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策展、展示与视觉形象一体化设计

宝鸡工业遗址博物馆是陕西省宝鸡市金台区宝十路长乐塬抗战工业遗址公园的核心景点，博物馆群的主体展示区由三个展厅组成，它们分别是：内迁工业史展厅、宝鸡现代工业展厅和申新历史展厅。这三个不同风貌的展厅，其各自建筑本身便是中国最重要的抗战工业建筑遗存之一。它们的原始功能分别是：窑洞车间、薄壳车间和福新申新大楼。设计团队围绕这些风格鲜明的工业历史遗存，提出了：“宝鸡工业遗址的光和线”为基本设计理念，“光”表达了希望，“线”表现了绵延，以“光和线”做为基础的设计形态，分别辅以“光线、纱线、地平线”为基本的设计素材形式语言。既发挥了建筑空间特点，又点题了纺织行业特征，在尊重保护历史建筑遗址风貌的前提下，让展厅遗址和展品通过交互装置设计与情境式体验设计的形式进行叙事，让遗址文物在它自己的空间里，讲述各自的故事。

内迁工业史展厅利用宝鸡申新纱厂“窑洞车间”进行来展陈设计的，主旨思想为“西迁”，包含三个版块：窑洞建设、迁厂运动、工合历史，讲述这段抗战时期民族工业浴火重生的历历细节。窑洞车间内的动线长达1.7公里，设计团队融通了交互装置、照明设计、影音叙事设计来控制参观节奏，使观众在装置节点与窑洞空间两者的交替中，完成了“西迁”与“工合运动”的人、事、物、场、境的综合参观体验。

The Industrial Migration History Hall is designed by ‘Cave Workshop’ of Shenxin Cotton Mill in Baoji, with the theme of ‘Westward Relocation‘, including three sections are: Cave Construction, Relocation of Factories, History of Gung Ho, which narrates the details of the rebirth of national industry during the Anti-Japanese War. The line in the cave workshop is 1.7 kilometers long. The design team integrated interactive devices, lighting design, video and audio narrative design to control the rhythm of the visit. In the alternation of installation node and cave space, the audience can complete the comprehensive visiting experience of people, issues, objects, sites and environment of ‘Westward Relocation‘ and ‘Gung Ho Movement’. 

因为窑洞车间本身便是申新纱厂遗址内尤其珍贵的“遗址展品”，所以本展厅在设计时尽可能地保留了其基本建筑原貌，参观过程会沉浸在肃穆而凝重的氛围笼罩中，窑洞环织，细节遍陈，组成了一个极具叙事性的内迁工业史现场。基于以上条件，如何保护窑洞车间遗址本身，避免展具与装置碰触遗址立面与顶面，最小化干预遗址的原始视觉生态，是所有设计工作开展的基本物理原则。

Because the cave workshop itself is a particularly valuable ‘exhibition site’ in the Shenxin Cotton Mill site, the exhibition hall was designed to retain its basic architectural appearance as much as possible. The visit will be immersed in a solemn and solemn atmosphere, the cave is woven, the details are everywhere, forming a very narrative scene of the industrial history of internal migration. Based on the above conditions, how to protect the site itself, avoid the exhibition and installation touch the site elevation and top surface, minimize the intervention of the original visual ecology of the site, is the basic physical principles of all design work. 

纱厂女工劳动场景数码还原 / Digital Restoration of Female Workers’ Labor Scene in Cotton Mill.

20世纪四十年代在申新纱厂窑洞车间工作的纺纱女工 

Spinners working in the cave workshop of Shenxin Cotton Mill in the 1940s 

由于窑洞车间是完全的暗空间，相比其他展厅，具备了国内同类设计无可比拟的排他特征和情境式体验优势。因此，照明设计在本展厅内的重要性尤其明显，设计者运用多种照明手法服务窑洞的历史情境再造。照明设计在本展厅内，不仅解决观者的可视问题，更是作为文物氛围情绪的催化剂。

Compared to other exhibition halls, the Cave Workshop is completely dark space, with the unique characteristics and situational experience advantages of domestic similar design. Therefore, the importance of lighting design in the exhibition hall is particularly obvious, designers use a variety of lighting techniques to serve the historical situation of cave reconstruction. In this exhibition hall, the lighting design not only solves the visible problem of the viewer, but also acts as a catalyst for the atmosphere and mood of cultural relics. 

初建者们绘制的“窑洞蓝图”，多图自动切换。

The ‘Cave Blueprint’ drawn by the first builders, multiple images switch automatically.

“迁厂运动”板块中的各条叙事线均借助装置设计开展演绎。如“窑洞蓝图”、“机器的呐喊”、“十万纱锭十万人”、“前行”、“西迁”。装置“机器的呐喊”，设计团队利用了宝鸡的工业特色产品“钛合金”，完成了的窑洞车间内的全弧形灯具设计。在该板块的弧形灯杆完成的点光源效果，最大限度利用窑洞的空间特征，将朴素的机器置于聚光灯下，完成了“舞台式”的主角亮相，机器上所有的斑驳细节累累呈现，如同无声呐喊一般，诉说着他们的经历。装置“十万纱锭十万人”的纱锭与纱线在侧点光源的催化下，便会形成希望之光降临的视觉效果。纱线，在这里成为希望的光线，从洞顶倾泻而下，这些细节让观众感受到纱厂在战火中坚韧毅行，仰盼希望的时代情感。还有表现宜昌大撤退的艺术装置“前行”，使用亚克力材质的船型切片叠排，将撤退行程中各里程段的航迹数据和泊点，按全航程比例一一转化在船身上，配合地面的航道全域图和两侧的撤退细节描述，表现了撤退的过程全景和事件细节，成就了这艘亦幻亦真、亦诗亦史的命运之舟。此外，装置“西迁”的情景是借由一节中间纵向剖开的旧式列车车厢内部来演绎秦宝工业区的大事记，展品陈列于车厢内的货箱上，车窗由屏幕代替，里面播放着江南缓行的地平线与陕北峻弛的山脊线，两条车窗外的线与车厢形成了互动，观者仿佛身处西迁途中的列车。由于窑洞车间声场效应的优势，设计者对每个艺术装置进行了音乐设计，西迁列车，在集声器的作用下，耳畔响起浑厚感人的交响乐，音乐节奏与视频形成统一效果，制造了情境式体验设计的感人场域。

Each narrative line in the ‘Relocation of Factories’ section is interpreted with the aid of installation design. Such as ‘Cave Blueprint’, ‘Machines Scream’, ‘100,000 Spindles and 100,000 People’, ‘Moving Forward’ and ‘Westward Relocation’. The installation ‘Machines Scream’, the design team used the industrial characteristics of Baoji ‘titanium alloy’, completed the cave workshop full arc lamp design. The curved light pole in the plate completes the point light source effect, Maximize the use of cave space features, the simple machine placed in the spotlight, complete the stage of the protagonist appearance, all the mottled details on the machine presented, like a silent cry, telling their experience. The spindle and yarn with the device of ‘100,000 spindles and 100,000 people’ will form the visual effect of the light of hope under the catalysis of the side point light source. The yarn, here becomes the light of hope, pouring down from the roof of the cave. These details let the audience feel the tenacity of the mill in the war, looking forward to the era of emotion. There is also the art installation ‘Moving Forward’, which represents the retreat in Yichang. The use of acrylic material is sliced and stacked, and the track data and berthing points of each mileage section of the retreat are transformed into the hull according to the proportion of the whole voyage. With the map of the channel and the details of the retreat on both sides of the ground, it shows the panorama of the course and the detail of the event. The achievement of this ship is also illusory and real, poetic and historical fate. In addition, the scene of the ‘Westward Relocation‘ of the installation is to interpret the events of the Qinbao Industrial Area through the interior of an old train car with a longitudinal section in the middle. The exhibits are displayed on the freight boxes inside the carriage, and the windows are replaced by screens showing the slow horizon of the south of the Yangtze River and the sharp ridge line of northern Shaanxi. The lines outside the windows interact with the carriage. The viewer is like a train on its way to the west. Due to the advantages of the acoustic field effect in the cave workshop, the designers have designed the music for each art installation, The westward moving train, under the action of the sound collector, sounded the powerful and touching symphony, music rhythm and video form a unified effect, creating a touching field of situational experience design. 

装置“机器的呐喊”，多图自动切换。

Installation of ‘Machines Scream’, multiple images switch automatically.

装置“十万纱锭十万人”，多图自动切换

Installation of ‘100,000 spindles and 100,000 people’, multiple images switch automatically.

装置“前行”，多图自动切换

Installation of ‘Moving Forward’, multiple images switch automatically.

装置“西迁”，多图自动切换

Installation of ‘Westward Relocation’, multiple images switch automatically.

“工合西北区历史”板块在窑洞车间的最后一段空间中展现，现代史上著名的“中国工业合作协会”运动，是人民群众在中国共产党领导的抗日民主根据地和国民党统治区开展的一场经济自救运动，是为解决失业工人生活困难和就业问题、生产抗战军需物资而成立的组织和开展的活动。他们生产的大批军用物资和民用物品为支援中国人民抗日战争胜利做出了不可磨灭的、卓有成效的贡献。设计者在尊重与保护工业建筑遗址的前提下，为回应“工合之城”总标题，本板块在叙事上着重体现以下关键词：工合先驱、工合策源、工业奠基、崛起步伐、重镇腾飞。现场尽可能利用真实的史料，缩短展陈，密集信息，以紧凑的节奏，突显出工合运动的生产特征，另外，尽可能利用原始史料还原出其“中国工合”的创始人、国际友人路易·艾黎、埃德加·斯诺夫妇在宝鸡开展建立工业生产合作社运动，组织失业工人和难民们实行生产自救运动的真实面貌。

‘History of Northwest District of Gonghe’ section is shown in the last section of the cave workshop. The famous ‘China Industrial Cooperation Association’ movement in modern history, It is an economic self-help movement carried out by the people in the anti-Japanese democratic base areas under the leadership of the Communist Party of China and the Kuomintang ruled areas, and is an organization and activity established to solve the difficulties and employment problems of unemployed workers, and to produce war supplies. They produced a large number of military supplies and civilian goods to support the victory of the Anti-Japanese War made indelible and fruitful contributions. On the premise of respecting and protecting the industrial building sites, in response to the general title of ‘The City of Gung Ho’, the designer emphasizes the following key words in the narrative: The pioneer of the Gung Ho, the source of the Gung Ho movement, the foundation of the industry, the rising pace, the takeoff of the important town. The site makes use of real historical materials as much as possible, shortening the exhibition, densing information, and highlighting the production characteristics of the Gung Ho movement in a compact rhythm. As far as possible use of the original historical data to restore the ‘China Gung Ho’ founders, international friends such as Rewi Alley, Edgar Snow and his wife launched the establishment of industrial production cooperatives movement in Baoji, organized unemployed workers and refugees to carry out self-help production movement of the true face. 

Baoji Industrial Cooperatives in the 1940s 

“工合运动”展厅实景 / ‘Gung Ho Movement’ Exhibition Hall 

“薄壳车间”的展示设计，旨在体现新中国的宝鸡在中国共产党的带领下建设西北工业重镇的奋斗历程。与“窑洞车间”相似，“薄壳车间”的建筑本身即为一件优秀的现代建筑遗存。“薄壳车间”里展示的是宝鸡现代工业文明从启蒙到腾飞的过程，面对纷繁的40余家现代企业的格式产品，设计团队梳理出具有代表性的工业、工厂、产品三条轨迹。均以物为载体、故事为路径展开阐释，每件展品的故事可追溯到对该产品面世时的新闻报道、时事摘要等文献。设计团队将这些装载文字信息具有说明功能的档案文献转化成承载展品具有陈列功能的大尺寸展台，而产品则犹如插图一般镶嵌其上。

The exhibition design of the ‘Shell Workshop’ aims to reflect the struggle course of Baoji in the new China to build an industrial center in the northwest under the leadership of the Communist Party of China. Similar to the ‘Cave Workshop’, the building of the ‘Shell Workshop’ itself is an excellent modern architectural relic. The ‘Shell Workshop’ shows the process of Baoji’s modern industrial civilization from enlightenment to takeoff. In the face of numerous and complicated format products of more than 40 modern enterprises, the design team combed out three tracks of representative industry, factory and product. The stories of each exhibit can be traced back to the news reports, current affairs summaries and other literature when the product was launched. The design team will be loaded with text information with the function of explaining the archive literature into carrying exhibits with the display function of large-scale exhibition booth, and products like illustrations in general inlaid on it. 

 “宝鸡现代工业成就”展具设计

‘Baoji Modern Industrial Achievements’ Exhibition Design 

薄壳车间的空间和声场具备先天优势，在其中做好“宝鸡现代工业成就”展的关键因素便在于：如何增扩展品的人文性和故事感。在整个设计过程中，四十余家宝鸡重要的工业企业代表纷纷来现场推荐工业展品并商议最佳展览方式，最终由业主和设计团队共同遴选出其中佼佼者，以工业产品辅以定制展具的形式进行展示。展具设计时，设计团队没有运用独立放置展品的方法，而是运用每一件工业产品投产时的重要报道、热议评论、社会反馈等周边人文信息，以报纸版面、网页等形式设计展台与展柜，同时辅以AR技术，使观众通过手机扫码，可以了解到更多展品背后的信息分析和参数铺陈。使得各异的工业产品得到了故事性的形式统一，在薄壳车间的巨大声场中，配合宏大叙事性的背景音乐，使参观者对新时代宝鸡工业的自豪之情在空间中获得升华。

The space and sound field of the ‘Shell Workshop’ have innate advantages, and the key factor in the exhibition of ‘Baoji Modern Industrial Achievements’ is how to increase the humanity and story sense of the expanded products. During the whole design process, representatives of more than 40 important industrial enterprises in Baoji came to the scene to recommend industrial exhibits and discuss the best exhibition method. Finally, the owner and the design team jointly selected the best among them, and the industrial products were displayed in the form of customized exhibition equipment. During the exhibition design, the design team did not use the method of independent placement of exhibits, but used the important reports, hot comments, social feedback and other surrounding cultural information when each industrial product was put into production. The exhibition stands and cabinets are designed in the form of newspapers, web pages, etc. At the same time, with the help of AR technology, the audience can know more information analysis and parameter elaboration behind the exhibits by scanning the QR code. Different industrial products are unified in the form of story. In the great sound field of the ‘Shell Workshop’, with the background music of the grand narrative, visitors’ pride of the new era Baoji industry is sublimated in the space. 

“宝鸡现代工业成就”展厅

‘Baoji Modern Industrial Achievements’ Exhibition Hall 

“宝鸡现代工业成就”展厅

‘Baoji Modern Industrial Achievements’ Exhibition Hall 

“博壳车间”的二号展厅，设计团队搭建出一座可以让观众参与互动体验的”场域特定”装置，类似工地的钢铁桁架成为展览的主体，观众可以沿钢架斜面徐徐而上，左右两边各是：世界工业-中国工业-宝鸡工业发展的时间轴对应坐标，迂回而上到达顶部后，可参观者可以近距离观看薄壳车间壮观的遗址顶部细节，并通过顶部平台的互动装置，查阅每一家跨越历史的宝鸡重要工业企业的文献，在翻阅电子屏幕时，观众也体验了展厅顶部的星空互动装置，每查一家企业，薄壳车间的顶部都会有带有企业名的字体流星滑过天际，成为宝鸡工业漫天繁星中的一个亮点。

In the second exhibition hall of the ‘Shell Workshop’, the design team built a ‘site-specific’ installation that allows the audience to participate in the interactive experience. The steel trusses similar to the construction site become the main part of the exhibition. The audience can walk slowly up the slope of the steel frame. On the left and right sides are the corresponding coordinates of the development of the world industry, the Chinese industry and Baoji industry. After winding up to the top, visitors can get a close look at the spectacular details of the top of the site of the ‘Shell Workshop’, and through the interactive installation on the top platform, consult the literature of every important industrial enterprise spanning the history of Baoji. When looking through the electronic screen, the audience also experienced the interactive device on the top of the exhibition hall. Every time you check an enterprise, there will be a font with the enterprise name on the roof of the ‘Shell Workshop’. The meteor glides across the sky, becoming a bright spot in the stars of Baoji industry. 

薄壳车间顶部互动装置“工业星空”

Interactive installation ‘Industrial Starry Sky’ on the top of the Shell Workshop 

本次设计中，申新历史展厅是非常独特的一个节点，这是一个目前仍然在真正办公使用的“活态展厅”，设计团队利用沉浸式的设计，从史料照片和采访申新子弟口述中寻找申新办公楼的旧影，利用这些珍贵的史料，对申新历史展厅进行高度尊重历史原貌的还原设计，并提升了部分的节点的现代装修技法，小到一个窗户插销和铰链，大到全楼的砖面、漆面的遴选，都经过严谨的情境推演。目前，申新历史展厅仍然作为办公楼和会议室的功能，观众可以通过办公人员的忙碌身影，非常直观的感受到当年的西迁精神的现代投射。

In this design, Shenxin History Hall is a very unique node, it is a ‘living exhibition hall’ that is still in real office use. The design team used immersive design to find the old shadow of the Shenxin office building from historical photos and interviews with the children of Shenxin. Using these precious historical materials, the design of the historical exhibition hall was restored with high respect for the historical original appearance. And enhance some of the node of modern decoration techniques, small to a window latch and hinge, large to the whole floor of the brick surface, paint selection, all through rigorous situation deduction. At present, the Shenxin History Hall still functions as an office building and a conference room. The audience can intuitively feel the modern projection of the westward migration relocation through the busy figures of office workers. 

“福新申新大楼会议室”场景复原

‘Fuxin Shenxin Building Conference Room’ scene restoration 

长乐塬抗战与奋斗历史与独特空间，无论是窑洞车间、薄壳车间，还是福新申新大楼，在展陈设计中，都以“容器”之形，促展品自语，与器中“美饈”形成内外共鸣，共同营造出宝鸡工业遗址面向世界工业史、社会史和人类史的真实展示现场。

Changle Yuan resistance and struggle history and unique space, whether it is Cave Workshop, Shell Workshop or Fuxin Shenxin Building, in the exhibition design, the shape of the ‘container’ is used to promote the exhibits to speak to themselves, and the ‘material’ in the container forms internal and external resonance, and jointly create a Baoji industrial heritage in the face of the world’s industrial history, social history and human history of the true display site. 

目前，宝鸡工业遗址博物馆群作为“长乐塬抗战工业遗址公园”的核心板块已先后入选工信部第一批国家工业遗产名单、第八批国家重点文物保护单位、陕西省文化遗址公园、陕西省重点文物保护单位、中国工合“爱国主义教育基地”、工合国际“国际主义教育基地”。

Now, Baoji Industrial Heritage Museum, as the core plate of ‘Changle Yuan Anti-Japanese War Industrial Heritage Park’, has been selected into the first batch of national industrial heritage list of the Ministry of Industry and Information Technology, the eighth batch of state key cultural relics protection units, Shaanxi Provincial Cultural Heritage Park, Shaanxi Province key cultural relics protection units, China Gung Ho ‘patriotism education base’ and Gung Ho International ‘internationalist education base’. 

主创设计师俞佳迪勘查现场进行设计写生

Chief designer Yu Jiadi survey the scene for design sketch 

“宝鸡工业遗址博物馆群策展、展示与视觉形象一体化设计”和“景德镇陶瓷工业遗产博物馆策展、展示与视觉形象一体化设计”参与构建了宇志文创团队和主创设计师俞佳迪主持的“中国工业遗产保护与活化展示的创新设计方法论研究”，共同组成“中国工业家国三部曲”的前两部：“瓷”和“纺”。目前“第三部”已在建设中，敬请期待。

‘Baoji Industrial Heritage Museum Curatorial, Display and Visual Image Integration Design’ and ‘Jingdezhen Industrial Heritage Museum Curatorial, Display and Visual Image Integration Design’ participated in the construction of Yu Design Office and chief designer Yu Jiadi presided over the ‘Research on Innovative Design Methodology of Chinese Industrial Heritage Protection and Activation Display’, which jointly formed the first two parts of the Trilogy of Chinese Industrial Heritage Conservation Design: ‘Ceramic’ and ‘Textile’. At present, ‘the third part’ is already under construction. 

项目名称：宝鸡工业遗址博物馆群策展、展示与视觉形象一体化设计

项目地点：陕西省宝鸡市金台区宝十路长乐塬抗战工业遗址公园

设计时间：2017.11-2020.11

业主单位：陕西省宝鸡市金台区人民政府、宝鸡市长乐塬片区开发建设管委会

设计单位：中国美术学院

项目设计：宇志文创

工程设计：大匠之心

施工单位：拓凡展示

项目面积：8084㎡（包括窑洞车间4830㎡+薄壳车间1754㎡+福新申新办公楼1500㎡）

Project Name : Baoji Industrial Heritage Museum Curatorial, Display and Visual Image Integration Design

Project Location : Baoshi Road, Jintai District, Baoji, Shaanxi Province, Changle Yuan Anti-Japanese War Industrial Heritage Park

Project Schedule : November 2017-November 2020

Owner: Jintai District People’s Government of Baoji City, Shaanxi Province, Administrative Committee of Changle Yuan

Design Unit : China Academy of Art

Project Design : Yu Design Office 

Engineering Design : Artisan Decoration Engineering 

Construction Unit : Pioneer Display Engineering

Project Area: 8084㎡ (including 4830㎡ of Cave Workshop + 1754㎡ of Shell Workshop + 1500㎡ of Fuxin Shenxin Building) 

2020年11月13日《新华每日电讯》草地周刊

作者：新华每日电讯记者孙波、刘书云、陈晨

来自公众号“新华每日电讯”（点击左侧公众号一键至原文）

公众号推荐 长乐塬宝鸡申新纱厂 / Recommended Link

往期推送 / Previous Published

“中国工业家国三部曲”系列

The Trilogy of Chinese Industrial Heritage Conservation Design

瓷 / Ceramic

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Yu Design Office was founded in Hangzhou in 2010. To carry out artistic production practice as educators, researchers, designers and curators. With ‘knowledge, idea, kindness, value’ as the purpose, Yu Design Office is committed to industrial heritage protection, museum display, visual image integration design, publication design, exhibition curating, public aesthetic education and other fields.

西湖区转塘创意路1号

凤凰创意国际A4–2–302室

中国杭州，310024

A4–2–302# No.1 Chuangyi Road

Phonenix International Creative Industries Precinct

Xihu District, Hangzhou, China, 310024 

86–571 87098336

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