摘要：Fritz Hansen在京都的两足院举办代表丹麦的家具设计师Poul Kjaerholm的展览。展览日期为2024年12月21日至2025年1月19日。他们打造了一个融合日式与西式之美的特别空间。

Fritz Hansen在京都的两足院举办代表丹麦的家具设计师Poul Kjaerholm的展览。展览日期为2024年12月21日至2025年1月19日。他们打造了一个融合日式与西式之美的特别空间。

Fritz Hansen presents an exhibition dedicated to Poul Kjaerholm, a renowned Danish furniture designer, at Ryutsuin in Kyoto. The exhibition runs from December 21, 2024, to January 19, 2025. They have created a unique space that seamlessly blends Japanese and Western aesthetics.

Poul Kjaerholm以极简设计和精致的结构美而闻名，他的作品在全球范围内广受赞誉。他的设计不仅与西方建筑相得益彰，与日本传统的和式空间也能自然融合，这一点同样为人所知。然而，关于这种亲和性的讨论并不多见，本次展览聚焦于这一点，通过素材和结构的共通之处来展现其魅力。

Poul Kjaerholm is renowned globally for his minimalist design and refined structural beauty. His works are not only highly complementary to Western architecture but are also known for their natural integration with traditional Japanese harmonious spaces. However, discussions on this affinity are relatively scant. This exhibition focuses on this aspect, showcasing its charm through the commonalities in materials and structures.

放在方丈宽敞廊檐下的“PK20”休闲椅。椅腿和座面的连接点极少，凸显出曲线的优美。极简的设计与禅寺的氛围相得益彰。©Casa Brutus

大书院的景象让人感受到日本建筑与Poul Kjaerholm作品之间的高度亲和性。此次展览的举办之际来访日本的Thomas Kjaerholm表示，他感受到了两足院所蕴含的含蓄之美与作品之间的共通之处。©Casa Brutus

两足院是位于京都市东山区的一座历史悠久的寺院，其庄严的空间是静谧与精致并存之地。Poul Kjaerholm设计中所蕴含的宁静以及卓越的存在感，将与两足院的空间相呼应，激发出新的感动。在本次展览中，Kjaerholm的家具在寺院内展出，让观众亲身体验其设计如何与和式空间产生共鸣，创造出新的美学形态。

Ryutsuin, a historic temple located in the Higashiyama District of Kyoto City, offers a solemn space where tranquility and elegance coexist. The serenity and overwhelming presence embodied in Poul Kjaerholm's designs will resonate with the space of Ryutsuin, evoking new sensations. In this exhibition, Kjaerholm's furniture is displayed within the temple, allowing visitors to personally experience how his designs resonate with harmonious Japanese spaces, creating new aesthetic forms.

历年京都中红叶变色较晚、得以保留红叶的两足院，其大书院可越过庭院中的池塘观赏。©Casa Brutus

Kjaerholm年轻时便开始积累作为家具工匠的经验，后来进入哥本哈根丹麦工艺美术学校学习。从那时起，他就对作为建筑材料的钢铁着迷，认为它和木材等天然材料一样值得艺术上的尊重。他毕业设计的作品“PK25”是一把椅子，由一片无缝弧形弯曲的钢铁和麻绳构成。这把至今仍备受欢迎的杰作，传达出了Kjaerholm对材料的热情和审美意识。遗憾的是，在他1980年去世时年仅51岁，其发表的所有作品都凭借着精心计算的绝妙平衡，呈现出简约的结构。每一个部件都经过精雕细琢，没有一丝多余。这是一场能够让人领略到其细节之美的展览。

Kjaerholm began amassing experience as a furniture craftsman in his youth before enrolling at the Danish School of Arts and Crafts in Copenhagen. From that point onward, he was fascinated by steel as a building material, believing it deserved artistic respect on par with natural materials such as wood. His graduation project, titled "PK25," was a chair comprising a seamless, arcuately curved piece of steel and hemp rope. This masterpiece, which remains highly popular to this day, conveys Kjaerholm's passion for materials and aesthetic sensibility. Tragically, he passed away at the young age of 51 in 1980, leaving behind a body of work distinguished by its meticulously calculated, exquisite balance and minimalist structure. Every component is meticulously crafted, devoid of any redundancy. This exhibition offers a glimpse into the beauty of his meticulous details.

长久以来，Kjaerholm的作品因其与日本传统和式空间的自然和谐而为人所知。关于这种亲和性，他的妻子、建筑师Hanna Kjaerholm的两个孩子Thomas和Christine表达了这样的看法：“我们的家由母亲设计，父亲负责家具，它超越了单纯的生活场所，是父母各自所受艺术和哲学影响的具体体现。其中之一就是日本设计的细腻而深邃。我们外祖父学过日语，多次访问日本，对日本简约而美丽的审美意识及其丰富的文化深感钦佩。”

For a long time, Kjaerholm's works have been recognized for their natural harmony with traditional Japanese wa-style spaces. Regarding this affinity, Thomas and Christine, the two children of architect Hanna Kjaerholm and Kjærholm, expressed their views as follows: "Our home, designed by our mother with furniture by our father, transcends a mere living space; it is a tangible manifestation of the artistic and philosophical influences on our parents. One such influence is the delicate and profound nature of Japanese design. Our grandfather studied Japanese, visited Japan multiple times, and deeply admired the minimalist aesthetic sensibility and rich culture of Japan."

“在我们出生和长大的家里，非常重视‘间’（Ma，日本美学中的一个概念，指空间、时间或两者之间的间隔）。这个‘间’的想法在日本建筑中是一个重要元素，母亲深刻理解这一概念，并将其运用到设计中。而父亲为这个家设计的家具，虽然是有意为之，却极其自然地衬托出母亲的建筑思想。注重与地板关系的极简、无冗余设计创造出与空间的一体感，留出光影交错的余地，散发着一种静谧的优雅，与日本传统建筑空间所重视的简约和谐有着相通之处。父亲主要受丹麦现代主义的影响，但不能否认与日本设计的共同点。他的家具所创造的开放感，以及留出呼吸和思考余地的设计，与日本‘间’的概念有着相通之处。在这个展览中，我感觉到日本给予父母的灵感仿佛完成了一种缘分的联结。”—— Thomas Kjaerholm

"In the home where we were born and raised, great importance was placed on 'Ma' (a concept in Japanese aesthetics referring to space, time, or the interval between them). This idea of 'Ma' is a crucial element in Japanese architecture, and our mother had a deep understanding of it, incorporating it into her designs. Meanwhile, the furniture our father designed for our home, though intentional, complemented our mother's architectural ideas with remarkable naturalness. The minimalist, non-redundant designs focusing on the relationship with the floor create a sense of unity with the space, leaving room for the interplay of light and shadow, exuding a quiet elegance that resonates with the minimalist harmony valued in traditional Japanese architectural spaces. Our father was primarily influenced by Danish modernism, but it cannot be denied that there are similarities with Japanese design. The openness created by his furniture and the designs that allow room for breathing and reflection share common ground with the Japanese concept of 'Ma.' In this exhibition, I sense that the inspiration Japan gave to our parents has completed a kind of fateful connection." ——Thomas Kjaerholm

躺椅“PK80”被认为是体现了Kjaerholm才华的作品，他精炼了历史性的作品，并提炼出了其设计的本质。©Casa Brutus

休闲椅“PK0 A”是Kjaerholm1952年在Fritz Hansen时设计的。这件低矮的家具不会妨碍从房间欣赏庭院景色。©Casa Brutus

他设计的餐桌“PK54”和椅子“PK9”让人感受到对不同材质和形状的探索精神，即使放在榻榻米上也毫无违和感。©Casa Brutus

展出的有代表作休闲椅“PK24”、躺椅“PK80”等，这些家具也在他自己的宅邸中使用。还有1952年就已设计但直到2022年才终于实现产品化的“PK0A”。这些家具散发着宁静气息的同时，也具有卓越的存在感，与日本传统建筑完美融合。最奢侈的享受莫过于随意坐在各种椅子上眺望庭院，亲身体验与空间的契合度。

On display are signature lounge chairs such as the "PK24" and the recliner "PK80," among others, which are also used in his own residence. There is also the "PK0A," designed in 1952 but only finalized for production in 2022. These furniture pieces emanate a serene aura while exuding an overwhelming presence, seamlessly blending with traditional Japanese architecture. There is no greater luxury than to casually sit on various chairs and gaze out at the garden, personally experiencing the harmony with the space.

每一个零部件像一件艺术品。重新组装后即可成为一件完整的家具，这种简洁性也是Poul Kjaerholm作品的一大特色。©Casa Brutus

“PK22”的钢制椅腿与隔扇的框格相呼应，散发出美感。©Casa Brutus

能嵌套收纳三张桌子的嵌套桌“PK71”。其桌腿如同艺术品一般点缀着庭院。©Casa Brutus

另一个展示空间方丈的氛围则截然不同。为了传达Poul Kjaerholm家具之美的精髓——结构，这里展出了每件作品的零部件，对细节极致考究。这个创意灵感来源于70年代Kjaerholm亲自指导举办的一场展览。螺丝在追求强度的同时，也作为设计的一部分展现出美感；石头则将自然界的图案带入室内，从这些各种各样的角度，我们可以解读出Poul Kjaerholm的审美意识。被拆解的零部件强调了极简之美，同时我们也会发现，这些零部件在规律的连续性等方面与日本建筑有着相通之处。坐在廊檐下的椅子上，任思绪飞扬，也不失为一种享受。

The atmosphere in the other exhibition space, the shojo (abbot's room), is entirely different. To convey the essence of Poul Kjaerholm's furniture beauty—its structure—each piece's components are displayed here, with an exquisite focus on detail. This idea was inspired by an exhibition curated by Kjaerholm himself in the 1970s. The screws, while ensuring strength, also exhibit beauty as part of the design; the stones bring natural patterns indoors. From these various perspectives, we can decipher Poul Kjaerholm's aesthetic consciousness. The disassembled components emphasize the beauty of minimalism, and at the same time, we notice similarities with Japanese architecture in terms of regular continuity and other aspects. Sitting on a chair placed under the eaves and letting one's thoughts wander is also a form of enjoyment.

京都工业大学教授 Keita Tatara 的学生协助组织本次展览。此外，本次展览还首次在日本展出Poul Kjaerholm的复刻作品，为观众提供一个发现其设计新面貌的机会。本次展览是Fritz Hansen的一次新尝试，成为了丹麦设计与日本传统建筑交汇的场所。通过Poul Kjaerholm的作品，观众能够感受到他设计中所蕴含的普遍之美，以及素材与结构交织出的和谐之感。

来源：星期八室内设计