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简约而不简单:感受包豪斯大师的图形魅力第1张图片


Christopher Farr品牌推出的两种纺织产品
Christopher Farr launches two patterned textiles from the Anni Albers archive

由专筑网王帅,杨帆编译

英国纺织品品牌Christopher Farr为纪念包豪斯先驱Anni Albers,推出了最新的地毯和织物设计系列。

这些设计是Christopher Farr品牌与Josef和Anni Albers基金会目前正合作的一部分,他们之间的合作已长达十年。

最新系列名为“Orchestra ”和“Temple”。

British textile brand Christopher Farr celebrates Bauhaus pioneer Anni Albers with its latest range of rugs and fabric designs.
The designs are part of an ongoing collaboration between Christopher Farr and the Josef and Anni Albers Foundation, which has been running for 10 years.
The latest collections are named Orchestra and Temple.

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“Temple”系列的图案来源于1956年的(圣经)方舟挂板的研究,当时为达拉斯的Temple Emanu-El犹太圣殿尔设计。Albers通过在织物上画出条纹,然后将其切割成条状,之后重新排布,从而完成了这种几何图案。

而“Orchestra”系列受到20世纪20年代Anni在童年时期参观柏林歌剧院的启发。图案由四边形组成,这种形状的组合非常随机。

Christopher Farr品牌表示:“这些图案的形状和颜色唤起了人们对于演出中乐器的音调,演奏家们优雅的天鹅绒连衣裙的美好回忆。”

The pattern for Temple was developed from 1956 studies for the Ark hanging panels, produced for the Jewish Temple Emanu-El in Dallas. Albers created the geometric pattern by painting stripes across fabric, cutting it into strips and then playing with the arrangement of these vertical pieces.
Orchestra was inspired by Anni's childhood visits to the Berlin Opera in the 1920s. It consists of quadrilateral shapes organised in a seemingly random pattern.
"The shapes and colours evoke the instruments tuning up, the elegant velvet and lace dresses of the women attending the performance, and other memories," said Christopher Farr.

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Albers是包豪斯学派最著名的天才之一,包豪斯被认为是历史上最具影响力的艺术设计流派。

Albers既是设计师也是纺织艺术家,她以塑造开创性的角色而闻名于世,并通过现代设计彻底改变了传统的编织工艺。除了纺织设计,她还涉猎珠宝、印刷品和绘画创作。

Christopher Farr品牌的联合创始人Michal Silver表示:“在20世纪80年代中期,我第一次看到她的作品,当时我对包豪斯风格的作品产生了浓烈的兴趣。”

Albers is one of the most celebrated talents to emerge from the Bauhaus school, regarded as the most influential art and design school in history.
AlbersShe was well known for her pioneering role as both designer and textile artist, and for revolutionising the traditional craft of weaving with her experimentation and modern design. As well as her weavings, she also made pieces of jewellery, prints and drawings.
"I first came across her work in the mid-1980s, when I became interested in the work of the Bauhaus," said Michal Silver, one of the Christopher Farr co-founders.

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Silver说:“当许多年后我在访问Albers基金会时才恍然大悟,之后我花费了很多时间在档案馆里面研究她的作品,终于在2012年推出了五幅印花和编织品。”

“多年来,她的作品被她丈夫约瑟夫·亚伯斯和其他朋友的光辉所掩盖,然而随着时间的流逝,这位伟大而多产的艺术家逐渐被人们所理解和欣赏,她是一名天才,她那双带有神奇魔力的双手可以将简单的材料变成闪光的金子。”

"But the real awakening came many years later when I was able to visit the Albers' foundation, spend time in the archives and delve through her work which resulted in a collection of five prints and weaves that we launched in 2012," Silver continued.
"For many years her work was overshadowed by her husband Josef Albers or other people she is associated with. The passing of time has allowed her to be understood and appreciated as the great and prolific artist she was, a genius with magic hands that transformed simple materials into gold."

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在Anni Albers早期的纺织作品中,Christopher Farr使用的多为小规模的单色图案。然而对于新的系列,Silver发现自己被Albers更大比例的彩色设计所吸引。

Silver说:“她非常鼓舞人心。我发现她很迷人,富有创新精神,而且以一种非常自律的方式兼收并蓄。她受训于包豪斯学校,又能够以一种非常个人化的方式来理解和诠释包豪斯精神,这与我们今天所做的事情是相关的。”

In previous collections of Anni Albers fabrics, Christopher Farr has worked with small scale, one-colour patterns. For the new collection however, Silver found herself drawn to Albers' larger-scale colourful designs.
"She is inspiring. I find her fascinating, incredibly innovative, ahead of her time, eclectic in a very disciplined manner," said Silver. "She trained at the Bauhaus school but was able to keep to the essence and interpret the Bauhaus ethos in a very personal way which is relevant to what we are doing today."

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在研究档案时,Christopher Farr品牌的目标是尽可能地保持原有的设计精神,内含的元素包括颜色、图案和大小。而颜色和底布的变化只是为了在合适的范围提供多样性。

Silver说:“尤为重要的是,她的作品在形式、色彩和空间上进行了不断的研究和探索。无论在单色、小规模的几何图形,还是在大规模的流体形状中,总贯彻了不变的包豪斯精神。”

When working with an archival collection, Christopher Farr aims to remain as true to the spirit of the design as possible, using the original colour, pattern and size of the motifs. Colours and base cloths are only changed to offer diversity in the range.
"Her work in print especially is a continuous research and exploration in form, colour and space," said Silver. "Whether she is working in a one-colour small-scale geometric pattern or large-scale fluid shapes there is always the thread that connects her to her Bauhausian roots."

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Christopher Farr品牌除制作Albers本人设计的图案和织物外,还使用Albers导师Gunta Stolzl,以及其丈夫Josef的作品来制作地毯,其中,Gunta Stolzl是包豪斯学校的编织部主任,也是唯一一名女教师。

在2019年1月,该品牌将会推出该系列的另外6块地毯,其中3块来源于Gunta Stolzl的作品,2块来源于其丈夫Josef Albers的作品,一幅来源于Albers本人的作品。

As well as designs using patterns and fabrics designed by Albers herself, Christopher Farr has also produced rugs from the works of Albers' mentor Gunta Stolzl, who was head of weaving at the Bauhaus school and the only female faculty member, as well as rugs by Albers' husband Josef.
In January 2019 the brand will launch a further six rugs for the Editions range, three by Gunta Stolzl, two new designs from the Josef Albers archives and one from Anni Albers' work.

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Christopher Farr品牌对包豪斯作品的探索始于1995年,当时一位旧金山的纺织设计师Jack Lenor Larsen建议该品牌使用Gunta Stolzl的设计生产一套纺织品。

于是该品牌在Stolzl的作品上做了许多研究工作,之后开展了与Josef和Anni Albers基金会的合作。

“Orchestra”和“Temple”系列的发布与包豪斯的百年庆典同时举行,同时,伦敦泰特现代美术馆也展出了Anni Albers的作品。

在2018年伦敦设计节期间,这些织物和地毯首次在Christopher Farr展厅展出。Anni Albers作品展览将持续到2019年1月31日。

The exploration of Bauhaus work at Christopher Farr began in 1995 when a San Francisco-based textile designer called Jack Lenor Larsen suggested the brand use the designs of Gunta Stolzl for a new collection.
Christopher Farr then worked extensively with the Stolzl archives, and subsequently began working with the Josef and Anni Albers Foundation.
The launch of Orchestra and Temple was timed to coincide with the celebration of the Bauhaus centennial and with an exhibition of Anni Albers work at Tate Modern in London.
The fabrics and rugs were displayed for the first time at the Christopher Farr showroom during London Design Festival 2018. The Anni Albers exhibition at the Tate Modern runs until 31 January 2019.

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