Installation view at Design is a State of Mind, which opens this week at the Serpentine Sackler gallery, curated by London-based, Italian designer Martino Gamper. Photography: Hugo Glendinning

最好的想法可以很容易地总结出来。

“我不想做历史展览，”马蒂诺一边说，一边陪我参观展览。我不想要一个“现在是什么设计”的展览。但我确实想用设计来显示设计。

很简单。当然，这并不是很简单。为了工作顺利，而且节目运作得很好，甘珀必须把所有的元素，所有的故事，一起工作。

他从书架开始。既然甘珀是英国设计界的核心人物，他很容易忘记他其实是意大利人。但在意大利设计中，尤其是在像Gio Ponti这样的设计师的工作中，他继续与工匠一起工作，而他们的同伴则接受工业化，这在他的选择中是显而易见的。许多架子都是罕见的一次性的，从私人借贷者那里得到了很多帮助，从米兰的尼罗韦画廊（考虑到时间限制，这比试图处理机构更有意义，甘珀说）。

有来自Franco Albini、Ettore Sottsass、Ponti、Andrea Branzi、BBPR的货架，R代表Ernesto Rogers(Richard的表亲)、Michele de Lucchi和Vico Magistretti，以及夏洛特·佩里安、阿尔瓦·阿尔托(Artek)、维托伊(Vitsoe)、埃尔科尔(Evar Aalto)、甘珀自己的一些货架和一些Ikea。

他们中的大多数也是设计师。用最简单的术语来说，Gamper想要展示这些收藏、材料和机械对制作的影响。

其中一些藏品表明，收藏家和造物主会立即出品；正如你可能猜到的那样，藏有黑色、白色、光滑的岩石，以及由时间和自然塑造而成的岩石，都是从迈克尔·阿纳斯塔西季斯那里借来的。同样，贝森·伍德(Bethan Laura Wood)的那一段精彩的塑料也是如此。

一些收藏是紧密聚焦的，个人/专业的OBSESSION；
玛基铃木的砖；
JurgenBay的Bestary；
MaxLamb和GemmaHolt的BernardLeach(和A科莱陶器)的集合；
由艺术家理查德·温特沃斯收集的重型锄头和其他园艺工具；
摄影师杰森·伊文思(JasonEvans)收集的木制勺子(令人失望的是，康斯坦丁·格里茨未能及时找到他的箱子，里面装满了珍贵的衣架，供展览之用)。

其中一些显示器比较折中，比如罗恩·阿拉德(RonArad)的指节式除尘器，比如雕刻的猫系列。也许最了不起的藏品都有自己的空间：Enzo Mari发现的物体纸秤。

设计是一种精神状态，是第二次专门设计在蛇纹石上，继从康士坦丁.葛切奇的设计真实，在2009打开。这两个节目是一个有启发性的对比；Grcic的技术乐观主义反对甘珀的设计理念，即布雷科莱奇，一个混乱的东西是什么，是什么东西，吸引我们不完全理解的原因。甘珀是反对味道系统，但为了品味，在最充分的意义上。毕竟，一个架子，不管多么漂亮，如果只是这样的话，只不过是半个故事而已。正是它的点点滴滴、喜鹊之躯，才有意义。

The exhibition is an assortment of 'interesting things collected by interesting people on interesting shelves', says Gamper. Pictured is designer Mats Theselius' collection of kitchenware on a bookcase designed by Ignazio Gardella in 1970. Bookcase, courtesy of Nilufar Gallery

The range of each collection varies; some, like Mats Theselius' shining miscellany of scientific-looking utensils, have been kept purposefully focused, suggesting personal or professional obsessions

Ettore Sottsass's 'Max' shelving (left) and Gamper's own 'L'Arco della Pace' (right), Shelving courtesy of Memphis and Martino Gamper (co-produced by Museion, Bolzano, Italy and Pinacoteca Giovanni e Marella Agnelli, Turin, Italy) respectively

Sebastian Bergne's collection finds a home on Bruno Mathsson's 1943 pine and birch bookcase. Courtesy of Nilufar Gallery

A stash of rocks, some black, some white, smoothed and shaped by time and nature, has been borrowed from Michael Anastassiades, presented on Martino Gamper's 'Booksnake Shelf' from 2002. Shelving courtesy of David Gill Galleries

The connection between a designer's objects and their work is obvious in some cases, such as with Anastassiades' pearly pebbles, which bring the orb-like bulbs of his lighting designs instantly to mind. Shelving courtesy of David Gill Galleries

Maki Suzuki's collection of building materials sits upon Andrea Branzi's 'Gritti Bookcase' from 1981. Courtesy of Nilufar Gallery

Perhaps the most remarkable collection has a space all to itself: Enzo Mari's found object paper weights. Spread out on a spotlit table, the collection assumes the role of museum compendium

From Enzo Mari's collection: a striking cast of a bird's foot, stamping down sheets of paper. Courtesy of the artist and Tanya Leighton Gallery, Berlin

Enzo Mari contrasts a mysterious, crystal-like paperweight with a joyous Keith Haring doodle

Max Lamb and Gemma Holt's collection of Bernard Leach pottery seems almost archaeological set upon three sets of simply bracketed shelving, designed by Michael Marriott. Shelving, co-produced by Museion, Bolzano, Italy and Pinacoteca Giovanni e Marella Agnelli, Turin, Italy

Designer Bethan Laura Wood's collection is characteristically flouro. Shelving, courtesy of Nilufar Gallery

Many of the shelves are rare one-offs, secured from private lenders with a lot of help from Milan's Nilufar Gallery, including Andrea Branzi's wooden and steel 'Grandi Legni' shelving system, left, from 2009. Objects courtesy of McDonagh and Andreas Schmid

Andrea Branzi's cantilevered glass 'Wall Bookshelf' from 2011 appears as weightless as the wares it holds. Courtesy of Nilufar Gallery

Glassware from the collection of Daniel Eatock

Osvaldo Borsani's integrated modular shelving unit and desk from 1947-1955. Courtesy of Galleria Rossella Colombari, Milan – Italy 

Paul Neale's display sleeves, ranging from Roxy Music to Hawkwind

Cubes within cubes: Gamper's 'Together Library' showcases a selection of curios set in resin. Courtesy of Martino Gamper and Nilufar Gallery. Co-produced by Museion, Bolzano, Italy and Pinacoteca Giovanni e Marella Agnelli, Turin, Italy

On a 1946 bookcase by Anna Castelli Ferrieri is a collection of trinkets ranging from porcelain deer to a stuffed hair (by way of a furry stool complete with tail). This animal menagerie comes courtesy of Jurgen Bey. Shelving, courtesy of Nilufar Gallery

Ron Arad's objects are displayed on a 1947 Dexion Slotted Angle shelving system (reproduced in 2014), designed by Demetrius Comino. Shelving, courtesy of Dexion Storage Systems

keywords:Serpentine Sackler gallery, design exhibition, Martino Gamper, London design

关键词：蛇形萨克勒画廊，设计展览，马蒂诺甘珀，伦敦设计