Architects: Toyo Ito, Florian Busch and Christoph Cellarius
Location: Berlin, Germany
Project Year: 2006
Photographs: Christian Gahl, Florian Busch Architects
Project Area: 1,349 sqm
Collaborators: Toyo Ito, Christoph Cellarius, and Florian Busch
建筑师：Toyo Ito, Florian Busch and Christoph Cellarius
地点：德国柏林
竣工时间：2006年
摄影师：Christian Gahl, Florian Busch Architects
面积：1,349平方米
合作者：Toyo Ito, Christoph Cellarius, and Florian Busch
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Tokyo-Berlin/Berlin-Tokyo was an exhibition showing the 150-year-long history of mutual exchange in painting, architecture, graphic, photography, film, video, and performance. The exhibition comprised over 530 works showing how movements of influencing each other shifted between these two cities and culminated in the upper hall of the New National Gallery with the works of living artists from Tokyo and Berlin.
东京-柏林/柏林-东京是一个展示两国在绘画，建筑，文字，摄影，电影，录像和表演上长达150年历史的展览。展览包含了530件艺术品，这些艺术品展示了两个城市是如何互相影响变化的，在新国家美术馆大厅的楼上展出了东京和柏林当代艺术家的作品。
Our design for the upper hall showed the multitude of varying relations between contemporary Tokyo and Berlin. In contrast to the density of the basement, the curators suggested that the upper hall was to show the works of only about a dozen contemporary artists.
楼上的设计展示了当代东京和柏林许多不断变化的联系。相比地下室的拥挤，管理者建议上层只展示当代艺术家的作品。
Finished in 1968, the New National Gallery is Mies van der Rohe’s last and arguably most modernist work. In this perfect square, cut out of an infinite Cartesian world and separated from its surroundings only by glazed walls, any exhibition design is faced with immense presence of the grid of roof and floor and the potential of the space’s homogeneous transparency.
在1968年完工的国家美术馆可以说是密斯凡德罗最后的也是最现代的作品。在这个从笛卡尔无限世界中取出来并从它周边光滑墙面分离出来的场地上，任何展览设计都要面对屋顶和地面上的格子和同样透明的潜在空间。
Rather than building walls following or working against this grid, weproposed an exhibition design which would not be a top-down implant buttranslate Mies’s Cartesian grid into an undulating layer, gradually evolving inresponse to negotiations between the artists, the curators, and us. In engagingartists and curators early on in the design process, several feedback cyclesled to a series of transformations of this layer which dissolved the Miesianabsolute space into an exhibition of fluid, active relations 与其追随墙体或避免格子，我们不如建议将展览由成密斯的笛卡尔格子变成波浪形的地板层，渐渐从艺术家，管理者和我们的对话中将展馆进化。为了艺术家和管理者尽早开始设计进程，众多的反馈希望主观地将密斯风格完全溶于展览流程。
The visitors to the exhibition freely wander in alandscape-become-exhibition. As there is not one predefined path but amultitude of unexpected encounters, the exhibition becomes an interactiveexperience. Moving up and down the hills, perceptions of the artworks changefluidly: The visitor keeps discovering new relations between artists andartworks, between Berlin and Tokyo. 参观者自由的漫步于景观式的展览之中。正因为没有预先准备好的套路，而是很多不确定性，展览变成了一个互动式的体验。起伏地走在山上，对于艺术品的感知也随之变化：参观者在艺术家和艺术品，柏林和东京中不断发现新的联系。
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