給你一沓紙，竟能做出奇妙家具？

給你一沓紙，竟能做出奇妙家具?

Luca Nichetto is an Italian designer who grew up professionally among the glassmaking studios of Murano. These days, however, he often finds himself inspired by a humbler medium.

盧卡·尼凱托(Luca Nichetto)是一名意大利設(shè)計(jì)師，從小在慕拉諾(Murano，威尼斯的玻璃工業(yè)中心——譯注)的玻璃作坊中長大，受到專業(yè)氛圍的熏陶。不過，這些天里，他發(fā)現(xiàn)自己往往能從更低端的媒介中汲取靈感。

“Paper and cardboard are amazing materials,” he said.

“紙張和硬紙板是神奇的材料，”他說。

For one thing, Mr. Nichetto explained, they are easily recycled, and that “makes them really interesting materials that respect our planet.” But they can also assume a variety of forms — from simple sheets of material to pressed paper pulp — which allows designers to create a surprisingly diverse range of paper-based products.

尼凱托解釋道，首先，它們很容易回收，這“使它們成為非常有趣的環(huán)保材料”。此外，它們的形式多樣——從簡單的紙片到加壓紙漿，各種材料都有。設(shè)計(jì)師就可以在此基礎(chǔ)上創(chuàng)作出令人驚嘆而百變的各類紙制品。

Although his finished designs are usually made out of other materials, Mr. Nichetto, 37, said he frequently works with paper when he is developing them at his studios in Venice and Stockholm. For instance, when he was designing the Motek chair for Cassina, which was introduced last year, he said, “I played with small modeling paper to create a shell” that was informed by origami, which had folds that provided structural rigidity. And his Stewie lamp for Foscarini, introduced in 2012, grew out of an analysis of Japanese paper lamps.

盡管他的設(shè)計(jì)成品通常是由其它材料制成的，現(xiàn)年37歲的尼凱托說，他在威尼斯和斯德哥爾摩的工作室里創(chuàng)作時(shí)，經(jīng)常會(huì)用到紙。舉個(gè)例子，去年，Cassina公司推出了他所設(shè)計(jì)的“Motek”座椅。他說，在設(shè)計(jì)過程中，“我試用一些較小的模型用紙，做了個(gè)殼子”，靈感源于折紙藝術(shù)，通過褶皺來增強(qiáng)作品整體的結(jié)構(gòu)剛性。還有2012年，F(xiàn)oscarini公司推出了尼凱托設(shè)計(jì)的“Stewie”燈具，這款設(shè)計(jì)的靈感則衍生于對(duì)日本紙燈的一次分析。

But he was quick to note that other designers have been creating finished products made of paper and cardboard for years. At the Vitra store in the meatpacking district, Mr. Nichetto pointed to a couple of classic cardboard pieces by the architect Frank Gehry: the 1972 Wiggle side chair and a miniature of the 1987 Little Beaver chair.

不過，他很快注意到，其他設(shè)計(jì)師早在多年前就已開始采用紙張和硬紙板創(chuàng)作成品了。在肉庫區(qū)(meatpacking district)的Vitra門店，尼凱托指了指兩件經(jīng)典的硬紙板作品，它們都是建筑師弗蘭克·蓋里(Frank Gehry)的大作。一件是1972年推出的無扶手波紋椅“Wiggle”，另一件是1987年推出的座椅“Little Beaver”的迷你版。

“Cardboard is usually just considered cheap and for packaging,” Mr. Nichetto said. “But he gave it a whole new meaning.” He sat down on the Wiggle chair, pronouncing it firm and durable, but malleable enough to “develop a patina as you use it.”

“硬紙板通常只被人們視為廉價(jià)的包裝材料，”尼凱托說，“但他卻為硬紙板賦予了全新的意義。”他坐到Wiggle波紋椅上，稱它結(jié)實(shí)耐用，且柔韌性足夠好，“用久之后還會(huì)泛出古舊的光澤”。

At the MoMA Design Store in SoHo, Mr. Nichetto found another cardboard seat: the Riki stool, designed by Riki Watanabe in 1965. “It’s super simple, but really cool,” he said, admiring the bold primary colors. And with the hidden voids inside, he joked, “You have some secret storage for when the police come to your flat.”

在蘇豪區(qū)，MoMA的設(shè)計(jì)店里，尼凱托又找到一張名為“Riki”的硬紙板腳凳，這是渡邊力(Riki Watanabe)在1965年設(shè)計(jì)的作品。“它超級(jí)簡約，但真的很酷，”他邊說邊欣賞著椅身上大膽保留的原色。在談到椅子內(nèi)部的暗格時(shí)，他打趣道，“警察來搜查時(shí)，你就有藏東西的地方了。”

For a larger storage unit, Mr. Nichetto suggested the Paper Cabinet by Studio Job for Moooi, which he found online at Lumens. Made entirely out of paper and cardboard components that slotted together, it had a finish that looked like haphazard papier-mâché. “It’s typical in Venice to use this process for masks,” he said.

至于大型收納用具，尼凱托推薦設(shè)計(jì)工作室Studio Job為荷蘭品牌Moooi設(shè)計(jì)的紙柜(Paper Cabinet)，那是他在Lumens網(wǎng)站上找到的。這款紙柜完全由紙張和硬紙板組件拼裝而成，有一層涂料，看起來就像混凝紙漿。“這種涂飾工藝在威尼斯很典型，”他說。

But the Trash Me table lamp by Victor Vetterlein, at YLighting, offered an even more surprising texture: molded paper pulp. “I like the really rough projection of the material,” Mr. Nichetto said. “He used a process similar to egg packaging.”

不過，維克多·費(fèi)特萊因(Victor Vetterlein)為燈具品牌YLighting設(shè)計(jì)的“Trash Me”臺(tái)燈，展示出了更加驚人的質(zhì)地：紙漿模塑。“材料的質(zhì)感看起來真的很粗糙，這一點(diǎn)我非常喜歡，”尼凱托說，“他采用了和雞蛋托類似的制作工藝。”