从极地到城市的平行感知——大宛设计 × 亿角鲸的冰川计划
Parallel Perceptions from the Polar Regions to the City —— Dayuan Design × Glacier Project
「极境共鸣」环境艺术展陈空间装置插画 © DAYUAN大宛设计
Illustration of the Resonance of the Extremes environmental art exhibition and installation © Dayuan Design
可持续设计代表人物William McDonough曾将设计理解为人类意图的显现。它不止于物体与形式，更关乎一种系统性的选择：我们如何使用材料，如何组织空间，如何与环境建立关系，又如何让设计在更长的时间维度中持续产生影响。设计的价值因此不只停留在视觉结果本身，而在于它能否重新组织人与物、空间与环境、当下与未来之间的关系，并在被观看、被使用与被记住的过程中，持续释放更深层的公共意义。
William McDonough, a leading figure in sustainable design, has described design as the expression of human intention. This understanding extends beyond objects and form to a wider system of choices: how materials are used, how space is organised, how relationships with the environment are established, and how design continues to exert influence over time. Its value lies not only in the visual outcome, but in its capacity to reframe relations between people and objects, space and environment, and the present and the future. Through use, observation and memory, design can acquire a lasting public dimension.
0 从格陵兰岛漂来的“冰川”
一次可参与的气候感知实验
从高处俯瞰，「冰川计划」装置的日与夜 © XUEQING
Aerial views of Glacier Project by day and at night © XUEQING
这正是本次项目与海洋公益保护组织亿角鲸 N.O.C. 合作的起点。当气候变化持续进入公共视野，冰川消融、海洋变化与极端气候被不断转化为数据、影像与新闻。它们被频繁看见，却仍常被理解为远方的事件 —— 冰川被观看，却很少被真正感知；自然被讨论，却依旧容易被放置在城市生活之外。也正因如此，设计需要承担的不只是信息传递，而是将遥远议题转化为可进入、可停留、可回应的感知现场。
This premise shaped Dayuan Design’s collaboration with N.O.C., an ocean-conservation nonprofit. As climate change gains greater public visibility, glacial melt, shifts in ocean systems and extreme weather are continually translated into data, images and news. Yet visibility does not necessarily produce proximity. Glaciers are frequently pictured but rarely felt; nature is widely discussed, while remaining conceptually removed from urban life. Here, design takes on a role beyond communication: it gives a distant subject spatial and sensory form, creating a place that can be entered, inhabited and responded to.
「冰川计划」装置与白色展览盒体共同进入嘉里中心 © XUEQING
Glacier Project and the white exhibition pavilion at Jing’an Kerry Centre © XUEQING
由此出发，大宛设计以「极境共鸣」为主题，将冰川、海洋与城市之间看似遥远的关系，重新安置在一个可进入、可停留、可感知的公共现场之中。空间以人与自然的共生关系为隐线，从「冰川计划」城市艺术装置展开，串联影像、声音、实物与桌面艺术装置「循川」，让宏大的气候议题在不同尺度中逐渐显形：先进入城市景观，再进入展览叙事，最终进入观众的身体经验与日常生活。
Developed under the theme Resonance of the Extremes, the project brings the interconnected systems of glaciers, oceans and cities into a public setting. The relationship between human and natural systems runs quietly through the exhibition, beginning with the urban installation Glacier Project and extending through film, sound, artefacts and the tabletop work Xunchuan. Across these shifts in scale, climate change moves from the cityscape into the exhibition narrative, and finally into bodily experience and everyday life.
1 “冰川”进入城市
让气候变化成为可参与的现场
冰川装置推演概念手稿 © DAYUAN大宛设计
Concept development sketches for the glacier installation © Dayuan Design
从广场望去，九组悬浮的几何冰体以阵列方式展开，像一片被移入城市的冰原。作品从冰山水面上下的双重结构中提取形态原型：露出水面的部分只是可见的轮廓，更大的体量仍潜藏于视线之外。冰山由此被转译为具有建筑感的几何棱体，并通过重复排列提示一种更广阔的关系——冰川并非孤立的自然对象，而是彼此牵连、持续变化的系统。
Viewed from the plaza, nine suspended geometric ice forms are arranged as a field, suggesting a fragment of glacial terrain displaced into the city. Their geometry is derived from the dual structure of an iceberg above and below the waterline: the visible tip is only a partial outline, while the greater mass remains concealed. Dayuan Design translated this condition into faceted, architectural volumes. Repetition expands the reading from a single iceberg to a larger system in which glaciers are interconnected and continually changing.
悬浮的几何冰体以阵列展开，形成一片可被穿行的“城市冰原” © XUEQING
Suspended geometric ice forms create an urban ice field that visitors can walk through © XUEQING
装置交互手稿 © DAYUAN大宛设计
Interaction mechanism study © Dayuan Design
不同年龄的观众都能通过靠近、触碰与抬头观看装置 © XUEQING
Visitors of all ages engage with the installation through proximity, touch and upward viewing © XUEQING
冰川装置互动动图 © DAYUAN大宛设计
观众走入阵列之后，可以通过下方悬挂构件与冰川发生交互。当人伸手拉动，原本完整、稳定的几何形态随即收缩、折叠并产生变形。设计没有借助复杂的屏幕或数据界面，而是通过直接的机械反馈，把“人的行为如何作用于自然系统”转化为一个能够即时发生的身体经验。一次看似轻微的动作，也会引发结构的连锁回应。观众不再只是旁观气候变化，而是在触碰、拉动与抬头观看之间意识到，自己早已身处其中。
Visitors enter the array and engage with the suspended components hanging beneath each form. A pull causes the apparently complete and stable geometry overhead to contract, fold and distort. Rather than relying on screens or data interfaces, the installation uses direct mechanical feedback to make the effect of human action on natural systems physically legible. Even a slight gesture produces a chain of structural responses. Touching, pulling and looking upward, visitors move from observing climate change to recognising their own position within it.
白天/夜晚间观众与冰川装置互动细节 © XUEQING
Visitor interaction with the glacier installation, by day and at night © XUEQING
装置下方悬挂构件为观众提供直接的身体参与入口 © XUEQING
Suspended components beneath the installation invite direct physical participation © XUEQING
观众在发光的冰体之间停留，公共艺术由观看进入身体经验 © XUEQING
Visitors pause among the illuminated ice forms as public art shifts from observation to bodily experience © XUEQING
拉动装置下方布料，稳定的几何形态随之发生变化 © DAYUAN 大宛设计
Pulling the fabric below causes the stable geometric form to shift and deform © Dayuan Design
与大宛秉持的可持续创作概念一致，「冰川计划」被设计为模块化、可拆卸、可运输的结构，使用了回收金属、废弃防水面料碎料来进行制作。轻质金属框架支撑起悬浮结构，镜面不锈钢与球形照明共同构成通透而富有张力的材料层次。金属网表面的三角镂空，提取自冰川消融过程中形成的孔隙、裂隙与退缩边界。开孔由上至下逐渐放大，光线随之进入更多，使冰体从完整、坚硬的状态，逐渐显露出轻薄与脆弱。白色膜面保留悬浮的冰体感，金属网则在日光下投射出流动的几何阴影。使装置并非一组静止的雕塑，而会随着光线、气流与人的移动持续改变。
In keeping with Dayuan Design’s approach to sustainable practice, Glacier Project uses a modular structure designed for disassembly, transport and reuse. Recycled metal and offcuts of discarded waterproof fabric form its principal components. A lightweight metal frame supports the suspended volumes, while mirrored stainless steel and spherical lighting establish a layered composition of reflection, transparency and tension. Triangular perforations in the metal mesh draw on the pores, fissures and retreating edges produced by glacial melt. Increasing in size from top to bottom, the openings admit more light and gradually shift the forms from apparent solidity towards thinness and fragility. White membranes retain the image of suspended ice, while the mesh casts moving geometric shadows. The installation changes with daylight, air currents and the movement of people around it.
半透明膜面与金属网共同呈现冰体的轻盈、张力与脆弱感 © XUEQING
Translucent membranes and metal mesh convey the lightness, tension and fragility of glacial ice © XUEQING
日光穿过金属网，在结构与膜面之间留下不断移动的阴影 © XUEQING
Daylight passes through the metal mesh, casting shifting shadows across the structure and membrane © XUEQING
从下方仰视，重复的结构单元形成连续而相互牵连的自然系统 © XUEQING
Viewed from below, repeated structural units suggest a continuous, interconnected natural system © XUEQING
由于装置位于户外，雨水也被纳入作品的感知系统之中。装置顶面预留了雨水下落的路径，雨水可沿着结构自然滴落；地面则通过孔洞完成排水，同时让水滴落在金属面板之上，形成轻微而清脆的声响。晴天时，地面映照天空与城市；雨天时，水滴、倒影与声音共同进入作品，使装置在不同天气中呈现出新的节奏。雨水由此不再只是需要被处理的现场条件，也成为回应冰川融水、气候循环与城市水系统的一部分。
Because the work stands outdoors, rain is incorporated into its sensory system. Water is channelled through openings at the top and allowed to fall naturally along the structure. Perforations in the floor provide drainage, while droplets striking the metal panels produce a light, crisp sound. In dry weather, the ground reflects the sky and surrounding buildings; in rain, water, reflection and sound alter the rhythm of the installation. Rain is treated not simply as a site condition to be managed, but as part of the work’s connection to glacial meltwater, climatic cycles and the urban water system.
冰川装置金属面板 © XUEQING
Metal floor panels of the glacier installation © XUEQING
2“冰川”进入日常
把宏大的气候议题以器物的方式回归日常
「循川」艺术装置 © XUEQING
Flowing Glacier tabletop art installation © XUEQING
「循川」是由「冰川计划」延展而来的桌面艺术装置，也是整个项目从公共尺度进入日常尺度的一次转译。它将同一议题带回日常，把冰层断裂、融水流动、冷气下沉与不可逆消逝，转化为一件可以被点燃、等待和凝视的日常感知器物。
Flowing Glacier is a tabletop installation developed from Glacier Project. It shifts the project from the scale of public space to that of daily life, translating fractured ice, flowing meltwater, descending cold air and irreversible loss into an object that can be lit, observed over time and contemplated at close range.
「循川」艺术装置 © XUEQING
Flowing Glacier tabletop art installation © XUEQING
装置以倒流香作为核心媒介。点燃之后，烟雾因温差、气流与密度变化缓慢下沉，穿过半透明的冰川形态，如冷气入谷，也如融水穿隙。这个向下流动的过程带有清晰的时间感：它无法倒回，也无法暂停，正如冰川消融一旦发生，便很难被重新复原。由此，「循川」将冰川不可逆的消逝，转化为一种可以被看见、被等待、被感知的微型现场。
The work uses backflow incense as its central medium. Once lit, the smoke descends slowly in response to temperature, airflow and density, passing through the translucent glacial form like cold air entering a valley or meltwater moving through a crevice. Its downward movement makes time visible. It cannot be reversed or paused, just as glacial melt, once underway, cannot readily be restored. Flowing Glacier condenses this irreversible process into a small, perceptible event.
「循川」装置倒流香形态 © XUEQING
Backflow incense descending through Flowing Glacier © XUEQING
「循川」装置构件 © XUEQING
Components of Flowing Glacier installation © XUEQING
在材料上，「循川」选用非遗琉璃作为关键表达。琉璃由火而生，经高温熔融后凝固定形。它关于火、光、透明与凝固的工艺特质，与冰川的冷冽、剔透与脆弱形成微妙对照。半透明的质感呼应冰体，也让传统工艺在当代环境叙事中获得新的语境。
The glacial element is made in liuli, a traditional Chinese glassmaking craft recognised as intangible cultural heritage. Formed through heat, then cooled and fixed, the material carries the properties of fire, light, transparency and solidification. These qualities sit in deliberate contrast to the coldness, clarity and vulnerability of glacial ice. Its translucency recalls the body of a glacier while placing a historic craft within a contemporary environmental context.
「循川」装置 © XUEQING
Flowing Glacier tabletop art installation © XUEQING
「循川」的可持续性由此延伸至文化记忆的层面。它以一缕缓慢下沉的烟，将遥远冰川的一次不可逆消融，转化为日常生活中可以反复观看的提醒。人与自然之间脆弱而紧密的关系，也在一次点燃、等待与凝视中重新被感受。
Sustainability in Flowing Glacier therefore extends beyond material choice to cultural continuity. A single thread of descending smoke turns the irreversible melting of a distant glacier into a recurring observation within daily life. Through the simple acts of lighting, waiting and looking, the close yet vulnerable relationship between human activity and the natural world is brought back into view.
3“冰川”进入空间
让北极与高原在城市中彼此照见
「极境共鸣」环境艺术展 © XUEQING
Resonance of the Extremes environmental art exhibition © XUEQING
在这场与亿角鲸 一同策划参与的「极境共鸣」环境艺术展中，基于亿角鲸对极地现场的长期观察，大宛设计进一步将这些关于冰川、海洋与气候变化的内容，转译为一条可被进入、停留与感知的空间路径。展览不只呈现远方的自然图像，也试图让观众在城市公共现场中，重新理解人与自然之间彼此牵连的关系。
Developed with N.O.C., Resonance of the Extremes draws on the organisation’s long-term observation of polar environments. Dayuan Design translated material on glaciers, oceans and climate change into a spatial sequence that visitors could enter, pause within and perceive at close range. Rather than presenting distant landscapes as images alone, the exhibition asks how the interdependence of human and natural systems might be understood within an urban public setting.
「极境共鸣」环境艺术展入口 © XUEQING
Entrance to the Resonance of the Extremes environmental art exhibition © XUEQING
外部冰川装置打开了展览的第一重感知，内部白色展览盒体则承担叙事容器的功能。白色体量以克制、清晰的空间语言收束外部装置带来的视觉引导，使观众从开放的城市环境转入更安静的观看状态。深蓝色体块与水平线索回应海洋、冰川与冷光的感知经验。空间通过路径、界面与停顿，建立一种缓慢进入议题的秩序。
The outdoor glacier installation establishes the first point of contact; the white exhibition volume behind it becomes the project’s narrative container. Its restrained geometry gathers the visual energy of the external work and guides visitors from the open city into a quieter mode of attention. Deep-blue volumes and horizontal lines recall the sea, glacial strata and cold light. Movement, thresholds and pauses give the exhibition a measured pace, allowing the subject to unfold gradually.
「极境共鸣」环境艺术展 © XUEQING
Resonance of the Extremes environmental art exhibition © XUEQING
展览以单向流线组织体验。观众由入口进入，经过序言、影像、实物、中央展台、声音盒子，最终由出口灰空间回到城市公共场域。这个过程像一次感知递进：先被冰川装置吸引，再被图像与文字引导，随后通过实物与声音靠近冰川的真实处境，最后重新回到城市之中。
A one-way circulation organises the visit. From the entrance, the route passes through a prologue, film, artefacts, a central display and a sound chamber before returning to the public realm through the grey space at the exit. Perception develops in stages: visitors are first drawn in by the glacier installation, then guided by image and text, brought closer to the realities of glacial change through objects and sound, and finally returned to the city with that experience in mind.
「极境共鸣」环境艺术展内部空间 © XUEQING
Interior of the Resonance of the Extremes environmental art exhibition © XUEQING
展览通过「邂逅、遗存、聆听、同律」四个章节，展开一条从距离、记忆、感官到行动的叙事路径。
「邂逅」处理观看的距离。连续窗口像被切开的冰层，使观众在行走中不断看见外部冰川装置，也看见城市树影、人流与建筑立面。自然与城市在这些开口中彼此交叠，提醒观众：人与自然并非二元对立的两端，冰川也从未真正远离城市。
The exhibition is structured in four chapters: Encounter, Remains, Listening and Resonance. Together, they trace a progression from distance and memory to sensory experience and action.
Encounter examines the distance inherent in looking. A sequence of windows resembles cuts through layers of ice, repeatedly framing the glacier installation outside alongside trees, pedestrians and building facades. City and nature overlap within these openings, suggesting that they are not opposing conditions and that the glacier has never been entirely separate from urban life.
「极境共鸣」环境艺术展内部空间 © XUEQING
Interior of the Resonance of the Extremes environmental art exhibition © XUEQING
「遗存」把冰川议题带入更具体的物证与记忆之中。展柜中的传统手套、猎具、手稿、图像与极地生活物件，记录着人在极端自然环境中与海洋、冰川、动物和气候共同生存的智慧。气候议题由此回到人的身体、劳动、经验与记忆之中。
Remains brings the subject into the realm of evidence and memory. Traditional gloves, hunting implements, manuscripts, photographs and objects from polar life record forms of knowledge developed through living alongside oceans, glaciers, animals and climate in extreme environments. Climate change is thus connected to the body, labour, lived experience and memory.
「极境共鸣」环境艺术展内部空间 © XUEQING
Interior of the Resonance of the Extremes environmental art exhibition © XUEQING
「聆听」是空间中的感官转折。蓝色声音盒子被独立放置在主要动线之外，形成一处相对安静的听觉停顿。观众戴上耳机后，城市声音被短暂隔开，冰川崩裂、融水流动、海洋生物与极地环境声进入身体。声音成为理解冰川的一种方式，也让自然从图像转化为震动与回响。
Listening marks a sensory shift within the space. The blue sound box is placed independently from the main circulation, forming a relatively quiet pause for listening. Once visitors put on the headphones, the sounds of the city are temporarily set aside, while the cracking of glaciers, the flow of meltwater, marine life, and polar environmental sounds enter the body. Sound becomes another way of understanding glaciers, transforming nature from image into vibration and resonance.
「极境共鸣」环境艺术展内部空间 图片提供：SuperELLE（拍摄：sesawu）
Interior of the Resonance of the Extremes environmental art exhibition Image courtesy of SuperELLE; photography: © sesawu
「同律」则将展览的情绪推向共生与行动。面对气候变化，人需要重新意识到自身始终处在一个不断变化的生命系统之中。那些来自冰川、海洋与极地的反直觉真相，在这里被转化为更具体的公共感知：我们所面对的，不只是远方自然的变化，也是一种共同生活系统的失衡。
Resonance directs the exhibition towards coexistence and action. It asks visitors to recognise themselves as part of a living system in constant change. Counterintuitive facts about glaciers, oceans and polar regions are translated into a more immediate public understanding: the issue is not only the transformation of distant landscapes, but an imbalance within the shared systems on which everyday life depends.
观众与「冰川计划」装置交互现场 图片提供：SuperELLE（拍摄：sesawu）
Visitors interacting with the Glacier Project installation Image courtesy of SuperELLE; photography: © sesawu
观众与「冰川计划」装置交互现场 图片提供：SuperELLE（拍摄：sesawu）
Visitors interacting with the Glacier Project installation Image courtesy of SuperELLE; photography: © sesawu
从嘉里中心上的九组冰川装置，到桌面尺度的「循川」，再到承载影像、实物与声音的展览空间，整个项目完成了一场不断缩短感知距离的连续体验。「冰川计划」装置先以公共艺术的方式进入城市，随后进入人的身体经验，最终进入可以反复发生的日常观看。宏大的气候议题因此不再停留于远方，也不只存在于展览发生的有限时间里。
From the nine glacier forms at Shanghai Jing’an Kerry Centre to the tabletop scale of Flowing Glacier and the exhibition space of film, artefacts and sound, the project steadily reduces the distance between subject and viewer. Glacier Project enters the city as public art, becomes a bodily encounter and continues as an object of repeated observation in daily life. Climate change is no longer confined to a remote geography or to the limited duration of an exhibition.
观众与「冰川计划」装置交互现场 图片提供：SuperELLE（拍摄：sesawu）
Visitors interacting with the Glacier Project installation Image courtesy of SuperELLE; photography: © sesawu
对大宛设计而言，可持续并非附加于项目末端的材料标签，而是一套贯穿策略、结构、材料与文化表达的方法。它关乎作品能否拆卸、运输与再次使用，也关乎一个议题如何被公众看见、理解、讨论，并在离开展览之后继续与生活发生关系。设计在其中承担连接的角色：连接遥远的冰川与当下的城市，连接人的一次动作与自然系统的回应，也让短暂的空间体验转化为更长久的感知与思考，创造持续的影响力。
For Dayuan Design, sustainability is not a material label applied at the end of a project. It is a method that runs through strategy, structure, material decisions and cultural expression. It concerns whether a work can be dismantled, transported and reused, but also how an issue is made visible, understood and discussed, and whether it continues to resonate after the exhibition closes. Design connects distant glaciers to the contemporary city and an individual gesture to the response of a natural system. In doing so, a temporary spatial experience can generate longer-term perception and reflection, creating lasting impact.
项目信息
项目名称 / Project Info：「“冰川计划”可持续展陈空间装置」
项目地点 / Location：上海，中国
项目类型 / Category：展厅设计
项目业主 / Project Owner：亿角鲸 N.O.C.
空间设计 / Interior Design：大宛设计 Dayuan Design
艺术策展 / Art Curation：大宛设计 Dayuan Design
艺术装置 / Art Installation：大宛设计 Dayuan Design
施工团队 / Construction：娣华艺术科技（上海）有限公司、上海名顺途企业管理有限公司
摄影团队 / Photography：XUEQING、sesawu
项目面积 / Area：160平方米
Project Info: “Glacier Project” Sustainable Exhibition and Spatial Installation
Location: Shanghai, China
Category: Exhibition Design
Project Owner: N.O.C.
Spatial Design: Dayuan Design
Art Curation: Dayuan Design
Art Installation: Dayuan Design
Construction: Dihua Art Technology (Shanghai) Co., Ltd.; Shanghai Mingshuntu Enterprise Management Co., Ltd.
Photography: © XUEQING; © sesawu
Area: 160 sqm
