When traditional culture and craftsmanship aesthetics
When it collides with the Chinese New Year
What kind of thinking will it make people think?
It is the Year of the Tiger in the lunar calendar
Jia Ren will take a different and calm posture than before
During the seven-day Spring Festival holiday
Share the culture and design values in your life every day
Inherit the spirit and art of the Chinese New Year with thinking
In the first issue of the Spring Festival, we take advantage of the first day of the Tiger New Year to review the designs born in the Year of the Tiger in some histories, so as to understand the design essence of the modern world and explore the trajectory of the design language. When we truly communicate with beautiful things, we can reflect our emotional and cultural values.
Thomas Heatherwick was born in 1971 and entered the Royal School of Art after studying three-dimensional design at the Manchester School of Technology, graduating with a Bachelor of Arts degree in 1994.
Thomas Heswick was named "Britain's most creative genius" architect by the British newspaper The Times, and at the age of 36, he won the "Prince Philip Design Award", known as the "Oscar of Engineering and Technology", becoming the youngest royal industrial designer in history. In 2010, he was awarded the Lubetkin Prize by the Royal Institute of British Architects.
"I think kids are always creative, it's just that I'm lucky that no one ever told me to stop, no one ever said to me that now you should become an adult." 」 ——Thomas Heatherwick
In 2010, Thomas Heswick's famous work, the iconic building of the British Pavilion at the Shanghai World Expo, "Seed Temple", was officially displayed. The shape of the pavilion consists of about 60,000 slender transparent acrylic 'tentacles', stretching outward and swaying with the wind.
"I want people to start wondering when they look at the appearance, what is that?" Is it worth my queuing up to see? When you walk in during the day, there is no artificial light source at all, there is no noisy movie, it is very quiet, and the effect of 60,000 seeds must also be shocking and thought-provoking. ”
60,000 transparent acrylic rods, each with a different seed at the bottom, when the wind blows, the seeds will sway with the wind, forming a magical change between light and shadow.
Born in Italy, the architect Gaetano Pesce studied architecture at the Venice University of Architecture and entered the Venice Industrial Design Institute. His research interests include lighting, movement and sound as a means of expression in theatre cinemas. Since 1962, he has been working on design, new materials and experiments in special spaces. In 1971, in collaboration with Bracciodi Ferro (Cassina Group), he created many experimental works (such as the Moloch table lamp (1971), which can be inflated to show the connotation and carved content).
The Feltri chair for Cassina in 1986 is Pesce's meticulous reflection on synthetic materials and an illustration of the occasional nurturing of artistic creation by chance. He uses resin impregnation, in which precisely cut thick felts are soaked in liquid resins for varying lengths. Due to the different soaking times, the seats are no longer monotonously formed: the upper part resembles an open collar, and the lower part is a solid base.
The work was inspired by an ordinary rainy street in Hong Kong, China many years ago— "I saw a piece of felt on the ground soaked in water, and the idea of replacing water with epoxy resin came to mind." After the epoxy resin was absorbed by the felt, it became hard, forming a potential object frame, which later became Feltri. ”
Gaetano Pesce,Feltri Chair,1986 Gaetano Pesce
Gianfranco Frattin was born on May 15, 1926 in Padua, Italy. In 1953 he graduated from the Faculty of Architecture of the Politecnico di Milano and joined the Gio Ponti studio. In early 1954 he began working for Cesare Cassina and was favored as a leading figure.
Gianfranco Frattini, a pioneer of the Golden Age of Italian design
Gianfranco Frattin's kyoto is the perfect expression of the intersection between design ideas and exquisite craftsmanship. In the early 1970s, on a trip to Japan to study the works of local craftsmen, Gianfranco Frattini visited a craft shop in Kyoto with master carpenter Pierluigi Ghianda, and the two became friends and partners. Inspired by local processing techniques and aesthetics, he devised a tenoning process that later developed the eponymous table Kyoto, which began production in 1974.
The new black finish, taken from the original version designed by Frattini in collaboration with the cabinet manufacturer, is painted with black cut-out lacquer on the solid beech wood structure, which gives the work a more graphic and modern design, with square weaves in the lines, staggered pillar legs that can be positioned at will, and the top is painted matte red, highlighting the perfection of the precious tenoning process.
The work Kyoto is in the permanent collection of the Milan Triennale Design Museum.
Frank Auerbach, a leading figure in British contemporary art, was born in Germany in 1931 to a Jewish family. Frank Auerbach's works are deeply influenced by the Expressionist master Sudin of the Paris School, and the tangible mechanism and invisible forces are deeply intertwined with each other, making the color and mechanism of the picture more saturated and rich, both the sense of solemn stability and the sense of movement of rubbing and pulling between brushstrokes, and the visual effect is extremely strong.
"Art is about forgetting the self, acting instinctively, people constantly changing and aging, and recording what is going on is a moving thing" – Frank Auerbach
Tradition is the living water of the source of art, it is both a teacher and a role model. Auerbach is constantly drawing nourishment from the works of traditional and contemporary painters, and gradually forming and enriching his own painting style and skills. In his works, the paint of the picture is thick, showing the effect of dripping, dragging, sweeping or soft or sharp, and the color beauty, texture beauty and plasticity of the pigment itself are exerted to the extreme.
Auerbach's 1962 work E.O.W. Peeking into the Heart of Flame II, the colors are stacked layer by layer, and the color flow makes the picture form an almost sculptural texture. The picture has no plot, no realism, no self-expression, but only conveys the true "beauty" of the characters. It was this authentic beauty that enabled him to win the Golden Lion Award at the Venice Biennale in 1986 and proudly stand at the forefront of contemporary artists.
"E.O.W. Into the Heart of Flame II"
（E.O.W looking into the Fire II,1962）
Oil on wood, 45.7 x 40 .6cm
In 1922, Pierre Jeanneret officially began working with Le Corbusier at his studio at 35 Rue Desèsès Sèvres in Paris. From then on, the two names will forever be linked, especially on those landmark projects.
To this day, when we talk about their classic design, the Chandigarh chair, we still can't wrap the two names together. Pierre Jeanne, on the other hand, has worked on many projects with Corbusier, but he is always behind the scenes and extremely humble. In the spaces of many architects or collectors, it is common to see their furniture works.
Pierre Jean-Naré and Corbusier discuss the Chandigarh project
In 1950, the Chandigarh Chair was created along with the city of Chandigarh. At that time, Indians always had the habit of sitting on the floor, and the starting point for the design of the Chandigarh chair series of furniture was to "let the citizens of Chandigarh have chairs to sit on".
Decades later, time has restored the value of ingenious design, and the Chandigarh chair returns to the contemporary space, which is conducive to moisture and insect repellent Burmese teak, breathable rattan weaving, strong and durable V-shaped legs, and warm shapes, which appear in the works of many designers and architects.
The Chandigarh chair by modern designers
Born in Switzerland in 1901, Alberto Giacometti moved to Paris, France in 1922, where he first came into contact with modernism and lived and worked in Paris until his death in 1966.
"People usually put separate things together and observe them at the same time. But if I look at you, I need you to keep stepping back and pulling a space between us for a while. It wasn't until a street away that I was finally able to incorporate the complete you into my frame, but at the same time I also felt the space around you continue to pour into my eyes and compress you mercilessly. This kind of thinking has never left me, it is not thinking about how to create sculpture, but thinking about space by observing sculpture. ”
—Albert Giacometti
Photographer Henri Cartier-Bresson under the lens of Giacometti
From 1926 to 1927, Giacometti created The Spoon Woman, which responded positively to Cubism and Surrealism. "Spoon Woman" is a positive surrealist art, its artistic characteristics are obviously influenced by primitive totems, it reflects the understanding and deepening of primitive art and prehistoric art. This work embodies the painter's attempt at a creative form, a completely abstract form of humanoid form with a strong sense of humor.
It is hardly depicted in detail, but it still incorporates an atmosphere of confused indifference. Because of its distinct personality and characteristics, the connotation of the work points to a certain emptiness, leaving only loneliness under specific conditions.
The exterior of The Spoon Woman is a symbolic image of a woman who resembles a key.
At last
Let's in the Year of the Tiger
Looking back again, it was born in the golden age
Timeless design
With the power of a tiger
Feel the way of "communication" and "recording" in the history of design