严肃艺术收藏家埃马纽埃尔·德·贝塞尔（Emmanuel de Bayser）位于柏林的公寓，坐落于一栋19世纪历史建筑中，拥有5米挑高天花板、厚重墙壁和双层玻璃窗，既有效隔绝了外部喧嚣，也为他丰富的现代主义家具与陶艺收藏提供了宁静而恢弘的空间。这不仅是他二十余年来跨越巴黎与柏林双城生活的审美结晶，也是他作为时尚买手店The Corner Berlin联合创始人所秉持的品味与理念的延伸。德·贝塞尔成功地将私人居所打造成一个兼顾艺术陈列与冥想静修的和谐环境，既容纳了众多珍贵设计藏品，也营造出沉稳而舒适的生活氛围。

The apartment of Emmanuel de Bayser, a serious art collector, is situated in a 19th-century historic building in Berlin. Featuring 5-meter-high ceilings, thick walls, and double-glazed windows, it effectively blocks out external noise while providing a serene and grand space for his extensive collection of modernist furniture and ceramic art. This is not only the aesthetic culmination of his dual-city life spanning over two decades between Paris and Berlin but also an extension of the taste and philosophy he upholds as the co-founder of the fashion boutique The Corner Berlin. De Bayser has successfully transformed his private residence into a harmonious environment that accommodates both artistic displays and meditative retreats, housing numerous precious design collections while creating a calm and comfortable living atmosphere.

Emmanuel de Bayser与公寓

埃马纽埃尔·德·贝塞尔的公寓以1950年代设计风格为核心，整体基础格调偏向冷峻低调的现代感，但通过巧妙融入鲜明跳跃的色彩，为每个房间注入浓郁斑斓的视觉层次，形成一种既和谐统一又充满启发性的美学氛围。他特别注重材质与色彩的对比搭配，例如金属与木材的冷暖结合、织物与木材的刚柔并济，在色彩上则擅长运用黑白组合或原色系搭配。尽管自认自学成才，他的审美理念实则深受让·普鲁维（Jean Prouvé）、吉恩·罗耶尔（Jean Royère）等设计大师的影响，在持续吸收与对话中逐渐成熟。

Emmanuel de Baysers apartment centers on the 1950s design aesthetic, with an overall tone of cool, understated modernity. Yet, by cleverly integrating vivid, bold colors, each room is infused with rich, layered visuals, creating an aesthetic atmosphere that is both harmonious and inspiring. He pays special attention to contrasting combinations of materials and colors, such as the cold-warm blend of metal and wood or the interplay of rigidity and softness between fabric and wood. In terms of color, he excels at using black-and-white pairings or primary color schemes. Although he considers himself self-taught, his aesthetic philosophy has been significantly shaped by design masters like Jean Prouvé and Jean Royère, gradually maturing through ongoing absorption and dialogue.

整体基础格调偏向冷峻低调，通过融入鲜明跳跃的色彩，为房间注入视觉层次。 ©Eve Campestrini

公寓客厅以宁静的自然色调为基调，巧妙融合了中世纪与现代斯堪的纳维亚风格的家具。空间从入口起便通过多个精心构思的场景逐步展开，在连通不同区域的同时，平衡了物件、质感与色彩的整体关系。

The living room of the apartment is grounded in a tranquil palette of natural tones, skillfully blending furniture from the Mid-Century and modern Scandinavian styles. The space unfolds gradually through multiple carefully conceived scenes from the entrance, balancing the overall relationships among objects, textures, and colors while connecting different areas.

壁炉上悬挂着XOOOOX的抽象画作《Aqua Lido》。©Eve Campestrini

客厅右侧摆放着吉恩·罗耶尔设计的北极熊沙发，其柔软质感尤为突出，后侧则是厚重的大理石壁炉台，上方还悬挂着XOOOOX的抽象画作《Aqua Lido》，画面中朦胧的红色卷须与烟灰漩涡自白色氤氲中浮现。整个客厅的设计强调永恒性、舒适度与个性表达，其中克洛德•莱兰（Lalanne）的绵羊雕塑更是备受珍视的代表性藏品。

On the right side of the living room stands the Ours Polaire (Polar Bear) sofa designed by Jean Royère, notable for its soft texture. Behind it is a heavy marble fireplace mantel, above which hangs XOOOOXs abstract painting Aqua Lido, featuring hazy red tendrils and smoke-gray swirls emerging from a white mist. The design of the entire living room emphasizes timelessness, comfort, and individual expression, with Claude Lalannes sheep sculpture being a particularly cherished representative piece in the collection.

吉恩·罗耶尔设计的北极熊沙发。©Eve Campestrini

备受珍视的代表性藏品是克洛德•莱兰（Lalanne）的绵羊雕塑。©Eve Campestrini

餐厅区域以厚重餐桌和光亮的胡桃木地板为基础，搭配了多件标志性设计家具。让·普鲁维的椅子陈列于餐桌旁，右侧则设置了两盏塞尔日·穆耶（Serge Mouille）黑色悬臂灯，其三支灯臂轻盈地伸向餐桌上方。餐桌左侧摆放着夏洛特·佩里昂（Charlotte Perriand）的餐边柜，上方悬挂着让·阿尔普（Jean Arp）以黄、绿、黑三色构成的生动画作《Composition》，其画作与整个空间相得益彰，尤其与原本为白色镶板平面的墙壁形成巧妙呼应。

The dining area is anchored by a heavy dining table and glossy walnut flooring, complemented by several iconic design furniture pieces. Jean Prouvés chairs are arranged around the dining table, with two Serge Mouille black cantilever lamps positioned on the right, their three arms extending gracefully over the table. On the left side of the table stands Charlotte Perriands sideboard, above which hangs Jean Arps vivid painting Composition, featuring yellow, green, and black hues that harmonize beautifully with the entire space, especially creating a clever echo with the originally white-paneled wall.

让·普鲁维的椅子陈列于餐桌旁。 ©Manolo Yllera

餐桌左侧是夏洛特·佩里昂（Charlotte Perriand）的餐边柜。©Manolo Yllera

墙面上悬挂着上方让·阿尔普（Jean Arp）以黄、绿、黑三色构成的画作《Composition》。©Eve Campestrini

从餐厅可直视书房中让·普鲁维设计的绿色标准椅与书桌，庭院窗户投入的充沛自然光洒满桌面。书房空间由此延展，长型木制书架将色彩纷繁的书脊归整得秩序井然，书房内部还摆放着覆以绵羊绒的菲利普·阿斯坦德（Philip Arctander）蛤壳椅。

From the dining area, one can directly see into the study, where Jean Prouvés green Standard Chair and desk are placed, bathed in abundant natural light streaming in through the courtyard windows. The study space extends with a long wooden bookshelf that neatly organizes the colorful spines of books, and inside, there is a Philip Arctander clam shell chair upholstered in sheepskin.

书房摆放着覆以绵羊绒的菲利普·阿斯坦德（Philip Arctander）蛤壳椅。©Eve Campestrini

前方是让·普鲁维设计的绿色标准椅与书桌。©Eve Campestrini

卧室中，温暖的木质饰面与色彩绚丽的艺术摆件相映成趣。带纹理的木镶板从墙面延伸至高耸的天花板下方，形成一道舒缓的视觉过渡。这种半墙高的设计不仅凸显出房间的挑高优势，也让天花板显得更加宏伟。

In the bedroom, warm wooden finishes complement vibrant artistic decorations. Textured wood paneling extends from the walls to below the lofty ceiling, creating a soothing visual transition. This waist-high design not only highlights the rooms high ceilings but also makes the ceiling appear even more majestic.

卧室右侧陈列着一把由皮埃尔·让那雷（Pierre Jeanneret）为勒·柯布西耶（Le Corbusier）设计的V形轮廓椅子，上方还悬挂着科丽塔·肯特（Corita Kent）的印花作品《Wonder Bread》展现出十二种鲜艳明亮的基础色和混合色，安杰洛·莱利（Angelo Lelli）的Triennale落地灯则以红、黄、蓝色锥体与之呼应。椅子旁的矮木桌上陈列着德·贝塞尔收藏的乔治斯·茹夫（Georges Jouve）陶器，浓重的橙、绿、红、黄与蓝色在其釉面上闪烁。

On the right side of the bedroom, there is a V-shaped chair designed by Pierre Jeanneret for Le Corbusier, above which hangs Corita Kents print work Wonder Bread, showcasing twelve vivid primary and mixed colors. Angelo Lellis Triennale floor lamp responds with red, yellow, and blue cones. Beside the chair, on a low wooden table, are Georges Jouve ceramics from De Baysers collection, with intense shades of orange, green, red, yellow, and blue shimmering on their glazes.

墙面上悬挂着科丽塔·肯特（Corita Kent）的印花作品《Wonder Bread》。 ©Eve Campestrini

左侧是皮埃尔·让那雷为勒·柯布西耶设计的V形轮廓椅子。 ©Pelle Crépin

安杰洛

·莱利（

Angelo Lelli

）的

Triennale

落地灯以红、黄、蓝色锥体构成的灯罩，为空间注入鲜明的视觉韵律。

矮木桌上陈列

·贝塞尔收藏的乔治斯·茹夫（

Georges Jouve

）陶器

©Eve Campestrini

空间中，乔治·朱夫陶器的流畅曲线尤为引人注目，令人不禁驻足欣赏。埃马纽埃尔·德·拜瑟对陶艺的收藏最初源于居住空间的限制，随后逐渐发展成系统性的收藏与实践。对他而言，陶艺是一个独立而深邃的完整世界。

In the space, the flowing curves of Georges Jouves ceramics are particularly eye-catching, compelling visitors to pause and admire. Emmanuel de Baysers initial collection of ceramics stemmed from the limitations of his living space, which subsequently evolved into a systematic collection and practice. For him, ceramics represent an independent and profound world in its entirety.

埃马纽埃尔·德·拜瑟将其卓越的审美与陈列理念延伸至柏林概念买手店The Corner，该

空间融合Céline、Alaïa等国际品牌

与新锐设计，并强调兼具艺术性与商业价值的选品标准。店铺灵感来源于柏林历史悠久的地标宪兵广场（Gendarmenmarkt），整体选品注重国际辨识度与产品吸引力。

Emmanuel de Bayser has extended his exceptional aesthetic and display concepts to The Corner, a Berlin-based concept boutique. This space blends international brands such as Céline and Alaïa with emerging designers, emphasizing a selection criterion that balances artistic value with commercial appeal. The store draws inspiration from Gendarmenmarkt, a historic landmark in Berlin, and its overall product selection focuses on international recognition and product attractiveness.

策 展 人 |

埃马纽埃尔

·德·拜瑟

Emmanuel de Bayser

展览位置 |

柏林

Berlin

展览摄影 |

Eve Campestrini

Manolo Yllera

Pelle Crépin

Emmanuel de Bayser / 艺术收藏家及设计爱好者

埃马纽埃尔

·德·贝塞尔（

Emmanuel de Bayser

）是一位穿梭于巴黎与柏林两地生活与工作的设计爱好者。他从二十岁开始收藏设计作品，最初专注于美国设计师如查尔斯与雷·伊姆斯（

Charles and Ray Eames

）的作品，也包括当代或历史性的战后设计，后来逐渐扩展至让·普鲁维（

Jean Prouvé

）等。他尤为欣赏战后设计中所体现的乐观精神、鲜明色彩与创新意识，那种向上发展的动力与人们对未来的积极展望，均清晰反映在设计中。

在他看来，折衷主义

即将新旧物件、看似不相容的元素进行融合是最具挑战性的方式。他善于运用色彩点缀，将三至四种协调的色彩组合在一起。普鲁维建筑化的设计手法也深深吸引着他，尤其是将木材与金属等材质结合以营造对比的方式。他的许多家具都具有构成主义特质，例如那些带有金属框架的作品。德

·贝塞尔尤其喜爱木材，特别是与陶瓷等其他材料搭配使用，始终钟情于对比所带来的美感。