三位雄心勃勃的建筑師，他們?cè)诋a(chǎn)品設(shè)計(jì)上發(fā)揮了自己的才能

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從本質(zhì)上講，建筑師是注重細(xì)節(jié)的人。他們被教導(dǎo)要考慮設(shè)計(jì)的每一個(gè)細(xì)節(jié)，在他們做出的每個(gè)決定中找到目的，并在他們創(chuàng)建的整個(gè)環(huán)境中實(shí)現(xiàn)無縫功能。正如 Mies van der Rohe 半個(gè)多世紀(jì)前所說的那樣，“上帝在細(xì)節(jié)中”，這句格言在今天仍然適用。當(dāng)代建筑師對(duì)建筑的每一平方米進(jìn)行設(shè)計(jì)、建模和渲染，深入了解每一層功能和美學(xué)，確保形狀、形式和結(jié)構(gòu)相得益彰。

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建筑師和建筑之間的關(guān)系深深地交織在一起。通常，一個(gè)在設(shè)計(jì)和配置上反映另一個(gè)。設(shè)計(jì)師的價(jià)值觀和信念經(jīng)常在結(jié)構(gòu)的細(xì)微差別中變得明顯，在他們的作品中表現(xiàn)為一種可識(shí)別的風(fēng)格。在具有強(qiáng)烈個(gè)性的建筑中，填充空間可能具有挑戰(zhàn)性，并且可能需要獨(dú)特的產(chǎn)品來保持設(shè)計(jì)的獨(dú)特性。多年來，為了支持他們的愿景，許多建筑師已經(jīng)將雙手轉(zhuǎn)向產(chǎn)品設(shè)計(jì)的實(shí)踐；在這樣做的過程中，他們創(chuàng)造了一些世界上最具標(biāo)志性和廣為人知的家具作品。以下是我們的最愛。

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麗娜·博·巴迪

Lina Bo Bardi 是一位出生于意大利的設(shè)計(jì)師，以改變她收養(yǎng)的故鄉(xiāng)巴西的景觀而聞名。她創(chuàng)新和大膽的建筑融合了現(xiàn)代主義和民粹主義，使她能夠創(chuàng)造出該國(guó)一些最知名的建筑。在她的時(shí)代之前，Bo Bardi 的作品以可持續(xù)和保護(hù)自然的設(shè)計(jì)理念為中心。

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她的圣保羅藝術(shù)博物館受到野獸派美學(xué)的影響。一座混凝土和玻璃塊由紅色的“腿”支撐，博物館懸掛在一個(gè)大型的、有遮蔽的公共廣場(chǎng)之上，反映了 Bo Bardi 將人類需求置于其設(shè)計(jì)中心的愿望。在內(nèi)部，她發(fā)明了玻璃展示架，讓游客可以從各個(gè)角度觀看藝術(shù)品。

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1941 年，她被任命為 Quaderni di Domus 的編輯，這讓她接觸到了工業(yè)設(shè)計(jì)和工藝的復(fù)雜性。在此期間，她發(fā)展了她的家具設(shè)計(jì)實(shí)踐。Tres Pés 扶手椅被認(rèn)為是最早通過家具對(duì)巴西文化的詮釋之一。使用掛在管狀金屬框架之間的織物和皮革將她的現(xiàn)代主義理想與巴西土著人民的傳統(tǒng)相結(jié)合。

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菲利普·斯塔克

作為全球超級(jí)巨星和 10,000 多種產(chǎn)品的創(chuàng)造者，迄今為止，出生于法國(guó)的 Philippe Starck 的設(shè)計(jì)組合是卓越的。作為航空工程師 Starck 的孩子，他的血管里流淌著創(chuàng)新。他對(duì)道德、社會(huì)意識(shí)和負(fù)責(zé)任的設(shè)計(jì)的決心在他的所有作品中都很明顯，這些作品努力以創(chuàng)造性和強(qiáng)大的方式尋找世界問題的解決方案。

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作為一名建筑師，菲利普·斯塔克 (Philippe Starck) 在他的第一個(gè)建筑壯舉中突出了他的獨(dú)創(chuàng)性。Nani Nani 是 1989 年引人注目的獨(dú)特例子。他對(duì)社會(huì)和經(jīng)濟(jì)革命的決心促使他設(shè)計(jì)了各種重要的社區(qū)空間，并讓他有機(jī)會(huì)定義一些世界上最知名的酒店。Starck 的投資組合包括 The Royalton Hotel、The Paramount、The Delano、The Hudson Hotel、The Mondrian Hotel、The Sanderson、SLS 物業(yè)等等。

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Starck 改變了酒店業(yè)，他的愿景是為空間注入新的社會(huì)價(jià)值，激發(fā)和吸引大眾。為了完成他對(duì)和諧和有意識(shí)的設(shè)計(jì)的愿景，斯塔克親自在他的空間內(nèi)設(shè)計(jì)了許多產(chǎn)品。他對(duì)它們的目的和實(shí)用性的關(guān)注常常使他涉足許多行業(yè)。他的許多作品現(xiàn)在都成為象征幽默和雄心的文化標(biāo)志。

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帕特里夏·烏爾奇奧拉

Patricia Urquiola 在 Achille Castiglioni 手下接受過正式的建筑師培訓(xùn)，是一位以人為本的設(shè)計(jì)師。她的每個(gè)項(xiàng)目都以最終用戶處于她決策的最前沿開始，并不知疲倦地融合人文、技術(shù)和社會(huì)設(shè)計(jì)方法，努力尋找解決方案。她對(duì)技術(shù)、經(jīng)濟(jì)、政治、社會(huì)正義和可持續(xù)發(fā)展的豐富知識(shí)和好奇心影響了她的所有工作。她的作品遠(yuǎn)非神秘莫測(cè)，而是與時(shí)代相關(guān)且與時(shí)俱進(jìn)。

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在她對(duì)融合功能和美學(xué)的追求中，Urquiola 創(chuàng)造了美麗的環(huán)境，裝飾著美麗的物體。從建筑師到工業(yè)設(shè)計(jì)師的無縫過渡是她的創(chuàng)意抱負(fù)成功的關(guān)鍵。她的產(chǎn)品設(shè)計(jì)方法涵蓋過去、現(xiàn)在和未來，在每一個(gè)可能的轉(zhuǎn)折點(diǎn)上創(chuàng)造工藝和工業(yè)設(shè)計(jì)之間的聯(lián)系。Urquiola 和她的團(tuán)隊(duì)盡可能地采用和接受新技術(shù)，但始終致力于尊重過去的傳統(tǒng)做法和形式，她的產(chǎn)品充滿了對(duì)其起源的有意義的參考。她的系列定期重新設(shè)計(jì)和更新，以滿足當(dāng)代標(biāo)準(zhǔn)；無論是形狀還是完成，這些作品都將與它們所服務(wù)的社會(huì)一起發(fā)展。

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英文版

By nature, architects are detail-driven individuals. They are taught to consider every minute aspect of a design, to find purpose in each decision they make and to implement seamless function throughout the environments they create. As Mies van der Rohe put it over half a century ago, “God is in the details,” and this adage remains relevant in the present day. Contemporary architects design, model and render every square meter of a building, thoroughly understanding each layer of function and aesthetic, ensuring shape, form and structure complement each other harmoniously.

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The relationship between architect and building is deeply entwined. Often, one reflects the other in design and disposition. The values and convictions of the designer regularly become apparent in the nuances of the structure, expressed as a recognizable style across their oeuvre. In buildings with a strong sense of individual character, it can be challenging to populate the space and may it require unique products to retain the design’s distinctiveness. To support their vision, many architects have turned their hands to the practice of product design over the years; in doing so, they have created some of the most iconic and well-recognized furniture pieces in the world. The following are few of our favorites.

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Lina Bo Bardi

Lina Bo Bardi was an Italian-born designer best known for transforming the landscape of her adopted homeland Brazil. Her innovative and daring buildings merged modernism with populism, allowing her to create some of the most recognized buildings in the country. Ahead of her time, Bo Bardi’s work centered around a design philosophy of sustainably and preservation of nature.

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Her Museu de Arte de S?o Paulo was influenced by brutalist aesthetics. A concrete and glass block supported by imposing red “l(fā)egs,” the museum is suspended above a large, sheltered public piazza, reflecting Bo Bardi’s desire to place human needs at the center of her designs. On the interior, she invented glass display easels, allowing visitors to view the artworks from all sides.

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In 1941 she was appointed editor of Quaderni di Domus which exposed her to the intricacies of industrial design and craftsmanship. During this time, she developed her furniture design practice. The Tres Pés Armchair is considered to be one of the first interpretations of Brazilian culture through furniture. The use of fabric and leather hung between the tubular metal framework combines her modernist ideal with the traditions of Brazil’s indigenous people.

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Philippe Starck

A global superstar and creator of over 10,000 products, to date, French-born Philippe Starck’s portfolio of design is transcendent. The child of an aeronautical engineer Starck has innovation running through his veins. His determination for ethical, socially conscious and responsible design is evident in all his works, which strive to find solutions to the problems of the world in creative and powerful ways.

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An architect by trade, Philippe Starck highlighted his originality in his first architectural feats. Nani Nani was an example of striking uniqueness in 1989. His resolve for social and economic revolution pushed him to design a variety of important community spaces and gave him the opportunity to define some of the most recognized hotels in the world. Starck’s portfolio consists of The Royalton Hotel, The Paramount, The Delano, The Hudson Hotel, The Mondrian Hotel, The Sanderson, SLS properties and many more.

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Starck changed the hotel industry with his vision of infusing spaces with new social values that inspire and engage the masses. To complete his vision for harmonious and conscious design, Starck has taken it upon himself to design many of the products within his spaces himself. His focus on their purpose and usefulness often leads him across many industries. Many of his pieces are now cultural icons that symbolize both humor and ambition.

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Patricia Urquiola

Formally trained as an architect under Achille Castiglioni, Patricia Urquiola is a human-centric designer. She starts each of her projects with the end-user at the forefront of her decision-making and works tirelessly to merge humanistic, technological and social design approaches in an effort to find solutions. Her vast knowledge and curiosity surrounding technology, economics, politics, social justice and sustainability inform all of her work. Far from being enigmatic, her work is relatable and in tune with its time.

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In her quest to merge function and aesthetics, Urquiola has created beautiful environments adorned with beautiful objects. Seamlessly transitioning from architect to industrial designer is the key to the success of her creative aspirations. Her approach to product design encompasses past, present and future, creating links between craftsmanship and industrial design at every possible turn. Urquiola and her team adopt and embrace new technologies wherever they can, yet always aim to respect the traditional practices and forms of the past, her products are imbued with meaningful references to their origins. Her collections are regularly reworked and updated to meet contemporary standards; be it shape or finish, the pieces will develop alongside the society they serve.

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