當代織品(以工業量產來說) 不論家飾或服裝面料的產品公司裡，其中之一，我最喜歡 kvadrat，這是一家來自丹麥的製造商(1960年)，卻完全看不出"廠"的地位..當然稍為台式的說法 "代工"思維，今天一早被他們合作過的設計師 Ronan & Erwan Bouroullec / Glithero 的其中兩件作品給深深吸引，kvadrat的商品常常與當代傑出的藝術家(跨領域的)合作，有著創意創新但卻又願意與古典藝術相容的氣度，提供了新穎的織品設計(不管材料上或昰思維革新上)，我總是一次次的被著迷然後在世俗的視野裡的點醒，美其名感動，心頭又是感慨。在本質上，歐洲對於工廠的經營思維來自於傳統工藝的延伸，彷彿量產的粗劣快速製造不曾出現過在他們的想法裡頭過。這和我們台灣截然不同，當然(我不知道現在要定義已開發國家還昰開發中國家...) 所有很許多經濟面或政治的狗屁裡由可以回答這層面的問題，好吧 暫時別當憤青。
首先，Kvadrat的CEO Anders Byriel 對於這些合作的看法說: 這些作品提示了我們一種激發作用，每一件合作代領我們到新的地方，然而是我們無法預料的地方，他們(設計師/藝術家們)提供一些對於空間與環境的不同性的看法。‘These collaborations act as an important stimulus. Each of these projects take us somewhere new and somewhere we would never have expected. They make us think a little differently about space and our environments’.
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| index 的頁面很美, 簡單鬆軟的筆跡寫下" textile field" |
我想記錄下兩個今天吸引我的作品，其中之一「Textile Field」在2011年於倫敦藝術節，在V&A 的 Raphael Gallery 有場"戲劇性"古典藝術與當代設計的合作， 由 法國設計師 Ronan & Erwan Bouroullec 這件作品巧妙地 提供了觀眾從徹底不同角度觀看這些文藝復興時期的畫作，對其中最重要的展示方式，從目的上的(人體與環境的互動方式不同) 帶來不同氣氛與情緒環繞於博物館展區。看著這段影片 很讓我感動這樣的交融昰種文化意識及觀念上新的結合，既像展品(設計上的視覺美感) 又像實用工業家具(臥坐方式)，從這段記錄過程中感受到，他們完全把"製造"這件事情用工藝的觀感去記錄它，這過程中 最讓我感動的是穿插一幕幕古典畫作裡那肖像裡的眼神與靜態和這些工程人員的"互動"，這是種錯覺的震撼，也是種"戲劇性"的手法在這樣的場域(博物館裡頭)。此外，我被英國文化裡那種對於傳統與現代的秩序上的衝突感的大膽創作方式屈服了，我總覺得在一個歷史文物中，尤其是"國家性"的博物館中，除非特別展一個新的當代創作，這昰一種透過商業與藝術的結合於一個古典的展廳之中一個很美的新詮釋。它在一種狂妄的方式中對比了 我們心中不可冒犯的至上的文藝復興藝術。
在Bouroullec參與作品之前，V&A的拉斐爾畫廊，闊大的展廳之中 家具的特許權僅最小的4角的長椅被限制在沿中心線的地方，只能作稍微歇息用。然而在倫敦設計節期間，將採取大的600平方米的馬賽克地板，“Textile Field" 的軟性雕塑平台長30米，寬8米。本質上是一個巨大的"床"，輕輕地緩斜面一個中央深溝，提供一個舒適的角度觀賞巨大繪畫掛在任何一方。在微妙的漸變條紋的灰色，藍色和綠色的軟墊，效果有點像朦朧的風景的石板錯置在這藝術館內。
Prior to the Bouroullec’s intervention, the concession to furniture in the V&A’s Raphael gallery was minimal: four angular benches marooned along the centre line of the colossal court offered stiff respite. For a few days during the London Design Festival, much of the 600 sq meter mosaic floor will be taken up by ‘Textile Field,’ a softly sculpted platform 30 meters long and 8 meters wide. Essentially a giant bed that inclines gently towards a wide central gulley, providing a comfortable angle to view the huge cartoons hanging on either side of the room. Upholstered in subtly gradated stripes of greys, blues and greens, the effect is a bit like introducing a slab of hazy landscape into the museum.
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| " Textile Field was on display at the V&A Museum during the London Design Festival 2011. |
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| Textile Field,’ a softly sculpted platform 30 meters long and 8 meters wide. |
表面上看來 Bouroullecs 似乎在拉斐爾畫廊簡單的放置一個臨時的"觀景平台"，但它的影響可能更為深遠。其基本主題是我們對藝術的關係，以及當代形式的家具是否可能會幫助建立一個跨越世紀的橋樑，以二十一世紀的角度來看，我們如何去思考當代與歷史之間 : 這樣被認為是最偉大的文藝復興時期的藝術作品。
On the surface the Bouroullecs are simply installing a temporary viewing platform in the Raphael Gallery, but it’s implications may be more far reaching. Their underlying subject is our relationship to art, and whether more contemporary forms of furniture might help build a bridge across the centuries, bringing a 21st century perspective to how we engage with a historic work that is considered among the greatest works of Renaissance art in Britain, but arguably has been slightly sidelined by declining interest in Raphael since the zenith of his reputation in the 18th and 19th centuries.
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| Ronan Bouroullec describes the atmosphere they envisage as "lascivious reverie" The Bouroullecs thought that an interesting way to create a project for this place was to explore how people interact with the works of art on display. The challenge was to think about it as though it were an interiors project: if it’s comfortable and if it makes users feel at ease, even psychologically. |
Bouroullecs創作了一個典型的開放式，感性的空間是，為使用者提供的想像力：營造觀眾一種自我一個廣闊的場域。該工作室的模擬站立和行走人於彈性的布料墊面上，常在博物館見倦單獨和群體怠時斜倚著。人們將如何反應，還有待觀察，但遊客將襪子和鞋包脫掉，也許是巧妙地鼓勵放棄傳統博物館的觀看方式。Bouroullec 描述當時預想的氣氛為“淫蕩的遐想，更感性的經驗，一點的被感動且更加開放去想像”。
Textile Field is typical of the Bouroullecs in that it is playful and open ended, a sensual space for the user’s imagination: quite literally a vast field for museum visitors to make their own. The Studio’s mock-ups show figures standing and walking on the springy surface, reclining singly and in groups with a languor not usually seen in museums. It remains to be seen how people will react, but visitors will be given socks and shoe bags and perhaps subtly encouraged to discard conventional museum behaviour along with their footwear. Ronan Bouroullec describes the atmosphere they envisage as ‘lascivious reverie, a more sensual experience in which you are a little bit more open to be touched, to dream’.
顏色昰在這個作品中另一個重要的層面，這件作品為 拉斐爾畫廊帶來了完全不同的色彩體驗。它是由13深淺色調的Kvadrat 的 Hallingdal 布料，安排在帶灰色，綠藍色、藍色、藍綠色、蔬綠色融合在整個30米長度中。有如微光的薄霧，讓人聯想到脫俗的藍綠色自然景觀徘徊在文藝復興時期的繪畫的之間距離。這是一個微妙的技巧，將當代設計與牆上的繪畫的巧妙地連結，如同景觀特色多或少 闖入了拉斐爾展館的框架裡，還有什麼比趴臥在偉大的藝術中包圍著 這般美妙的了 ?
Colour is another important aspect of the Bouroullecs’ work, and Textile Field brings a totally different colour experience to the Raphael Gallery. It is composed of 13 shades of Kvadrat’s Hallingdal fabric; arranged in bands of greys, green blues, blues, blue greens and greens that blend across the 30-meter stretch. The luminous haze is reminiscent of the otherworldly blue green landscapes that hover in the distance in Renaissance paintings. It is a delicate trick that subtly connects the contemporary interloper to the renaissance works on the walls, as landscapes feature more or less prominently in all of the Raphael Cartoons. And what could be nicer than lying in a field surrounded by great art?
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