“源于自然的时尚”展览空间设计 / Studio10

“源于自然的时尚”展览通过独特的空间叙事，构建了一场东西方自然美学的跨时空对话。展览由两大主题板块组成：V&A博物馆与招商蛇口|设计互联合作的西方展区，以16世纪以来的服饰演变展现人类与自然的互动轨迹；中国丝绸博物馆与张西美团队呈现的东方展区，则通过丝绸文化诠释”天人合一”的生态智慧。两个展区以差异化的空间语言，共同探讨时尚产业与自然环境的永恒命题。
The “Fashion from Nature” exhibition constructs a cross-temporal and spatial dialogue of natural aesthetics between the East and the West through a unique spatial narrative. The exhibition consists of two major theme sections: the Western exhibition area, jointly organized by the V&A Museum and China Merchants Shekou | Design Society, shows the interactive trajectory of human beings and nature through the evolution of clothing since the 16th century; the Eastern exhibition area presented by the China National Silk Museum and Zhang Ximei’s team interprets the ecological wisdom of “harmony between man and nature” through silk culture. The two exhibition areas jointly explore the eternal proposition of the fashion industry and the natural environment with differentiated spatial languages.

展览以”园林”为空间母题，在哲学层面探讨”第三自然”的美学内涵。入口处的杜邦纸拱廊通过光影交织出藤蔓纹理，构筑起象征文明对话的”绿廊”场域，巧妙隐喻东西方在自然认知上的异同。这种将园林意境转化为当代展陈语言的设计，既呈现了人类通过时尚与造园艺术重塑自然的美学追求，又为观者搭建起思考生态关系的诗意空间。
The exhibition takes “garden” as the spatial theme and explores the aesthetic connotation of “third nature” at the philosophical level. The DuPont paper archway at the entrance interweaves vine textures through light and shadow, constructing a “green corridor” field that symbolizes the dialogue between civilizations, and cleverly metaphorically implies the similarities and differences between the East and the West in the cognition of nature. This design that transforms the artistic conception of the garden into a contemporary exhibition language not only presents the aesthetic pursuit of human beings to reshape nature through fashion and gardening art, but also builds a poetic space for viewers to think about ecological relationships.

穿过绿廊，英国展区以半透明织物构建起一个几何美学的西方园林意象。严谨的中轴线上，圆形展区如珍珠般串联，最终汇聚于三座360度全景展柜——它们犹如古典园林中的亭台，既是对帕拉第奥式秩序的当代诠释，又成为展示核心展品的艺术装置。这种将西方造园法则转化为展陈语言的设计，在虚实交织中完成了从园林到时尚的美学转译。
Passing through the green corridor, the British exhibition area uses translucent fabrics to construct a geometric aesthetic image of a Western garden. On the rigorous central axis, the circular exhibition areas are connected like pearls, and finally converge into three 360-degree panoramic display cabinets – they are like pavilions in classical gardens, which are both a contemporary interpretation of the Palladian order and an art installation for displaying core exhibits. This design, which transforms Western gardening rules into exhibition language, completes the aesthetic translation from garden to fashion in the interweaving of reality and illusion.

展览以亚克力管阵列构筑的现代”花园”作为古典展区的终章，透明的材质语言昭示着叙事向当代转向。当观众穿过这个充满未来感的过渡空间，展陈形态随即发生戏剧性演变——原本严谨的几何秩序消融为流畅的有机曲面，形成开放流动的展示系统。这种从规整到自由的空间转译，不仅隐喻着人类对自然认知的革新，更预示着可持续发展理念下，时尚与生态终将达成和谐共生的未来图景。
The exhibition uses a modern “garden” constructed with an array of acrylic tubes as the final chapter of the classical exhibition area. The transparent material language indicates that the narrative is turning to the contemporary. When the audience passes through this futuristic transitional space, the exhibition form immediately undergoes a dramatic evolution – the original rigorous geometric order melts into a smooth organic surface, forming an open and flowing display system. This spatial translation from regular to free is not only a metaphor for the innovation of human cognition of nature, but also foreshadows the future vision of fashion and ecology to achieve harmonious coexistence under the concept of sustainable development.

中国展区作为展览的终章，以充满东方意境的空间设计收尾。轻盈的薄纱帷幔营造出朦胧的山水画卷，蜿蜒的悬浮步道仿若云中径，引领观者开启一场自由徜徉的园林漫步。身着时装的模特化作山间游人，与空间共同构成一幅动态的”游园图”。这种打破轴线、摒弃定法的设计，完美诠释了中国园林”道法自然”的哲学精髓，让观展成为一次随心而动的诗意体验。
As the final chapter of the exhibition, the Chinese exhibition area ends with a space design full of oriental artistic conception. The light gauze curtains create a hazy landscape painting, and the winding suspended trails are like paths in the clouds, leading the audience to start a free-roaming garden walk. Models dressed in fashion are transformed into mountain tourists, and together with the space, they form a dynamic “garden map”. This design that breaks the axis and abandons fixed rules perfectly interprets the philosophical essence of the Chinese garden “Tao follows nature”, making the exhibition a poetic experience that moves at will.

展览以半透明材质构筑虚实相生的诗意空间，通过织物、亚克力等创新材料的层叠运用，创造出独特的”透明性”体验。这种空灵的美学语言既是对东西方园林精神的当代转译，更形成了一种超越物理边界的展览叙事——材质本身的脆弱感与通透性，恰如其分地隐喻着人与自然既亲密又微妙的关系，引导观者在光影交织中思考可持续发展的深层意义。
The exhibition uses translucent materials to construct a poetic space of virtuality and reality, and creates a unique “transparency” experience through the layering of innovative materials such as fabrics and acrylic. This ethereal aesthetic language is not only a contemporary translation of the spirit of Eastern and Western gardens, but also forms an exhibition narrative that transcends physical boundaries – the fragility and transparency of the material itself is an appropriate metaphor for the intimate and subtle relationship between man and nature, guiding viewers to think about the deep meaning of sustainable development in the interweaving of light and shadow.

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