Byredo “In Conversation With” 米兰

Byredo 柏芮朵｜米兰设计周期间的品牌展览与对谈：历史庭院里的石雕陈设、室内装置与一场晚宴｜2026-04｜米兰 历史宫殿庭院

场地是米兰市中心一座历史宫殿的庭院：两层连拱廊围出方形天井，底层圆拱，二层细柱小拱，灰泥被雨水洗出深浅不一的赭色。天井中间原是草坪，四周修着盒式绿篱。K2 Worldwide 没有在庭院里搭棚，浅色石碑直接立在草地上，高矮不等，表面留着凿痕与锯痕，底座薄得几乎看不见。

石材是这场活动的主材料，也是主要的雕塑语言。碑体有的是一整块平板，有的中段切出缺口或台阶；正面打磨成哑光，侧面保留粗凿的蜂窝面。白天靠天光，石头偏灰白；入夜后用地面埋灯从下往上打，石面转成暖蜜色。连拱廊下另有一组陈设：黑色文字立牌沿柱距排开；砖砌矮墙上摆着石制器物——研钵、残件、石核。

室内换了一套材料。一个房间用浅色松木搭出格栅货架，格子大小不一，拼成可穿行的迷宫，架上摆着关节木偶、香水瓶与石头；房间中央是一张多面切割的浅色木柜台，正面镂空出 BYREDO 六个字母。另一处拱廊跨间做成小礼拜堂式的木构：几片阶梯状木板立起来围出一个矮台，台前放凳，木头不上色，只打磨。

晚宴设在宫殿的石砌厅堂，圆桌铺白布，主厨穿白衣在桌边用铜锅分烩饭，墙面是粗石与灰泥，壁龛里点一支蜡烛，光只够照亮桌面与人的半张脸。这一段的布景几乎是零：没有花艺墙，没有背景板，靠的是建筑本身的石拱、砖地与烛光。

活动分三段：白天的展览、开幕夜的对谈、一场小晚宴；声音设计贯穿其中，把庭院回声当乐器。传播的画面对应得很清楚——白天的石碑与绿篱给建筑媒体，夜里的连拱廊与烛光给社交媒体，木构与木偶给设计媒体。展品放露天，让石头在自然光下被看见；晚宴放石厅，让客人从展场走进建筑内部。空间不只是背景，它就是内容。

The site is the courtyard of a historic palazzo in central Milan: two storeys of arcades around a square well, round arches below, slender columns and small arches above, plaster weathered into bands of ochre. The middle was lawn, edged with clipped box and crossed by gravel paths, with a stone bench along one wall and an arcade deep enough to stand in out of the sun. K2 Worldwide built no pavilion in it. The exhibits stand directly on the grass: pale stone stelae of different heights, faces still carrying chisel and saw marks, on bases so thin they almost disappear. Seen from the entrance arch, the group reads as a small grove rather than a display.

Stone is the material and the main sculptural language here. Some stelae are single slabs; others are cut with a notch or a step at mid height, so a block appears folded; faces are honed to a matte finish while the edges keep the honeycomb of the chisel. By day the sky does the lighting and the stone goes grey-white, close in value to the gravel; after dark, uplights buried in the ground turn it honey and stretch the grain. From the loggia the stelae line up against the arcade like a colonnade of the same stone. Under the arcade a second group is set out: black totems with white type ranged along the column bays, and on the low brick parapet stone objects — mortars, fragments, polished blocks — at the height of a hand.

Indoors the material changes. One room is fitted with a grid of pale pine shelving, bays of different sizes assembled into a maze you can walk through, holding jointed wooden mannequins, scent bottles and stones; the shelves are open on both sides, so the room is never read at once. In the middle stands a faceted pale timber counter with BYREDO cut out of its front, the void doing the work of a sign and closing and opening as you walk around it, dark herringbone parquet running to the skirting. One arcade bay is treated as a small chapel in wood: stepped boards stood on end to make a low platform, a stool or two in front, the timber sanded but never painted, so the pale wood takes the colour of the brick around it.

The dinner is in a stone hall of the palazzo, round tables under white cloth, a chef in whites serving risotto from a copper pan at the table, walls of rough stone and plaster, a candle in a niche giving just enough light for the cloth and half a face. The styling here is close to nothing: no flower wall, no backdrop, only the building's own arches, brick floor and candlelight.

The event runs in three stretches — the exhibition by day, the conversation on opening night, a small dinner — with sound design running through all of it, treating the courtyard's echo as an instrument. The images correspond: stelae and box hedges in daylight are the architecture press frame; the arcade and candles at night are the social frame; the timber and the mannequins are the design press frame. The works are outdoors so that stone is seen under natural light; the dinner is indoors so that guests walk from the exhibition into the building itself. The space is not the backdrop. It is the content.

信息来源：K2 Worldwide 公开信息。

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