“来给我们这里弹奏你的小提琴吧，不会有什么坏事情发生在这里！”格罗皮乌斯写给安道尔的信，1925

“Come and play us your violin, then nothing bad can happen to us!” – Letter by Walter Gropius to Andor Weininger, 1925

每年夏天在横跨几千平方米的莱比锡书展中，都会有众多最新匈牙利本土书籍的德文译本展示在这个不过十余平的展台。每年Collegium Hungaricum Berlin文化机构都会委任设计师根据展览主题设计独特的展陈形式，用实验性的方式展现书展的特有氛围。在此次书展的匈牙利馆由Hetedik Műterem设计，该展馆是对包豪斯学派的一百周年纪念之作。

In the exhibition space of the Leipzig Book Fair, spanning several thousand square meters, every spring the most recent Hungarian books translated to German are displayed in the national pavilion with and area of a few tens of square meters. Focusing on a specific theme, each year the designers commissioned by Collegium Hungaricum Berlin always try to shape the stand in an experimental way, reflecting on the unique situation presented by a book fair. The conceptual basis for this year’s Hungarian pavilion, designed by the team of Hetedik Műterem, was defined by the approaching centenary of the Bauhaus.

▼书展整体空间，view of the exhibition

设计师并没有将展馆99周年纪念主题以直接的方式向来访者展示，而是更多的将注意力汇聚在来访者和书籍本身。如果刻意将百年历史与该展馆建立某种表象的联系，那来访者便很容易在设计师试图传达的情绪里迷失。因此，设计师利以典型的包豪斯整体艺术形式为设计手法，在强烈的商业化展览环境中，为来访者营造了一处拥有独特个性和氛围的阅读空间。从本质上来说，设计师所推崇的展陈氛围与通常意义上的相反。

We wanted to conjure up the 99th anniversary in the pavilion not so much by direct formal references, but rather in a more indirect manner while retaining the primary focus for visitors and the books on display. It would have been easy to get lost in the infinite expanse of this great tradition, had we tried to look for specific connections and formal inspirations for the centenary. This is why we applied the characteristically Bauhaus approach of the Gesamtkunstwerk, and defined a reading space with a unique character and strong atmosphere, in the overwhelmingly standardised and commercial context of the fair.In essence, we recommended the opposite of what is characteristic of usual trade fair situations.

▼匈牙利馆外貌，exterior view of the Hungarian Pavilion

这些参展的书籍摆放在定制的陈列家具上，展台周围环绕着7米高的白色透明窗帘，地面覆盖着浅色的地毯，顶部是特别营造的灯光环境。除了展现与当代建筑的联系之外，这个由窗帘围合的空间氛围还表现了强烈的包豪斯风格，用纺织物定义了整洁流畅的内部空间。1927密斯·范·德·罗与莉莉·瑞希在柏林合作完成了Café Samt und Seide的设计，该建筑目前被用作德国丝绸展览馆，而它正式此次展会匈牙利馆的最佳参考案例。密斯·范·德·罗被公认为是1930-1933年间包豪斯风格的主导者，在他手下的材料展现出独特，轻盈，永动，透明和流动的特性，巩固了他这一颠覆性的设计理论，而这也正是此次莱比锡展设计师想要呈现出来的。

▼参展书籍摆放在定制的家具上，the books are placed no the customized furniture

The books were displayed on custom-made pieces of furniture in a space surrounded by 7-meter high white, transparent curtains, covered with a light carpet, in a bespoke lighting concept. Apart from obvious connections to contemporary architecture, the inner spatial atmosphere was also inspired by examples directly connected to the Bauhaus, displaying the use of uncluttered, fluid spaces defined by textiles: a great example being Café Samt und Seide designed by Ludwig Mies van der Rohe and Lilly Reich, and built in 1927 in Berlin, serving as an exhibition pavilion for the German silk industry. The uniqueness, lightness, constant movement, transparency and flexibility of the material used in this plan by Mies, who later served as director of the Bauhaus from 1930-1933, strengthens his paradigm-shifting theory of fluid spaces, which we tried to invoke in the exhibition space in Leipzig.

▼展馆四周围绕着7米高的透明幕帘，the space is surrounded by 7-meter high white, transparent curtains

众多包豪斯风格下的艺术作品，与当时处于上升期的匈牙利艺术作品有着紧密的联系。而后者也在格罗皮乌斯的引言中得到了引证。设计师将格罗皮乌斯的引言作为该展馆设计的核心内容。在一封写于1925年的信中，包豪斯创始人呼吁以为典型的匈牙利包豪斯代表回到德绍，并参与到学校的艺术工作中。这封信结束语中所引用的格言，被设计师印在了展馆的幕帘上，象征着国际主流包豪斯风格与匈牙利分支的不可分割的共生联系。

The presence and mutual interference of several art forms was as much a characteristic of the Bauhaus, as its elevating and intensive connection and interaction with the Hungarian art scene. The latter is emphasised by the quote from Walter Gropius, the motto of our design.In a heartfelt letter from 1925, the Bauhaus-founder urges one of the defining figures of the Hungarian Bauhaus to return to Dessau and participate in the art life of the school. The closing sentece of this letter, used as our motto and displayed on a curtain inside the space of the pavilion, symbolises the strong, symbiotic relationship between the international mainstream of the Bauhaus and its Hungarian adherents.

▼展馆呼应了包豪斯风格，the design of pavilion connected to the Bauhaus

应用与幕帘，墙壁，家具和海报上的宣传字体为Ádám Katyi（László Moholy-Nagy Design Gran的官方字体），该字体的使用展现了设计师运用当代设计展现包豪斯风格的实验性手法，在视觉上与匈牙利另一包豪斯代表László Moholy-Nagy建立了联系。除材料，触觉体验，建筑空间的定义，定制的家具和布局外，CHB Orchestra的现场音乐表演，更进一步加强了该展馆的整体艺术风格。

The typeface used throughout the stand on curtains, walls, furniture and flyers, is the Mohol type family of Ádám Katyi (the official typeface of the László Moholy-Nagy Design Grant), which reflects on Bauhaus experiments with basic geometric forms in a contemporary way, thereby connecting to the visual tradition established by László Moholy-Nagy, another significant Hungarian Bauhäusler. In addition to the material, tactile experience, the architectural definition of the space, or the custom-made furniture and typography, The Gesamtkunstwerk-like character of the pavilion was amplified by the recurring sounds of the CHB Orchestra’s live musical performances.

▼CHB Orchestra的现场音乐表演加强了该展馆的整体艺术风格，the Gesamtkunstwerk-like character of the pavilion was amplified by the recurring sounds of the CHB Orchestra’s live musical performance

▼采用Ádám Katyi自体，the typeface is Ádám Katyi

Design and execution: Hetedik Műterem Kft. Concept: Levente Szabó DLA, Balázs Biri, Ákos Polgárdi Co-designer: Anna Breuer Lighting: András Jánosi (LumoConcept) Lighting concept: Ferenc Haász Graphic design: Ákos Polgárdi (SUBMACHINE) Consultant: Emese Benczúr Typeface: Mohol,Ádám Katyi Supporter:Hungarian Design Council Client: Ministry of Foreign Affairs and Trade, Balassi Institute, Publishing Hungary Program Project management: Collegium Hungaricum Berlin Contractor:TorTer e-Design Kft. Photography: Balázs Danyi