as the basic operation mode and will be held every three years. It selects designers and works from world-wide. The First Beijing International Design Triennial will be held in China National Museum which is located on the east side of Tian’anmen Square from Sep 28, 2011 to Oct 17, 2011. The exhibition venue is constituted by five halls and covers 6000 square meters altogether. The Triennial will take the form of theme exhibition, under the general theme “Good

Introduction

Design”, these five exhibitions will be held in the five exhibition halls mentioned above. The triennial will adopt the international prevailing curatorship system and invite curators from China and abroad to plan and organize the exhibition with coordination of the organizing committee. Curators will be responsible for decision of sub-themes of the exhibition, contact with designers, selectio and transportation of exhibition works and determination of display scheme. In the first triennial, each sub-theme exhibition will be planned jointly by an international curator together with a Chinese curator and thes five group of curators will participate in the event altogether.

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Map

编号 Activities 展区活动

55 Creative junctions 创意联接

56 Rethinking Bamboo 知“竹”

57 Reason Design Emotion 理智设计情感

58 Good Guys 混合现实

59 What If... 可能的世界

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展区活动 Activities 185

Creative Junctions 55

Creative Junctions

Design in the contemporary world becomes a complex, multilinear scenario in which traditions and languages, industrial production processes and crafts skills all blend: a landscape of forms and figures that are passed down in History as established models of reference, or as memories that guide contemporary research in design.

The themes of the exhibition, the complex scenario it will present to visitors will take the form of an itinerary that emphasizes the relationship between project and realization also through 20 striking installations made with standard products or precious limited editions, shedding light on manual skills and technological know-how; a path that observes the relationship between design and its communication: a true encounter among different resources of creativity in international design.

Ren: Good Design is a kind of design Ping-Pong, a Creative Junction in which the face-off between different geographical and productive realities generates a story composed of many stories, in pursuit of a productive and project quality that becomes more and more widespread, in the synergy between Occident and Orient, between different cultures and civilizations.

创意联结

当今时代的设计，呈现出复杂多元的局面。其中，传统和语言、工业制造和手工艺全都混杂

在一起：在此图景中，历史中形成的作品或者成为可资借鉴的经典，或者成为影响当代设计

研究的记忆。

本展览的主题，以一种复杂的展陈形式呈现在观众面前，参观流线突出了设计方案与

成品之间的关系，20个由标准产品和限量版产品所组成的令人震撼的装置，突出了手工艺

和工业技术之间的关联；这一参观流线考虑到设计与沟通之间的关系，力图促成国际设计

中不同创意来源之间的真实相遇。

“仁：设计的善意”是一种设计乒乓，其中，创意的联结是指，由不同的地域和不同生产

条件的交叠所产生的故事总和。在对生产能力和项目质量的追求中，这种联结在东西方之

间、不同文化之间已表现得越来越普遍。

“创意联结”旨在通过对国际顶尖设计产品的广泛选择和比较，突出强调设计师与代表

高新技术的制造业的关联，以及他们与手工艺传统的关联。展品既是国际化又是地域性的，

也即是glocal（全球本地化）的，既体现了特定国家或地区的设计特色，同时又定位于全球市场。

展览由五个部分组成：

1. 创意 < > 技艺；

2. 设计师 < > 协作；

3. 传统 < > 科技；

4. 代际 < > 感性；

5. 东方 < > 西方。

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策展团队 / Curatorial team:

吉达 •博亚迪 / Gilda Bojardi ：

意大利《INTERNI》、《GCASA》杂志主编、米兰设计周外围展主策划人

Editor-in-chief of INTERNI / GCASA, Chief Planner of the Milan Design Week

杨冬江 / Yang Dongjiang ：

设计师、中国室内装饰协会设计委员会秘书长、中国陈设艺术委员会副主任、

清华大学美术学院环境艺术设计系副主任

Designer, Secretary-general of the Committee on Design, China National Interior Decoration Association, Associate Director of the Art Display & Decoration Committee of China, Vice Dean of the Environmental Art Design Department, Academy of Arts & Design, Tsinghua University

Creative Junctions aims to highlight the value of the work of a selected group of international designers that through testing, comparison and transformation underscores the importance of their relationship with the manufacturer, who activate moments of technological innovation and application of industrial know-how, together with the skills of craftsmanship passed down over time. The idea of the exhibition is to propose a selection of objects and products as global + local = glocal artifacts that represent the capacity of an object to represent and conserve the specific characteristics of the design of a country or a place, while addressing a global market.

The exhibition is organized in 5 sections:1. Creativity < > Know-How2. Designer < > Coordination3. Tradition < > Technology4. Generations < > Sensibility 5. Orient < > Occident

展览面积 Exhibition Space: 约 1500平米 / about 1500 square meters

活动时间Dates: 9.28-10.17

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Rethinking Bamboo 56

知“竹”

“竹”的普通话发音与“足”相近，谚语有谓：知足常乐，其实，知“竹”也是快乐的。竹子确实

可以满足人类生活众多方面的需要。现在，约一千五百品种的竹子正在全球不同地方生长

着。从远古开始，不同民族就运用竹子制造形形色色的生活用具，发展为手工艺及文化的一

部份。竹，作为亚洲地区常见的手工艺和建筑材料，具有悠久的历史和浓郁的汉文化特色。

中国拥有源远流长的竹文化，无论是在民俗还是在文人文化中均有大量体现。竹材料在衣

食住行各方面均有广泛的运用，此外，竹子作为一种绿色材料，符合当代社会关于可持续发

展的理念。现代设计师把握竹子文化和环保两方面的特殊优越条件，在亚洲以至欧美地区，

创作成崭新的产品设计。

本展览将关注中国、亚洲乃至世界范围内的竹设计，从以下五个方面进行展示和呈现：

意：文化之竹

艺：工艺之竹

器：日用之竹

境：建筑之竹

悟：创新之竹

作为一种环保材料，竹子与设计结合后，是否可以发展成新的生活态度?而在实践“物

尽其用”的环保意识同时，现代人怎样能够通过“知竹”，去提升生活的质量与品位，创建更

快乐及更美好的世界?

RETHINKING BAMBOOAs a popular architecture and design material in Asia, bamboo has very long history and it is a representative of Chinese culture. Bamboo has been used diversely in clothing, food, housing and transport. Besides, as a green material the use of bamboo matches the idea of sustainability. Bamboo is not only a kind of material with special superiority but also has strong culture symbolic meaning. Bamboo culture has long history in China and this is represented not only in folk custom but also in literati culture.

The pronunciation of ‘Bamboo’ (zhu) in Mandarin translates as 'enough' (zu). As the saying goes, ‘to achieve a state of contentment (zhi zu) is to truly know one’s own happiness’. Being an environmental friendly material, can the combination of bamboo and good design be further developed to change attitudes and improve the quality of life? In the current climate of environmental awareness and the ethos of ‘making the best use of everything’, how can we in the modern age enhance peoples’ lives through a deeper 'knowledge' of bamboo, in order to make a happier and better world?

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策展团队 / Curatorial team ：

刘小康 / Freeman Lau ：

香港设计中心董事会副主席，香港设计总会秘书长，香港设计营商周重要组织者和策划人

vice-chairman of the board of Directors of Hongkong Design Center, secretary-general of Hongkong Design Association, organizer and curator of Business of Design Week

杭间 / Hang Jian ：

艺术史学家，清华大学美术学院副院长，

中国美术家协会理事、理论委员会副主任

vice-dean of the Academy of Arts & Design, Tsinghua University, art history professor, director of the Chinese Artists Association, associate director of the Theoretical Council

展览面积 / Exhibition Space: ：约900平米 / about 900 square meters

活动时间Dates:9.28-10.17

This exhibition would pay close attention to the bamboo design in China, Asia and the whole world. The thinking about bamboo design would be represented in the following five aspects:

Part 1: Bamboo in Chinese Culture Part 2: Bamboo Crafts Part 3: Bamboo in Lifestyle Part 4: Bamboo and Architecture Part 5: Bamboo Innovation

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Reason Design Emotion

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REASON DESIGN EMOTION

The good balance between the two words reveals a good design, but according to the different cultures and countries the symbolic (imaginary) value are more important ( in object or products ) than the use value and vice versa. Each designer has his own way of designing and understanding the relationship between the symbolic value of an object and its use value. The designer invents, includes and organizes in his design the right balance he thinks is good.

With this original exhibition, we propose to reveal to the world that good design is a good balance from the brain of the designer and a way of thinking the design according the culture where he is from. It is a wisdom question. The new word we created -REASEMOTION- (reason + emotion) is merging to form and function and to find the ideal in the balance in between. Items understandable by all. They are complementary. The one cannot exist without the other.

Each of them carries within it the germ of the other.Each designer has his own way of designing and understanding the relationship between the symbolic value of an object and its use. The designer invents, includes and organizes in his design the balance he thinks is right. With this original exhibition, we propose to reveal to the world that good design is a good balance between the brain of the designer and the way of thinking about design according the culture where he is from. It is a question of wisdom. For us the new word we create -REASEMOTION- (reason + emotion) is about merging form and function and finding the ideal in the balance between them.

Items understandable by all; they are complementary. One can not exist without the other. Each of them carries within it the germ of the other. Imagination and Use.The exhibits will be organized in 7 parts, so thus telling a story in 7 themes: CALM; DELIGHT; COOL; HUMOR; CELEBRATION; FREEDOM; EMPTINESS.

理智设计情感

“好设计”（good design）总是在理智与情感之间寻找平衡。理智的设计，偏重产品的功能

与使用价值；情感的设计，偏重产品的形式和象征价值。不同文化背景会导致对这二者的

不同偏重，有时理智压倒情感，有时情感压倒理智，然而但凡优秀的设计师，无一例外都是

积极思考和维持此二者之间的微妙平衡，由此彰显设计的智慧。

在设计中，理智与情感构成了你中有我、我中有你的关系，为此，我们特地创造出

REASEMOTION这个词汇，以体现理智与情感的交融互渗。

人类不分种族、地域、信仰和政治制度，拥有共通的情感，也正是在这个层面，人与人

之间可以实现深刻的交流。东方与西方，无论看上去有多么不同，在情感上是完全可以相

互理解并产生共鸣的。

本展览以“理智设计情感”为题，希望通过中外设计师的优秀作品，让观众体悟理智与

情感交融的境界，同时感受东西方文化和而不同的意蕴。本次展览将按以下七个部分呈现

所选择的展品：平静；快乐；冷峻；幽默；庆典；自由；空。

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策展团队 / Curatorial team ：

本杰明 •卢瓦约特 / Benjamin Loyauté

法国独立策展人、制片人、专栏作家、设计批评家

French Independent Curator, Film Producer, Columnist, Design Critic

方晓风 / Fang Xiaofeng ：

建筑师，《装饰》杂志主编、

清华大学美术学院环境艺术系副教授

Chinese Architect, Editor-in-chief of Zhuangshi Journal, Associate Professor at the Environmental Art Design Department, Academy of Arts & Design, Tsinghua University

展览面积 / Exhibition Space ：约900平米 / about 900 square meters

活动时间Dates: 9.28-10.17

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Good Guys 58

混合现实

社会发展的速度在加快，全球化也在不断深化。无论你喜欢与否，这是现实。今天，我们生

活的环境充满了冲突、重叠与混搭，曾经的完整在继续碎裂，而新的力量正在把碎片重组出

新的意义与价值——今天的现实是混合的现实。

本展览关注今天的设计师如何在看似困顿复杂的局面中发现新的方向，如何在表面的

矛盾与冲突中找到内在的一致性——设计智慧会在我们拥有的事物中发掘出新的 能量。我

们将向公众呈现：地域化与国际化不是对立的两极，而是一种你中有我、我中有你的依存关

系；发展现代生产也不一定以传统手工艺的逝去为代价，当手工 艺中的多样性和人性部分

融入工业生产之后，会让工业生产更符合人的需要；以未来为导向的潜台词不是遗忘历史。

寻求可持续、公平贸易、再循环和个性化产品是 设计师和消费者共同的责任。

展品涵盖了众多不同的设计门类，通过实物、模型或装置为公众打造一种全方位

的视角，让他们了解世界一流设计师都在关心什么，以及他们对于生活的特 殊态度源

于何处——无论如何，没有好的设计师，没有这些好家伙们（Good Guys）, 好的设计也就

无从谈起。

GOOD GUYS

Society is developing increasingly fast in parallel with the expansion of globalization. It is a real trend that overwhelms whatever one likes or dislikes. The intricacies of a chosen lifestyle are filled with conflicts, overlaps, mixes and hybrids. Forcefully as the current goes on, the old integrity is being shattered, and the pieces reorganized into shapes that frame new meanings and values. Indeed, the reality of today is in itself a hybridized one.

“Good Guys” foregrounds contemporary designers concerned with finding new ways to create objects that deal with ostensibly complex social issues filled with both compatibilities and contradictions. With these we make clear to the public that regionalization and globalization are not in a binary opposition; that modern manufacturing is not necessarily a replacement of traditional artisan craftsmanship; and that the unspoken words which underline the future do not leave out the past. It is the mutual responsibility of designers and consumers to seek sustainable, fair trade, recycled and individualized products.

The exhibition takes into account many design categories. The showpieces, in the form of objects, models and installations, create a comprehensive visualization for the public to see what sparks world-class design-minds and what leads to their special attitudes toward life. Anyway, without Good Designers, the so-called Good Guys, Good Design will not be achieved.

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策展团队 / Curatorial team ：

特里斯坦 •凯柏勒 / Tristan Kobler

瑞士建筑师、策展人、洛桑艺术和设计学院教授、霍泽尔和凯柏勒建筑事务所合伙人

Swiss Architect, Curator, Professor at University of art and design Lausanne, Partner of Holzer Kobler Architekturen

芭芭拉 •霍泽尔 / Barbara Holzer

瑞士建筑师、策展人、彼得 •贝伦斯建筑学院教授、霍泽尔和凯柏勒建筑事务所合伙人

Swiss Architect, Curator, Professor at the Peter Behrens School of Architecture, Partner of Holzer Kobler Architekturen

马丁 •海勒（策展顾问） / Martin Heller (Consultant)

瑞士知名策展人，批评家，学者，苏黎世设计博物馆前馆长

Swiss Curator, Critic, Former Director of the Zurich Design Museum

李德庚 / Li Degeng

设计师，策展人，《设计管理》、《FRAME》和《MARK》

中文版设计总监，今日美术馆设计馆学术总监，清华

大学美术学院视觉传达系讲师

Chinese Designer, Curator, Art Director of the magazines Design Management, FRAME and MARK Chinese version, Academic Director of Design House of Today Art Museum

展览面积 / Exhibition Space ：约900平米 / about 900 square meters

活动时间Dates: 9.28-10.17

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What If... 59

可能的世界

假如 --你可以用一只羔羊用做肾脏透析机？在实验室培养晚餐所用的肉而不杀害动物？

从卫星通信、时光旅行到不可见的材料，科学和技术的突破往往由对虚拟情景的探索所驱

动。设计师要像科幻小说家那样，积极和科学家和工程师对话，发现他们所未曾预料的后果。

假如 --你为你家的宠物猪戴上防烟口罩，你可以放心地抽烟，直到有一天换上没有被

二手烟污染的猪肺？设计师通过对一系列关于“假如”的大胆追问，从科技幻想进入到社

会、伦理和道德领域，去探索生命的极限和生活的可能。

WHAT IF，一种功能性的虚构，或者说，一种真实的、对生活有益的虚构。本展览将通

过实验性的设计产品和方案，展示设计界的“科学怪人”对可能世界的思考。无论带来美梦

抑或是恶梦，这些科幻小说式的设计探索，将在我们和未来世界之间，搭建起一道桥梁或一

道防线。

What If...

Do we design for how the world is now? ...or for how the world could be?The projects in this exhibition ask ‘what if⋯?’ Their purpose is not to offer

predictions but to inspire debate about the human consequences of different technological futures — both positive and negative.

For a while now, we’ve both been very interested in the space between reality and the impossible, a space of dreams, hopes, and fears. Usually this space is occupied by future forecasts (commercial world), design scenarios (corporate world) and utopias and dystopias (literary and cinematic worlds).

It’s an important space, a place where the future can be debated and discussed before it happens, so that, at least in theory, the most desirable futures can be aimed for and the least desirable avoided .

There are no solutions here, or even answers, just lots of questions, thoughts, ideas and possibilities, all expressed through the language of design. They probe our beliefs and values, challenge our assumptions and encourage us to imagine how what we call ‘reality’ could be different. They help us see that the way things are now is just one possibility, and not necessarily the best one.

As the dreams that fed the 20th century imagination begin to fade, we need to learn how to dream new dreams. During BJDW, the Embassy send an invitation to wander through rhythmic, fluid and sensory spaces within the new 'Residence de France' send from.

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策展团队 / Curatorial team ：

菲奥娜 •拉比 / Fiona Raby

英国皇家艺术学院高级研究员，Dunne & Raby工作室合伙人，策展人

Partner of Dunne & Raby, Senior Research Tutor at the Royal College of Art, London

安东尼 •邓恩 / Anthony Dunne

英国皇家艺术学院教授、交互设计系主任，Dunne & Raby工作室合伙人，策展人

Partner of Dunne & Raby, Professor and Head of the Design Interactions Department at

the Royal College of Art in London

金江波 / Jin Jiangbo

新媒体艺术家，上海创意设计师协会理事，新西兰奥克兰大学访问学者

Chinese New Media Artist, Director of the Shanghai Creative Designers Association,

Visiting scholar of the University of Auckland, New Zealand

展览面积 / Exhibition Space ：约900平米 / about 900 square meters

活动时间Dates: 9.28-10.17

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