创意的碰撞

Editorial staff — Tue, 21 Oct 2014 08:26:04 +0000

谈及新设备与系统的设计以及照明设计中应用的各种操作方式时，德国建筑师Dietrich F. Brennensthul 向读者介绍了一些非常有趣的应用案例，同时也阐述了自己对照明设计以及 LED 技术所持有的独特见解。

将工作与实际相结合

您的培训在一定程度上依赖于您后续研究的“动力”，这些研究包括您在精密工程领域的经历以及在斯图加特大学所进行的建筑学学习。在学习各种材料的过程中，您是否对灯光进行研究？

我的精密工程的毕业文凭和建筑学的学位是我进行后续工作的基础。我在大学期间主要关注的对象是城市规划，无论是对技术细节的深入研究，还是对复杂概念的开发，所有的这些都起到了很重要的作用，并且通过它们之间的相互关系，最终形成了 Nimbus Groups 的企业理念。 Nimbus 团队将我们的产品在实地中进行具体化和形象化，并通过该方式引导我们的思路。我们所使用的材料非常复杂，只有将它置于具体的建筑环境、空间环境以及感知环境中，才能真正地理解它的作用，这一点对于灯光效果和音响效果而言更为突出，而对我们而言，这些也正是我们工作中最为有趣的地方。

在工作中，你倾向于对空间的建筑特性、以及空间内部材料的技术特点和性能进入深入研究与分析，从而使得光与物体的结合成为空间的焦点。能否对此向我们做详细阐述？

在采用具体的产品或材料之前，我们会对以下方面进行考察：人们如何在该空间中生活、工作与活动的？他们缺少了什么？需要增加什么？他们想要什么？人们将如何使用这些产品？我们从最复杂的问题开始，最后回归到具体有形的需求上，然后开发出一种满足这些工作环境或家庭环境需求的产品。通过这些照明产品，我们可以强化某个建筑的某些具体特性，又或者通过创造出简单又不失美感的高精度产品，来展现某个独特的布局。这种将高科技与情感、色彩与装潢特性巧妙融合的风格不仅受到了建筑师与设计师们的赞赏，也得到了客户们的喜爱。同时，我们的灯具可应用于各种装置。

LED 与照明设计

您是如何认识到 LED 照明在实际应用中的可适用性的？

我一开始就清楚知道 LED 所具有的潜力：它有可能带来新的结构配置的潜力令我感到兴奋。通过使用更小更轻的 LED 电路板，我们有望首次开发出更薄更简洁的照明产品。这是一个创造出新的代表产品的绝佳机会！2005年时我提出采用这项技术，从而使我们公司在技术上更趋完美，并开发出更为独特的照明装置，而这些新装置与当时市场上的同类装置相比，在效率和使用寿命上都表现得更好。

市场上由 Nimbus 设计的各式照明装置几乎都用于支持定制系统，在您看来，新产品的出现是否总是应项目工程的需求而生？

在我们看来，理解市场的需求、或者开发人员与设计师的需求，并为他们提供最佳的解决方案，这一点非常地重要。每一个项目都为我们提供了一个为各种实际场景开发最适用产品的机会。有时候，我们所需要做的只是对现有产品进行一些“调整”，有的时候则需要开发全新的产品。这些确保了我们的产品可以有机且紧密地跟上时尚潮流，如此一来，产品的开发也会变得更具持续性。

您如何看待现今 LED 技术在操作性上所具有的潜力？这项技术可以朝着哪个方向发展？

LED 是未来照明的趋势，它所具有的潜能短期内不会消耗殆尽。不过需要克服一些使用者对其的成见，比如 LED 发出的光线不足，并且都是冷光。但实际情况却并非如此，并且我们将继续努力证明这一点。接下来的目标就是通过对调光器加以调节，从而改变 LED 灯所发出的光线色彩，这与之前调节白炽灯和卤素灯调光器的情况相似。很明显，通过调光器柔和化后的传统光源所发出的如夕阳般的光亮在我们的心中留下了太过深刻的印象，因此我们现在还离不开它。不过，这只是一处不足而已，LED 仍然是无与伦比的。它还可以提供更为卓越的能源效率，并且几乎不需要进行维护。

室内/研究经验品牌

能跟我们谈谈您的另外两个重要品牌吗，Rosso 与 Mock-up？前者侧重于室内照明概念，后者则侧重于开创性的陈列创意

通过Rosso，我们为客户提供室内的灯光过滤与分配系统。这些系统设备主要是为了现代建筑所设计而制造，这类建筑大多采用开敞式的平面布置，并伴随有室内声效的问题。Rosso旗下的产品旨在满足这类型建筑的需求：在开敞式环境中创造一些私人空间，并在需要时随时拆除它们，同时满足营造相对封闭的空间和特殊定制的室内布局的照明需求。Mock-Up则是两个品牌的综合展示，它涵括了两个品牌的概念，并将它们以容易理解的方式展示给世人，例如，我们可以较为容易地让我们的客户了解到 LED 技术的优越。在Mock-Up展示馆，我们组织各种活动来展示产品、搭建展示照明设备和测试室内音效的样板间并举行聚会！我们已成为斯图加特一个标志，并且正计划在其他地方建立更多Mock-Up展示馆。

是否能阐述一下 Nimbus 与各所大学以及研究机构之间所建立起的重要联系？最近有哪些重要的开发源于这样的合作？

我们与各种研究机构和大学展开的合作包括：开发新的照明方案，又或者是在建筑学领域中提供我们的产品进行各种实验。这是一种在多个层面上展开的交换，与我们进行合作的机构包括有弗劳恩霍夫研究所、斯图加特大学以及其他一些理工学院的建筑学系。今年，我们与法兰克福应用科学大学（FH FFM）合作，并受托为参加国际性建筑科技大赛-太阳能十项全能竞赛-设计室内照明与 LED 照明。我们有志于在以节约能源与可持续发展为主题的前提下，帮助伙伴们研究出更好的应用装置，并将其制作得更加完善。

最后，您如何看待现在的欧洲照明市场？

多年以来，我们一直在荷兰和瑞士有着稳固的市场地位。同时也在开发其他国家的市场，包括意大利与巴西市场。我们看到了标有 “德国制造”标签的 Nimbus 品牌 LED 照明设备在欧洲市场上所拥有的潜力。这股趋势目前非常明显，并且还会延续下去。

以人为本

Editorial staff — Fri, 28 Feb 2014 02:58:49 +0000

建筑设计师 Martina Tabò（生于1974年）先后在都灵、巴塞罗那、波士顿和香港完成了专业教育；2002年以来，她先后开办了“建筑设计”和“通用设计”课程，这些课程已被列入 USAC国际学术交流的一部分。2006年，建筑设计师 Tabò 女士在都灵创办了 MAAT 建筑设计工作室，积极参与不同规模的设计与研发活动。

基于贵事务所丰富的设计经验，会发现欧洲不同国家的设计环境各不相同，您认为意大利的设计方式及技巧与欧洲其他国家有何不同？

我们在欧洲国家参与了很多项目，在竞标和完成项目的过程中，我们也发现了类似的问题。我认为，通过举办培训课程和分享一些类似的建筑意象，这使我们如今更方便地在其他国家设计项目。当然，我们需要解决一系列复杂的问题，其中与当地法规有关的问题最为典型，我们通过与当地专业人士进行合作加以解决。当我们常规设计工具无法正常工作时，我们会尝试不同的替代方案。在一些地理位置偏远、文化比较落后的国家，或许设计师的角色还需转换，然而，但所有问题最终会有解决之道。

关系空间等项目

你们参与的项目致力于不同的应用领域，但在我看来，贵工作室在公共建筑、总部或厂房以及私人住宅这三方面显得尤为突出。能否简要向我们介绍一些与这三方面有关的案例？

首先应该注意的是，无论主题如何，很多临时的想法往往会成为每个设计过程的起点。我们希望从人文和关系入手，开始设计之旅。以Ilti Luce公司总部（飞利浦集团）为例，我们希望通过对其照明空间进行设计，以便在相关空间举办会议时能陈述自己的产品（一座户外的木制剧院）。在United 1861通信机构设计案例，我们充分营造创意空间与人们之间的围合，并在中间为人们留下一个较为开阔的空间。此外，在私人住宅设计方面，我们通过设计连接次序，以突出视觉与功能关系。我们根据利用这些空间的人们的数量、项目的复杂程度和需求以及当地现行的法规对项目的框架进行设计，然而最初的想法其实很简单。如果私人住宅像设计公司总部和厂房一样来设计，采用公共建筑的造型设计，应该会达到更高的质量。假设如果没有先验范畴，那么设计出的空间就会显得死板并且缺乏层次结构，并且只能将创意机会留给那些在那里短住或常住的居民。

在室内设计或展览设计方面，照明概念似乎非常重要。

您如何看待这个问题？在实际操作中需要注意哪些问题？

在居住区和生活区空间的延续性方面，我们考虑利用自然光或人造光来营造背景移动效果，以突出空间感。对于我们来说，设计出不同的照明环境以确保按照时间和个人居住期限来选择合适的方案变得非常重要，特别是对于那些有人长期居住、用途和功能广泛的空间来说显得尤为重要。照明成为材料的一部分，因此，我们需要继续在照明与其他项目元素之间寻求一种平衡。

如果采用临时搭建，您可以获得更大的自由度，并且充分制造惊喜和利用情感因素。然而，即使是在私人住宅设计方面，我们完全可以采用一种出乎意料的方式对材料和照明加以利用。

一个慢节奏的国家

今天，对于建筑设计室而言，在意大利国内供应链方面面临哪些问题？

首先，我认为我们用于研发的资源有限。我们需要停下来，对项目进行认真反思，而不是简单地复制现成的解决方案。但是从经济学角度来看，如果是为了追求合理的专业认可度，是可以允许的。此外，跨部门对审批过程进行监督也是一件复杂的事情。通常，在规定的时间内，预期设计与最终现实也有出入。当然我们也拥有很多资源。在意大利，这里不乏优秀的设计公司和能工巧匠，他们拥有精湛的技艺，因此对他们加以比较显得非常重要；因为我们工作在一个节奏虽慢但拥有优秀建筑传统的国家。

照明领域大比拼

您是否有机会与专业照明设计师合作进行产品设计及定制方案？

当我们致力于“灯光工厂”项目（Ilti Luce公司）时，我们有机会设计照明系统以及空间结构。在本案例中，客户参与了整个设计过程，设计人员按照方案对 LED 照明系统进行设计和模拟，以突出通向各办公室的路径。如有可能，我们尽量会与照明设计师合作，对项目各个阶段进行定义，以获得一致的解决方案。

在产品设计方面，您是否对未来照明产品的发展进行过规划？

我们已经做好项目的一些前期工作，并手工设计出了项目的原型。这类文档会保存在我们工作室的档案中，但是我们也可能会找机会将它们公布于众。今天，科技和近年来照明技术的发展为重新思考照明项目提供了很大空间。很多临时性项目因为在自然光和人造光控制方面采用的出色方案而被铭记。

未来市场发展趋势如何？

就建筑设计质量而言，未来十年，定义客户需求时需要考虑哪些市场因素？

我认为，需求将朝着专业项目的方向发展，将侧重于重新发现手工制品的价值。我们将拥有消息更为灵通的客户，这将使得与客户之间的对话变得更具有建设性和挑战性。

此外，可持续发展、生态关注度和能源独立性也将成为优先考虑的问题。另外，我们还将对一些难以预测的现象进行调查：一些客户将成为即兴创作的设计师，他们可以利用 3D 打印机来建造自己的房子，并且可以在网上下达办公室和临时房屋订单，成功下单后，这些订单连同说明书和安装套件均将在短期内交付客户。此外，我们还将协助更多细心的人们对不同类型的住房重新进行研究。

对比的细节The terms of the contrast — 马克•梅杰Mark Major

Editorial staff — Thu, 09 Jun 2011 09:57:02 +0000

文：马丝摩·维拉

by Massimo M. Villa

我们拜会了这位世界上最重要的灯光设计师之一马克·梅杰。他和乔纳森·斯皮尔斯一起在伦敦和爱丁堡建立了 S+M 设计室。在此，他们讲述了英国灯光与设计的发展历程

We have the opportunity to visit one of the most prestigious lighting designer-Mark Major, who established the studio of S&M with Jonathan Speirs in London and Edinburgh, where they related the development of lighting design of England

您的专业和经验是怎样从灯光照明行业和市场磨练出来的?

当我第一次进入灯光设计行业时，这一行业在英国并不常见，一个完全独立的、付费的建筑灯光设计服务，这几乎是闻所未闻的。当时大部分建筑环境的照明设计由顾问电气工程师或照明配件供应商来进行。鉴于后者提供的服务都是免费的，客户不大愿意付费去找灯光设计师提供照明设计，但对一些客户来说 “世界上没有免费的午餐” ，则认为只有专业灯光人士结合其他设计专家比如建筑师，景观设计师和室内设计师在一起时，项目才能真正实现它的价值。但这并不是说很容易说服客户雇用我们。恰恰相反，我们很努力地游说和教育客户，专业灯光设计师的价值，以及我们的服务和什么是正确的方法。照明设计师因此应运而生，虽然经历过困难，但我相信经历这样的过程之后我们会变得更加强大。

我们觉得您设计理念和其他国际灯光设计专业人士一样，坚决反对光过度使用灯光照明，从而适度保留黑暗的意识。您对此怎么看？

我们一直认为，光明和阴暗之间的对比和对话在建筑物的视觉和情感表达中起重要的作用。有时候，这种对比是通过极端的光明与黑暗来体现的，在其他场合，二者的关系则会有一种更为微妙的平衡。一个很好例子是，在绘画界，可以很容易看出我们着重强调的部分。例如，艺术家卡拉瓦乔在画中运用明暗对照法技巧，形成明与暗的强烈的戏剧冲突。而对于另外一位具有浪漫人文主义的画家维米尔，运用柔和，漫射的光营造阴影从而使他的作品具有复杂的意义。

当我们照亮某个建筑物或是某个环境，我们意识到通过选择明暗程度，我们可以用类似的方法将建筑物赋予新的含义。所以我们很慎重使用光的数量和明暗的程度，以便我们能够满足项目在功能与美学方面的需求。

您研究的重点是强调人在城市框架中有更突出的作用，这在您的项目中寻求灯光设备及照明方式达到一个完美的结合。为了实现这一目的，您使用的最重要的设计工具是什么？

一个设计师在解释他们经历的过程时，其中危险的一点就是被认为是追求成功的万能药方。鉴于此，可以公平的说，在过去的15年中，我们发明了一些具有某些主题的城市照明的方法，通过使用灯光可以让人们体会到白天无法体会的一些事物。

当我们在黑暗中再次显露出某些在白天我们无法感知的、或无法理解的事物的状态，细节或材料时，灯光显示出强大的威力。比如说，当在研究一个历史事件，提及等级制度的形式和相关细节，就可以从一个特殊的角度提供一个叙述详尽的故事。在伦敦的Kings Cross, 我们设计了灯光的总体规划，这个规划是为了重建之前具有历史意义的堆货场。在那里，我们决定只点亮原始的工厂建筑，因为它们都很漂亮，这些建筑位置，从视觉和功能上表达得很清楚。之后我们建议那些新兴的、现代办公楼，住宅和零售商大楼不点灯以便形成鲜明对比，我们相信，通过这么做，不仅这些历史建筑更为明显，而且保留了这个作为堆场的历史遗址的回忆。伴随着历史，我们也探讨价值观，以及夜晚使用艺术的方式。

我们的第二个观点是帮助客户了解，一个好的灯光设计像其他设计一样，是在各种冲突中实现一个合理的平衡。在建筑领域，室内设计师和其他相关行业，他们的职能也许是没有必要讲的，但是在灯光设计行业却不同，因为关于好和坏有许多不同的观点。通过帮助人们了解灯光不仅仅是提供“勒克斯”水平，而是尽可能地解决不同性质的操作问题：如何建立标志，提供安全和支持，这些需求，都是需要在紧张的财政预算环境中实现。看来是显而易见的，但我们从来不觉得奇怪，在客户里，只有少数股东意识到我们的价值是很重要。在一定程度上，每个人对某一部分或多或少有自己的偏见。比如环境保护者总是想尽可能地节约能源，但是他们考虑到了美学方面的要求了吗？安全顾问总是只关心灯的数量以及它如何与闭路电视摄像机工作，客户和成本顾问只是在乎到底花多少钱？实际上灯光是为了公共场所和建筑的使用者而设计的，而这些人通常不参与上述的对话。我们的角色是解决这些冲突，设计出的灯光既特殊又可以满足客户以及最终使用者的需要。

在灯光设计师还没有从体制上发挥其应有的作用时，您认为灯光设计在都市中应该发挥怎样的作用？正如现在所说 – 伦敦已经是过度照明，是不是照明设计太少的结果？

我们相信灯光设计师，在夜晚为创造城市环境的美好未来发挥着日益重要的作用。现在伦敦的许多重要工程都得益于灯光设计作为项目团队的一部分参与其中。值得注意的是规划机构和其他部门从一开始就试图保证灯光合理的被使用，特别是在一些较为敏感的地方，像位于河边的高塔。唯一的问题就是，如果没有正式的认可或经过专门就从事设计工作，我们担心客户和政府部门无法区分有经验和设计背景的专业照明人士，和那些将城市照明简单的看成其收入来源的一部分的公司。

很显然自从2008年金融危机以来，财政支出似乎比实际能力显得更为重要，结果是有一两个照明规划错失良机，随着一些随意的建筑照明的想法以及普通的照明水平，照明设计的水平变成略高于术语表。

当然在英国和海外都有许多优秀的灯光设计师。在英国我们喜欢像Jason Bruges和United Visual Artists这样有创造力的艺术人才。在国际上我们非常尊敬诸如Roger Narboni 和Kaoru Mende这样的灯光设计师-他们在城市环境中的灯光设计中运用了很多技巧。这些设计师的作品持续的为国际标准提供了一个很好的基准点。

在我国还没有经常使用总体规划，请问能使用总体规划的工具，能为有需要建立和/或恢复市区清晰路径的提供具体解决方案吗？

灯光在现代都市的夜晚是一个非常明显的有用的工具。在城市的发展历程，几百年以来人类一直努力缩短黑夜延长白天时间。问题是，为什么我们总是试图做到这一点？由于人们对黑暗的原始恐惧吗？或者是我们每天都有许多事要做，所以我们不能让夜晚阻止我们的工作和休闲活动？

在过去的几百年间，我们看到了照明技术为了延长白天和提供方便、清洁、便宜的灯光而不断发展和成熟。但是，只有当爱迪生和斯旺的照明革命，才使我们可以廉价，方便，自由的使用灯光并在夜幕降临后可以用光照亮城市的每一个部分。在我们看来，在20世纪这种不断的追求以便创造更多的光 – 仅仅是因为我们能够做到；在新时代，我们应该考虑如何可以做的更多以便按照我们的需求获得更多的灯光。

对于灯光设计师，这是一个很好的机会，因为现在社会明白需要一个有远见的团队共同合作战胜黑暗。从这个意义上来讲，设计师要具备能力和经验来了解实际需要多少灯光，使用者是谁，什么时候，以及需要多长时间。从经济、社会、以及环境来讲，灯光设计师已经超越了仅仅辅助剧院和工程，而成为了一个独立个体。唯一的问题是现在缺乏对专业团队的培训，专家自称会兑现承诺，或是客户和委托机构未能实现其重要性。

关于灯光设计在未来应用，你认为我们在什么领域将看到更多的新技术解决方案的发展，在哪个应用领域灯光设计会大幅增加？

一直以来，我们坚信的是了解光源是我们工作的本质所在。所以我们是有责任了解在我们领域所发生的最新的、令人振奋的发展情况。这包括不断发展的 LED 和 OLED，及照明材料的不断发展，同时照明控制的重要性日益增加。在这次采访中我曾经提过，对于像我这样处理了不到六种光源的照明设计师而言，未来还有无限的可能性。由于未来的建筑会结合新的照明技术，传统照明装置也许会显得过时，这意味着我们未来要学习要更加谨慎地处理照明。

What is the context and the lighting market condition from which the professional experience of your practice has emerged?

When I first came into lighting design it was very unusual in the UK, almost unheard of, for someone to be offering architectural lighting design services on a fully independent, fee paid basis. At that time most lighting design for the built environment was either carried out by the consulting electrical engineer or by the manufacturer who was supplying the light fittings. Given that the latter always offered that service for free it may have seemed impossible that clients would prefer to pay for such a service but those that truly understood that ‘there was no such thing as a free lunch’ recognised the considerable value that a highly creative professional could bring to the project when properly integrated with other design professionals such as the architect, landscape designer, interior designer, etc. That is not to say that it was always easy to convince people to hire us. Quite the contrary. It took a lot of hard work persuading and educating the market of the value of what we do and defining the way it should be done – properly. That was the context out of which we emerged and whilst it was a struggle I believe that we are much the stronger for having gone through that process.

We have the feeling that your approach to lighting design, like that of others in the international lighting design community, is firmly opposed to the inflationary use of light, and shows an awareness of the value of conserving darkness. Can you comment?

We have always felt that contrast and the dialogue between light and shade plays a key part in the visual and emotional expression of the built environment. Sometimes this contrast is marked by extremes of light and dark; on other occasions the relationship can be more subtly balanced. A good example to underline what we mean is to turn to the world of painting. The artist Caravaggio bought considerable drama to his paintings by exploiting the contrast between light and shade using his technique of chiaroscuro; whereas the more romantic humanist painter Vermeer, painted soft diffuse light to create a multiplicity of shadow providing complex meaning to his work.

When we illuminate a building or an environment, we acknowledge that by choosing the degree of light and shade, we are also placing a new interpretation on the architecture in a similar way. We are therefore always careful about the amount of light we use and the degree of darkness we retain so that we meet the functional and aesthetic requirements of a project in a balanced manner.

The emphasis you lay on research aiming to enhance the human presence in city frameworks becomes in your projects identification of technical solutions searching for perfect agreement between lighted settings and the various modes of using the settings. What are the most important design tools you use to that aim?

One of the dangers of any designer explaining the process they use, is it may be treated as some of form of infallible recipe for success. Having said that, it is fair to say that over the last 15 years we have developed an approach to urban lighting that consistently comes back to a few themes. Some of these aim to enrich the human experience by employing light to refer to things that might not otherwise be obvious by day.

Light has a tremendous power when seen against the canvas of darkness to signal and reveal forms, details and materials that may not be so readily understood and appreciated during daylight hours. For instance, when working in a historical context, a simple decision to allude to specific hierarchy of forms and details can provide a consistent narrative in a specific direction. We explored this in our work at Kings Cross London, where we developed a light masterplan for the ongoing redevelopment of a former historic railway goods-yard site. There, the decision was made to only illuminate the original industrial buildings – many of which are very beautiful structures – such that their position, visual language and function is made clearer. We then suggested that the new, contemporary office, residential and retail buildings should remain largely unlit to create a contrast. We believe that, by doing this, not only does the site become more legible, but equally, the memory of the former use of the site as a goods yard is retained. Other issues we explore alongside history include communicative values, and the means by which art may be integrated into the night-time experience.

The second set of values that we apply is to help our clients understand that good lighting design like many other design disciplines is based on achieving the right balance between various conflicting forces on the project. In architecture, interior design and many other related disciplines, it is often not necessary to spell this out, but in lighting design because there are so many diverse views of what is good and bad practice it helps to remind people that light is not just about providing the right ‘lux level’, but rather addressing a variety of qualitative and operational issues as diverse as: creating identity, assisting with way-finding and supporting safety and security. All of this needs to be achieved in a sustainable manner working within what are often tight economic constraints. Whilst that may seem obvious, we never fail to be surprised how within the client group, very few stakeholders feel that all these values are equally important. Rather, each has a prejudice towards a certain part of the spectrum. For example, environmentalists will always want to use as little energy as possible but do they worry about the aesthetic outcome? The security consultant is often only interested in the amount of light and how it works with CCTV cameras. The client and cost consultant just want to know how it all can be afforded. The actual people the light is designed for – the public or the building users – are often not present during those conversations. We see it as our role to try and reconcile all of these conflicts to develop a lighting design that is both special and answers the real needs of the client and the people who will experience the final result.

What role, not yet institutionally played by lighting designers, should in your opinion lighting design play within the greater metropolitan areas? What is said nowadays – that London is over-illuminated – is that a result of too little lighting design?

We believe that lighting designers are playing an increasingly important role here in London in creating the future of the city environment after dark. It is true to say that many of the more important projects in the capital now benefit from having a lighting designer as part of the project team. And, it is notable that planning authorities and other regulatory bodies are looking to ensure that lighting is properly planned from the outset, especially when it come to sensitive locations, such as tall towers riverside sites. The only problem is that, given there is no formal recognition or professional training for lighting designers to do this type of work, we worry as to how clients and authorities can discriminate between those that have the experience and background to perform such work, and those who simply see city lighting as another source of income.

It is apparent to us that since the financial crash of 2008, the bottom line has become a more significant factor than the actual ability of a consultant, and as a result there are one or two lighting masterplans that have failed to realise the opportunity they should have, becoming little more than a glossary of lighting terminology, with some tables for lighting levels and some random ideas for lighting architecture thrown in.

Of course there are many great lighting designers both in the UK and overseas. Here in Britain we like the work of the more creative ‘artists’ such as Jason Bruges and United Visual Artists. Internationally we greatly respect lighting designers such as Roger Narboni and Kaoru Mende – who display real skill in handling light in the urban environment. Such designers continue to provide a benchmark for future international standards.

Could the master planning tool, which in our country is still not often used, provide specific solutions for the need to build and/or rediscover legible paths for the urban areas in our cities?

Light is obviously a very useful tool in the modern city after dark. The development of cities shows that man has consistently endeavoured to banish the night and extend the day over many centuries. So, the question is, why have we always tried to do this? Is it due to a primitive fear of the dark? Or there is so much to do each day, that we cannot allow the night to curtail our working and leisure activities? Throughout the last few centuries we saw the gradual evolution of increasingly sophisticated forms of lighting technology that aimed to extend the day and provide light conveniently, cleanly and affordably. But it was only when Edison and Swann revolutionised society with cheap, convenient, and freely available sources of illumination that we were able to light every part of our city from dusk to dawn. It seems to us that during the 20th century this relentless quest to create more light – just because we could – now leaves us on the threshold of a new age in which we may consider that we will be able to do pretty much what we want in lighting terms.

This is a fantastic opportunity for the lighting designer because for the first time society understands that it needs visionary teams to work together to champion the role of darkness. By this we mean designers whose entire philosophy and experience equips them to suggest how much light is actually required in a given context, for whom, when and for how long. In examining the success of cities after dark more broadly in economic, social and environmental terms, lighting design has moved beyond being merely an adjunct to theatre or engineering, and has become a separate entity in its own right. The only thing that will hold it back now is a lack of education among the professionals, who profess to deliver on its promise, or the failure of clients and commissioning bodies to realise the importance of its role.

In terms of future application scenarios for designed light, in what domains do you think we will witness increased developments of new technology solutions, and what will be the application fields where the presence of designed light will increase mostly?

We have always believed that knowledge of the source of light is at the root of what we do. We therefore have a duty to keep abreast of the new and exciting developments that are taking place in our field. These include the ongoing evolution of LEDs and OLEDs, the development of new and exciting materials that work with or react to light and the increasing importance of lighting controls. I have implied earlier in this interview that the future possibilities seem to be limitless to someone like me who started out as a lighting designer dealing with less than a half dozen usable sources. The fact that traditional light fittings may be made obsolete in the future by buildings that incorporate new lighting technologies into their very fabric, means that we will need to learn to look at the way that light is handled even more carefully in the future.

图：灯光设计师马克•梅杰

Picture : Lighting designer Mark Major

HABITs 工作室光芒四射的设计 HABITs Studio Shining design

Editorial staff — Wed, 01 Jun 2011 06:42:16 +0000

文：玛利亚·宅诺尼

by Maria Genoni

我们对 HABITs 工作室的创立者迪高•罗斯和伊诺成佐•里菲诺进行了访采访：从这两位年轻设计师的网页里，大家可以直接了解到他们的创作特点和灵感，他们通过对作品的设计和图象对自己做出了阐述。
A meeting with two young and talented designers Diego Rossi, the founder of HABITs Studio, and Innocenzo Rifino, and the visit to their studio gave an insight into their unique approach, creative genius and their emphasis on the final products. Their bold designs and images bring their products to life.

图 1：设计师迪高·罗斯在 HABITs 工作室（照片提供：保罗·拜尔纳尔蒂）

Picture 1: HABITs Studio. Designer Diego Rossi (Photo courtesy: Paolo Bernardi)

意大利设计师迪高·罗斯从2001年开始同 LucePlan 合作，一同进行新方案的开发，他的作品在2004年被金指南选集（Selezione compasso d’oro）收录，在2003,2006和2008年分别获得三个设计奖，他本人也在2006年成为 LucePlan 技术照明新路线基本理论的奠基人之一。

他于2005年在米兰创立 HABITS 工作室，致力于产品（在照明，装修和家庭领域），包装和企业形象设计。为 LucePlan，Bugatti，Bugatti Pinetti，Comelit，Swarovsky, Panasonic, Hilti, Generali, Alitalia 以及其他的国际品牌进行设计。

最新的设计分别被展示在米兰三年展览中心（la Triennale di Milano），北京今日美术馆，马德里意大利文化处（l’Istituto Italiano di Cultura a Madrid）。同时他还任教于米兰理工大学工业设计系（Disegno industriale al Politecnico di Milano）和米兰新美术学院（Nuova Accademia di Belle Arti Milano）。

罗斯在米兰的工作室里接待了我们，借此我们请求展示他的设计方案，希望从中了解设计作品是否有捷径，又应如何平衡在作品设计和实际空间之间的差别。

图 2a,b：Agave 吊灯，使用拱形透明有机玻璃结构（2003，迪高·罗斯和拉法艾莱·代戴斯科）为 Luceplan 设计（图片提供：HABITs工作室）

Picture 2a,b: The Agave suspension light, with transparent methacrylate ribs (2003, Diego Rossi and Raffaele Tedesco) for Luceplan (Photo courtesy: HABITs Studio)

“我们并不追求一种设计作品的方法，也没有想要创造这样的方法。可以说，我们一直通过同样的模式来理解设计项目，不管是设计实际的空间或是产品，我们最感兴趣的是可以有不同的。我的很多作品都是灯具设计，因为我感兴趣的是其中的高科技因素，这是我在装饰品设计领域没有找到的元素。灯具的不断的发展给创意工作提供了更大的空间。随便举个例子，如果要设计一个椅子，我想到的第一件事情就是还需要再设计一个椅子么？对于照明世界来说，要经常考虑到新的应用，工艺的发展给发明新的产品提供了可能。另一方面，使人感兴趣的是在灯光设计的同时也设计周围的空间，因此设计方案中也融入了人与空间互动的成分。”

设计：在模式化与好奇心之间

所以你是因为对创新技术感兴趣才对灯有兴趣的了?当我们观看 Habits 工作室的设计作品时，我们发现其中有一些反复强调的主题….

“是的，例如模式化，是给用户保留一部分空间使其也可以有创造性行为。比如我们为 Agave (Luceplan) 进行设计时，就已经考虑到了给使用者保留一个可以使其参与进来的渠道。这方法对 LucePlan 和 Honeycomb 的部件同样适用，我们更重视的是创造结构而不是设备。为了商业运作的简便性，使用者就可以根据工业惯例，给每个设备设定一个编号。另一件我们感兴趣的事是创做一些不仅是外观很好，同时还有独特的内涵的产品。这样的产品能给人们带来惊喜，让他们看后不禁会心微笑。我们曾经给一家公司进行设计，用现代科技的U盘来开启和锁上传统日记本，这个配合让人一点也想不到U盘的用途。新设计的创意让我们都觉得很乐趣。把那些数字记录和纸质记录结合起来，可以同时使用它们。同样，Supergiù (Luceplan) 的设计也是这样的。产品从外表上看不出什么，但是通过它可以改变灯光的效果，创造出一个小惊奇，就好像小丑 Jack 从盒子中跳出来。”

图 3：HABITs工作室设计师伊诺成佐·里菲诺（图片提供：HABITs工作室）

Picture 3: Designer Innocenzo Rifino of HABITs Studio (Photo courtesy: HABITs Studio)

是否有一个你们特别爱用光源？

“我们从未有过任何偏爱，但是现在大部分的新设计都使用LED。尽管它在市场上已经有相当一段时间了，我们是特意晚点才开始使用它的。刚一开始的发展的实在太匆忙了，产品特点还没有完全显示就马上变得过时了。如今产品的品质有了一定保证，灯光的质量在家庭环境中也可以得以保证。现在LED产品寿命是以前的很多倍。”

产品是用来引发情感的

作品的创意从何而来？来自于你们的一个建议，来自于公司，还是来自于一个新工艺？

“每次都可能不同。如 Agave 和 Supergiù 的设备都来自于我们的一个概念，其他的如 Elementi，是公司给了我们战略性指示。Honeycomb 是来自于一个关于暗光的研究。”

客户对于最终的成果来说有多大的影响力？

“客户；可以说他们是整个过程中非常重要的一部分。他们的高瞻远瞩可以在设计时帮助我们做决定。大公司更倾向于降低风险，而小一点的公司更能通过稳定和紧密的运作保证最终成果的质量。”

当设计一个作品时你是否能够考虑到它的应用，它的使用背景环境？哪一类灯是你喜欢设计的？

“当设计一个作品时通常要考虑它的真实应用或者安装，可是人的想象力总是超前于我们的考虑。有时会发现一个产品被应用在从没有被人考虑过的环境中。如果我们设想空间中有一个作品，我们通过设计高度灵活可变的产品，力求给使用者最大程度的自由。这就与设计中考虑人的因素不同。人们是通过情感或者直觉挑选作品的。有些人会觉得照明效果比较重要，而另一些人认为灯具的设计更重要。”

在设计时，设计师对美的看法是必然会出现的。这可以从物品的外形或发散的灯光的看出来。从外形和灯光角度来看，你觉得什么是美？

“我很久都没有遵循过设计原则了。但是我相信内在的连贯性。如果一个作品整体上是连贯的，就会光芒四射。万事皆有价值和存在的理由。一个产品设计的本质就要使人兴奋，激发人们的情感。关于灯光我们想要再造自然光，就好像在家里窗户中弥散过来的自然光来点亮一个空间。”

图 4：Supergiù 是一种给 Luceplan 旗下 Elementi 品牌使用的设备（2005，迪高·罗斯和拉法艾莱 ·代戴斯科）（图片提供：HABITs工作室）

Picture 4: Supergiùa, a device designed for Luceplan’s Elementi range (2005, Diego Rossi and Raffaele Tedesco) (Photo courtesy: HABITs Studio)

是否存在您特别喜爱的作品？

“我特别喜爱的作品之一是最近刚设计出来的一款灯，叫做 Mini Mini(Luceplan, Elementi)，仅仅是一个带线的小管子，我喜欢它是因为制作的特别简单。灯和电线之间的衔接经常被看成是连接灯泡的纽带，而在这个作品上成为了灯具的一部分。”

HABITs 工作室由两名建筑师创立：迪高·罗斯和伊诺成佐·里菲诺。在工作室内部是否存在任务划分，还是共同进行所有设计？是否在同一设计上产生过不同创意？

“我们一起进行所有设计，采用一种非常有效率的方式，那就是20秒的头脑风暴。一个人说方法另一个人给出它理由，到目前为止是没有更佳的方式。这样我们就能找到另一个人的想法的美，而不是试图改变它，其结果往往令人惊喜。这样一个良性循环就建立了。我们从大学时就认识，我们两个都对大家的方式方法有信心，这样使设计更加自由和有趣，因为不存在单一的责任，也就不存在一个中庸的设计，因为必须要使两人都满意，如果我们都坚持己见，那我们就换另外一种思路。

美和天赋是在他们的作品上清楚地体现出来的。当我们进入到工作室时，建筑师罗斯简单向我们描绘了他既美好又愉快的工作，主要强调了作品的质量。作品都是在一个讲述的故事，每个故事都有着很多的结尾，留给我们去自由地想象。正如设计师所希望的，我们成为创作过程的一部分。”

图 5：一直坚持 Luceplan 旗下 Elementi 品牌的路线，包括铝制吊灯 Mini Mini（2009）在内(图片提供：HABITs工作室)

Picture 5: The aluminium Mini Mini suspension light also in the Elementi range for Luceplan (2009) (Photo courtesy: HABITs Studio)

Since 2001, Diego Rossi has been developing new designs together with LucePlan. This collaboration was awarded a Selezione Compasso d’Oro in 2004 and three “Design Plus” prizes in 2002, 2006 and 2008. In 2006, Rossi became the co-founder of Elementi, LucePlan’s new line of technical lighting.

In 2005, he founded the HABITs studio in Milan, managing product design (for lighting, products and domestic appliances), packaging design and corporate identity. He deigns for LucePlan, Bugatti, Orizzonti, Pinetti, Comelit, Swarovsky, Panasonic, Hilti, Generali, Alitalia and other world famous corporations.

The Triennale di Milano, the Today Art Museum in Beijing and the l’Istituto Italiano di Cultura in Madrid have exhibited his most recent designs. He also teaches at the Industrial Design department of the Polytechnic Institute of Milan and the Nuova Accademia di Belle Arti in Milan.

In their studio at Milan’s Via Moneta, the first question that was asked relating to how he approaches designs; attempting to understand if he draws on a methodology in coming up with product design, and whether there is a difference between the design of a product and the design of a space.

“We do not have a methodology nor are we trying to create one. Nevertheless, we always approach a design with the same model. There are always some aspects that interest us more than others and that, regardless of whether we are working with a space or a product, excite us. My work focuses mainly on lighting design because I am interested in the high level of technology involved, which does not seem to be the case in the furniture sector. Lighting allows for innovation as it is constantly evolving. For example, when I consider a chair, my first thought is: is it worth designing yet another one? The world of lighting sources on the other hand constantly demands new modes of use to be developed. Technology offers the possibility to invent products for the future. I’m inspired by the fact that in lighting design, you also design the surrounding space and, as such, am designing the way in which people interact with that space.”

Design: between modularity & curiosity

Your interest in lighting is because of technology? The products that are designed by HABITs seem to have a recurring themes…

“Indeed! Modularity, for example, which allows the user to be creative as well. When we designed Agave (Luceplan), we gave it transparent ribs to allow the user to experiment and reconfigure the light. The same can be said for Elementi by LucePlan and Honeycomb; we create structures rather than devices. For commercial reasons, it was decided to assign each device a code. We’re also interested in creating products with built-in intelligence: a product is defined not just by its appearance but also by the special touches that make it unique. Such features may produce an element of surprise or bring a smile to your face. We designed a diary which can be locked by a USB key. The product brings the digital and non-digital world together and uses them contextually; however its appearance does not give anything away. We are amused by such novelty. Similarly, Supergiù by Luceplan is intentionally nondescript, its shape does not uncover its secret, but its lighting effect can be modified to reveal the unexpected, like a jack-in-the-box.”

Is there a lighting source that you prefer to use?

“We have never discriminated against any lighting source, however today the majority of new designs using LEDs. We deliberately started using them quite late in relation to how long they’ve been on the market. At the beginning, they were developed too hastily: products quickly became obsolete. Now we can count on high-performance LED and, even at home, the quality of the lighting can be adapted. These days an LED product can have a very long life span.”

The product is designed to provoke emotion

How the idea for a product is formed: is it the result of one of your proposals, the client or new technology?

“Each case is different. Agave and Supergiù were come up by us, whereas for other designs, such as the Elementi range, the client gave us a specific topic. The Honeycomb model was born out of research on dark light.”

What influence does the client have on the final result?

“Client is an integral part of the design and deserves an equal share of the praise; their foresight and determination help us to make decisions. For larger companies, their approach tends to avoid taking risks, whereas for smaller establishments the work relationship is very close and most likely that the product is of high quality.”

When you design a product do you also imagine how it will be used and where it will be installed? What kind of lighting do you like to design?

“When design a product we always try to imagine how it will be used or installed, but other people’s imaginations often go way beyond the realms of our own. Occasionally we discover that the product has been used in a setting we could not have imagined. When we imagine a product, we try to allow the user to have the greatest degree of freedom by making it as adaptable as possible. Designing with an individual in mind is quite a different matter, people use their emotion to choose a product. For one person the lighting effect might be important, but for others it’s the design of the product that counts.”

When designing, it is impossible to step away from one’s own idea of beauty, which may be found in the shape of an object or the light it emits. From the point of view of form and light, what is your idea of beauty?

“I have not stuck to the rules for a long time now, however I believe in coherence. If a product is coherent in its entirety, it will ultimately shine through. Everything should have value and exists for a reason. At its core, a product is designed to arouse emotion. When it comes to lighting, we aspire to recreate natural lighting, which appears to shine in through the window and light up a space.”

Is there a product that you especially like?

“One of the products that I am particularly fond of is a recently designed lamp called Mini Mini (Luceplan, Elementi), which is just a simple tube and a wire. I like it because it is so simple. There is interplay between lamp and flex, which is often just considered a connection to the light but in this case becomes an integral part. ”

The HABITs studio was founded by Diego Rossi and Innocenzo Rifino, both architects, how do you two share out the work between you or do you work together on all the designs? Do you have opposing ideas for the same design?

“We are both involved in every design and find that twenty second brainstorming sessions work well for us! One of us suggests an idea and the other agrees and, for now, it seems to work. It’s about being able to find beauty in someone else’s idea without attempting to change it and, as such, the results are always surprising: a “virtuous” circle is created. We go back a long way to university, and we both trust in each other’s approach. This makes the designs more interesting because we are both involved in the process. We do not create mediocre designs to please us both, if we really cannot agree on something we change direction.

Beauty and genius are evident in their projects. Rossi talks about his work and these qualities are immediately apparent the moment we enter the studio. The products tell their own story, a story with more than one ending. The designers allow our imaginations to run wild, as we become part of the creative process. ”

创意的碰撞

以人为本

对比的细节The terms of the contrast — 马克•梅杰Mark Major

HABITs 工作室 光芒四射的设计 HABITs Studio Shining design

HABITs 工作室光芒四射的设计 HABITs Studio Shining design