新潮流 線條傢俱 Down to a fine art: the trend for pencil thin furniture
The theme for this year’s annual Danish Cabinetmakers’ autumn exhibition — held at the Oregaard Museum in Copenhagen in September and due to travel to Paris’s Maison du Danemark in January — was “petite”, the designs being a maximum size of 60cm by 60cm. But looking at the furniture by the 30 exhibitors, the brief could have been something else entirely.
今年九月在首都哥本哈根的奧雷加德博物館(Oregaard Museum)舉行的丹麥傢俱匠師作品展(Danish Cabinetmakers’ autumn exhibition)，主題確定爲“小”，它規定最大的參展品尺寸不能超過60釐米ⅹ60釐米。但走馬觀花30位展商推出的傢俱後，着實讓人歎爲觀止。
From TAF’s metal champagne tray table to Norm Architects’ three-legged folding chair, the designs resemble a line drawing turned into furniture. “We decided to make this year’s theme ‘petite’ purely because our exhibition space was very small,” says Mia Lagerman, chairwoman of the cabinetmakers’ exhibition association. “The designers don’t discuss the work before it’s shown, so there must have been something in the air that caused many of the pieces to have such fragile lines.”
從TAF的金屬材質香檳酒桌到Norm Architects的三條腿摺疊椅，這些設計如同線條畫搖身一變而成了傢俱。“我們之所以確定今年的展會主題爲‘小’，就是因爲展區面積實在太小。”傢俱匠師作品展覽協會主席米亞拉格曼(Mia Lagerman)說。“設計師們在參展前，都對自己的展品隻字不提，因此很多參展作品不約而同具有如此纖巧美麗的線條，冥冥之中有時尚之風在起作用。”
It is not only Danish designers whose work resembles precise pen strokes. French-Polish designer Marta Bakowski launched her collection of Rays lights at Paris’s Maison & Objet fair this autumn. Each is made of a circular acrylic panel with a mirror LED bulb at the centre surrounded by hand-woven, two-tone threads that represent rays of light.
不僅丹麥設計師的作品酷似精細的鋼筆線條，在今年金秋的巴黎家居裝飾博覽會(Maison & Objet)上，波裔法籍設計師馬爾塔巴科夫斯基(Marta Bakowski)也推出了類似風格的Rays系列燈具。每盞燈的材質均爲圓形丙烯塑料板，正中央是LED鏡像燈泡(mirror bulb)，周圍則代表燈光束、手工纏繞的雙色線。
“I started by experimenting with weaving techniques and basket-making, then gradually developed the idea into a disc shape,” she says. “I was asking, ‘how can I make a lamp that talks about light even when it’s not lit up?’ Previously I have woven with reflective materials, but here I wanted to use pointillism [the style using tiny dots of colour developed in the 19th century by Georges Seurat]. I approached it as a painter would, looking at how colours interact and weaving different shades together.”
“我一開始先是試驗編織手法及竹籃編織，而後腦海中慢慢形成了圓盤形設計概念。”她說。“我當初就自問，‘如何能設計出一盞斷電時依然有燈光效果的燈具？’在這之前，我嘗試過用反射型材料編織，但我想用點彩法（就是使用19世紀畫家喬治修拉(Georges Seurat)獨創的彩色小細點畫法）。我嘗試用畫家的方式進行設計，觀察各種顏色如何相互作用，並把不同色調組合在一起。”
Also displayed at Maison & Objet was Cuban designer René Barba’s tennis racket-shaped paper lamp for Ligne Roset. It comprises a double-sided fabric envelope with a pattern of black lines, which is slipped over an LED bulb and supported by a black lacquered steel base. “This graphic effect is very fashionable and echoes the trend for textured Motifs on flat surfaces,” says Barba.
在巴黎家居裝飾博覽會上展出的還有古巴設計師雷內巴爾巴(René Barba)爲Ligne Roset設計的網球拍外形的紙燈。它用雙面布打造而成，上面畫有黑色條紋，布罩就隨意套在LED燈泡上，整個燈由黑色噴漆鋼質基座支撐。“這種圖形效果非常時尚，它與平面的紋路圖案時尚風格有異曲同工之妙。”巴爾巴說。
Interior designer Annick Petersen, whose cage-like lights are made from thin copper wire strips, believes line-based designs are part of a trend for furniture made from industrial materials. “This raw look is a very popular design statement at the moment,” she says.
室內設計師安妮克簠靟森(Annick Petersen)設計了由細銅絲製作的鳥籠形燈具，她認爲線條形設計是工業材料打造傢俱流行時尚的組成部分。“這種粗獷外形是當前非常流行的設計風格。”她說。
This view is borne out by the growing number of designers using powder-coated aluminium and steel in tables and chairs. One example is Made in Ratio’s Supernova trestle table, launched two years ago. It is topped with toughened glass and features two sets of star-shaped legs made from sand-cast recycled aluminium, which can be rotated to make a lower-height coffee table. “The six points touching the floor and glass create a structure no matter which way they are oriented. I wanted to meld those points in the form of a supernova, so it looks like a stellar explosion,” says Made in Ratio founder Brodie Neill. “Transparency of form and being very pared back is something I pursue in my work and the Supernova has both those qualities. The weight of the glass complements the geometrical, sculptural legs.”
這種理念被越來越多使用鋁合金設計桌椅的設計師（品牌）所證明。其中之一就是英國品牌Made in Ratio兩年前推出的Supernova擱板桌。它桌面爲鋼化玻璃，兩組星形桌腿用沙鑄再生鋁材做成，再度旋轉後還可搭成低矮的咖啡桌。“各自與地面及玻璃接觸的六個支撐點不管什麼朝向，都是固定的結構。我希望把這些接觸點組合成超新星的模樣，酷似恆星爆炸。” Made in Ratio品牌創建者布羅迪尼爾(Brodie Neill)。“透明外形以及極簡主義風格是我孜孜以求的設計風格，Supernova支架擱板桌就是兩者兼而有之。玻璃重量與幾何形雕塑狀桌腿實現了很好的互補。”
Mirka Grohn and Jo Wilton, the co-founders of furniture brand &New, also achieve elegant lines and minimal forms using powder-coated steel. Their colourful Robot Too sideboard and Robot side table both have angular, zigzag legs. “We used steel because we wanted to create something delicate-looking,” says Grohn. “With steel, the furniture is very strong, but you can achieve really fine lines. Also, the legs are playful, just a bit of fun.”
傢俱品牌&New聯合創始人米爾卡格羅恩(Mirka Grohn)與喬威爾頓(Jo Wilton)也用烤漆鋼板實現了優美線條與極簡主義風格完美結合。他們推出的Robot Too餐具櫃與Robot茶几採用了帶角度的鋸齒形桌腿。“我們使用鋼質材料的原因是希望營造出纖巧的外觀。”格羅恩說，“用鋼質打造的傢俱非常結實耐用，而且能打造出優美的線條。此外，桌腿趣味十足，帶點戲謔味。”
John Liston uses powder-coated steel for his Ribbon chairs. They look at first glance like a messy scribble in red crayon. “It wasn’t intentional, but it works well for this design,” says Liston, who was inspired by the way shadows from buildings take whatever form they fall on. “A shadow can transform the shape of a park bench with the graphic lines of the balusters and handrails and the angle of the light.” For him, the beauty of the material lies in its unexpectedness. “I love the idea of a chair looking like it might not be able to sustain weight, yet at the same time the steel gives it a huge structural integrity. Making furniture with a very thin structure creates negative space, so the piece looks lighter than it is.”
約翰利斯頓(John Liston)用烤漆鋼板設計出了Ribbon椅子，乍一看酷似紅色蠟筆的雜亂無章塗鴉畫。“這並非有意爲之，但設計效果非常好。”利斯頓說。他的靈感來自於建築物變幻無窮的投影圖案。“欄杆與扶手的線條以及斜照光線能徹底改變公園椅子的形狀。”他認爲材料的美感就在於其不可預測性。“我特別喜歡把椅子設計成無法承重的模樣，但與此同時，鋼架結構又賦予其整體結構。結構纖巧的傢俱能更加突出周圍空間，使傢俱本身更顯輕盈。”
Of course, these delicate structural forms aren’t new. In the 1950s, both Harry Bertoia and Charles and Ray Eames launched wire furniture. More recently, in 2013, the South Korean designer Jinil Park launched his Drawing Series of chairs, lamps and a table, each with intersecting lines that exactly replicate his preliminary sketches.
當然，纖巧形傢俱早已有之。早在上世紀50年代，哈里伯託埃(Harry Bertoia)與夫妻檔設計師查爾斯及蕾伊默斯(Charles and Ray Eames)就已推出線條形傢俱。2013年，韓國設計師Jinil Park創作了Drawing Series椅子、燈具以及桌子，每一款都採用了交錯型鋼絲，它們完全是他草圖的“複製品”。
German graphic designer Verena Hennig’s powder-coated aluminium Roll seating is an extension of her two-dimensional art. “My graphics are minimalist and reduced, so I wanted to create furniture that also only uses minimal lines,” she says.
德國平面設計師維麗娜眠齶(Verena Hennig)創作的Roll鋁合金座椅是其二維空間藝術觀的延伸。“我的圖形注重極簡主義與簡約型風格，因此我希望也能設計出使用最少線條的傢俱。”她說。
Arihiro Miyake is another designer whose work displays this angular aesthetic. He designed the ballerina-inspired Coppélia suspended lamp for Moooi, with a crossed wire structure that acts as a base for dozens of LED lights.
三宅有洋(Arihiro Miyake)是另一位展示角度設計風格的設計師。他爲荷蘭傢俱品牌Moooi設計的Coppélia吊燈的靈感來自於芭蕾舞女，吊燈使用了交叉線條結構，幾十個線條的交叉點就是LED燈泡的安放位置。
Other examples of the trend include Swedish interior stylist Annaleena Leino’s minimalist geometric clothes rails that hang from the ceiling, and Portuguese brand Galula’s Pendura coat stand, a simple triangle designed to be propped against a wall.
緊隨上述潮流的還包括瑞典室內設計師Annaleena Leino與葡萄牙傢俱品牌Galula。前者創作了極簡主義風格、從天花板懸垂的幾何圖案掛衣杆；後者則推出了簡潔三角形狀、倚牆而靠的Pendura衣帽架。
“Triangles create almost a frame against the wall. We wanted something with lines that looked just as beautiful without coats hanging from it,” says co-designer Filipa Mendes.
“三角形衣帽架靠牆而放後，酷似一個框架。我們希望用線條打造出的東西外觀與沒掛衣帽時一樣美不勝收。”聯合設計師菲利帕門德斯(Filipa Mendes)說。
