| 倫敦到位-安積伸的設計旅程 ◎ Shin Azumi 安機伸 |
 |
| 節目頻道 - 設計新生活 | ||||
| 週三, 12 十二月 2007 08:00 | ||||
Shin Azumi (安積伸) 安積伸，1965年出生於日本神戶，1989年日本京都市立藝術大學畢業(BA)，1994年於英國皇家藝術學院(Royal College of Art)完成工業設計學位(MA)，於2005年正式成立其設計公司 “AZUMI”，並將辦公室設置在英國倫敦。作品以傢俱設計為主，含括空間裝置與動線設計，屢次獲得國際大獎與設計大賞的青睞，其作品已收藏至英國及歐洲等地博物館，如英國Victoria & Albert Museum, Design Museum, British Council, 德國Vitra Design Museum. 荷蘭的Stedelijk Museum以及英國Crafts Council、德國 Die Neue Sammlung 等博物館則長期與他合作開發新作品。 ◎可以談談日本和倫敦兩地，給你的文化刺激嗎？ Azumi：日本─講求細節、敏銳度、細膩、季節性、實體性、做事的態度。 倫敦─藝術與文化、理性的、自由、獨立自主。 Based on Japan and London, could you tell us the inspiration from two cultures? Japan –Detail, Sensitivity, Subtlety, Seasonality, Materiality, Behavior, London – Art & Culture, Logic, Freedom, Independence {smoothgallery timed=true} ◎當你在做空間設計的時候，最關鍵的考量因素為何？可以舉些例子嗎？ Azumi：不僅僅是在空間設計，對我來說，最關鍵的是抓住妳心中想表現的想法，針對每一個設計案，企圖呈現的特質。能夠理解此，才能找到設計價值。 When you design a space, what’s your most important consideration? Could you give us some examples? It is not only for designing a space, but what is important for me is to extract and distillate the most important factor I want to express with the project. ◎最近，你也參參加了倫敦V&A博物館的當代藝術展 ‘Collect’，可以談談這方面的創作嗎？ Azumi：對於這次的展覽，可以說是完全實踐自己內心想法的一次實驗。 這感覺很棒，第一次我可以不去理會他人想法，或者說參考其他人的意見，恣意的放手去設計我要的作品。我這個人，一旦認真起來，就會把之前的想法落實在具體面上，而且要比以前做得更徹底。 Recently, you also participated in ‘Collect’ of the International Art Fair for contemporary objects (V&A, London), could you share the experience about this? I exhibited a self initiated piece for the exhibition.It is very good to realize what I believe without being interfered by any other people. Once I realize it, I start to understand what I wanted and what I should do more clearly than before.  ◎你是如何看待「設計」與「藝術」這兩個面向？會想模糊或者說融合這兩個領域嗎？Azumi：對我來說，設計是藝術的一環。設計，它是關於日常生活的藝術形式之一。工業設計裡，日常生活的應用就是最重要的核心，好比去買一件日用品，你會想放在家裡，使用很長一段時間，你和這個物件彼此的互動，就是生活的一部份，你甚至會樂在其中，直到使用完畢為止。所以，持久與耐用性是非常重要的，這也是我在設計作品的時候，極為重要的考量。 How do you look at design and art? Will you try to blur or combine the two areas? For me, design is a part of art. Design is an art form which is related to our daily life. Relation with our daily life is the strongest advantage of product design. If you buy an object you like, you will keep it and spend a long time with it in your house. You will interact with the object, and it can be a part of your life. You will enjoy it until the end of the life of the product. This duration is very important. Therefore, I always try to make something last longer. ◎這幾年來，你設計了許多傢俱產品，在這個領域中，你最新的發現和感想為何？ Azumi：去倫敦之前，我對「傢俱設計」並不是很了解，以前在日本，我房間裡面根本沒有椅子！正常來說，日本人都是坐在地板上。所以，搬到倫敦後，我才對傢俱開始有了想法也發現到它的重要性。當我設計傢俱的時候，都是用一個外國人的眼光去思考，因此靈感也就由此而生囉。 Over the past years, you have designed many furniture works, what’s new exploration in this field? Furniture is the area which I was not familiar with before I moved to London. When I was living in Tokyo, I did not have any chair in my room. As in a normal Japanese way, I was sitting on the floor. After I moved to London, I started to be aware of the importance of furniture. When I design furniture, I always try to look at it with a view of non-native furniture user. It often gives me a fresh idea.  ◎‘Music Tube’(音樂地下道)，它反映都會生活和摩登風格，這是你對日本城市的美感表現嗎？Azumi：是的，它是對當代日本城市生活的一個寫照。在這個空間裡，我想注入一些概念，包括光亮、清晰、鮮明、敏感、以及短暫的存在。 Like ‘Music Tube’ in Japan, it reflects urban city life and modern style; does it represent your aesthetic view for Japan city? Yes, it is my interpretation of contemporary Japanese urban life. I tried to evoke the lightness, sharpness, brightness, and sensitive and ephemeral existence within the space. ◎對你來說，何謂「美」？ Azumi：能夠挑起我快樂感覺的東西就是美！ For you, what is the definition of beauty? Something which provokes me with happiness. ◎日常生活中，什麼事情可以讓你感覺很好？ Azumi：只要是正常的生理需求活動，都可以讓我一天的生活維持的相當不錯。我希望保持很好的生活品質，但這不是說我要過的多麼奢華，相反的，我相信只要每天都維持著日常生活的良好品質，即便是小小的事情，都可以讓工作有更好的效率與成果。特別是，我盡量避免垃圾食物，每天必須攝取的健康營養的食物為主。 Which moment or what things could make you feel better in daily life? All of my fundamental daily activity as a human being makes me feel better. I try to keep the quality of my fundamental daily activity. It does not mean I am spending gorgeous life. However, I believe small effort to keep the fundamental quality of my life is making a good effect on my work, too. Especially, I try to eat decent food whenever possible, and I try to avoid junk food. ◎關於 ‘Misty Lounge’ (迷濛酒吧) 的裝置與設計，請問你的靈感源於何處？ Azumi：這是2000年的作品，在此之前，我們設計一系列的 ‘Wire Frame’傢俱(椅子與凳子組)，在此基礎上有了視覺上的靈感，進而刺激我其他的想法；裝置的設計可以看到好幾的面向，因為椅子本身的線條可以看到結構面，但是在光影投射下，產生了「雲紋稠」的景象。(一種波紋的絲綢) 我試著用2500條彈力索作出最大的光學效果，在空間中，你可以看見兩座燈，一座燈非常明亮的照著，讓視覺上有了雲紋稠的波狀效果，另一座則是位於整個空間的後方，產生的暗影的效果。這兩種光的集合，塑造出神祕的色彩。  Installation in a space, such as ‘Misty Lounge’, how did you get the idea to design it? ‘Misty Lounge’ is a work in 2000. Before this project, we were creating a series of ‘Wire Frame’ furniture. The visual illusion of wire frame gave me an inspiration. It expressed different visual images depending on the viewing angles. The wire mesh has ‘see though’ quality as its nature, but it is opaque when the lines are overlapped. It was also creating a strong moiré effect. I tried to maximize the optical illusion with 2500 bungee cords together with the wire frame furniture. I set two lighting conditions in the room. One was very bright and the illuminated bungee cords were creating misty effect with the moiré of the lines. It was very difficult to see through the space as if it was filled with mist. The other was dark but I installed one point light on the bottom of the room. It was a dark room, but we could see through the room and all the wire frame furniture was standing out as shadow. I wanted to create the magic of lighting effect. ◎可以簡單敘述自己的個性或特質嗎？ Azumi：英語系的日本人 Could you describe your personality in some words? Anglo Nipponico ◎可以談談你最喜愛書和欣賞的人嗎？ Azumi：我喜歡看的書，是關藝術家或創意人談論自己內心想法和創作理念，或者是對世界的看法等等，特別是我一次又一次閱讀詩人谷川俊太郎 (Shuntaro Tanikawa)，和動畫導演宮崎駿(Hayao Miyazaki)的作品。 What is your favorite book and appreciated people? I like to read books by my favorite artists (or creators) describing about themselves - about their work, what they think about the phenomena of our world. Particularly, I read again and again the essays by Shuntaro Tanikawa (a poet) and Hayao Miyazaki (an animation director). 更多精采內容盡在dpi第96期！ 檔案編號4908
|
