塑料小盒子/Jie Wu
Jie Wu seeks to elevate value of plastic with series of miniature boxes

由专筑网王帅，李韧编译

五颜六色的带有大理石纹路的树脂块包裹着大块的木材，这些小型储物盒的设计出自皇家艺术学院（Royal College of Art）毕业生Jie Wu（Jie Wu）之手。

这17个储物盒名为“Living in the Anthropocene”，这些作品由Jie Wu在RCA纺织品协会项目期间设计而成。

Blocks of resin with colourful marble-like patterns surrounds chunks of wood to form these miniature storage boxes by Royal College of Art graduate Jie Wu.
The 17 containers, called Living in the Anthropocene, were created during Wu's time on the Textiles MA programme at the RCA.

该项目旨在探讨社会、天然和人造材料之间的关系，特别是这些材料的感知价值。

Jie Wu告诉Dezeen的记者：“我的创作前提是提升人们对合成材料及其潜力的认识。”

“我父亲是一名古董商，他看着每一件珍贵的装饰品世世代代流传下来，这让我不禁开始思考，当今的古董到底是什么？”

The aim of the project was to explore society's relationship with natural and manmade materials, and in particular the perceived values of those materials.
"The central premise to my creative practice is to elevate our perceptions of synthetic materials and their potential," Wu explained to Dezeen.
"My father deals with antiques, and watching the care with which each precious ornament is passed down from generation to generation got me thinking about what will become antiques of the present day."

她继续说：“我想用塑料进行重新设计，让它成为一种永恒的财富。”

“随着我的创作实践不断发展，我希望树脂制造方法可以像大理石等其他传统的材料一样普遍。”

"I wanted to use plastic and reconfigure it in such a way that it can be thought of as a timeless treasure," she continued.
"As I continue to develop my creative practice, I hope my approach to resin making can be considered with a similar appreciation to how we view other more traditional long-lasting organic materials, such as marble."

Jie Wu通过在不同颜色的树脂中镶入一种特殊类型的红木，从而设计了这一系列盒子。

她补充说：“我使用的木材是一种非常特殊和稀有的古董红木，这类木材产自于中国一个偏远乡村，它们的生长周期较长。而当地人将这种木头加工成快速消费品，或者当柴烧掉，他们并没有意识到这种木材的可贵之处。”

“对我来说，这些珍贵的木材本身就是一件艺术品，我希望它们能引起人们的重视。”

Wu creates the boxes by casting a special type of rosewood in resin made up of different colours.
"The wood I use is a very special and rare antique rosewood," she added. "This type of wood is found in a remote village in China and has a prolonged growth cycle. The locals used this wood for FMCG (fast-moving consumer goods) and wood-burning. They didn't realise the preciousness of the forest."
"For me, these precious woods are themselves a piece of art, and I hope they can be valued by people."

镶嵌之后的木材和树脂使用数控机床进行切割，这是一个复杂的过程，需要耗费20多个小时。在此之后，这些盒子进行抛光处理，表面的光泽宛如温润的玉石。

她解释说：“这些大理石般的图案源于有机溶剂和塑料的相互混合。”

“我把这些不可回收的材料做成了全新的艺术品。在我看来，如果一种材料在未来几十年里存在价值，那它就具有可持续性质。”

The blocks of wood and resin are cut using a CNC machine – a complex process that Wu said takes over 20 hours. After this, the containers are polished to create a high-gloss finish.
"Their marble-like patterns are born out of the wrestling dance of the organic and the plastic," she explained.
"I made these non-recyclable materials into new art pieces. The way that I see it, a material can arguably be considered 'sustainable' if it is valued and useful for decades to come."

在下个月的伦敦设计节期间，这些盒子将与新兴设计师的作品一起在Decorex贸易展上展出。它们是“未来遗产”（Future Heritage）展览的一部分，该展览由设计评论家Corinne Julius策划。

Wu希望继续该系列的创作，增加设计的尺寸，做成家具和装饰品。

The containers will be showcased alongside the work of emerging designers at the Decorex trade show next month, during London Design Festival. The pieces will be part of an exhibition called Future Heritage, curated by design critic Corinne Julius.
Wu hopes to continue developing the collection, adding larger pieces, such as furniture and ornaments.

其他皇家艺术学院的毕业生如Amy Shao的项目是将伦敦市中心的一家医院改造成一家酒店，通过屋顶、天花板和墙壁上生长的草药来治疗患者。

同时，Hannah Rozenberg设计了一种数字工具，计算了英语建筑术语中潜在的性别偏见，从而创造更多中性的环境。

Other Royal College of Art graduates this year include Amy Shao, whose project proposed converting a central London hospital into a hotel, which would naturally treat guests with herbs that sprout from the roof, ceiling and walls.
Meanwhile Hannah Rozenberg developed a digital tool that calculates the underlying gender bias in English architectural terms, to help create more gender-neutral environments.