卢志荣:鼓励可持续的经典设计


      卢志荣,2015「世界杰出华人设计师」得奖人,其丰富创作涵盖了建筑、雕塑、室内与家具设计等领域,因为有着与名家具展有着同样的愿景,2019年再度担任家具产业大奖——金羿奖评委会主席。

2019金羿奖

名家具展组委会携手卢志荣

探究设计的本质

孕育中国可持续发展的健康家居文化

共同推动中国原创设计发展

Chi Wing Lo 卢志荣

2019金羿奖评委 建筑师 设计师 雕塑家

DIMENSIONE CHI WING LO Italia 

及 1ness「一方」品牌创始人

      日前,名家具展组委会新闻部采访了卢志荣老师。采访中,卢志荣畅谈了设计如何落地、国际家居设计趋势、金羿奖如何推动原创设计发展等话题,并亲自挑选了部分室内设计、家具、物品与艺术品的作品呈现给大家,表达他对设计世界以外的期望。

「一方」在曼谷的AURA展

以下是卢志荣老师采访实录:

 

   Q

继2017金羿奖之后,您再度担任2019金羿奖评委会主席一职,您缘何选择再度与国际名家具展(东莞)合作,助力2019金羿奖?

The reasons why you chose to be in the chair of the 2019 Golden Wing Award? The reasons of collaborating with International Famous Furniture Fair (Dongguan) and Golden Wing Award?

      卢:与中国设计行业交流使我学习收获良多,能够参与像金羿奖这样的奖项评委会工作,让我更深入了解设计师的思维和创作历程,对他们在创作过程中不断遇到的问题有更深刻的认识。能够有机会为鼓舞人心的作品评奖,对我来说可谓感恩的经验。非常荣幸能够担任2017年金羿奖评奖主席,并能再次参与到2019金羿奖的工作中来,和名家具展怀着同样的愿景帮助东莞乃至全国培育持续性发展的设计文化。

      Answer: There is a lot to learn from to be in touch with the work from the design world in China. Being in the jury committee for an award program, such as The Golden Wing Award, this would allow me to have a better insight into the thinking and working process of designers, as well as the problems they face constantly. By having the chance to reward those who have contributed inspirationally, it is more than a gratifying experience for me. It was an honor in 2017 and it will be more so this year, to be able to work with the International Famous Furniture Fair again and to further our shared vision of helping to foster a lasting design culture in Dongguan and beyond.

    

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Q

您认为中国家居行业需要什么样的奖项来推动设计的发展?您对金羿奖推动中国家居设计发展有什么期望?金羿将能够对推动家居设计起到什么样的作用?今年您期待看到什么样的作品出现?

From your opinion, what kind of award is needed for encouraging the development of design in Chinese home furnishing industry? What is your expectation from the Golden Wing Award? What function does Golden Wing Award perform in pushing the design of home furnishing? What kind of design works would you look forward to seeing?

      卢:我们意识到现在中国设计行业被授予很多的奖项,每一个都有自身的目的和所强调的重点。我认为应该鼓励那些真正可持续的经典设计,而不单只强调耐用性,设计需要有丰富而强大的想象与永恒的视角,是能够穿透不断变化的潮流,是能够成为现在与未来生活的重要部分。我怀着乐观的态度去找寻那些通过概念、独创性、工艺精湛、永恒和真正触动我的作品。金羿奖有着明确的评奖机制与指导方针,能够为优秀的设计、制定行业标准,进而点燃创作与工艺的发展热情。

      Answer: We are aware of the fact that today there are many awards given to the design field in China, each has its own goal and emphasis. I feel there is a need to encourage design that really lasts, not just in terms of durability, but in it, a generous mind and vision that perpetuate, piercing through the changing trend, and becomes very much a part of our life for now and for many many years to come.  I am optimistic, I will look out, searching for those works that will touch me, by their conception, ingenuity, craftsmanship and timelessness. With clear program and guidelines, the Golden Wing Award will be able to set a standard of excellence in design and manufacturing, and this will in turn ignite greater passion for creativity and craftsmanship.

    

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石上生花 -9B 

    

端溪观石 -4

Q

您认为国际家居行业未来的发展趋势是什么? 这样的趋势下,国内家居行业应对此作出哪些调整和应对?中国家居设计应该如何跟世界接轨?

What is your opinion about the trend of the international home furnishing in the future? How can Chinese industry adjust it? How can Chinese design connect with global market?

      卢:说到趋势,在某种程度上我们说的是现代社会的内在弱点。大家都渴望知道接下来的趋势是什么,大家都好像不能满足于现在拥有的东西。我对这样的现象表示同情,或许大家一直设计和制造得太快,处于要求迅速获利的压力环境中,导致创意平庸、粗制滥造、掉以轻心,过去几十年里,我们的创作有多少能够在时代的洪流中存活?设计应该勇于抵抗这样的趋势,设计最重要的是保持其核心价值,首要任务是缔造美好生活。设计就像音乐,是国际的语言。当中国的设计能够面向全球,就是文化界限消失之时,设计将不再只是设计它本身,而成为世界共同价值和愿景的体现。

      Answer: Speaking of trend, we are, in a way, speaking of an inherent weakness of the contemporary society. It has been a society rather thirsty for what will be next, as though we could never be happy with what we have. I am compassionate about this phenomenon. For perhaps what we had designed and made might have been too fast, under the pressure for a quick profit, their idea too banal, their making too fragile, the attitude too careless… that not many of we had designed and made over the last few decades could survive beyond a flash of time? Design should be able to renounce this trend, and maintains itself as an autonomous discipline whose paramount concern is for the betterment of life and living. Design is like music, it is an international language. When Chinese designs are able to address to a global audience, it is also a day when cultural boundaries dissolve, design ceases to be design itself, but an embodiment of a common value and aspiration shared by all.

    

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 小石大爱 - 01

Q

在中国,很多好的设计可能转化不了品牌效应,从设计落地到产业仍存在一定的困难,您觉得这些困难主要是因为什么原因?应该如何解决?作为全球知名品牌,贵公司是如何解决从设计作品到转化成产能及销售的问题的?

There is a problem in China that good designs have not been successfully helping or integrating with the development of manufacturing. What are the causes of this problem? How to solve it? As an Italian brand, how does your company deal with this problem?

      卢:我在欧洲的设计和工作经历中,设计和制作一直被认为是不可分割的。解决创意与落地的矛盾是每一天都会遇到的挑战。这也是为什么我的设计定型很少离开工坊的原因。测试概念,优化细节,确定正确的技术方法,选择适合的材料,以上种种都是我的创作灵感来源。我不能想象设计离开与工匠紧密交流的情况。也许在中国存在设计与制作对接不紧密的问题,设计师将更多的时间花在了电脑前,生产者将精力放在建立固有的生产线上,而所有和这些事情背离的环节,像打样、小批量生产,都被生产者视为干扰。但是我希望在现今逐步走向重质不重量的竞争环境中,生产者与设计者可以一起开拓新的天地。设计与生产均能贡献所长,为设计理想与制作工艺的和谐发展注入新的动力。

      Answer: Design and making are always considered as one inseparable process of creation in my experience working in Europe. To overcome the incompatibility between an idea and its realization is an everyday challenge. This explains why my designs seldom take their shape outside a workshop. Testing an idea, refining a detail, developing the right technique, selecting the suitable material… among others, are the very sources of inspiration for me. I could not image what design would be like without this process of working closely with craftsmen. Perhaps this connection between designer and manufacturer has been lacking in China, due to, perhaps, designers are spending most of the time dreaming in front of computers, while manufacturers are focusing more on established production lines, and it is fully understood that any deviation from such set up, like making a prototype or a small quantity production, is seen as an absolute nuisance. I am, however, hopeful that, with the changing horizon of the manufacturing landscape in the coming years due to greater competitiveness in quality rather than quantity, manufacturers and designers will come together to open up new possibilities and frontiers, each side bringing in the expertise to develop products that infuse harmoniously both the ideology of design and the technology of making.

    

银檀鸳鸯与砚石系列

    

卢志荣的金羿奖奖杯草稿

Q

作为一位出色的建筑师、雕塑家、设计师,您国际化、多样化的生活经历是否带给了您不一样的灵感?您对中国的年轻设计师有什么寄望?

As an outstanding architect, sculptor and designer, are you inspired by the unique and diverse living and working experience you have internationally? What are your expectations from young Chinese designers?

      卢:我很幸运能够有时间和空间去学习、吸收、消化,并在创造过程中将这些经历升华。在西方生活,并最终融入另一种文化,极大地拓宽了我的视野,磨练出我的对生活的洞悉、愿景、领略到生存的意义,认识到个人如何与世界的联系。我希望所有重视设计的人都能够走出去,真正的看看,不再停留在旅游的层面,去真正认识人类如何生活、如何征服、如何被打败、如何克服种种的难题。认识梦想与希望、困难与绝望;这都会在我们的脑海中出现清晰的画面,不管我们对此肩负责任,还是无奈的逃离,我们的设计灵感终能孕育于这肥沃而坚实的土地之上。

      I have been fortunate, having the time and room to learn, to observe, to digest, and to transcend these experiences positively through creativity. Living with, and finally accustomed to, another culture in the West have surely widened my perspective and sharpened my insight about life, aspiration, meaning of existence, and how one individual could relate to this world. I wish all of us who have taken design seriously could just go out and see, really seeing, not touring, how humanity has lived, conquered, defeated and eventually prevailed, what are the hopes and dreams, the difficulties and despairs… These will help to paint a real picture onto our mind, whether we should respond to these with a sense of duty or we should retreat ourselves from them with a sense of escapism, we have, at least, even once, planted ourselves in a context that is fertile, solid, and is our own.

    

日月相依 铜镜3

 

设计情怀    拳拳之心

以下是卢志荣老师打造的一个住所空间案例,给您带来心灵的对话。

    

 

 

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