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三头六臂又如何!?这盏吊灯有18臂第1张图片


18臂水晶吊灯
Zorya grows 18-armed crystal chandelier

由专筑网王帅,李韧编译

布拉格Zorya珠宝设计工作室在德国德累斯顿的装饰艺术博物馆内,用水晶制作了一盏带有18个分支的枝形吊灯。

这盏吊灯采用受控矿物结晶法制作,并以Theresian时代的设计为基础,它日前正在博物馆Pillnitz展厅展出,展览名称为“Dust to Glitter”及“ How a Crystal Chandelier grows”。

Prague-based jewellery design studio Zorya has grown an 18-armed chandelier from crystals within the Museum of Decorative Arts in Dresden, Germany.
Made using controlled mineral crystallisation and based on a Theresian era design, the chandelier is the focus of an exhibition called From Dust to Glitter or How a Crystal Chandelier grows, that is currently on show at the museum's Pillnitz Palace.

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该项目由装饰艺术博物馆馆长Tulga Beyerle发起,他在2012年的KřEHK Mikulov艺术设计节上发现了Zorya工作室设计的这盏吊灯的原型。

展出的这盏水晶吊灯是该工作室病毒(Virus)珠宝系列的设计方案。该系列始于2011年,使用的技术为受控矿物结晶法。

Beyerle对吊灯的原型印象深刻,他要求设计师为博物馆打造一盏类似的作品。

The project was initiated when the director of the Museum of Decorative Arts, Tulga Beyerle, spotted Zorya's prototype of the current chandelier at the 2012 edition of the Křehky Mikulov art design festival.
Here it was on show as a proposal stemming from the studio's Virus jewellery collection that was created in 2011 using a controlled mineral crystallisation process.
Impressed by the chandelier prototype, Beyerle asked the designers to create a similar design for the museum.

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针对该项目,设计师耗费六年时间才开发出受控结晶过程。

这盏定制吊灯的配件在布拉格Vysočany区的一家前咖啡烘焙厂的临时实验室里制作完成,最后,Zorya工作室的创始人Zdeněk Vacek和Daniel Pošta在博物馆现场花费了几个星期才完成安装。

在安装过程,设计师还将枝形吊灯的每一个不锈钢悬臂放在5000升硫酸铝钾溶液中浸泡了几个星期。

It took six years to develop the controlled crystallisation process required for a work of this scale.
The bespoke chandelier was grown in a temporary laboratory set up on the premises of a former coffee-roasting factory in Prague's Vysočany district, before being assembled in-situ at the museum over several weeks by the founders of Zorya, designers Zdeněk Vacek and Daniel Pošta.
The process involved submerging each of the chandelier's eighteen stainless steel arms in five thousand litres of a potassium aluminium sulphate solution for several weeks.

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随着时间和温度的变化,吊灯组件逐渐沉积出明矾晶体。由于晶体生长过程具有不确定性,便逐渐自然生长成了吊灯的最终形状。

该展览分为两个阶段,第一阶段名为“生长”,该阶段于8月25日至9月12日举行,游客可以参观吊灯,因为水晶继续在灯臂上生长三个星期。

“生长”展览设于Bergpalais的入口处,Zorya工作室通过不同阶段的吊灯,展现了枝形吊灯在临时实验室内的生长过程。同时,吊灯旁还播放着摄影师Karin Zadrick拍摄的过程视频。

As a result of time and temperature changes, the chandelier components gradually accumulate alum crystals. Due to the unpredictable nature of the growing process, the crystallisation determines the final shape of the chandelier.
The exhibition has been divided into two stages – the first of which, called Growth, took place between 25 August and 12 September and allowed visitors to observe the chandelier as crystals continued to grow on its arms over a three week period.
Set up in the entry hall of the Bergpalais, Zorya conceived the Growth scenography as a recreation of the temporary laboratory that the chandelier was originally grown within. Here, the chandelier was showcased alongside a video by photographer Karin Zadrick, which documented the making process.

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第二阶段展览于9月15日开始,于2018年11月4日结束。导演Milan Chadima拍摄的一段艺术视频将展示其安装过程,视频中描绘了这件艺术品的非传统制作特质。

11月4日之后,这盏吊灯留在Pillnitz展厅之中,成为博物馆的永久藏品。

The second part of the exhibition began on 15 September with a lighting ceremony with the illuminated chandelier on show until 4 November 2018. The installation is completed by an artistic video directed by Milan Chadima depicting the non-traditional nature of the production of the artwork.
After 4 November, the chandelier will remain at the Pillnitz Palace as part of the museum's permanent collection.

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展览馆馆长Tulga Beyerle说:“多年来,我一直在关注Zorya工作室的作品,尤其是他们在装饰艺术博物馆Pillnitz展厅的工作开始之后,我更加关注。我在Bergpalais的大厅里看到了一盏疯狂的吊灯。”

“在我离开博物馆之后,果然美梦成真,Zorya工作室的奉献与精准,他们的创造力和技术水准,让他们完成了一盏独一无二的佳作,它让Pillnitz展厅熠熠生辉。我对这次捐赠感到非常自豪和感激。”

以色列设计师Erez Nevi Pana花费数月,将收集的废料浸在死海的水中,制成了一把凳子。当这些材料从水中捞出时候,其表面出现了一层结晶盐。这也是此类设计的研究成果。

"I have been following the work of Zorya since many years and immediately after starting in the Museum of Decorative Arts in Pillnitz Castle, I had this vision of a mad-to-measure chandelier in the main hall of the Bergpalais," said the exhibition's curator and museum director Tulga Beyerle.
"A dream is coming true, shortly before I leave the museum. The dedication and precision of Zorya, combined with their creativity and knowledge of this process results in a unique object, which enriches Pillnitz Castle. I am very proud and very grateful for this donation."
As part of a wider project exploring vegan design, Israeli designer Erez Nevi Pana made a stool by submerging a collection of material scraps in water from the Dead Sea for several months. When the materials emerged, they were coated with a "skin" of salt crystals.

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