展览信息

标题
形态的诗学 Morphopoiesis–武藏野美术大学基础设计系的实践
时间
2025年9月26日－10月19日
地点
上海西岸美术馆｜Art Window
主办
小红书设计周、武藏野美术大学基础设计系、同济大学设计创意学院
协办
atama.works
出展人信息
原研哉、小林昭世、田中良治、板东孝明、菱川势一、清水恒平、三泽遥、大原大次郎、井口皓太、坂本俊太、牧寿次郎、熊谷彰博、松田洋和、Lily Ongartthaworn、耿栋梁、森岛光、畔上阳一、多田美景、平川航太、芹泽碧、吴笛、石坂明日香、吴凯儿、富田理纱子、小山美有奈、宫田光、张隽怡、小林克彰、陈芃、佀睿达、Park Dongwon、富原由季、陈飒文、笹原早希子、石井绘里子、江田阳子、镰田拓磨、佐藤仁美、加藤美帆、钟鑫、角谷都惠、其他学生作品
展览团队
展览策划： 田中良治、室贺清德、陈芃、杜钦
策展助理： 陈颢文、周少帆、宫本巴奈、加藤将司
空间设计： 卢雨凡
导视排版： 杨梓俊
纪录片组： 陈芃、聂泽文、邱愈茗、竹内惠理、林永祺、王雨桐、室贺清德
特别感谢：小红书、武藏野美术大学基础设计系研究室、郡司和也、李梓珲、刘育黎、陈渚、史隆泰、黄兰栖、艾琳、丁丹、洪斯怡、黎静波

About Exhibition

Title
Morphopoiesis–Practices of the Department of Science of Design, Musashino Art University
Dates
September 26 – October 19, 2025
Venue
West Bund Museum | Art Window
Organizers
RPDC Design Week、Musashino Art University Department of Basic Design、College of Design and Innovation, Tongji University
Co-organizer
atama.works
Exhibiting Artists
Kenya Hara, Akio Kobayashi, Ryoji Tanaka, Takaaki Bando, Seiichi Hishikawa, Kohei Shimizu,Haruka Misawa, Daijiro Ohara, Kota Iguchi, Shunta Sakamoto, Jujiro Maki, Akihiro Kumagai,Hirokazu Matsuda, Lily Ongartthaworn, Dongliang Geng, Ko Morishima, Yoichi Azegami,Mika Tada, Kota Hirakawa, Midori Serizawa, Di Wu, Asuka Ishizaka, Kaier Wu,Risako Tomita, Miyuna Koyama, Hikaru Miyata, Junyi Zhang, Katsuaki Kobayashi, Peng Chen,Ruida Si, Park Dongwon, Yuki Tomihara, HaoWen Chen, Sakiko Sasahara, Eriko Ishii,Yoko Eda, Takuma Kamata, Hitomi Sato, Miho Kato, Xin Zhong, Miyuki Kakutani,and other student works
Exhibition Team
Curators: Ryoji Tanaka, Kiyonori Muroga, Peng Chen, Qin Du
Curatorial Assistants: HaoWen Chen, Shaofan Zhou, Hana Miyamoto, Masamune Kato
Spatial Design: Yufan Lu
Wayfinding & Graphic Design: Zijun Yang （notadesign）
Documentary Team: Peng Chen, Zewen Nie, Yuming Qiu, Eri Takeuchi, Yongqi Lin, Yutong Wang, Kiyonori Muroga
Special Thanks: Xiaohongshu,Musashino Art University Department of Science of Design Laboratory, Semitransparent Design, Zihui Li, Yuli Liu, Zhu Chen, Longtai Shi,Lanxu Huang, Ailin, Dan Ding, Siyi Hong, Jingbo Li,xiaohongshu

展览信息
About Exhibition

标题／Title
z
形态的诗学 Morphopoiesis–武藏野美术大学基础设计系的实践
Morphopoiesis–Practices of the Department of Science of Design, Musashino Art University
时间／Dates
2025年9月26日－10月19日
September 26 – October 19, 2025
地点／Venue
上海西岸美术馆｜Art Window
West Bund Museum | Art Window
主办／Organizers
小红书设计周、武藏野美术大学基础设计系、同济大学设计创意学院
RPDC Design Week、Musashino Art University Department of Basic Design、College of Design and Innovation, Tongji University
协办／Co-organizer
atama.works
atama.works
出展人信息
原研哉、小林昭世、田中良治、板东孝明、菱川势一、清水恒平、三泽遥、大原大次郎、井口皓太、坂本俊太、牧寿次郎、熊谷彰博、松田洋和、Lily Ongartthaworn、耿栋梁、森岛光、畔上阳一、多田美景、平川航太、芹泽碧、吴笛、石坂明日香、吴凯儿、富田理纱子、小山美有奈、宫田光、张隽怡、小林克彰、陈芃、佀睿达、Park Dongwon、富原由季、陈飒文、笹原早希子、石井绘里子、江田阳子、镰田拓磨、佐藤仁美、加藤美帆、钟鑫、角谷都惠、其他学生作品
Exhibiting Artists
Kenya Hara, Akio Kobayashi, Ryoji Tanaka, Takaaki Bando, Seiichi Hishikawa, Kohei Shimizu,Haruka Misawa, Daijiro Ohara, Kota Iguchi, Shunta Sakamoto, Jujiro Maki, Akihiro Kumagai,Hirokazu Matsuda, Lily Ongartthaworn, Dongliang Geng, Ko Morishima, Yoichi Azegami,Mika Tada, Kota Hirakawa, Midori Serizawa, Di Wu, Asuka Ishizaka, Kaier Wu,Risako Tomita, Miyuna Koyama, Hikaru Miyata, Junyi Zhang, Katsuaki Kobayashi, Peng Chen,Ruida Si, Park Dongwon, Yuki Tomihara, HaoWen Chen, Sakiko Sasahara, Eriko Ishii,Yoko Eda, Takuma Kamata, Hitomi Sato, Miho Kato, Xin Zhong, Miyuki Kakutani,and other student works
出展人信息
展览策划： 田中良治、室贺清德、陈芃、杜钦
策展助理： 陈颢文、周少帆、宫本巴奈、加藤将司
空间设计： 卢雨凡
导视排版： 杨梓俊
纪录片组： 陈芃、聂泽文、邱愈茗、竹内惠理、林永祺、王雨桐、室贺清德
特别感谢：小红书、武藏野美术大学基础设计系研究室、郡司和也、李梓珲、刘育黎、陈渚、史隆泰、黄兰栖、艾琳、丁丹、洪斯怡、黎静波
Exhibiting Artists
Curators: Ryoji Tanaka, Kiyonori Muroga, Peng Chen, Qin Du
Curatorial Assistants: HaoWen Chen, Shaofan Zhou, Hana Miyamoto, Masamune Kato
Spatial Design: Yufan Lu
Wayfinding & Graphic Design: Zijun Yang （notadesign）
Documentary Team: Peng Chen, Zewen Nie, Yuming Qiu, Eri Takeuchi, Yongqi Lin, Yutong Wang, Kiyonori Muroga
Special Thanks: Xiaohongshu,Musashino Art University Department of Science of Design Laboratory, Semitransparent Design, Zihui Li, Yuli Liu, Zhu Chen, Longtai Shi,Lanxu Huang, Ailin, Dan Ding, Siyi Hong, Jingbo Li,xiaohongshu
“设计”一词，早已渗透于我们生活与媒介的方方面面。纵观20世纪，设计的发展始终与具体产业及其产品紧密相连；而自20世纪末以来，伴随数字技术的进步，信息化又不断拓展“设计”所涵盖的范围，从具体物的创造延伸至事件与过程的层面。

这一趋势的体现，正是近年来相继涌现的多种新设计形式，如社会设计（Social Design）、设计思维（Design Thinking）等。然而与此同时，驱动这些设计的市场逻辑与数字信息技术，也在深刻撼动社会结构，并引发了关于经济差距以及生命形态的诸多问题。

长期以来，设计的话题往往容易被归结为商业或技术层面的讨论。但或许当下，我们正处在一个必须从人类生活世界的关联角度，来重新思考“设计”的局面。回顾其历史，自19世纪末的发展以来，设计本身就是一个从社会与文化的角度重新审视技术，并将其重新编织进人类生活世界的过程。

武藏野美术大学基础设计系（Department of Science of Design,Musashino Art University）由向井周太郎于1967年构想并创立，是全球最早敏锐意识到“设计的社会性”特质，并持续探索相关理论与实践的学科之一。该系设立的20世纪60年代，正是设计作为产业急速扩张、大量生产带来的环境问题与消费主义等问题日益凸显的时代。

向井曾在延续包豪斯脉络的西德乌尔姆造型学院（Hochschule für Gestaltung, Ulm）学习，在那里接触并体验了前卫的设计思想与现代设计的发展。在此背景下，他开始致力于构想一门能够超越现代化所带来种种设计课题，并以塑造理想生活世界为目标的“基础设计学”（Science of Design）。换言之，基础设计学中的“基础”（Science），并非指“技术层面的基础”，而是类似科学基础研究般，指向“设计活动整体所依凭的根源性原理”。

基础设计系以跨专业、综合性的课程体系为依托，探讨人类与自然的根源性问题及社会与文化议题，培养出一批具有多元视野、活跃于日本各领域的创作者。如今，以主任教授原研哉为代表的教授团队吸引着来自世界各地的学生。本次展览以“形态的诗学”为主题，亦是基础设计系在中国的首次集体亮相。标题所指，乃是生命原型与个体性摇曳浮动中不断生成的“形态”（Morpho），与关于创造的“诗学”（Poiesis）的结合，指向一门关于“世界生成”的哲学性实践。

展览汇集了数十年来基础设计系的课程课题、毕业作品，以及毕业生与教师的代表性创作。这些作品群，可以理解为在信息技术高度发达、生活世界日益分割的当下，毕业生们以各自方式展开的重新编织与连接的实践。“设计”是一门关乎生活的学问。基于这一视角，本次展览并未依循年代或主题的逻辑，而是以作品的“尺度”为线索重新编排，试图营造一个开放的观展场域，使不同背景的观众都能专注并感受设计本身的魅力。

在小红书设计周的支持下，源自西方近代设计起点的“基础设计学”得以在中国文化的宏大视野下重新审视与理解。我们希望，本次展览能成为中国观众思考当代社会与设计关系的全新契机。

《形态的诗学》联合策展人 /室贺清德
The term “design” has long permeated every aspect of our lives and media. Throughout the 20th century, the development of design was always closely tied to specific industries and their products. Since the late 20th century, however, with the advancement of digital technologies, informatization has continuously expanded the scope of what “design” encompasses—extending from the creation of tangible objects to the domains of events and processes.

This trend is evident in the emergence of various new forms of design in recent years, such as Social Design and Design Thinking. At the same time, however, the market logic and digital information technologies that drive these practices have also profoundly impacted social structures, raising numerous questions regarding economic disparity and the conditions of life itself.

For a long time, discussions on design have tended to be confined to commercial or technological dimensions. Yet today, we may find ourselves in a situation where it has become necessary to reconsider “design” from the perspective of its relations to human life-worlds. Looking back, since its emergence in the late 19th century, design has always been a process of re-examining technology through social and cultural perspectives, and reweaving it into the human life-world.

The Department of Science of Design, Musashino Art University, was conceived and founded by Shutaro Mukai in 1967. It is one of the earliest academic programs in the world to have keenly recognized the inherently social nature of design, and to have persistently explored relevant theories and practices. The department was established in the 1960s, a period when the rapid industrial expansion of design had brought environmental problems and consumerism to the forefront of social debate.

Mukai studied at the Hochschule für Gestaltung, Ulm in West Germany, a school that carried forward the legacy of the Bauhaus, where he was exposed to avant-garde design thought and the evolution of modern design. Against this background, he began to envision a discipline that could transcend the challenges posed by modernization and aim at shaping an ideal life-world—what he called the “Science of Design.” In this sense, the “Science” of Design does not refer to a technical foundation, but rather—much like basic research in the sciences—points to the fundamental principles underpinning the entirety of design activity.

With a cross-disciplinary and integrative curriculum, the department has continuously explored fundamental questions of human beings and nature, as well as pressing social and cultural issues, cultivating generations of creators with diverse perspectives who are active across many fields in Japan. Today, under the leadership of Professor Kenya Hara and a distinguished faculty team, the department attracts students from all over the world.

This exhibition, titled “Morphopoiesis”, marks the first collective appearance of the Department of Science of Design in China. The title refers to the conjunction of “morpho”—the forms ceaselessly generated amid the oscillation of archetypes and individuality—and “poiesis”—the poetics of creation. Together, they point toward a philosophical practice of “world-making.”

The exhibition brings together decades of coursework, graduation projects, and representative works by both faculty members and alumni. These works may be understood as practices of reweaving and reconnection in response to an era defined by advanced information technologies and the fragmentation of everyday life. From this perspective, “design” emerges as a discipline fundamentally concerned with life itself. Accordingly, the exhibition is not organized chronologically or thematically, but rather reconfigured along the “scales” of works, in order to create an open space where audiences from diverse backgrounds can focus on and experience the intrinsic vitality of design.

With the support of RPDC Design Week, the “Science of Design,” which originated in the context of Western modern design, can now be re-examined and reinterpreted within the broader horizon of Chinese culture. We hope this exhibition will serve as a new opportunity for audiences in China to reflect upon the relationship between contemporary society and design.

Kiyonori Muroga
Co-Curator of Morphopoiesis
“设计”一词，早已渗透于我们生活与媒介的方方面面。纵观20世纪，设计的发展始终与具体产业及其产品紧密相连；而自20世纪末以来，伴随数字技术的进步，信息化又不断拓展“设计”所涵盖的范围，从具体物的创造延伸至事件与过程的层面。

这一趋势的体现，正是近年来相继涌现的多种新设计形式，如社会设计（Social Design）、设计思维（Design Thinking）等。然而与此同时，驱动这些设计的市场逻辑与数字信息技术，也在深刻撼动社会结构，并引发了关于经济差距以及生命形态的诸多问题。

长期以来，设计的话题往往容易被归结为商业或技术层面的讨论。但或许当下，我们正处在一个必须从人类生活世界的关联角度，来重新思考“设计”的局面。回顾其历史，自19世纪末的发展以来，设计本身就是一个从社会与文化的角度重新审视技术，并将其重新编织进人类生活世界的过程。

武藏野美术大学基础设计系（Department of Science of Design,Musashino Art University）由向井周太郎于1967年构想并创立，是全球最早敏锐意识到“设计的社会性”特质，并持续探索相关理论与实践的学科之一。该系设立的20世纪60年代，正是设计作为产业急速扩张、大量生产带来的环境问题与消费主义等问题日益凸显的时代。

向井曾在延续包豪斯脉络的西德乌尔姆造型学院（Hochschule für Gestaltung, Ulm）学习，在那里接触并体验了前卫的设计思想与现代设计的发展。在此背景下，他开始致力于构想一门能够超越现代化所带来种种设计课题，并以塑造理想生活世界为目标的“基础设计学”（Science of Design）。换言之，基础设计学中的“基础”（Science），并非指“技术层面的基础”，而是类似科学基础研究般，指向“设计活动整体所依凭的根源性原理”。

基础设计系以跨专业、综合性的课程体系为依托，探讨人类与自然的根源性问题及社会与文化议题，培养出一批具有多元视野、活跃于日本各领域的创作者。如今，以主任教授原研哉为代表的教授团队吸引着来自世界各地的学生。本次展览以“形态的诗学”为主题，亦是基础设计系在中国的首次集体亮相。标题所指，乃是生命原型与个体性摇曳浮动中不断生成的“形态”（Morpho），与关于创造的“诗学”（Poiesis）的结合，指向一门关于“世界生成”的哲学性实践。

展览汇集了数十年来基础设计系的课程课题、毕业作品，以及毕业生与教师的代表性创作。这些作品群，可以理解为在信息技术高度发达、生活世界日益分割的当下，毕业生们以各自方式展开的重新编织与连接的实践。“设计”是一门关乎生活的学问。基于这一视角，本次展览并未依循年代或主题的逻辑，而是以作品的“尺度”为线索重新编排，试图营造一个开放的观展场域，使不同背景的观众都能专注并感受设计本身的魅力。

在小红书设计周的支持下，源自西方近代设计起点的“基础设计学”得以在中国文化的宏大视野下重新审视与理解。我们希望，本次展览能成为中国观众思考当代社会与设计关系的全新契机。

《形态的诗学》联合策展人 /室贺清德
The term “design” has long permeated every aspect of our lives and media. Throughout the 20th century, the development of design was always closely tied to specific industries and their products. Since the late 20th century, however, with the advancement of digital technologies, informatization has continuously expanded the scope of what “design” encompasses—extending from the creation of tangible objects to the domains of events and processes.

This trend is evident in the emergence of various new forms of design in recent years, such as Social Design and Design Thinking. At the same time, however, the market logic and digital information technologies that drive these practices have also profoundly impacted social structures, raising numerous questions regarding economic disparity and the conditions of life itself.

For a long time, discussions on design have tended to be confined to commercial or technological dimensions. Yet today, we may find ourselves in a situation where it has become necessary to reconsider “design” from the perspective of its relations to human life-worlds. Looking back, since its emergence in the late 19th century, design has always been a process of re-examining technology through social and cultural perspectives, and reweaving it into the human life-world.

The Department of Science of Design, Musashino Art University, was conceived and founded by Shutaro Mukai in 1967. It is one of the earliest academic programs in the world to have keenly recognized the inherently social nature of design, and to have persistently explored relevant theories and practices. The department was established in the 1960s, a period when the rapid industrial expansion of design had brought environmental problems and consumerism to the forefront of social debate.

Mukai studied at the Hochschule für Gestaltung, Ulm in West Germany, a school that carried forward the legacy of the Bauhaus, where he was exposed to avant-garde design thought and the evolution of modern design. Against this background, he began to envision a discipline that could transcend the challenges posed by modernization and aim at shaping an ideal life-world—what he called the “Science of Design.” In this sense, the “Science” of Design does not refer to a technical foundation, but rather—much like basic research in the sciences—points to the fundamental principles underpinning the entirety of design activity.

With a cross-disciplinary and integrative curriculum, the department has continuously explored fundamental questions of human beings and nature, as well as pressing social and cultural issues, cultivating generations of creators with diverse perspectives who are active across many fields in Japan. Today, under the leadership of Professor Kenya Hara and a distinguished faculty team, the department attracts students from all over the world.

This exhibition, titled “Morphopoiesis”, marks the first collective appearance of the Department of Science of Design in China. The title refers to the conjunction of “morpho”—the forms ceaselessly generated amid the oscillation of archetypes and individuality—and “poiesis”—the poetics of creation. Together, they point toward a philosophical practice of “world-making.”

The exhibition brings together decades of coursework, graduation projects, and representative works by both faculty members and alumni. These works may be understood as practices of reweaving and reconnection in response to an era defined by advanced information technologies and the fragmentation of everyday life. From this perspective, “design” emerges as a discipline fundamentally concerned with life itself. Accordingly, the exhibition is not organized chronologically or thematically, but rather reconfigured along the “scales” of works, in order to create an open space where audiences from diverse backgrounds can focus on and experience the intrinsic vitality of design.

With the support of RPDC Design Week, the “Science of Design,” which originated in the context of Western modern design, can now be re-examined and reinterpreted within the broader horizon of Chinese culture. We hope this exhibition will serve as a new opportunity for audiences in China to reflect upon the relationship between contemporary society and design.

Kiyonori Muroga
Co-Curator of Morphopoiesis

论坛

2025年9月25日至10月6日，为期约两周，我们邀请了8位与武藏野美术大学设计科学系（Department of Science of Design）密切相关的讲者，以“形态的诗学（Morphopoiesis）”为主题，在西岸美术馆举办了系列论坛。论坛通过讲座、对谈、作品放映及研究分享等多元形式，系统呈现了设计科学系所倡导的“观察—思考—验证—再诠释”的方法论实践。展期内累计吸引约2,000人次参与，成为连接中日设计教育与文化研究、推动跨文化与跨领域交流的重要实践平台。

登坛者（按时间顺序）
田中良治
媒体设计师／线的复写
室贺清德
编辑／基础设计学科及其时代
大原大次郎
设计师／文字・声音・身体表达
三泽遥
设计师／形的现象・观察与实验
板东孝明
设计师／协同生成
菱川势一
影像导演／身份不止一种
小林昭世
研究者／向井周太郎具体诗的语境
清水恒平
交互设计师／向井周太郎与设计科学系的当下

Forum

From September 25 to October 6, 2025, over the course of approximately two weeks, we invited eight lecturers closely associated with the Department of Science of Design at Musashino Art University to present a continuous lecture program at the West Bund Museum.
Centered on the theme “Morphopoiesis,” the program unfolded through a multi-layered format—including lectures, dialogues, screenings, and research presentations—articulating the methodological process cultivated by the Department of Science of Design: observation, reflection, verification, and reinterpretation.
With a total attendance of approximately 2,000 participants, the program became a significant platform for fostering new cross-cultural dialogue between China and Japan in the fields of design education and cultural research.

Speakers (in chronological order)
Ryoji Tanaka
Media Designer / Tracing Lines
Kiyonori Muroga
Editor / The Department of Science of Design and Its Era
Daijiro Ohara
Designer / Typography, Voice, and Bodily Expression
Haruka Misawa
Designer / Phenomena of Form: Observation and Experimentation
Takaaki Bando
Designer / Synergetics
Seiichi Hishikawa
Video Director / More Than One Title
Akio Kobayashi
Researcher / The Context of Shutaro Mukai’s Concrete Poetry
Kohei Shimizu
Interface / Shutaro Mukai and the Present of the Department of Science of Design

论坛
Forum

2025年9月25日至10月6日，为期约两周，我们邀请了8位与武藏野美术大学设计科学系（Department of Science of Design）密切相关的讲者，以“形态的诗学（Morphopoiesis）”为主题，在西岸美术馆举办了系列论坛。论坛通过讲座、对谈、作品放映及研究分享等多元形式，系统呈现了设计科学系所倡导的“观察—思考—验证—再诠释”的方法论实践。展期内累计吸引约2,000人次参与，成为连接中日设计教育与文化研究、推动跨文化与跨领域交流的重要实践平台。

登坛者（按时间顺序）
田中良治
媒体设计师／线的复写
室贺清德
编辑／基础设计学科及其时代
大原大次郎
设计师／文字・声音・身体表达
三泽遥
设计师／形的现象・观察与实验
板东孝明
设计师／协同生成
菱川势一
影像导演／身份不止一种
小林昭世
研究者／向井周太郎具体诗的语境
清水恒平
交互设计师／向井周太郎与设计科学系的当下
From September 25 to October 6, 2025, over the course of approximately two weeks, we invited eight lecturers closely associated with the Department of Science of Design at Musashino Art University to present a continuous lecture program at the West Bund Museum.
Centered on the theme “Morphopoiesis,” the program unfolded through a multi-layered format—including lectures, dialogues, screenings, and research presentations—articulating the methodological process cultivated by the Department of Science of Design: observation, reflection, verification, and reinterpretation.
With a total attendance of approximately 2,000 participants, the program became a significant platform for fostering new cross-cultural dialogue between China and Japan in the fields of design education and cultural research.

Speakers (in chronological order)
Ryoji Tanaka
Media Designer / Tracing Lines
Kiyonori Muroga
Editor / The Department of Science of Design and Its Era
Daijiro Ohara
Designer / Typography, Voice, and Bodily Expression
Haruka Misawa
Designer / Phenomena of Form: Observation and Experimentation
Takaaki Bando
Designer / Synergetics
Seiichi Hishikawa
Video Director / More Than One Title
Akio Kobayashi
Researcher / The Context of Shutaro Mukai’s Concrete Poetry
Kohei Shimizu
Interface / Shutaro Mukai and the Present of the Department of Science of Design

工作坊

在展览期间，我们于复兴公园（黄浦区），在一群年轻志愿者的协作下，耗时2天完成了由板东孝明设计的一座直径7米的穹顶装置的现场搭建。该作品以竹材为主要结构，构成一个球形网格穹顶，并运用了巴克敏斯特·富勒提出的“测地线穹顶（Geodesic Dome）”原理。通过轻量而高强度的几何体系，呈现出自然材料与结构美学之间的内在统一。作为一种可再生材料，竹子为作品注入了东方语境中独有的有机气息，同时也回应了当代对于可持续性的关注。这一装置不仅是一次关于结构与建造的实验，更是一项指向空间、材料与生态关系的艺术性探索。

Workshop

During the exhibition period, at Fuxing Park (Huangpu District), we collaborated with a group of young volunteers to complete the on-site construction of a 7-meter-diameter dome installation designed by Takaaki Bando over the course of two days.The work is a spherical grid dome primarily constructed from bamboo, applying the principles of the “Geodesic Dome” proposed by Buckminster Fuller. Through a lightweight yet high-strength geometric system, it articulates an intrinsic unity between natural materials and structural aesthetics.As a renewable material, bamboo imbues the structure with an organic sensibility rooted in an Eastern context, while also responding to contemporary concerns around sustainability. This installation is not only an experiment in structure and construction, but also an artistic exploration of the relationships between space, material, and ecology.

工作坊
Workshop

在展览期间，我们于复兴公园（黄浦区），在一群年轻志愿者的协作下，耗时2天完成了由板东孝明设计的一座直径7米的穹顶装置的现场搭建。该作品以竹材为主要结构，构成一个球形网格穹顶，并运用了巴克敏斯特·富勒提出的“测地线穹顶（Geodesic Dome）”原理。通过轻量而高强度的几何体系，呈现出自然材料与结构美学之间的内在统一。作为一种可再生材料，竹子为作品注入了东方语境中独有的有机气息，同时也回应了当代对于可持续性的关注。这一装置不仅是一次关于结构与建造的实验，更是一项指向空间、材料与生态关系的艺术性探索。
During the exhibition period, at Fuxing Park (Huangpu District), we collaborated with a group of young volunteers to complete the on-site construction of a 7-meter-diameter dome installation designed by Takaaki Bando over the course of two days.The work is a spherical grid dome primarily constructed from bamboo, applying the principles of the “Geodesic Dome” proposed by Buckminster Fuller. Through a lightweight yet high-strength geometric system, it articulates an intrinsic unity between natural materials and structural aesthetics.As a renewable material, bamboo imbues the structure with an organic sensibility rooted in an Eastern context, while also responding to contemporary concerns around sustainability. This installation is not only an experiment in structure and construction, but also an artistic exploration of the relationships between space, material, and ecology.

展示風景
Exhibition Scenery

展示風景
Exhibition Scenery