Milan 2010:米兰2010年。Swarovski Crystal Palace施华洛世奇水晶宫殿present installations by designers including现在设计者设施等Tokujin YoshiokaTokujin Yoshioka,Yves Behar哈伊and和Gwenael NicolasGwenael尼古拉斯in Milan this week.本周在米兰。
Top: Yves Behar哈伊最高。
Above: Tokujin YoshiokaTokujin Yoshioka之上。
Yoshioka presents an LED light covered in 10,000 Swarovski crystals alongside a second globe growing inside a tank (提出了一种Yoshioka LED光盖在10000施华洛世奇水晶与另一个地球仪生长在水箱(see our earlier story about Yoshioka’s Venus project看到我们的故事Yoshioka早些时候金星的项目).
Above: Tokujin YoshiokaTokujin Yoshioka之上。
Nicolas has strung crystals through the space and captured them inside balloons, while Behar’s project uses a crystal to refract light onto paper lanterns.尼古拉斯4晶体通过空间内气球,将城攻取,用一块水晶的项目哈在纸张上,折光灯笼。
Above: Tokujin YoshiokaTokujin Yoshioka之上。
Swarovski also present a collection of furniture in Milan –施华洛世奇也呈现出一种集家具在米兰-see our earlier story看到我们先前的故事.
See all our stories about Milan 2010 in看到我们所有的关于米兰2010年our special category我们的特殊范畴.
Above: Yves Behar上图:哈伊夫。
The information below is from Swarovski Crystal Palace:以下资料是施华洛世奇水晶宫殿。
Swarovski Crystal Palace 2010 launched new works by five international designers in a ground-breaking exhibition that took visitors on an experiential journey at the Salone del Mobile 2010.施华洛世奇水晶宫殿2010年推出的新作品由五个国际设计师在一个突破性的展览,在一个经验的旅程游客在Salone德尔移动到2010年。
Above: Vincent Van Duysen文森特·Duysen之上。
In 2010 Swarovski Crystal Palace presented yet another exhilarating and inspiring series of commissions, demonstrating the creative potential of Swarovski crystal and the artistic expression of each designer’s work.在2010年施华洛世奇水晶宫殿提出另一个令人鼓舞的佣金,展示了一系列的创造潜能的艺术表达施华洛世奇水晶,每个设计者的工作。
Above: Vincent Van Duysen文森特·Duysen之上。
Swarovski Crystal Palace commissioned five international designers to interpret the beauty of Swarovski crystal and incorporate their vision into a piece of design.施华洛世奇水晶宫殿委托五大国际设计师来解释这个美丽的施华洛世奇水晶融入他们的梦想变成一张设计。Tokujin Yoshioka from Tokyo, French-born, Tokyo-based Gwenaël Nicolas, Belgian architect Vincent van Duysen, Dutch architectural lighting designer Rogier van der Heide and Swiss-born, San-Francisco-based designer Yves Béhar each created strikingly different concepts.在东京,Tokujin Yoshioka气氛,日本东京的Gwenael尼古拉斯,比利时,荷兰建筑师文森特·Duysen建筑照明设计师Rogier安迪Heide和Swiss-born,San-Francisco-based哈马卡设计者创造一种截然不同的每一个概念。
Above: Gwenael Nicolas上图:Gwenael尼古拉斯。
“Swarovski Crystal Palace is Swarovski’s think tank, a platform for creative expression and experimentation with innovation and technology,” Nadja Swarovski, Vice President of International Communications at Swarovski, comments. “Our designer collaborations not only push the boundaries of the designers’ own work but also of the use of Swarovski crystal in an artistic, decorative and functional way.”“施华洛世奇水晶宫殿是施华洛世奇的智囊团,一个平台,为创意和实验与创新科技,“佳副主席施华洛世奇国际通讯,评论。"我们施华洛世奇设计师合作不仅推动了边界的设计者自身的工作也使用施华洛世奇水晶在艺术、装饰和功能的方式。”
Above: Gwenael Nicolas上图:Gwenael尼古拉斯。
The Swarovski Crystal Palace exhibition, an incubator for cutting edge design, demonstrated the merging of art, design, science and technology.施华洛世奇水晶宫殿的展览,一个孵化器最新的设计,展示融合的艺术、设计、科学和技术。Each designer’s creative expression was captured in single room installations, captivating the imagination of each visitor.每个设计师的创意在单人房间设施、诱人的想象中的每一个客人。The final designs were a combination of sculptural pieces, art objects, or works which had a decidedly architectural quality.最后的图案组合的雕塑,艺术品,或作品有绝对的建筑质量。The exhibition brought on board Jules Wright, founder of the The Wapping Project in London and a background in theatre, who created a mise-en-scène that brought dramatic life to the different designers’ works.这个展览将儒勒•赖特的Wapping项目的创始人在伦敦和背景的剧场,他们创造了一个mise-en-scene带来戏剧性的生活的不同设计作品。
Above: Gwenael Nicolas上图:Gwenael尼古拉斯。
The guiding theme was inspired by the idea of inspirational palaces – from Versailles with its hall of mirrors, to Japan with its Zen aesthetic, to the Winter Palace in St Petersburg.指导主题灵感的宫殿——从凡尔赛灵感与厅的镜子,日本禅宗的“审美,在圣彼得堡冬宫。Each design was showcased in a separate room, allowing the designers the opportunity for creative expression. “Every space focused the eyes on the specific object and the environments contextualised each piece in a theatrical way,” Wright explained.每个设计,展示一个单独的房间,让设计师的创意表达的机会。"每个空间都集中在特定的对象和环境裨益每件在一个戏剧性的方式,”怀特解释。
Above: Gwenael Nicolas上图:Gwenael尼古拉斯。
As visitors moved through the exhibition, they engaged in a journey through the different worlds and environments conjured by the designs.游客穿过展览,他们从事旅行通过不同的世界和环境不知设计。The journey culminated in a final room celebrating some of the staggeringly inventive concepts created by the world’s most innovative designers for Swarovski Crystal Palace over the last 8 years. “We were delighted to have Jules Wright’s involvement this year in curating the show.在最后的旅行庆祝的房间都庞然发明创造的概念是世界上最有创意的设计师为施华洛世奇水晶宫殿在过去8年了。“我们很高兴有朱尔斯·怀特的参与在curating今年的表演。Her concepts have enhanced the meaning of each piece, each design,” Nadja Swarovski commented.她的概念已经提高了意义的每件,每一个设计,“佳施华洛世奇说道。
Above: Gwenael Nicolas上图:Gwenael尼古拉斯。
STELLAR by Tokujin Yoshioka通过Tokujin Yoshioka恒星
Visitors entered the exhibition through a room dedicated to Tokujin Yoshioka’s design.参观者进入展览会致力于Tokujin走进一个房间Yoshioka设计。For Swarovski Crystal Palace he created an installation, which consisted of a 1 metre diameter globe encrusted with 10,000 Swarovski crystals and lit from within by 600 LEDs.施华洛世奇水晶宫殿,他创造了一个安装,其中包括一个直径为1米,占地面积10000施华洛世奇水晶装饰地球仪,用600个led灯点燃。An accompanying piece featured another globe suspended in a vast tank of water, on which crystals grew naturally.另一件出现大量全球悬浮在水箱,自然生长的结晶。The design was an evolution of Yoshioka’s 2008 work entitled “VENUS – Natural crystal chair” in which the chair – like Venus – emerged from the ‘water’ as the crystals naturally grew on its frame.设计是一种进化的Yoshioka 2008年为“金星-天然水晶椅子,椅子”——像金星-从“水”的晶体生长在自然。
“What is important to me is not just designing another sculpture with crystal, but to create a star which shines in the viewer’s heart,” Yoshioka explained.“对我来说是非常重要的不仅仅是设计与水晶,但另一个雕塑创造的一颗星,照耀在观众的心”,Yoshioka解释。His approach was to, “incorporate the element of beauty born of coincidence,” into his piece, adding that, “it was technically challenging because the unpredictable element found in nature had to be accurately expressed by human design.”他的方法是,“将元素的美生的,”塞进了他的一块偶然说,“这是不可预知的技术挑战性,因为自然界中的元素必须准确地表达了人类设计的。”
Above: Rogier Van Der Heide安迪:Rogier Heide上面
SPARKS by Gwenaël Nicolas通过Gwenael火花尼古拉斯
“I wanted to imagine a space with no gravity,” Gwenaël Nicolas comments on his project, which consisted of two separate designs.“我想想象一个没有重力,“空间Gwenael尼古拉斯评论他的计划,其中包括两个独立的设计。The first item was almost, “not an object anymore, where crystal and light become life.” Nicolas created large, free-floating, transparent balloons filled with helium, in which floated a small crystal sculptures lit by a battery powered LED inside.第一个项目,几乎是不可能的,”不是一个对象,在水晶和光变的生活。”大,漂浮,尼古拉斯·创造充满氦气气球透明,浮小水晶雕像被电池的领导。The balloons, which measured 2.4m in diameter, drew on NASA technology to enable them to be as thin and transparent as possible.气球,直径测量了二百四十万NASA技术,以使他们能成为薄和透明的。The LED light emanating through the crystal within set off a series of ’sparks’ which moved as the balloons and crystals gently floated through the room.LED灯发出的通过水晶在引发一连串的“火星”的气球和水晶移动轻轻漂浮在房间里。
A separate design consisted of a 10m long string of crystals incorporating LED lighting that was programmed to set off more ’sparks’ which jumped along the length of the rope.一个单独的设计的长串晶体纳入10 LED照明,是更多的火花,跳上的绳子。
Above: Rogier Van Der Heide安迪:Rogier Heide上面
FROST by Vincent Van Duysen由文森特·Duysen霜
Vincent van Duysen created a highly versatile glowing ‘beam’ encrusted with Swarovski crystals.文森特·Duysen创造了一个非常多才多艺的发光的光束的岁月施华洛世奇水晶。The design could be used on its own – suspended above a table for example or leant against the corner of a room, or joined together as modular elements to create dramatic architectural shapes.这个设计可以用于自身——比如上面一桌或leantagainst角落的一个房间里,甚至连在一起作为模块化元素创建戏剧性的建筑的形状。The elements came in three different widths – from 6cm to 16cm, and three different lengths, from 140cm to 220cm.在三个不同的元素来16cm公分,宽——从三个不同长度,从140cm到220cm。The surface of each bar featured a ‘crust’ of randomly assorted, different sized crystals set into resin.每条表面出现一个“地壳的随机组合,不同大小的水晶镶嵌成的树脂。Sandwiched between the crystal exteriors was a thin glass panel which gave the ‘beams’ their structure and rigidity while also acting as a vehicle for the LED lighting within.包夹的水晶”是一种薄的玻璃面板,让他们的光束的结构和刚度的同时也作为媒介的LED灯内。Van Duysen commented on the way in which Swarovski crystals brought out an element of playfulness in the design process; “They remind you of natural elements like water and ice, and allow you to bring in more poetic and emotional aspects to lighting design.” He also commented on the pleasingly contradictory nature of the crystals used in this design, with the outer ‘crust’ having a temptingly tactile quality while actually being surprisingly rough to the touch.范·Duysen评论方式带来了一个元素。施华洛世奇水晶欢快在设计过程中,“他们提醒你,就像水和冰的自然要素,并允许你把更多的诗意和情感方面照明设计。”他也谈到了这个令人矛盾的性质的水晶用于该设计,与外部的地壳的有质量的同时,其实是触觉吓唬出人意料。粗糙
DREAM CLOUD by Rogier van der Heide通过Rogier云梦Heide安迪
This installation was an interpretation of the crystals’ purest, most intrisic features: how they spark our imagination.该装置是一种解释,大部分的纯净水晶intrisic特点:他们如何引发我们的想象力。The installation relied on the beauty of the crystals and had the magic of the Northern Lights.安装靠美丽的水晶、有魅力的北极光。
Rogier Van der Heide comments: “I presented Swarovski Crystal Palace in Milan as a dreamy cloud of crystals, a three-dimensional sculpture that expressed the natural, magical, imaginative and beautiful.” ‘Dream Cloud’ consisted of thousands of pure crystals floating in the air, transforming the space into a captivating sculpture that relies on the reflective properties of the crystals against the blackened walls.Rogier安迪Heide评论说:“我在米兰施华洛世奇水晶宫殿作为一种梦幻的水晶、三维雕塑,表达了自然、魔法、想象力和美丽的梦想。”组成的云的成千上万的纯水晶漂浮在空中,转变成一个诱人的雕塑,空间的反射特性依赖于对烧的水晶墙壁。An external source of light illuminated the cloud of crystals with a changing spectrum of colours.外部的光源照亮云层的晶体的光谱变化。A body of black tulips carpeted the floor which provided a dramatic setting.一个身体的黑色郁金香铺地板,提供了一个戏剧性的设置。
AMPLIFY by Yves Béhar由哈伊放大
Yves Béhar combined the possibilities of technology with the inherent qualities of Swarovski crystal to create a beautiful yet surprisingly affordable lighting arrangement, which consisted of a series of deceptively simple ‘paper lanterns’ shaped like crystals, within which light was refracted from a real crystal, casting its patterns on the surface of the paper.哈伊相结合的可能性的技术与固有的特性的施华洛世奇水晶创造美丽却出乎意料的负担灯光布局,其中包括一系列看似简单的纸灯笼的形状像水晶灯,从一个真正的水晶,折射出铸造表面上的图案。
Béhar’s design was created with a focus on sustainability and affordability, featuring a faceted shade made from recyclable materials, one crystal and one low-energy consuming LED light.伯被创造出来的设计,并着重介绍了可持续性和学费,在上雕琢平面的阴影,由可回收的材料和一个低消耗导致水晶灯。The design featured 6 different crystalline shapes in varying sizes, which could either be used individually or clustered together to create a striking effect.6个不同的设计出现在水晶形状大小不一,这可以是单独使用或聚在一起创造一个惊人的效果。
谭高科
很不错的设计