好英语网米兰设计周关键词：色彩、工艺和自然
It’s not a stretch to call Milan Design Week the design world’s largest annual global event. The commercial anchor of the yearly fair is Salone Internazionale del Mobile — the trade show, held this year from Tuesday through Sunday at the Rho fairgrounds, where design lovers, curators and the industry’s key players convened to discover and unveil the latest product and furniture releases from around the world.
不夸张地说，米兰设计周是一年中最大的设计界全球活动。这个年度博览会的商业重头戏是国际家具展——今年的展会于6月7日至12日在罗镇露天市场举行，来自世界各地的设计爱好者、策展人和业内重要参与者聚集在一起，发现和推出最新的产品和家具。
Within the city, a sprawling network of related events, together known as Fuorisalone, results in a citywide takeover teeming with gallery and showroom exhibitions, pop-up installations, independent satellite fairs and Instagram-worthy brand activations.
在市区有遍布的一系列相关活动，统称为“场外沙龙”，整座城市被画廊和展销厅展览、快闪活动、独立卫星展会和适合上Instagram的品牌推广所占据。
AB Concept与Calico Wallpaper合作的“造景”系列采用了日本轻井泽的山景。
After a canceled 2020 edition and a somewhat lackluster 2021 “Supersalone” event last fall that was thrice postponed, this year the fair, which is usually held in April, marks Salone’s 60th edition, and a major return after COVID-19 roiled the industry’s calendar of fairs — not to mention the supply chain issues that soon followed.
经历了2020年的活动取消，以及去年秋天三次延期的2021“超级沙龙”的相对冷清，今年的展会——往年一般在4月举行——是家具展的第60届，标志着备受新冠疫情——当然还有随之而来的供应链问题——摧残的设计业博览会日程向回归正常迈出重要一步。
“This year is a restart with a lot of positivity and energy, and the joy of being together to experiment through design,” said Marva Griffin Wilshire, founder and curator of SaloneSatellite, the fair’s capsule program for new and emerging talent.
“今年是一次充满乐观情绪和活力的重启，能够在一起做设计的尝试，大家都很高兴，”卫星展创始人兼策展人玛瓦·格里芬·威尔希尔说，该展会是设计周面向业内新人推出的胶囊项目。
“This has felt a bit like a transitional year, though it hasn’t yet felt clear what direction that transition will lead to,” said Aric Chen, artistic director of Het Nieuwe Instituut in Rotterdam, the Netherlands, and former director of Design Miami. “It hasn’t felt like there’s been as much focus on ‘the new,’ in part because everyone’s been so focused on surviving.” He noted that this year’s Milan Design Week felt more grounded in critical discussion.
“给人感觉今年是过渡性的一年，不过过渡的方向暂时还不是很清楚，”荷兰鹿特丹新研究所艺术总监、前迈阿密设计展总监阿里克·陈说。“对‘新东西’的关注似乎没有那么多了，这一定程度上是因为大家现在都在操心生存的问题。”他注意到，今年的米兰设计周在批评讨论上显得更踏实一些。
“There is a palpable sense of sustainability and responsibility as normalcy,” said Paola Antonelli, senior curator of architecture and design at New York’s Museum of Modern Art, especially among young and emerging studios. “There’s much more discussion and also display alongside these objects — chairs, carpets and furniture — concerning their life cycle, which makes a gigantic difference. There are also installations and discussions about the role of design in society at large, without focusing on objects unnecessarily. But objects are now the Trojan horse for those topics, in a way they were not necessarily as much before.”
“明显感觉到可持续性和责任感成了一种常态，”纽约现代艺术博物馆建筑和设计高级策展人宝拉·安东内利说，尤其是那些年轻新锐工作室。“伴随这些物品——椅子、地毯和家具——有了更多关于生命周期的讨论以及展示，这可是一种巨大的变化。还有一些展览和讨论关心的是设计在社会中的角色，不见得一定是围绕物品的。现在物品成了这些话题的特洛伊木马，这在以前不是说没有，但没有现在这个程度。”
“Sustainability has been a consistent theme here,” said interior designer Kelly Wearstler, with many established studios and brands such as Hermès, Martino Gamper and Dimorestudio “re-imagining vintage works” or making use of reusable materials.
“可持续性在这里成了一个贯穿始终的主题，”室内设计师凯利·韦斯特勒说，许多大牌工作室和品牌，比如爱马仕、Martino Gamper和Dimorestudio，都在“重新构想古早作品”，或是利用可复用材料。
Although the only certainty of Milan Design Week is that one cannot possibly see it all within the week, many more people turned out this year than last, showing how much the fair had been missed. And as always, the key design take-aways made the effort worth it.
在米兰设计周上，唯一确定的是你不可能在一周里遍览一切，但今年吸引到的人比去年多了许多，可见很多人多么想念它。和往常一样，那些关键的设计心得让他们不虚此行。
‘Slow Design’
“慢设计”
Designers and brands, established and emerging alike, embraced the many faces of craftsmanship from across cultures.
无论是成熟的还是新兴的设计师和品牌都抓住了来自不同文化的工艺的多面性。
“I feel that every time there’s a big change in culture and technology, crafts and local means of production reemerge in a very important way,” Antonelli said, “a kind of slow design that is similar to the notion of slow food. We still have the means of production that are industrial, of course, but now we have, in a way, come to reevaluate and appreciate modes of making that are not necessarily industrial.”
“我觉得每次文化和技术发生重大变革时，手工艺和当地制造方式都会以非常重要的方式重新出现，”安东内利说，“一种类似于慢食运动概念的慢设计。当然，我们仍然拥有工业化的制造方式，但现在我们在某种程度上开始重新珍视和欣赏那些并非工业化的制造方式。”
Creature Comforts
“动物悟语”
A series of new seating pieces inspired by slumber was showcased by the Los Angeles upstart Otherside Objects, founded by Sam Klemick, a fashion designer who transitioned into woodworking and furniture at the onset of the pandemic. “I’m really obsessed with sleeping and dreams, and the fact that we spend so much of our lives dreaming without even understanding or being able to make sense of it,” she said. An oversize collection of seating, featuring tufted, duvet-like cushions and rounded conical legs continued a motif of her work, reminiscent of mushroom stalks and inspired by geometric topiaries from an iconic scene from the film “Last Year at Marienbad,” the classic 1961 French new wave film that unfolds in an elliptical, dreamlike state. Intimately aware of the fashion industry’s scale of waste, Klemick’s designs make use of salvaged wood and deadstock fabrics whenever possible.
洛杉矶设计新贵Otherside Objects展示了一系列以睡眠为灵感的坐具，该公司由时装设计师山姆·克莱米克创立，他在大流行开始时转向木工和家具。“我真的很沉迷于睡眠和梦，事实上我们一生中很大一部分时间都在做梦，但我们根本不理解或无法解释梦，”她说。这是一个超大坐具系列，配有被子一样的植绒靠垫和圆锥形椅腿，延续了她那让人联想到蘑菇茎的作品主题，其灵感来自于1961年经典法国新浪潮电影《去年在马里昂巴德》中的一个标志性场景——隐晦的、梦境般的开场。克莱米克深知时装产业的巨大浪费，他在设计中尽可能使用了回收的木材和滞销面料。
Eye Candy
秀色可餐
“Across the board, the use of color this year is really refreshing to see, where previously it was quite monochrome,” Wearstler said.
“总的来说，今年对颜色的使用确实令人耳目一新，之前是比较单调的，”韦斯特勒说。
For all the uncertainties of the past three years, the perennial trend of sleek geometric forms and colorful palettes has been a mainstay for the social media era. It’s an aesthetic that equally pleases the eye and translates well to the screen.
尽管过去三年充满不确定性，但在社交媒体时代，流畅的几何形状和多彩配色的长期趋势一直是中流砥柱。这种美学既赏心悦目，在屏幕上的效果也很好。
The Great Indoors
室内大自然
The mere sight of plants is said to foster a sense of calm. After pandemic lockdowns that sent many spending months in isolation at home, designers embraced the serenity and escapism of pastoral settings and landscapes. With motifs ranging from waterways to botanical paintings and forested landscapes, several designers shared collections that offered aestheticized takes on biophilia.
据说单纯只是看到植物就能带来一种平静的感觉。在大流行的封锁导致许多人在家里隔离了几个月之后，设计师们欣然拥抱了田园环境和风景的宁静与出世。通过从水道到植物画和森林景观的各种主题，多位设计师在作品中对亲生物性做出了美学阐释。
Calico Wallpaper has centered many of its designs around abstracted nature scenes, including sunsets, moonscapes and flowers. For the company’s latest release, Tableau, a collaboration with the interior design and architecture studio AB Concept, the team looked outside for inspiration. Conifer-dotted, alpine mountain ranges in a range of eight painterly metallic colorways are based on photographs that AB Concept’s founder, Ed Ng, took from his home in Karuizawa, Japan.
Calico Wallpaper的许多设计都围绕着抽象的自然场景，包括日落、月色和鲜花。团队到户外寻找灵感，与室内设计和建筑工作室AB Concept合作发布了“造景”系列。以八种油画质感金属色系呈现的针叶树点缀的山峦，是根据AB Concept创始人伍仲匡在日本轻井泽家中拍摄的照片制作的。
“We had just moved from the city to upstate New York during the pandemic, and like Eddie, we now live in a mountain house that’s completely surrounded by beautiful forests,” said Rachel Cope, creative director and co-founder of Calico Wallpaper. “This idea of bringing the outside inside is something we’ve always done at Calico, but because of the pandemic, we’re even more focused on bringing in these immersive landscapes that can transport us to another place and time.”
“在大流行期间，我们刚刚从城市搬到了纽约州北部，和艾迪（伍仲匡的英文名。——译注）一样，我们现在住在一座完全被美丽森林包围的山间小屋里，”Calico Wallpaper的创意总监兼联合创始人雷切尔·科普说。“这种将外部带入内部的想法是我们在Calico一直在做的事情，但由于大流行，我们更加专注于引入这些可以将我们带到另一个时空的沉浸式景观。”