蓝色古典家具
Matteo Pacella and Philippine Hamen design blue classical furniture

由专筑网王帅，李韧编译

Matteo Pacella与Philippine Hamen借鉴了古希腊罗马建筑与传统儿童积木，设计了一系列的古典家具。

该系列名为“流动城市”，它由一系列“实用又富有诗意”的长凳、台阶、桌子、控制台和书架组成，共计12件家具。

Matteo Pacella and Philippine Hamen looked to ancient Greco-Roman architecture and traditional children's building blocks for this collection of classical furniture.
The 12 piece collection, called La città è mobile! (The city is mobile), is made up of a range of "practical yet poetic" benches, stools, steps, tables, consoles and bookshelves.



这套家具以中密度纤维板为原料，外表涂有蓝色树脂。每一件作品都来自于古典建筑中诸如大凹槽柱和拱门等元素。

来自米兰的Pacella和巴黎的Hamen在儿童玩耍的传统积木中找到灵感，同时发现它们与古代很多基本结构具有关联性。

Constructed from MDF and finished in blue-pigmented resin, each piece took its design cues from the archetypal forms found in classical architecture, such as grand fluted columns and curved archways.
Milan-born Pacella and Paris-born Hamen also found inspiration in the traditional wooden building blocks that children play with, and how they relate to the basic structures found in antiquity.



Pacella和Hamen的家具设计以“黄金比例”为基础，该比例是一种来源于古希腊的数学定理，即当一条线被分成两部分，较大部分a的长度除以较小的b的长度，等于a+b除以a。

黄金比例经常用于设计领域中，通过精确的比例和对称性来达到完美的视觉效果。

Pacella and Hamen based the furniture proportions on the "golden ratio" – a mathematical rule derived from ancient Greece which exists when a line is divided into two parts, and the length of the larger part – a, divided by the smaller part –b, is equal to the sum of a plus b, divided by a.
The golden ratio is often used in the field of design to achieve aesthetic beauty through accurate proportion and symmetry.



家具中柱间的距离也来源于公元前一世纪罗马建筑师维特鲁威发现的柱间系统，即柱廊中柱间距与柱廊的底部一致。

而这些结构则与古典建筑保持一致。设计师们使用合成树脂将家具涂成天蓝色，形成反差极大的对比，赋予了该系列一定的节奏感，即“不合时宜”。

The spacing between the columns in the furniture was also determined by the intercolumniation system invented by the first-century BC Roman architect Vitruvius, where the spacing between columns in a colonnade is measured at the bottom of their shafts.
While these structural references are in line with classical architecture, the designers chose to colour the furniture with sky blue synthetic resin in order to provide an anachronistic contrast, placing the collection "fuori tempo", meaning "out of time".





这两位设计师的灵感来源于意大利建筑师阿尔多·罗西的作品，这位建筑师大胆地借鉴了古典结构的美学，这两位设计师还用古典建筑的原型形式来衡量它们对人们的影响。

设计师说：“难道这种熟悉而理性的存在不令人欣慰与极致吗？它们会像De Chirico的画那样困扰着我们的梦吗？”

他们继续说：“可以肯定的是，我们不能对它们视而不见。几千年来，它们渗透了我们的心灵，定义了我们的文化，塑造了我们的美感。”

“这些原型形式在这里已经样式化到最小程度，就像意大利法西斯建筑，但在另一个层面上，它们就像我们常常见到的积木。”

Inspired by the work of Italian architect Aldo Rossi, whose bold forms draw on the aesthetic of classical structures, the two designers also used the archetypal forms of classical architecture to measure the effect that they still have on us.
"Do we find their familiar and rational presence comforting, almost maternal, or to the other end, do they haunt our dreams like in De Chirico's paintings?" they asked.
"What is certain is that we cannot stay indifferent to them, because over thousands of years, they have deeply permeated our collective psyche, defined our cultural identity, shaped our perception of beauty," the duo continued.
"These archetypal forms have been stylised here to their minimal expression, like in Italian fascist architecture but also, on another scale, like objects to which we relate much more instantly: the wooden building blocks."



对于两位建筑师来说，传统儿童积木是一种建筑原型，这种原型常常用作能够相互组装的数学对象与体量。

设计师解释到：“这些家具表达了圆柱变成柱子、三角形变成屋顶、拱门变成桥梁的转换过程。”

For the duo, traditional children's wooden building blocks are a prime example of architectural archetypes being repurposed into mathematical objects and volumes that can be assembled with one another.
"They reveal the semiotic translation by which the cylinder becomes a column, the triangle a roof and the arch, a bridge," the designers explained.





设计师说：“这些柱子、台阶、桥梁和脚凳就像积木一样聚集在一起。它们的组合说明古典建筑也是一种游戏，即孤立的碎片可以重建整座城市。”

“流动城市”系列在今年的伦敦设计节上亮相，在9月15日至23日进行了第一次展出。现在设计师正致力于2019年的第二次展览。人们将看到穹棱拱顶或交叉拱顶的建筑结构应用于家具之中。

意大利设计师Gian Paolo Venier在设计一系列褶皱、有形的餐具时，也注意到了古典建筑，他的混凝土家具的设计灵感来源于一张印有伊朗德黑兰附近12世纪Toghrul塔的明信片。

"Here, the columns, the step, the bridge and the ottoman assemble just like building blocks. Their combinational value illustrates that classical architecture is also a game: from isolated fragments, it is a whole city that can be reconstituted," they added.
La città è mobile! was presented at this year's London Design Festival, which took place from 15 to 23 September. The design duo are now focusing their efforts on a second show for 2019, which will see the architectural structure of the groin vault, or cross vault, applied to furniture.
Italian designer Gian Paolo Venier also looked to classical architecture when designing his series of pleated, concrete tableware, inspired by an image on a postcard of the 12th-century Toghrul tower, situated near Tehran, Iran.