John Pawson designs minimalist oil lantern for Wästberg

由专筑网王帅，李韧编译

建筑师John Pawson与Wästberg瑞典照明公司联手，设计了这款Holocene系列的第四盏非电灯。

这盏油灯名为“Holocene no.4”，其材质为不锈钢和铝，有着光滑的外部形态和抛光的内部核心，从而最佳地反射光线。

Architect John Pawson has collaborated with Swedish lighting company Wästberg to design the fourth non-electric light in its Holocene collection.
The oil lantern, called Holocene no.4, is made from stainless steel and aluminium, with a matte exterior drum and a polished interior core to best reflect the light.



这盏灯安装有从光源底部的圆柱形延伸到上方中央的方形金属手柄，手柄的顶部为指尖形。灯具几乎不经过任何装饰，这与Pawson的风格相一致。

这盏灯高约40公分，便于随身携带，在室内和室外都可以使用，它可以放在地板或桌子上，或挂在墙上。

The freestanding piece has a squared-off metal handle that extends from the cylindrical shade at the base of the light with a central, finger-shaped intend at the top. The light has few embellishments, in line with Pawson's pared-back style.
It stands just over 40 centimetres tall and can be carried around for use both indoors and outside, positioned on the floor or a table, or hung from the wall.



Pawson告诉Dezeen的记者：“我想让功能、形式和色调尽可能简单。它外形上就如同坩埚，这个设计方式使它能够舒适地移动和悬挂。”

Pawson在做一个农舍项目的时候，萌生了设计现代油灯的想法。当时Pawson正在进行牛津郡的农业综合建筑设计，他与Wästberg进行了第一次接触。

Pawson说：“我总是喜欢用特定的背景和清晰的思维来设计使用模式，而非抽象。”

“油灯是一种自然的选择，因为我想做一些可以从室内到室外都能适用的东西。因此从防风灯切入。”

"I wanted to keep the function, form and palette as simple as possible. It's basically a crucible-like container for fire, designed so that it can comfortably be carried and suspended," Pawson told Dezeen.
The decision to design a modern take on an oil lantern came about as Pawson was designing a farmhouse project that integrated agricultural outbuildings in the Oxfordshire countryside when he was approached to collaborate with Wästberg.
"I always prefer to design with a specific context and a clear idea of patterns of use in mind, rather than in the abstract," said Pawson.
"An oil lantern seemed a natural choice because I wanted to make something that would move seamlessly from indoor to outdoor use and I liked the precedent of the storm lantern as a starting point."



Holocene系列的前三款灯分别由Isle Crawford、David Chipperfield和Jasper Morrison设计，Wästberg品牌由Magnus Wästberg创建。在合作之前，虽然Magnus Wästberg和Pawson并不熟悉，但是Magnus Wästberg长期以来一直很欣赏Pawson的作品。

Wästberg告诉Dezeen的记者：“我非常熟悉John的作品，当我在20世纪90年代中后期第一次看到他的作品的时候，对我启示很多。它们触动了我的心弦，并且在我脑海中回荡20年之久。”

The previous three lights in the collection were designed by Isle Crawford, David Chipperfield and Jasper Morrison, who Magnus Wästberg, the founder of Wästberg approached personally. Although he didn't know Pawson before they worked together, he had long been an admirer of his work.
"I was fully aware of John's work; when I first came across it in the mid-to-late 1990s it was kind of a revelation to me. It struck a chord with me and has stayed that way for twenty years," Wästberg told Dezeen.



该系列的名称来自同名的地质周期，Wästberg说“‘Holocene’是一段地质年代，特指从11700年前到100年前这一时期。可以说这段时期是人类与自然和谐相处、对资源小心、珍惜的时期。”

总部位于赫尔辛堡的照明公司的创始人Wästberg认为，当人们从火转向到电灯后，人们与光的关系发生了变化。

他说：“技术的进步愈发成熟，但是，人们总是把电看作是取之不尽的资源，因此，人们与光的关系也发生了变化。”

Wästberg觉得人们现在可以接触到的东西，但却不是为了造福人们而存在，他说：“照明解决方案不再‘用于’人，而是‘针对’人。”

The name of the collection derives from the geological period of the same name. "The Holocene was a geological period, stretching from 11,700 to about 100 years ago," said Wästberg. "It can be described as the period when man lived in harmony with nature, was careful with resources, cherished fire."
The founder of the Helsingborg-based lighting company feels that our relationship with light has changed since the switch to electric lights from naked flames.
"Technical advancements are obviously mostly for the better, but as we started to regard electricity as an inexhaustible resource our relationship to light changed," he explained.
He feels that artificial light is now something that we are exposed to, rather than something that exists to benefit us: "Lighting solutions no longer light 'for' people but 'on' people," added Wästberg.



该系列通过提供一种设计精美且节能的替代品，旨在改变人们对非电灯的看法，这也是Pawson的梦想。

Pawson说：“照明是建筑的重要元素，它改变了人们对空间的看法。”

“我想创造一些它自己存在的东西，所以当你把它放下时，它就会产生自己的氛围。”

The collection aims to change our perception of the possibilities of non-electric lights, by offering a beautifully designed and energy efficient alternative, an ambition that Pawson agrees with.
"Lighting is the biggest element of architecture and completely changes one's perceptions of space," said Pawson.
"I wanted to create something that had its own presence, so that when you set it down it makes its own atmosphere."





Pawson强调，无论是设计建筑物还是灯具，其的过程都是相似的。他说：“正如我常说的，无论是芭蕾舞场、教堂还是勺子，对我来说都是建筑。”

“从质量、体积、表面、比例、连接、几何学、重复、光和仪式上来讲，万物皆一致。”

Pawson stressed that his process remains the same, whether designing buildings or lights. "As I always say, whether it's a ballet set, a chapel or a spoon, for me it's all architecture," said the architect.
"Everything is traceable back to a consistent set of preoccupations with mass, volume, surface, proportion, junction, geometry, repetition, light and ritual."



Wästberg说：“我感觉越来越多的人对照明开始感兴趣，这不仅体现在对照明技术方面，还体现在照明形成的氛围方面。此外，我们不能再把电力看作一种取之不尽的资源，至少目前不是。”

在2016年 Pawson让Dezeen的记者进入他的诺丁山和国王十字车站的工作室，两座工作室都有着白色和灰色的极简主义风格。

"I have a feeling that more and more people are interested in lighting and not only the technical aspects of lighting but also how it makes us feel and the atmospheres it creates. In addition, we can no longer see electricity as an inexhaustible resource. At least not for the time being," added Wästberg.
Back in 2016, Pawson let Dezeen into his Notting Hill and King's Cross offices, both of which are decorated in a minimalist style, in shades of white and grey.