The emergence and development of "vanguard" is always accompanied by social change and innovation. When the society tends to close and retreat, and when the collective thinking is still in the dominant position, the design with contemporary spirit and thinking is particularly important.

The exhibition hall designed by Hu Tao for One Bridge Gallery is a reflection design. The introverted and free space takes the spirit of enlightenment as its value orientation, transcending the cry of function and beauty.

Awakening · Human scale

The concept of "man" in ancient China was always placed under "heaven". Heaven is an irresistible supernatural force, and "I" will save people from the plight of "heaven". Awakening self is the result of deepening self-knowledge and self-experience, and also the beginning of independent spirit and free thought.

Most of the exhibition halls pursue the design of large space without columns or intervals. Hu Tao takes the opposite approach and places the colonnade derived from the Greek temple at the entrance, forming an introverted but not closed space. The "human scale" replaces the "gods scale". The hollow center of the column becomes an independent and coherent display space, creating a powerful image with balanced stands.

To liberate "man" from the theological consciousness and "me" from the collective thinking is the "threshold" to enter the space and to understand it.

Design · New worship

There are usually two ways to change consciousness. The first way is rational, persuaded or inspired. The second type is emotional, being infected or moved. Hu Tao's design strategy is to emphasize local design and create unique place spirit; Emphasizing the connection between furniture and art and culture, breaking rigid conventions and outdated tastes; Strengthen the cultural identity between space and people, and complete the bridge between sensibility and rationality through space.

For young people, "mental image" is a more important existence than "image", and the value of feeling and emotion is more attractive than the functional benefits. Hu Tao boldly conceived of the connection between symbolic space and the spiritual world. Through the integrated expression of spatial modeling design, color, material and lighting, Hu Tao penetrated the representation of the world from the soul to find the settlement of the spirit, creating a strong sense of novelty and instant identity.

The Mazza lamp system from CAI Liechao's studio encircles the atrium, creating a unique spatial form; The floor lamp from Chen Xingyu's studio is like a small universe in a spire. When it is locked in glass, the light has a strong piercing sense... Together with local elite forces, Hu Tao integrates life aesthetics with design and art into unforgettable scenes. The complex and diversified exhibition space creates the double freedom of time and space with the mode of "exhibition +", providing convenience for free behavior.

Insight · Dongguan strategy

Hu Tao, who has roots in Dongguan, has a keen understanding of the plight of local companies. The first OEM factory in Dongguan appeared in 1978. Since then, the manufacturing industry in Dongguan has been developing rapidly. However, from 2008 to 2015, the OEM enterprises closed down one after another. The reason lies in the low added value of the products, the low level of technology and the low level of the product market.

At the beginning of the 20th century, European and American countries took the lead in recognizing the importance of design and independent design from art. Design has become an important productive force to promote social progress. In the era of globalization, the third world countries led by China have increasingly positive attitudes towards design. Design is no longer a decoration, nor a functional practical tool, but a gene that links industry development, leverages business value, and enables urban innovation.

Breakthrough · Pioneer metaphor

Hu Tao does not want the created space to be isolated from urban life and become an independent or escape place. Instead, he thinks of space as an element of the city, while incorporating the proportions of urban life into the space. In addition, he also derived a set of rules suitable for modern exhibition halls from the tour route, which looks like scenery but actually tells the story, looks like narrative but actually lyricism, looks like lyricism but actually creates the environment, emptiness is real, and reality is empty, so that people can walk freely and comfortable in the room.

The order formed by scale and proportion brings visual and psychological balance to people, and the impulse to cross the boundary is always hidden in the order. When people walk into the deep space and the end of the moving line, Hu Tao's elaborately woven metaphor suddenly becomes bright. Artist Ye Yong's abstract oil paintings, as subversive elements into the space, bring a strong visual impact with the disorderly splashing style of painting, a destructive force of rebirth.