紙正成爲古董，紙也重煥新生
Objects made from paper, or inspired by it, are being elevated to artistic heights. Whether crinkled or cut out, print's age-old medium is a materiAl of Modern design.
用紙或以紙爲靈感做出的物品正被提升到藝術高度。不管是弄皺還是剪切，印刷業的古老介質變成了現代設計的材料。Unbound and uninked, plain paper abandons its age-old purpose. Mattias Lind, an architect, recently used the material to build the livable, life-size "Chameleon Cabin" (top center left). Blank sheets have also become calls to arms, with the self-described "paper engineer" Benja Harney's "Axis Mundi" (bottom right) made in support of Australia's Climate Council, and Catherine Winkler Rayroud's intricately scissored paper bra (far right center) titled "Women's Liberation? What Liberation??" Once upon a time, Hans Christian Andersen told a tangible fairy tale in cutouts (bottom center left) and Shimon Zimel portrayed Jewish ceremonial art (top right) through carving parchment in the 19th century. More recently, to emboss the Berlin Palace on a much smaller scale, the contemporary artist Simon Schubert folded, folded and folded again (top center right). References to paper are making their way into fashion design: at Dior's spring couture show in the form of cut-out silk (center) and in Gareth Pugh's notecard-style pieces (top far left). Exhausted by the possibilities? Have a seat in Ryuji Nakamura's Hechima 4 paper chair (bottom far left).
沒有裝訂，也沒有墨跡，白紙失去了它古老的目的。建築師馬蒂亞斯·利德(Mattias Lind)前不久用紙做了一個可以居住的、實物大小的“變色龍小屋”（左上）。白紙還變成了一種宣傳武器：自稱“紙張工程師”的貝尼亞·哈尼(Benja Harney)在澳大利亞氣候委員會的支持下用白紙做了“宇宙之軸”（右下），凱瑟琳·溫克勒·雷魯德(Catherine Winkler Rayroud)複雜的剪紙文胸（中排最右）名爲“女性解放？什麼解放？”很久以前，漢斯·克里斯蒂安·安徒生(Hans Christian Andersen)用剪紙描繪了一個可以觸摸的童話故事（左下），希蒙·澤美爾(Shimon Zimel)用19世紀的羊皮紙雕刻術描繪了猶太教的儀式藝術（右上）。當代藝術家西蒙·舒伯特(Simon Schubert)把紙反覆摺疊，做出了柏林宮微縮浮雕（上排中右）。紙張也用到了時裝設計上：迪奧(Dior)春季高級定製時裝秀上的剪紙狀絲綢裙（中），加勒斯·普(Gareth Pugh)記事卡風格的衣服（中部最左邊）。沒有別的可能了吧？還有——中村竜治的絲瓜4(Hechima 4)紙椅（下排最左）。
Both dyed pretty colors and in its natural earthy brown, paper inspires seating design like pastel bamboo-paper chairs by Zhang, Christoph, Jovana for Pinwu (bottom right) and a wildly contorted sofa from Molo (bottom center). Similarly, Pennapa Shotlersuk's eco-friendly shopper (bottom left) carries an air of sustainable chic. Of course, paper will always have its raison d'être: to bear the wisdom of the world, here rendered as art in Candida H?fer's image of the beautifully spined stacks inside the Girolamini Library in Naples (top right). But rooms without books can speak volumes, as the papier-maché gilding on the walls of the 18th-century Ludwigslust Palace shows (top left). Recently, the artist Gundula Weber used a comparable decorative technique to create animal heads (top center).
紙張上染着的漂亮顏色和它的天然土黃色啓發了座椅設計的靈感，比如張、克里斯托夫(Christoph)和約瓦娜(Jovana)設計的色彩柔和的品物牌竹紙椅（右下）和非常扭曲的Molo牌沙發（中下）。同樣地，潘納帕·肖特勒薩克(Pennapa Shotlersuk)設計的環保購物袋（左下）具有可持續發展的時尚氣息。當然，紙總有它存在的理由：承載世界的智慧，這裏展示的是坎迪達·霍弗(Candida H?fer)拍攝的那不勒斯吉倫拉米尼圖書館的書庫，裏面的圖書有着漂亮的書脊（右上）。但是沒有書的房間也可以意味深遠，比如18世紀路德維格斯盧斯特宮牆壁上的混凝紙漿裝飾（左上）。最近，藝術家貢杜拉·韋伯(Gundula Weber)用類似的裝飾技巧創作動物的頭（上中）。
For some artists, bound books are the medium, as in Stephen Doyle's geometric sculpture (top left) and Su Blackwell's whimsical one (bottom center). Eric Boman captures pop-out playfulness in his upcoming book about a 19th-century paper dollhouse (middle right). Riffing on paper petals of grand proportions are the Dutch artist Peter Gentenaar's billowing installations (top center), Alexander McQueen's archival designs (center left) and Kelly Murray's dress made of a phone book (bottom right). Christopher Kane's origami looks for fall (bottom left) and Sindre Bjerkli's layered paper tables (top far right) showcase the many possibilities of the humble material.
對有些藝術家來說，精裝書是載體，比如在斯蒂芬·道爾(Stephen Doyle)的幾何圖形雕塑（左上）和蘇·布萊克威爾(Su Blackwell)異想天開的作品（中下）中。埃裏克·伯曼(Eric Boman)在他即將出版的關於19世紀紙質玩偶屋的書中充分表達了彈出式玩具的樂趣（中右）。用超大比例的紙質花瓣做文章的包括荷蘭藝術家彼得·根特納爾(Peter Gentenaar)波浪般起伏的裝置作品（上中）、亞歷山大·麥昆(Alexander McQueen)的經典設計（中左）和凱利·默裏(Kelly Murray)用電話薄做成的連衣裙（右下）。克里斯托弗·凱恩(Christopher Kane)的秋季摺紙造型（左下）和辛勒·別克利(Sindre Bjerkli)的多層紙桌（上排最右）展示出這種平凡材料的諸多可能性。
