Evolution in Form

Manhattan, New York

P. 01

P. 02

P. 03

在曼哈顿萨顿塔70层高空俯瞰城市天际的Gallery Penthouse中，苏珊·克拉克（Susan Clark）携手Radnor开启了其策展事业的“新篇章”。这一名为“形式的演变”（Evolution in Form）的展览，以5,000平方英尺的住宅顶层空间为平台，对当代设计策展方式进行了深刻重塑。不同于传统画廊的白盒子模式，克拉克选择将家具和设计作品置入真实住宅语境中，从而建立起设计、物体与空间之间更具现实性与情感深度的对话。

In the Gallery Penthouse on the 70th floor of Sutton Tower in Manhattan, which overlooks the city skyline, Susan Clark, in collaboration with Radnor, has embarked on a "new chapter" in her curatorial career. This exhibition, named "Evolution in Form", takes the top floor space of a 5,000-square-foot residence as a platform and profoundly reshapes the contemporary design curation approach. Unlike the white box model of traditional galleries, Clark opts to place furniture and design works within the context of real residences, thereby establishing a more realistic and emotionally profound dialogue among design, objects and space.

P. 04

P. 05

此次展览回应了建筑师Thomas Juul-Hansen为萨顿塔构建的简约、精炼的建筑语汇，克拉克的策展语言随之转向更为克制、朴素而深远的视觉逻辑。在这里，空间不再只是展示的背景，而成为作品与人之间互动的介质。日本工匠Toshio Tokunaga的作品以未上漆的日本榉木为媒，刨削痕迹与木材纹理形成了微妙的光影关系，Kanna手工技术唤起了对时间与手工的敬意，而其350年树龄的材料则提供了穿越时间尺度的物质基础。

This exhibition responds to the simple and refined architectural vocabulary constructed by architect Thomas Juul-Hansen for Sutton Tower, and Clarks curatorial language subsequently shifts to a more restrained, plain and profound visual logic. Here, space is no longer merely a backdrop for display, but has become a medium for interaction between works and people. The works of Japanese craftsman Toshio Tokunaga use unpainted Japanese beech wood as the medium. The planing marks and the wood grain form a subtle relationship of light and shadow. Kannas handcrafting technique evokes respect for time and craftsmanship, while the material of her 350-year-old trees provides the material basis for crossing the scale of time.

P. 06

P. 07

P. 08

英国设计师Sebastian Cox 的 Sendal 系列在这一背景中脱颖而出。该系列采用野生来源的英国木材与天然饰面，营造出介于轻盈与实质之间的张力。其控制台、衣橱与书柜通过底切结构消减体积感，使沉重形态仿佛漂浮于空气之中。克拉克藉此强调了设计作为一种实践，其伦理性与材料性不可分割，并通过空间赋予作品新的观看维度。

The Sendal collection by British designer Sebastian Cox stands out in this context. This series uses wild-sourced British wood and natural finishes to create a tension that lies between lightness and substance. Its console, wardrobe and bookcase reduce the sense of volume through the bottom cut structure, making the heavy form seem to float in the air. Clark thereby emphasized that design, as a practice, is inseparable in terms of ethics and materiality, and endows the works with new viewing dimensions through space.

P. 09

P. 10

展览亦标志着Radnor首次涉足户外家具领域。由Bunn Studio设计的Pausa沙发系列将雕塑感藤编工艺与舒展柔和的形式结合，将历史悠久的编织传统与当代表达方式并置，进一步推动了传统手工与现代审美之间的互文关系。通过这些作品，克拉克所构建的不仅是一个展览，更是一种对住宅空间、物质文化与策展语言的再定义实践。

The exhibition also marks Radnors first foray into the outdoor furniture sector. The Pausa sofa series designed by Bunn Studio combines the sculptural rattan weaving technique with the relaxed and soft form, juxtaposes the long-standing weaving tradition with contemporary expression methods, and further promotes the intertextual relationship between traditional craftsmanship and modern aesthetics. Through these works, what Clark has constructed is not only an exhibition, but also a redefining practice of residential space, material culture and curatorial language.

P. 11

P. 12

信息 | information

编辑 EDITOR

：Alfred King

撰文 WRITER ：L·xue 校改 CORRECTION :

W·zi

设计版权DESIGN COPYRIGHT : Susan Clark，Radnor

©原创策划内容,不支持任何形式的转载,翻版必究！