Installation view of Home Futures at Design Museum London including Up 5_6 armchair with ottoman by Gaetano Pesce for BB Italia, 1969 (reissued 2000)

What has the past got to tell us about the future? That’s the question posed by the Design Museum’s upcoming show: ‘Home Futures’.

关于未来，过去有什么可以告诉我们的？这就是设计博物馆即将举行的展览提出的问题：“家庭未来”。

Curator Eszter Steierhoffer puts 20th century prototypes up against the latest innovations in domestic living, allowing visitors to wonder whether yesterday’s fantasies have become today’s reality (and which version of the future is better looking).

馆长埃斯特·斯蒂尔霍弗(Eszter Steierhoffer)将20世纪的原型与家庭生活的最新创新相抗衡，让游客们怀疑昨天的幻想是否变成了今天的现实(哪个版本的未来更好看)。

‘It became clear that a lot of the topics we’re dealing with today – lack of space in big urban centres, nomadic behaviours, tech in home, sustainability and self-sufficiency – are issues that were present throughout the 20th century,’ says Steierhoffer.

Steierhoffer说：“很明显，我们今天所处理的许多话题-大城市中心的空间不足、游牧行为、家里的科技、可持续性和自给自足-都是20世纪一直存在的问题。”

Sinerpica Angolosa by Michele De Lucchi, 1978

米歇尔·德卢基(Michele De Lucchi)著，1978年

Steierhoffer’s jumping off point was MoMA’s 1972 show, ‘Italy: The New Domestic Landscape’. ‘In the 20th century, there was a special relationship with the future,’ she adds, ‘the future became the point of reference to determine the present.’

Steierhoffer的出发点是MoMA 1972年的节目“意大利：新的国内景观”。“在20世纪，与未来有着特殊的关系，”她补充说，“未来成为决定现在的参照点。”

There are more than 150 objects and ‘experiences’ on display, including original furniture from the Smithsons’ 1956 House of the Future; original footage from the General Motors’ Kitchen of Tomorrow of the same year; and two delights from 1972: Ettore Sottsass’ Home Environment, and an original model of Joe Colombo’s Total Furnishing Unit.

展出了150多件物品和“体验”，其中包括史密森夫妇1956年的“未来之家”中的原始家具；同一年通用汽车公司(General Motors)“明日厨房”(The General Motors‘s Kitchen of Tomorrow)的原始片段；以及1972年的两件令人愉快的作品：埃托尔·索特萨斯(Ettore Sottsass)的“家庭环境”(Home Environment)，以及乔

And were these creatives’ vision of the future better looking than today’s efforts? That, says Steierhoffer, is very subjective. ‘21st century ideas look very different from an aesthetic point of view, and less futuristic. The most futuristic idea of the smart home today has midcentury furniture in it.’

这些创意是“未来更好的展望”的愿景，而不是今天的努力吗？“21世纪的理念与美学的观点和未来的观念截然不同。”当今智能家庭的最有未来的想法有中百年的家具。”

New York-based architect SO-IL was tasked with creating an exhibition design that will display domestic behaviour in a museum context. Their solution: a number of areas zoned with semi-transparent mesh. Meanwhile, the graphics and catalogue are the work of London graphic design practice John Morgan Studio.

纽约建筑师SO-IL负责创建一个展览设计，展示在博物馆背景下的国内行为。他们的解决方案：许多分区有半透明网格的区域。同时，图形和目录是伦敦图形设计实践约翰·摩根工作室的工作。

Come spring 2019, the show – which was organised in partnership with the IKEA Museum – will relocate to Älmhult, Sweden. §

2019年春季，这场展览-与宜家博物馆合作举办-将迁至瑞典的伊莫特(Lmhult)。§

由Masanori Umeda为孟菲斯设计的“Tawaraya”拳击环的安装视图，1981年由Masanori Umeda为孟菲斯拍摄的Tawaraya拳击环的安装视图

国内变压器加里张，2009年。摄影：边缘设计研究所有限公司国产变压器，张家杰，2009。摄影：边缘设计学院有限公司

模块化的安装观是Dimitri B hler的交互

Ugo la Pietra(1983年)、Milano La Casa远程治疗(1983年)、Milano Archivio Ugo La Pietra(米拉诺)

HansHollein在他的移动办公室1969年。摄影:GinoMolin-PRAL.1969年他的移动办公室版权所有私人存档HolleinHansHollein。摄影:GinoMolin-PRAL.版权专用存档Hollein