‘David Adjaye: Making Memory’ opens to the public tomorrow at the Design Museum in London. Pictured here, one of the projects the exhibition touches upon, the Gwangju River Reading Room, a collaboration between Adjaye and the writer Taiye Selasi. Photography: Kyungsub Shin

Designing architecture exhibitions can be notoriously tricky. Attempting to represent the experience and impact of being in any particular building or interior, while in the constraints of an entirely different space, often thousands of miles away, is an elusive goal. Add to this the challenge of embedding exhibitions within a strong theoretical base, and curators are often faced with a tough task. The newly opened ‘David Adjaye: Making Memory’ exhibition at London’s Design Museum, successfully manages to avoid the common pitfalls, launching a succinct and to-the-point display that opens to the wider public from 2 February.

设计建筑展览可能是出了名的棘手。试图代表在任何特定的建筑或室内的经验和影响，而在一个完全不同的空间的约束下，往往是千里之外，是一个难以捉摸的目标。此外，在坚实的理论基础上嵌入展览的挑战也是如此，馆长往往面临着艰巨的任务。最近在伦敦设计博物馆举办的“大卫·阿贾耶：制造记忆”展览，成功地避免了常见的陷阱，从2月2日起向更广泛的公众开放，推出了简明扼要的展览。

The show focuses on work by Sir David Adjaye and his London, New York and Accra-based architecture practice, Adjaye Associates, while examining the idea of the monument – a theme that, as the exhibition proves, has long been aligned with the studio’s thought processes. Elaborating on ‘how architecture and form are used as storytelling devices’, this showcase is informative and captivating, using clean design and an uncluttered language, while touching upon issues such as memory, experience and representation, and of course architecture’s role within them.

展览的重点是大卫·阿贾耶爵士(Sir David Adjaye)和他在伦敦、纽约和阿克拉的建筑事务所Adjaye Associates的工作，同时研究纪念碑的理念-正如展览所证明的那样，这个主题长期以来一直与工作室的思维过程保持一致。在阐述“建筑和形式如何被用作讲故事的手段”时，本展示内容丰富，吸引人，使用干净的设计和一种整洁的语言，同时还涉及到诸如记忆、经验和表现等问题，当然还有建筑在其中的作用。

‘The monument is a device to talk about the many things facing people across the planet.’

这座纪念碑是一种装置，可以用来谈论地球各地的人们所面临的许多事情。

‘The monument is no longer a representation, it is an experience of time and place that is available to everyone’, says Adjaye. ‘Whether it’s for a nation, a race, a community, or a person, it is really used as a device to talk about the many things facing people across the planet. Democratisation does not mean that monuments cease to be relevant; it requires the monument to be transformed, so that it has an inbuilt openness and can be approached and understood from many points of view.’

阿贾耶说：“纪念碑不再是一种表象，它是一种对时间和地点的体验，每个人都可以得到。”不管是为了一个国家，一个种族，一个社区，还是一个人，它真的被用作谈论地球上的人们所面临的许多事情的工具。民主化并不意味着纪念碑不再有意义，而是要求对纪念碑进行改造，使其具有内在的开放性，并能从多个角度加以处理和理解。

Sir David Adjaye OBE was born in Tanzania to Ghanaian parents and formed Adjaye Associates in London in 2000. He now works internationally. Photography: Ed Reeve

David Adjaye OBE爵士出生于坦桑尼亚，父母为加纳人，并于2000年在伦敦成立了Adjaye Associates。他现在国际工作。摄影：埃德·里夫

The visitor’s journey takes place through the lens of seven of the practice’s key works – some completed, some in progress and some still in development stage. Included are the Smithsonian National Museum of African American History and Culture in Washington D.C, the new National Cathedral of Ghana in Accra; the UK Holocaust Memorial and Learning Centre in London (with Ron Arad Architects as Memorial Architect, and Gustafson Porter   Bowman as Landscape Architect); the Sclera Pavilion for London Design Festival 2008 (in collaboration with the American Hardwood Export Council); the Mass Extinction Memorial Observatory; the Gwangju River Reading Room in South Korea (in collaboration with the writer Taiye Selasi); and the first opportunity to see an ‘in-depth display’ of the Coretta Scott King and Martin Luther King Jr. Memorial in Boston (with contributions by African-American artist Adam Pendleton and type designer David Reinfurt).

游客的旅程是通过七项主要工作的镜头进行的-有些已经完成，有些正在进行中，有些还在发展阶段。其中包括华盛顿特区的史密森国家非裔美国人历史和文化博物馆、阿克拉的加纳新国家大教堂、伦敦的英国大屠杀纪念和学习中心(罗恩·阿拉德建筑师为纪念建筑师，Gustafson Porter Bowman为景观建筑师)；2008年伦敦设计节的Sclera展馆(与美国哈德伍德出口理事会合作)；弥撒灭绝纪念天文台；韩国光州河阅览室(与作家泰耶·塞拉西合作)；以及第一次有机会看到科雷塔·斯科特·金和马丁·路德·金的“深度展览”。波士顿纪念馆(由非裔美国艺术家亚当·彭德尔顿和类型设计师大卫·林弗特贡献)。

There are drawings, photography and architectural models – perhaps as expected – but there’s also a lot of welcome video documentation of Adjaye talking about the projects, as well as input from his creative collaborators on some of these projects.

这里有一些图纸、摄影和建筑模型-也许就像预期的那样-但也有很多令人欢迎的视频文件，介绍了阿贾耶谈论这些项目的情况，以及他的创造性合作者对其中一些项目的投入。

The show was designed by Adjaye Associates together with the Design Museum – perhaps a challenge in itself (one could argue that it requires some distance to engage with a subject with a fresh eye), but one that the studio responded to with flair, offering an exhibition that’s truly in sync with its subject matter. §

这场展览是由Adjaye Associates和设计博物馆共同设计的-或许这本身就是一个挑战(有人可能会说，要用全新的眼光去接触一个主题，需要一定的距离)，但工作室对此的反应却是天马行空，提供了一个真正与主题同步的展览。§

展览由阿贾耶协会与设计博物馆共同设计。摄影：EdReeve展览是由Adjaye联合设计博物馆设计的。摄影：埃德·里夫

一个片段的巩膜展馆使用美国郁金香被复制为展览。摄影：EdReeve使用美国郁金香复制了一段巩膜展馆。摄影：埃德·里夫

在展览中还参观了史密森国家非裔美国人历史文化博物馆。摄影：布拉德·费因克诺普夫在展览中还参观了史密森国家非裔美国人历史文化博物馆。摄影：布拉德·芬诺普夫

Adjaye Associates关于英国国家大屠杀纪念和学习中心的建议(RonArad建筑师担任纪念建筑师，Gustafson Porter Bowman担任景观建筑师)。图片：Adjaye Associates

大卫·阿贾耶的加纳国家大教堂的设计。图片：Adjaye联合为David Adjaye的加纳国家大教堂设计。图片：Adjaye Associates