Patching under equalism

This article is published in the 38th issue of “Sanlian Life Weekly” in 2020. The original title “Patching under equalism” is strictly prohibited to reprint it without permission.

After abandoning the concept of traditional materials, collage production becomes a fair game, developing alternative and unconventional design languages.

Text/Zhonghe Yan

Image copyright (C) Kostas Lambridis Messwanwand Yinka ILori

The weird element chandelier has a tattered beauty

Badmington cabinet and element cabinet


The furniture that set the most expensive auction in history is the famous Badminton Cabinet. In 1726, when the third generation of Bo Ford Duke Henry Sammert passed the Florence, the British British Duke of Bofu Ford was the way to Florence. Sandalwood cabinet customized by Fang. The literature records that the 19 -year -old Duke paid £ 500 for this year, plus tariffs of 94 pounds.

For hundreds of years, the furniture has been preserved in the Duke’s territory of Glotmington Manor. Until the late 20th century, his descendants were delivered to the real estate tax. In December 2004, Liechtenstein, the current Prince Hans Adam II, was bought at a auction at Christie’s at a price of 19 million pounds and donated it to the Liechtens Palace Museum in Vienna.

The 31 -year -old Greek designer Kostas Lambridis was in the garden palace and saw this 18 -century Baroque masterpiece. He decided to make his own Badmington cabinet version, trying to question the values ​​in the traditional sense with no grade design methods, “the most expensive furniture ever ever” has become his new goal.

The front of the element cabinet should respect the original composition of the original

The Badmington cabinet is about 3.8 meters high and 2.3 meters wide. It is considered to be the last masterpiece of the Midi family workshop. From the earliest Roman in the 15th century, a decorative method called Pietra Dura appeared -using highly polished cut colored gemstones, inlaid with exquisite patterns like mosaic. After it passed to Florence, the Midi Family Workshop is famous for this process.

The symmetrical Badmington cabinet mainly uses ebony and brass gold -plated decorative parts, which can be divided into three parts from two directions. Pietra Dura’s 11 embedded panels inlaid on it, with a large number of colored gems such as agate, chalcedony, amethyst, red jasper, and green stone, and finely inlaid various colorful birds and flowers patterns. The frame is frame.

Greek designer Langbertis and his own Badmington cabinet

Lambouritis has a complicated feeling for this show -off heir family: “I admire both and hate it. It represents the level of craftsmanship and noble temperament of that era. Pride. “After the Duke of Bo Ford got the order, 30 outstanding craftsmen worked for a full 6 years. Langbritish scanned the original in the Garden Palace. He completed his version in only 3 months and named it with the “Element Cabinet”.

Although the appearance and size of the element cabinet are completely compliant, the appearance of the element cabinet is difficult to say. The exposed gypsum and concrete columns, the wooden framework of the hard work, the color of different depths, and the effect of patching the patch in the past. It is like combining all kinds of non -matching parts to become strange and ridiculous polymers.

Behind the confusion and randomness of the surface, there is actually an inner order. Lanbeltis expanded his layout from two axes, and each component had its due position. From the horizontal direction, he arranged according to the processing method of the material: the material on the left is carefully made, and the right side is more primitive and rough. The front of the cabinet respects the original composition as much as possible, and the rear exposes its own structure, such as the molds and castings he used to make the facade directly.

In the vertical direction, from the heavier materials on the lower layer to the lighter materials of the upper layer are divided into five levels: the bottom is large concrete, stone and ceramics, and then metal, wood and plastic layers. Finally, textiles and recycled electronic products Essence Materials are allocated from vertical direction according to weight, which is also a material assessment method advocated by the late Greek sculptor and the representative of the poor art movement Jannis Kounellis.

A gorgeous square clock occupies the top of the Badmington cabinet, on the bell inlaid with colored gemstones. The Roman numerals and iris formats are separated from each other. The Duke of the Duke of the Borum is placed on it like a crown. In contrast, the clock of the element cabinet comes from the recycled electronic equipment. The clock surface of the digital timing and the heraldic coat of the iris is Lanbelitis invited his mother to embroidery carefully.

The main rule of making this cabinet is the level of no material. Whether it is garbage recycling or bright bronze pieces, whether it is a casual product or exquisite handicraft. “I don’t care what I found from the garbage, or spend thousands of euros of high -priced objects, I don’t care if I don’t care about it. I treat them with the same respect. It can also be said that I lack respect for them. “,”

Elemental lounge does not copy a specific design

Intuitive collage

Lambertis was born in Athens in 1988. After graduating from the Eindhoven School of Design in 2017, he founded his own multi -disciplinary studio upstairs in a car repair plant in northern Athens, involving wood, metal, stone, and stone, and stone, stone, stone, and stone, and stone, stone, stone, and stone. Various materials such as glass. He was good at decomposing and repairing items since he was a child, and inherited the idea of ​​the old school from his father: Don’t throw away those things that are easy to break, learn to spend some time to repair them, and give them some care. “Today, this may be called ecological consciousness. In fact, I want to create a longer relationship with items and get satisfaction from it.”

In order to prepare for the first work exhibition this year, after the element cabinet, he made elemental lounge chairs and element chandeliers, and borrowed the two luxury and wealth symbols of the two luxury and wealth symbols of furniture symbols of the two luxury and crystal chandeliers. Design method. In the element chandelier, various components such as iron wire, brass, painted glass fragments, and waste electronic components are reluctant to pieces a sphere, which is interspersed with glowing neon tube and LED lamp beads in the middle. Although weird, there is a tattered beauty.

Unlike the element cabinet, the element chair does not copy a specific design. Lambertis seamlessly stitches wood, plastic, leather, resin, brass and other materials to form a curved sofa chair with a curved back. Wait for the work of the well -known designer.

The element series contains a number of interconnected concepts: valuable and worthless, natural and artificial, vanity and humility, chaos and order, etc. After abandoning the concept of traditional materials, it has become a fair game. From an artistic perspective, the value of gold and ebony is the same as that of aluminum strips and fiber boards. As American artist Robert Lawsonberg says, there is no so -called higher -level material.

The design of the super sensory official looks charming, and it is inferior to the old


About 1953, Lawsonberg created a series of “Elemental Painting” series. He did not use oil, but used non -traditional materials such as dirt, green grass, thin paper, clay and mold, not painted with brushes, but squeezing, combination and stacking in wooden frames. During the exhibition of the work, the green grass suddenly sprouted from the soil painting, and the mold spread on the surface of the picture form a lively composition. Even the artist himself is difficult to predict the final result.

The element series of Langbritis was inspired from there. He said: “I drew a line, one end is the Badmington cabinet, and the other end is the dirt painting of Lawsonberg. Finding your own creative space will be concretely hidden in the moral dilemma hidden in artistic practice. “

It is also a furniture that uses waste and current finished collage to make conceptual furniture. It is also between art sculptures and design products. Visual code and aesthetic rules in product design.


MESSWANWAND’s ambiguous, unable to classify collage works


Messwanwand is composed of two designers, Romain Coppin and Alexis Bondoux, are 27 years old this year. Nine years ago, the two met at the School of Applied Arts in Navel, France, and had a similar doubt about the college design and education driven by the production model. Conventional product production includes typical steps such as ideas, sketches, renderings, modeling, and production. MESSWANWAND believes that each of them can be regarded as potential ending. It has the same level and should not be closed to global nature. Production cycle.

Earlier this year, they stayed at the ZaveNTEM workshop in Belgium for a month and completed a new series consisting of 10 collage furniture. This workshop has always supported innovative experiments by young artists and designers. They collected materials such as wood, metal, foam and plastic from the workshop, and purchased some waste furniture from nearby Brucel’s flea market and second -hand stores.

“We spent two weeks to collect items and classify them in the workshop. Then, we test the possibilities of various comparisons and combinations, add paint, surface treatment and decorative details.”

As an alternative to batch products, these works are ambiguous and seemingly unfinished. Although they can distinguish the prototypes such as tables, cabinets, sofas, etc., too strange combinations make them incredible. The wooden desktop hangs a white rope, the sofa armrests grow flowers and feathers, and there is a large yellow sunflower on the top of the back of the chair. The design of this super -sensor is charming and inferior. MESSWANWAND also uses the field of image medium to enter the field of pixels and mega bytes, and uses bad green screen, CGI background and exaggerated shadow effect to make a “digital furniture” series.

However, their most powerful tools are still primitive, intuitive collages, and the effects of the collage include texture, color and decoration. Essence The purpose of MESSWANWAND is to study how items are designed and affecting aesthetic appreciation. What would it happen if it destroyed and crack them? For universal production models, there is a potential criticism of extensive aesthetic rules and tastes.


The cube structure of “Color Palace” consists of thousands of hand -painted wood

Tell personal stories with a chair

10 kilometers away from the center of Leeds, the United Kingdom, a well -known Harewood House, built by the first generation of Harwood Baron Edwin Lascelles from 1759 to 1771 Years. Today, the Harwood Manor is still owned by the Russels family. As an operation of the Education Charity Trust Fund, most of the year is open to the public.

Last year, a contemporary handicraft exhibition was held in the estate “useful/beautiful” to discuss the importance of handicrafts in the digital era. From independent handicrafts to large -scale handicraft companies, the works of 26 exhibitors have been displayed in different rooms of large rural villas. Yinka ILori, a 32 -year -old London designer, is one of them. His “if a chair can speak” series is now “Cinnamon Hall”, a wall known to a cinnamon -colored silk wall. The living room is full of portraits of the Russels family.


“Color Palace” gazebo cooperated with building studio PriceGore

The five chairs in the series are upgraded and transformed on the abandoned old furniture. The shabby wooden chairs are re -applied to the bright colors, and the fabric cushion with a beautiful pattern is installed. Because of the bright colors of hedge such as fresh green, rose red, and blue blue, even if it is placed in the magnificent cinnamon hall, it is not shabby. The inspiration of each chair in the “chair can speak” series comes from the friendship between Elury and different boys during the growth process. Those characters in real life are telling stories that are completely different from showing the background.

Elore is the first generation of British Nigerians. From an early age, he lived with his parents and three siblings and lived in a public rental house provided by the government of the Essex Road in London. The friends around him are also difficult. Some people come from broken families, and some people live a crime. “We always fall in the dilemma of dropping out or continue to receive education. Some guys have been imprisoned, some people sell drugs, and some people are always bullied because of poor English, but everyone has his hope and dream. We sit in a chair. On the top, share your thoughts and emotions, the chair knows all the secrets. “

Elore’s “If a Chair can speak” series is shown in the “Cinnamon Hall” in Harwood Manor

There is a story behind each chair, which can convey different information. In the family, everyone may have their own chairs, creating a fixed relationship. Sitting on it and laughing and crying, there was a moment of happiness and sadness. Eli only has a soft spot for the chair. Compared with the simple upgrade, he is fascinated by the method of incorporating the story into the design. His common method is to combine the two chairs into one, or to extract different parts from two or three old objects to try mixing and matching.


This recurring idea was originally influenced by Italian designer Martino Gamper. About 10 years ago, Ganper had a well -known experimental project of “100 days, 100 chairs”. Use the old chairs collected from the street or friend’s house to make a new chair every day in 100 days.

This is an obvious creative plan that is obviously restricted. It only uses limited hand materials to complete within one day. Each new chair is unique. For example, a cello inserted into the “music chair” in the cube wooden block, combined the “wooden plastic chair” of Joe Koronapo plastic stack chair and wooden chair in 2007, or disassembled and re -assembles Jiolo Pang Di The famous original work in 1960.

The intention of Ganper is to convert the characteristics and functions of the chair, integrate the style, structure and symbols of the current finished product, and develop poetic, abnormal perhaps humorous mixture. He said: “There is no perfect design and no super design. Each item is an independent individual, some may be more functional, and others have stronger emotional attachments.”


Eli uses color and fabric to upgrade the abandoned old furniture

In the process of collageing the old chairs, the strength of Elore is the bright colors and the rich patterns based on traditional African design. Pink, pale purple, orange, and yellow are the color panels he often appears. He believes that the color makes people feel specific. Everyone has at least one kind of color related to themselves, which may be related to the memory of the past. Whether it is positive or negative. He said: “Design is to try to evoke the feeling and create a memory of a certain thing so that it can exist and pass on.”


His way of expression also clearly reflects the influence of Nigerian culture. Among the minimalism designed by the United Kingdom and Scandinavia, the fascinating patterns, texture and Nigerian culture are added. At the London Architecture Festival in June last year, he collaborated with the architectural studio PriceGore to complete a colorful gazebo titled “Color Palace”. The facade of the cube structure consists of thousands of hand -painted wood. From a distance, the fresh blue background shows the rose red triangle and the yellow dot pattern. This neatly arranged pattern comes from Yiluo A African textile found in Pekham Market.


His chair stories are still continuing. There is a social enterprise “RESTRATION Station” in Shardic, London, mainly providing carpentry and furniture repair courses and work experience for rehabilitation of drug rehabilitation. He regularly holds a workshop for those recovery, upgraded the waste chair donated to the recovery station, and the chair after the completion was auctioned by charities, and the funds were raised to re -fund the plan.

During the workshop, Eli encouraged volunteers to choose their own color panel, tell their personal stories in color, and apply different patterns to old chairs. He said: “Many people are nervous about using the color, and no one has told them that you are very talented. The fable I like is that no matter how long the neck of the giraffe is, it still cannot see the future. The future of people. “

Author: ArticleManager