在后疫情时代的当下，Covid-19已经成为人类共同的集体记忆。这场全球性的疫情深刻地改变了人类社会的进程和生存模式，重塑了个体对世界的认知。 In the post-pandemic era, COVID-19 has become a collective memory of mankind. This global outbreak has profoundly changed the process and survival mode of human society, as well as reshaped the individual's cognition of the world.“在一场鼠疫中，人们承受着孤独，焦虑，痛苦与挣扎。在全城绝望的境地，所谓英雄就是每一个微不足道，坚守着正直与善良生活的人。”-加缪《鼠疫》 “People suffer from loneliness, anxiety, pain, and struggle during the plague. In a desperate situation, the so-called hero is every insignificant person who sticks to integrity and kindness.” - The Plague, Albert Camus当一个研发疫苗的科研企业邀请VAVE设计他们的企业展厅时，我们开始思考：面对一个研发产品和公众事件互相缠绕，紧密交织的企业，如何将这份不同寻常的意义传达出来？什么样的容器才能承载这份意义？ When a scientific research corporate engaged in vaccine research invited VAVE to design their corporate showroom, we began to think: How to convey the unusual meaning of a company where R&D products and public incidents are closely intertwined? What kind of container can carry this meaning?在介入项目的时候，我们得到的场地是一个非常曲面的，碎片化的空间。建筑师当初在设计这个空间的时候，用细胞形态这种比较直接的方式来构建这个展示空间。 We got a very curved, fragmented space when we were involved in the project. Initially, the architects designed the space in a straightforward way, using cellular as the form to create the showroom.我们的第一版方案是从建筑语言出发，有着非常吸引人的视觉效果。但是我们在对内容研究中不断追问自己，展厅的使命是空间叙事，我们的设计是否符合这个使命？我们需要的是一个美丽的“壳”，还是真正能够让人感动的媒介载体？ The first version of our proposal started from an architectural language with appealing visual effects. However, we kept asking ourselves: The mission of a showroom is spatial narrative, does our design meet this mission？Do we need a beautiful "shell" or a medium that can really move people?面对这样一个极具意义的焦点话题，我们摒弃了传统以“企业”为中心的叙事，而是切实地回到以“人”为中心的叙事：历史上被大流行病影响的人，社会共同历经疫情的人，抗疫的人，科研者，志愿者……以一种细致的颗粒度去观察这段客观的历史。 Faced with an extremely meaningful hot topic, we have abandoned the traditional “corporate-centered” narrative, and returned to the “people-centered” narrative: Those whose life has been affected by the pandemic in history, those who fought against the pandemic, researchers, and volunteers, etc. In this showroom, we review this objective history with fine granularity.在大量的背景调研及与业主沟通中确定了展厅的思路：在一个个凝重的时间切片里，讲出那些人们不知道的产品及企业背后的时代故事。由此凝练出此次策展的关键词：“情感”，同时延展为后续思考的路径。 We developed the idea of the showroom based on a large amount of background research and communication with the owners: In dignified time, telling the stories of the era behind the products and enterprises that people do not know. Therefore, the keyword of this curation "emotion" was generated as a trigger for follow-up thinking.企业从来不是一个孤立的点，而是一张不断与周围联结的网。以“情感”为核心，以“社会”-“企业”-“个体”三位一体的方式，更加全景地去了解疫苗产品和其承载的文化。让展厅不仅是与时代共振的社会提案，也是与个体共鸣的记忆容器。 A corporate is never an isolated object, but a web that is constantly connected to its surrounding. Taking "emotion" as the core, in the logic of the trinity: society-enterprise-individual, we will have a more comprehensive understanding of vaccine products and the culture they carry. In this way, the showroom is not only a social proposal that resonates with the era, but also a memory container that resonates with individuals.“即使世界荒芜如瘟疫笼罩下的小城奥兰，只要有一丝温情尚在，绝望就不至于吞噬人心。”-加缪《鼠疫》 "Even if the world is as desolate as the small town of Oran affected by the plague, as long as there is a bit of warmth, despair will not swallow people's hearts." - The Plague, Albert Camus我们从“情感”出发，打造5个情景剧场。情景剧场的营造方式，是以故事构建情境，以空间构建情景，通过体验（秀场，表演，装置…）构建情节，以更加直观或者更加物象的方式，链接起观众的情绪，形成以“情感”为核心的顶层策略。 We started with "emotion" and created five scenarios. Starting from the story, we create scenarios through experience (show, performance, installation, etc.) in the theater-like space. We motivate the audience's emotions in a more intuitive and visual way, forming a top-level strategy with "emotion" as the core.我们赋予了五个剧场五个名字：1.生命之境；2.益道同行；3.克冠行动；4.疫苗之益；5.福益全球。每个剧场对应着一个不同维度的情境故事。五个剧场的前后相连，场景从暗到亮，带领观众走进一段跌宕起伏的情绪之旅。 We came up with five names for the corresponding scenarios: 1. The World of Lives; 2. Together for a Healthier World; 3. Anti COVID-19 Action; 4. Insight into Vaccines; 5. Vaccine Benefits the World. Each scenario corresponds to a situation story from different dimensions. Range from dark to bright atmosphere, the five theaters are connected one after the other, leading the audience to an emotional journey.入口即展览，我们用近十万个西林瓶（疫苗注射剂瓶）形成一个以“物”为符号的视觉奇观。西林瓶是对主题的呼应，是企业集体记忆的凝结，也是企业故事的载体：“为了保障疫苗的生产工艺稳定、临床研究是否可靠、不同批次之间的疫苗是否一致，在疫苗获得正式批准紧急使用之前，已经完成了成千上万的疫苗系统认证。” The exhibition starts from the entrance. We used nearly 100,000 penicillin bottles (vaccine injection bottles) to form a visual spectacle with "objects" as a symbol. The penicillin bottles are an echo of the theme, the essence of the company's collective memory as well as a carrier of the company's story: "Thousands of vaccine system certifications have been completed before the vaccine is officially approved for emergency use to guarantee the stability of the vaccine production process, the reliability of clinical studies, and the consistency of the vaccine from batch to batch."我们用众多的、错落堆积的西林瓶突出沉淀在西林瓶背后“成千上万”的投入和努力。在此刻，西林瓶的意义已经远远超出了其物件本身，形成了特殊的情景。 在具体的形式构思背后，展项本身蕴含的故事和意义是思考的顶层逻辑，我们只不过是为这个故事和意义去寻找到一个更好的容器。 We use numerous staggered piles of penicillin bottles to highlight "thousands" of inputs and efforts behind. At this moment, the significance of the bottles goes far beyond the object itself and creates a unique scene. The story and significance of the exhibit itself is the top logic of thinking behind the specific concept. What we are doing is finding a better container for this story and the significance it implies.用微观去撬动宏观，是序厅的叙事策略。对于疫苗的研究和疫苗产品的研发是极其微观的事业，但是它引发的是宏观的社会影响，与每个人都息息相关。 这个展区的叙事情节是从微观的病原体本身，映射出人类历史上疫情爆发的历史，以及从疫情爆发的历史指向企业为什么要做疫苗这样的产品。 Activating macro from micro is the narrative strategy of the prologue. The research and development on vaccines are extremely microscopic, but it triggers a macro social impact that is relevant to everyone’s life. The narrative plot of this part is to map the history of outbreaks in human history from the microscopic pathogens themselves, as well as to point from the history of outbreaks to why corporate make vaccine products.我们将微观以及宏观两种视角并置。把微观的视角变成一场病毒的升降秀场，让观众走进微观的情景剧场。而后通过全球抗疫史来衔接到疫苗企业的成立和发展，构成宏观的抗疫角度。观众可以看到企业如何在甲肝疫情爆发的时代背景之下，如何应对社会需求，并一步一步发展到今天关系到国计民生的核心企业。 We juxtapose micro and macro perspectives. The micro perspective is turned into a lifting and lowering virus show, allowing the audience to enter the micro scenario. And then bridging to the establishment and development of vaccine companies through the history of global anti-epidemic which constitutes a macro perspective. The audience is able to see how the corporate responded to the demands of society in the context of the hepatitis A outbreak and how they developed into a core corporation of national livelihood today step by step.科兴以疫苗产品为节点的20年发展路径，始终与社会同行。这种与社会同频共振的关系，我们希望把它通过双线的叙事策略呈现出来。 当我们走马观花地去纵观一段历史，很难引起内心的共鸣，因为我们是历史的旁观者。但时间不是一个抽象的概念，是由每一年、每一月、每一日、每一秒组成，每一个刻度都在发生着许多故事。 With vaccine products as the node, the 20-year development path of Sinovac is always parallel with society. We hope to present this resonating relationship through a two-line narrative strategy. It is difficult to cause inner resonance when we roughly walk through history, because we are the spectators. However, time is not an abstract concept. It is composed of every year, every month, every day, every second. Many stories are happening on every scale.当我们转换视角, 聚焦到极细的颗粒度，把这段20年里面被疫情影响的人们及生活作一个总体的呈现。让观众感觉到这段20年的发展，它不仅仅只是抽象的数字，还是无数个故事的凝结。 When we shift our perspective and focus on an extremely fine grain size to present a general picture of the people and their lives affected by the epidemic in 20 years. Let the audience feel the development of this 20-year period, it is not only an abstract number, but also an essence of countless stories.历史本身并不是一个无声的文字描述，每个历史的时刻都有很多事件的画面。不止于文字的描述，我们用画面构建起展区的情景，让空间形成一个立体的，包裹式的图像集合。用比文字和数据更直击人心的视觉语言来描述整个历史的背景，让观众在立体的时间中穿行。 History itself is not a silent word description, there are many images of events in each historical moment. In addition to a textual description, we use images to build up the scenario of the space and form a three-dimensional, wrapped-up image collection. We depict the entire historical context in a visual language that is more striking than words or data, allowing the audience to travel through time in three dimensions.我们把在历史上发生的疫情事件作为明线放到我们主体的墙面上：有告别，有治愈，有悲欢离合，有振奋人心。对应着每一次疫情的爆发，下面都有企业的解决方案。企业发展的隐线藏在“疫情-解决方案”的动态关系中。科兴20年的发展脉络以及社会疫情爆发对人们生活的影响形成了两条线，彼此共振。 这个剧场的情景是一条抗疫之路，人们穿行在社会和企业的抗疫历程中。 We place the incidents of the epidemics that occurred throughout history as a bright line on the main wall: there are farewells, healings, sorrowful and uplifting. There is a corporate solution underneath corresponding to each outbreak. The storyline of corporate development is hidden in the dynamic relationship of "epidemic-solution". The 20-year development of Sinovac and the impact of the social epidemic outbreak on people's lives form two storylines that resonate with each other. This scenario is an anti-pandemic road, where people walk through the social and corporate journey to fight the epidemic.抗疫之路上，着墨最重的，无疑是和新冠的斗争。 从新冠爆发到现在，没有权贵，没有阶层，每一个人，都是被新冠疫情影响的普通人。从19年12月至今，新冠疫情已经变成了人类的一段集体记忆。人们对这次席卷全球的疫情具有最强烈的切身共鸣：从刚开始对于未知的病毒恐慌与不安，到专家学者站出来去澄清和研究，然后大家去团结和抗衡，直至现在，我们仍生活在疫情影响的世界里。 The most important part of the anti-pandemic is undoubtedly the struggle with COVID-19. Starting from the outbreak of COVID-19, there is no power, no class. Everyone is an ordinary person affected by pandemics. From December 19 to the present, COVID-19 has become a collective memory of humanity. The global epidemic has resonated most strongly with people: from the initial panic and anxiety about the unknown virus, to the clarification and research by experts and scholars, and then to unite and fight. Until now, we are still living in a world affected by the epidemic.这个展区的叙事策略就是回归到“人”的视角，回归到疫情之下由人们声音汇聚而成的这片城市。以“社会媒体的声音”，“科兴全体的声音”，以及作为一名科研者的“尹卫东先生的声音”形成这个展区的叙事情节，反映出人们被新冠疫情影响的真实生活状态。从社会聚焦到公司，再聚焦到个体，以宏观到微观的逻辑展开叙事。 The narrative strategy of this area is to return to "people‘s perspective” and go back to the city formed by the voices of people during the pandemic. The narrative plot is formed by "the voices of social media", "the voices of all of Sinovac", and "the voice of Mr. Yin Weidong", who is a researcher, reflecting the real life of people affected by the COVID-19. Focusing from the social to the company, and then to the individual, the narrative is developed in the logic of macro to micro.这个剧场的情景构思分成了3个板块。 观众走进展区的第一印象，我们希望通过众多同时播放的新闻画面还原新冠爆发至今，整个社会争相报道的情境。让观众能够看到当时的社会状态，与之前自己经历过的生活有一个强烈的共鸣，从而唤起情绪。 The scenario concept in this theater is conceived in 3 sections. The audience’s first impression is a recreated scenario of broadcasting TV news that which a lot of headlines that have been made since the outbreak of COVID. This allows the audience to see the social state at the time and to have a strong resonance with the life they have experienced before, which evokes emotions.随后右边的墙面是“科兴全体的声音”，以参与研发行动的不同身份人群作为视觉画面，交代科兴的克冠行动和疫苗的研发时间脉络。 The next wall on the right is the "Voices of Sinovac", which uses people with different identities who participated in the R&D action as visual images to explain Sinovac's anti-COVID action as well as a timeline of vaccine development.最后是展区的核心装置：“尹卫东说”。以“实体场景”+“立体成像”的方式还原了尹卫东的办公室以及办公室里满墙的疫情形势图。面对观众，尹卫东先生不再是一个头部公司的董事长，而是一个科研者，与普通观众一样面对新冠，用客观中立的态度去述说自己对于疫情的思考。这种平等的对话交流感让观众不仅能看到疫苗产品，更能和产品背后有血有肉的人进行交流，分享观点。 Finally comes the core installation in this area: "Chairman Message". Yin Weidong's office and the epidemic situation map on the wall in his office were restored in the way of "physical scene" + "stereo imaging". Facing the audience, Mr. Yin Weidong is no longer the chairman of a head company, but a researcher who is facing COVID as an ordinary audience, speaking his thoughts on the pandemic with an objective and neutral attitude. This equal dialogue and communication allowed the audience to not only see the vaccine products, but also to communicate and share perspectives with the flesh and blood people behind the products.五个剧场服务于各自的内容和故事，具有不同的剧场属性，这样观众的体验才会有更加有戏剧性。观众从前面略显沉重的话题，来到一个以科普为定位的展区，它势必是带来一个空间氛围上的变化。 The five theaters serve their own content and stories with different properties so that the audience's experience will have more dramatic experience. The atmosphere of the space has a big change since the audience comes from a slightly heavy topic to an exhibition area defined as science popularization.在这个区域，我们的叙事策略是从微观的视角出发，把病毒赋予情感和个性。想象一下：不同的病毒是有自己的性格的，这些微观世界的居民有自己喜欢的人群（老年人、青年人、小孩子），有着各自的特性。观众能够通过这种拟人化赋予情感的卡通形象去认知病毒。当观众了解，就不再恐惧。 In this area, our narrative strategy is to take a microscopic view and give emotions and personalities to the viruses. Imagine: different viruses have their own personalities, and these microcosm inhabitants have their own favorite people (elderly people, young people, children) with their own characteristics. The audience is able to perceive the virus through this anthropomorphic cartoon image that is endowed with emotion. They will no longer be afraid of viruses when they get to know it.我们同时以“一个病原体的旅行”串联起6大版块的疫苗研发内容，将严谨的疫苗研制过程变成一场故事的旅程，让观众愿意去跟着一个活蹦乱跳的小病毒去观看科普内容。 We also line up six sections of vaccine development content through "A Pathogen's Journey", turning the rigorous process of vaccine development into a storytelling journey, so that visitors are willing to watch the popular science content with the guide of an alive and kicking virus.这个展区不只是为小朋友准备的。让成年人去阅读一个非常科学严谨的信息，本身也是非常吃力的。如何以一种人们愿意接受的，比较轻松的氛围去理解一个比较严谨和复杂和科学知识体系？从传播角度来说，是一个值得深思和研究的问题。 This exhibit is not just for kids. It is also very difficult for adults to read very scientific and rigorous information. How to explain a rigorous and complex scientific knowledge system in a more relaxed atmosphere that people are willing to accept? From the perspective of communication, it is a question worth deep consideration and research.情感一直作为每个区的关键词，引领我们去思考如何让观众共鸣共情。如何跟随“情感”这个关键词，是贯彻我们整个展厅叙事的核心诉求。 关于展厅整体叙事的结尾，我们其实在过程中跟业主讨论很多方案，最后落下来的不是一些很宏大的企业叙事：未来规划，全球战略布局……，而是回归到非常有温度的两个愿景话题。 Emotion has always been the keyword throughout the showroom, leading us to think about the way to empathize and sympathize with the audience. How to follow the keyword "emotion" is the core demand of implementing the narrative of our entire showroom. Regarding the ending of the overall narrative, we actually discussed plenty of options with the owner during the process. However, we end up with two warm topics of vision instead of grand corporate narrative: future planning, global strategic layout, etc.一个叫摘下口罩：憧憬着告别新冠，我们设计了一个动态捕捉交互体验，让观众通过手势抹去新冠下灰暗的生活方式，回归到以往脱下口罩的正常人生。 The first one is called taking off the mask: With the vision of saying goodbye to COVID-19, we designed a motion capture interactive experience that allows the audience to erase the grey life in COVID through gestures and return to the normal life without wearing a mask.第二个是时间印迹：一个人一生的年龄切片以及听到的健康叮嘱，同时通过疫苗给不同年龄段来套上保护屏障。其实都是希望让观众，无论是老人、中年人还是小孩子，能够感觉到展项里的故事说的就是自己。 The second one is Trace of Time: Including slices of a person’s age in a lifetime and the health advice that they have heard, with coverage of vaccine as a protective barrier. We hope that all the audience, whether elderly, middle-aged, or small children, can find themselves in the stories in the installation.我们在完整的参观动线之外设计了一个隐藏的短动线：一条病毒隧道——可以从第二个展区直接走到了第四个科普展区。 We designed a hidden short circulation outside in addition to the complete visitor route: a virus tunnel that the audience can go directly from the second exhibit area to the fourth science exhibit area.这个隧道是专门为小孩子设计的快速动线。我们从严谨的科学性出发，以“Y字型抗体突触”打造了打卡型的穿梭体验通道。在天花上悬吊了错落的新冠病毒模型，让小孩子在抗体的保护中去到科普区。通过这种有趣的通道体验提起观展的兴趣，作为科普区的铺垫。 This tunnel is specially designed for children as a quick circulation. From a scientific point of view, we create an interactive experience tunnel base on "Y-shaped antibody synapse" as inspiration. Some physical model of the coronavirus is hanging on the ceiling so that children can go to the science exhibition area under the protection of antibodies. This interesting tunnel experience would arouse audience’s interest as a buffer area for the science population section.整个展厅有深刻有欢乐，既表达了对这个社会深切的关注，又表达了积极向上的情绪。 The showroom is profound and joyful at the same time, expressing both deep concerns for this society and positive emotions.展示空间服从于叙事，而叙事服从于内容，高超的空间装饰技巧并不是展厅本身的意义，真正的意义在于如何把内容更好的传达，把故事更好的讲述。 从设计技巧的角度来讲，我们运用了情境，情绪，情景，情节来给观众一个很好的体验。但是从设计本源的角度来讲，如何让观众在展厅里面看到自己，才是展厅与观众之间最深厚的联结。 The exhibition space is subordinate to the narrative, and the narrative is subordinate to the content. The true significance is how to convey the content and tell the story better rather than superb space decoration skills. From the perspective of design skills, we use situations, emotions, scenarios, and plots to give the audience a great experience. However, from the origin of the design, only when we create the showroom as a mirror and let the audience see themselves can the most profound connection emerge.项目名称：科兴北京展厅 项目业主：北京科兴中维生物技术有限公司 设计机构：VAVE Studio 翡梧 设计团队：胡海杰，陈文博，郭文超，葛彦汝，付子芩，李子瑶，吴边，林渟洁，李鹏程，关钧方，钱逸姿，杨始朝，付耀文
![](https://img.d-arts.cn/grab_img/cd6166bcc2cde7aeadf99d6ce38657d01705456819.jpeg?x-oss-process=image/auto-orient,1/interlace,1/resize,m_fill,w_99,h_56/quality,Q_90/format,jpg "魔都未来的七大世界之\")
