Concept
概念策划
Exhibition Visual Design
展览主设计
Poster Design
海报设计
《真皿》主视觉设计 | 探宝音声海
《真皿》展览从一场40分钟的声音体验开始。
艺术家熊晏一将隈研吾设计的“知美术馆”整体转化为一个
“发声的瓶子”，
让空间成为声音的容器，观众被包裹其中。
这一过程，也成为视觉设计必须面对的核心挑战：
如何把声音、建筑、文化三重经验翻译到二维视觉。
设计以“空心宝瓶”为主轴。
它不仅象征展览的“发声器皿”， 更在概念与形式上统摄三重思想：
熊晏一的“真”与“瓶”、隈研吾的“融于物”、原研哉的“空”。
由此衍生的“藏宝之锁”“揖手而立”“波中之波”等视觉形态，
既是声的回响，也是文化交汇的象征。
宝瓶、涟漪与波纹使“不可见的声音”成为“可见的光影”，以“留白”承载精神，
以“统摄”化解分裂。这不仅是一种视觉设计，
更是一次跨文化、跨学科的深度翻译—— 让真与空在同一张画面中得以相遇。
“TRUE MEAN” Key Visual Design | Exploring the Sea of Sonic Treasures
The TRUE MEAN exhibition begins with a forty-minute sonic performance.
Artist Yan Yi transformed Kengo Kuma’s Zhi Art Museum into a “resonating bottle,”
where architecture itself became an acoustic vessel,
enveloping the audience in waves of sound.
For the graphic designer,
the challenge was how to translate this multi-sensory,
cross-cultural experience into two-dimensional form.
The design centers on the image of a hollow vessel. Conceptually, it synthesizes three distinct philosophies:
Yan Yi’s “Truth” and the “Vessel”, Kengo Kuma’s “Dwelling in Materials”, and Kenya Hara’s “Emptiness.”
From this vessel radiate ripples and waves, which transform sound into visible echoes,
giving rise to motifs such as the
“Treasure Lock,”
“Ritual Greeting,” and
“Wave within a Wave.”
Here, form is not mere ornamentation, but a visual translation of sound, architecture,
and cultural memory. Through emptiness and resonance, the design turns the unseen into the seen,
inviting viewers into a symbolic journey: a cross-disciplinary
dialogue where truth and emptiness converge on a single surface.
电子邀请函 Digital Invitation
空心宝瓶
Empty vessel
藏宝之锁 Treasure Lock
（Exhibition brochure）
揖手而立 Ritual Greeting
展览闭幕式 特别夜场海报 Exhibition Closing Ceremony Special Night Show Poster
