家，為人所用，而非為物所累

家，為人所用，而非為物所累

Amanda Dameron could easily be a design snob, but her approach to decorating is as practical as it is discerning.

阿曼達(dá)·達(dá)默隆(Amanda Dameron)原本很容易變成一個(gè)設(shè)計(jì)界的勢(shì)利眼，然而她的裝潢風(fēng)格卻既實(shí)用，又能體現(xiàn)出獨(dú)到的眼光。

Although she’s the editor in chief of Dwell, the 14-year-old shelter magazine whose tagline is “At Home in the Modern World,” she does not live surrounded with furniture and accessories found only in the Museum of Modern Art’s architecture and design collection or the Design Within Reach catalog.

達(dá)默隆就職于擁有14年歷史的家居雜志《Dwell》，其口號(hào)是“當(dāng)代世界的家居生活”。雖然身為主編，但是她的家居陳設(shè)并不是那種只能在現(xiàn)代藝術(shù)博物館(MoMA)的建筑設(shè)計(jì)館藏品和Design Within Reach家具店里才能找到的類型。

To the editor in chief of Dwell, good design matters, but no one in her home goes around screaming, ‘Don’t Touch.’

對(duì)于家居雜志《Dwell》的主編來(lái)說(shuō)，好的設(shè)計(jì)是很重要，但她家里沒(méi)有人會(huì)到處追著你喊：“別去碰。”

“I don’t have the kind of lifestyle that can support that type of object worship,” said Ms. Dameron, sitting on Kaare Klint’s 1933 Safari Chair in the living room of her floor-through apartment in a 1901 brownstone in the heart of Park Slope, Brooklyn.

“我過(guò)的并不是那種可以支持那樣的拜物教的生活方式。”達(dá)默隆說(shuō)，此時(shí)她正坐在客廳里的一張凱爾·科林特(Kaare Klint)于1933年設(shè)計(jì)的狩獵椅上。她的公寓位于一棟始建于1901年的褐石建筑中，占滿了整個(gè)樓層。這棟建筑坐落在布魯克林公園坡(Park Slope)的中心位置。

“The way I approach everything is that it has to have utility,” she said. “It can’t be art for art’s sake.”

“我選東西的標(biāo)準(zhǔn)是，它必須實(shí)用，”她說(shuō)，“不能為了藝術(shù)而藝術(shù)。”

Ms. Dameron, 37, has other parameters. Everything in her home seems to have a pedigree, a story or sentimental value. She enthusiastically explains that she bought her vintage leather sofa online from Chairish. “It came from an estate in Atlanta, and it’s been well-used and well-loved,” she said. “It’s reminiscent of the work of a designer named Percival Lafer who was working in Brazil in the 1970s. I can’t afford a Percival Lafer sofa, but this one is kind of like a cousin — Brazilian modern meets a tufted Chesterfield.”

現(xiàn)年37歲的達(dá)默隆，對(duì)此還有其它考量。在她的家里，每樣?xùn)|西似乎都有著自己的一脈“血統(tǒng)”、一段故事或一份情感價(jià)值。她興致勃勃地解釋說(shuō)，她的復(fù)古真皮沙發(fā)是在網(wǎng)上從Chairish訂購(gòu)的。“它以前的主人是亞特蘭大的一戶人家，它得到了妥善的使用，保養(yǎng)得也很好，”她說(shuō)，“它能讓人聯(lián)想起設(shè)計(jì)師珀西瓦爾·拉費(fèi)爾(Percival Lafer)的作品。這名設(shè)計(jì)師于上世紀(jì)70年代在巴西工作。我買(mǎi)不起一件珀西瓦爾·拉費(fèi)爾的沙發(fā)，但是這只沙發(fā)就類似它的表親——融合了巴西現(xiàn)代風(fēng)格和釘扣長(zhǎng)沙發(fā)的元素。”

She also chose it because the arms have rounded corners. That way her 10-month-old son, Otto, can’t get poked. And because it’s well broken in, she doesn’t worry that he will ruin it. “I have to have a home that is not too precious, with a son and two dogs,” she said.

她挑選這款沙發(fā)的另一個(gè)理由是，它的邊角是圓弧形的，這樣一來(lái)，她那十個(gè)月大的兒子奧托(Otto)就不會(huì)被戳到了。況且，由于它很耐用，她也不用擔(dān)心孩子會(huì)把它弄壞。“我家有小孩，還養(yǎng)了兩只狗，所以家里的東西不能太金貴。”她說(shuō)。

Ms. Dameron and her husband, Keven Matsuzaka, 34, a one-time sushi chef who is now a stay-at-home dad, moved recently from a one-bedroom apartment in Windsor Terrace to their two-bedroom walk-up because they wanted Otto to have his own room.

達(dá)默隆的丈夫凱文·松阪(Keven Matsuzaka)現(xiàn)年34歲，以前是壽司廚師，現(xiàn)在全職在家?guī)『ⅰＫ瓦_(dá)默隆最近從溫莎公園(Windsor Terrace)的一套一居室公寓，搬到了現(xiàn)在無(wú)電梯的兩居室里，因?yàn)樗麄兿虢o奧托一個(gè)屬于自己的房間。

“That was paramount,” she said, adding that good light was a requirement and the washer/dryer and bathtub were an added bonus. “His room is just big enough for a crib and a changing table, but I love that he has a window that looks out on treetops.”

“這是最重要的，”她說(shuō)，同時(shí)表示，采光好是一個(gè)必要條件，而洗衣/烘干兩用機(jī)和浴缸則是加分項(xiàng)。“他的房間里剛好放得下一張嬰兒床和一個(gè)換尿布臺(tái)，不過(guò)我比較喜歡的是，他的房間里有扇窗戶，可以看到外面的樹(shù)梢。”

In front of a window framed by the original interior wood shutters, Ms. Dameron hung a glass sculpture called “Morning in Athens,” a 1953 design by the Finnish designer Kaj Franck. The clear handblown orbs make a gentle musical sound when you blow on them that is said to reverberate like the church bells of Athens. “I got it at the Iittala factory and lugged it back on the airplane,” she said.

在一扇裝飾著原始木百葉簾的窗前，達(dá)默隆掛了一件名為《雅典的早晨》(Morning in Athens)的玻璃雕塑，是芬蘭設(shè)計(jì)師卡伊·弗蘭克(Kaj Franck)1953年設(shè)計(jì)的作品。這些清透的、人工吹制的球體，在清風(fēng)的吹拂下會(huì)發(fā)出音樂(lè)般的柔和聲響，據(jù)說(shuō)就像雅典教堂的鐘聲。“我從 Ittala(芬蘭頂級(jí)家居品牌——譯注)的家具廠買(mǎi)下它，然后空運(yùn)了回來(lái)。”她說(shuō)。

Among the few other modernist elements in her apartment are the sleek Vitsoe 606 library-style bookshelves designed by Dieter Rams of Germany in 1960. “I’ve long coveted them and I finally had the space,” she said. “As a serious collector of books and magazines, bookshelves are very important to me.”

在她公寓里為數(shù)不多的現(xiàn)代主義元素當(dāng)中，還有線條明快的Vitsoe 606系列圖書(shū)館風(fēng)格書(shū)架，是由德國(guó)設(shè)計(jì)師迪特·拉姆斯(Dieter Rams)于1960設(shè)計(jì)的。“我一直想買(mǎi)下它們，現(xiàn)在終于有地方放了，”她說(shuō)，“作為嚴(yán)肅的圖書(shū)及雜志收藏者，書(shū)架對(duì)我來(lái)說(shuō)很重要。”

Ms. Dameron worked from 2001 to 2005 at Architectural Digest, and she has filled several shelves with issues from the 1970s and 1980s. “I refer to them all the time,” she said. “They are a great record of an important era.”

達(dá)默隆在2001到2005年曾就職于《建筑文摘》(Architectural Digest)，她在好幾個(gè)書(shū)架上擺滿了上世紀(jì)七、八十年代的《建筑文摘》過(guò)刊。“我時(shí)不時(shí)就會(huì)翻翻看，”她說(shuō)，“它們很好地記錄了一個(gè)重要的時(shí)代。”

The bookshelves are punctuated with things that remind her and Mr. Matsuzaka (who is half Japanese) of their childhoods in Cincinnati, such as wooden kokeshi dolls that belonged to his paternal grandmother and the Kodak Brownie Fun Saver movie camera that belonged to his maternal grandfather, who was an engineer with Kodak. “We have a lot of objects from our grandparents because we are very close to them and we don’t have any family in New York, so they’re important for Otto and ourselves.”

書(shū)架上點(diǎn)綴著一些懷舊的小玩意，能讓她和松阪(他有一半的日本血統(tǒng))想起他們?cè)谛列聊翘?Cincinnati)度過(guò)的童年時(shí)光。這些小東西包括松阪祖母的小芥子木偶娃娃，還有他外公的柯達(dá)小精靈一次性電影相機(jī)(Kodak Brownie Fun Saver)，松阪的外公是柯達(dá)的一名工程師。“我們有很多祖父母的小物件，因?yàn)槲覀兏麄兒苡H近，而且我們?cè)诩~約沒(méi)有親人，所以他們對(duì)奧托和我們都很重要。”

There is also a traditional Uncle Sam mechanical bank that belonged to Ms. Dameron’s father. “When you put a penny in his hand it drops immediately into the U.S. bag and his chin starts wagging,” she said. “I’ve had that everywhere I’ve ever lived. We put it in our history and philosophy section.”

書(shū)架上還有一個(gè)風(fēng)格傳統(tǒng)的山姆大叔機(jī)械存錢(qián)罐，那是達(dá)默隆的父親給她的。“你把一便士放到山姆大叔手上后，它就會(huì)馬上掉進(jìn)寫(xiě)有‘U.S.’字樣的包里，然后山姆大叔的下巴就會(huì)開(kāi)始動(dòng)，”她說(shuō)，“我無(wú)論住在哪兒都帶著它。我們把它放到歷史和哲學(xué)書(shū)籍區(qū)。”

On a lower shelf, a copy of the children’s book “The Snowy Day” by Ezra Jack Keats is displayed on an easel like a work of art. “I love the graphics,” she said. “It was one of my favorite books growing up, and seeing it always takes me back to my childhood.”

在書(shū)架較低的一層上，埃茲拉·杰克·濟(jì)慈(Ezra Jack Keats)的《雪天》(The Snowy Day)這本兒童書(shū)被擺放在一只畫(huà)架上，就像是件藝術(shù)品。“我愛(ài)看里面的圖畫(huà)，”她說(shuō)，“這是我非常喜歡的一本書(shū)，它伴隨著我長(zhǎng)大。每次看到它，我就感覺(jué)回到了小時(shí)候。”

Before moving to New York, Ms. Dameron lived in other hot neighborhoods — Silverlake in Los Angeles and the Mission in San Francisco — and she’s besotted with Park Slope.

搬到紐約之前，達(dá)默隆也曾在其它熱門(mén)社區(qū)居住——洛杉磯的銀湖(Silverlake)和舊金山的教會(huì)區(qū)(Mission)，而她還是為公園坡心醉神迷。

“I don’t want to live anywhere else,” she said. “I love how in a block I can walk to get my shoes fixed, go to a hardware store, get an orange or have a painting framed. And they are all independent businesses, although Starbucks is encroaching. It makes me feel good to support the local economy.”

“我不想在別的地方住了，”她說(shuō)，“在這里，我只需走一個(gè)街區(qū)，就可以修鞋、去五金店、買(mǎi)橘子、裝裱一幅畫(huà)，太方便了。而且這些店都是獨(dú)立經(jīng)營(yíng)的，只不過(guò)星巴克正在蠶食這個(gè)地方。能夠支持本地經(jīng)濟(jì)讓我感覺(jué)很好。”

While she describes the neighborhood’s tree-lined streets and huge brownstones as “calming, moving and evocative of a lot of people’s romantic visions of Brooklyn,” her work life is focused on innovative, contemporary architecture and design. This past week her concern was the Dwell on Design NY conference in SoHo, with a schedule including a discussion on the intersection of design with loss.

雖然她說(shuō)，這個(gè)社區(qū)里樹(shù)木夾道的大街和巨大的褐石建筑很“寧?kù)o、動(dòng)人，能喚起很多人對(duì)布魯克林的浪漫想象，”不過(guò)她的職業(yè)生活著眼于創(chuàng)新的、當(dāng)代的建筑和設(shè)計(jì)。上周，她忙于將在蘇豪區(qū)(SoHo)舉行的、Dwell on Design展會(huì)紐約站的事務(wù)，其中就安排了一場(chǎng)關(guān)于設(shè)計(jì)與迷失之間交集的討論。

Ms. Dameron was to be the moderator of that conversation, between Barry Svigals, the architect of the new Sandy Hook Elementary School in Newtown, Conn., and Mark Wagner of Davis Brody Bond, the lead architects of the National September 11 Memorial Museum. “It’s hard to create a monument to tragedy, remembrance and progression,” she said.

達(dá)默隆將成為這場(chǎng)對(duì)話的主持人，對(duì)話雙方分別是巴里·思維戈斯(Barry Svigals)，康涅狄格州紐敦(Newtown)新建的桑迪·胡克小學(xué)(Sandy Hook Elementary School)就是他設(shè)計(jì)的;另一位嘉賓是馬克·瓦格納(Mark Wagner) ，他就職的戴維斯-布羅迪-邦德(Davis Brody Bond)公司，就是“9·11”國(guó)家紀(jì)念博物館(National September 11 Memorial Museum)的首席建筑師事務(wù)所。“要建造一座銘記悲劇、繼往開(kāi)來(lái)的紀(jì)念館，是很難的。”她說(shuō)。