米蘭理工大學軟裝系列課程：國際流行新材料在室內設計中的應用（上）
MATERIALS FOR INTERIOR DESIGN
THE ORNAMENTAL DIMENTION OF CONTEMPORARY SURFACES
“國際流行新材料
在室內設計中的應用”
Abstact（摘要）
The lecture focuses on the role of surfaces in interior decoration in terms of aesthetic performances and innovation. New technologies redefine the traditional dichotomy between natural and artificial surfaces.（講座的重點是表面在室內裝飾的審美表現和創新方面的作用。新技術重新定義了自然表面和人工表面之間的傳統二分法。）
In the past nature inspired decoration by the artistic interpretation; today natural surfaces – original or imitative – are themselves an important driver of contemporary languages of interior design that express a new global sensitiveness for environment.
（在過去，自然啟發裝飾通過藝術的詮釋;而現在，自然表面——無論是原始的還是模仿的——本身就是當代室內設計語言的重要驅動力，表達了一種新的全球環境敏感性。）
Key words: natu al/artificial, “new” natural surfaces, decorating with images, narrative surfaces. （關鍵詞:自然/人工，“新”自然表面，圖像裝飾，敘事表面。）
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01. INVESTIGATING SURFACES
FROM A DIFFERENT ANGLE（從不同的角度調查表面）
Multidisciplinary approach：Research as a synthesis of theory and practice 綜合學科研究法：研究是理論與實踐的綜合
Interpretation vs. classification 解釋和分類：
This study describes surfaces for interiors according to a design mind and orientation.
本研究根據設計思維和方向來描述室內表面。
_ past researches on materials were generally conducted according to traditional categories based on nature or on production processes:
·過去對材料的研究，一般是根據性質或生產過程，按傳統分類進行的；
wood, glass, steal, metal, ceramics, stone, plastic…
如：木材，玻璃，偷竊，金屬，陶瓷，石頭，塑料等...
_ today it’s impossible and somehow useless to have a precise classification of materials because of their countless and different qualities, finishing, color and texture.
·今天，對材料進行精確分類是不可能的，而且某種程度上也是無用的，因為它們有無數不同的品質、整理、色和紋理。
_ new technologies make seem any definitive classification suddenly old.
·新技術的產生使任何確定的分類突然變得過時
Yesterday（過去）
_ natural materials _ innovative materials （·天然材料 ·新型材料）
Today（現在）
_ “natural look” materials and eco-compatible materials.
·“自然外觀”材料和生態兼容材料
_ innovative processes for traditional materials.
· 傳統材料的創新工藝
Sensorial approach 感覺的方法
All materials in this study are seen from the sensorial “effect” and from the feeling they produce in the observant.
本研究中的所有材料都是從感官的“效果”和它 在觀察者中產生的感覺來看的。
Its a transversal point of view for all materials, related to:
這是所有材料的橫截面觀點 :
_ contest, environment, light …
_ treatment and processing of surfaces
·競賽，環境，光線… ·表面處理和加工
Its an approach which deals with（這是一種處理）:
_ sensorial experience （知覺的經驗）
_ poetical aim（詩的目的）
_ expressive will（表達將會）
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02. TRADITION AND INNOVATION
AESTHETIC DRIVERS （傳統和創新：審美的領航者）
experience and habits VS experimentation and risk (經驗和習慣 vs 實驗和風險)
Tradition:
Tradition teaches that to know the deep nature of the material and all its peculiar feature is indispensable for the perfect application in the construction. (傳統：傳統教導我們，要想在建筑中完美地運用材料，就必須了解材料的深層本質及其所有的特點；）
Experience：
From habit we learn to avoid mistakes and we obtain information about the behavior of material through time, once it is applied. （經驗：從習慣中，我們學會了避免錯誤，一旦它被應用時我們通過時間獲取材料的行為信息；）
However, this observation should not constrain research and experimentation. （然而，這種觀察不應該限制研究和實驗；）
Is there a correct way of working with materials?
（這是材料打交道有正確的方法嗎?）
Essence（本質）：The search of the most congenial process to the essence of each material is summarized in the concept of “honesty” of the material, dear to the architectural culture of the last century, and widely shared by some contemporary designtrends（對每一種材料本質的最契合的過程的探索概括為材料的“誠實”概念，這是上世紀建筑文化所推崇的，也被一些當代設計趨勢所廣泛分享）：
_ minimalism, which prefers high-quality materials and enhances the most intimate and evocative nature through surface processing;（_極簡主義，偏愛高品質的材料，并通過表面處理增強最親密和令人回味的自然;）
_bio-architecture, which places the choice of natural and “sincere” materials as a condition for building healthier buildings.（_生物建筑，將選擇天然和“真誠”的材料作為建造更健康建筑的條件。）
Semantic qualities （語義的品質）
Processes（流程）：
Also the processing and treatment of surfaces are often associated uniquely to the materials, as if to emphasize the implicit semantics of color and tactile qualities that ultimately are believed to be already present in the material.（此外，表面的處理和處理往往與材料有獨特的聯系，似乎是為了強調顏色和觸感的隱含語義，這些最終被認為已經存在于材料中。）
Natural materials = beautiful materials (天然材料=漂亮的材料) ：
More often, however, we see that the widespread preference for the so-called natural materials is mainly based on their aesthetic superiority（然而，更多的時候，我們看到人們對所謂天然材料的普遍偏，好主要是基于它們的審美優勢。
Aesthetic vs. performances （審美與表現）
Layer and substrate （層和襯底）
Today, all attention is paid to the characteristics of the surface layer, which is given the task to enable a satisfactory sensory and cerebral interaction, while the substrate support is appreciated for a mere technical performance.（今天，所有的注意力都集中在表層的特性上，它的任務是實現令人滿意的感官和大腦交互，而基質支持僅僅是技術性能。）
Origin of a thought （思想的起源）
From the Golden Age of the Secession to Modernism in architecture（從獨立的黃金時代到現代主義建筑）
From the Golden Age of the Secessionto Modernism in architecture. （從獨立的黃金時代到現代主義建筑—）
Ornament and crime? （裝飾和罪惡?）
Current thinking （當代思維）
Four different areas, corresponding to the four natural elements: （四個不同的區域，對應著四大自然元素）
Spa/water 溫泉/水 gym/fire健身房/火 yoga/air瑜伽/空氣 organic bar/earth有機酒吧/地球
Materials: 材料
carrara marble in hamam and private hamam solid hemlock with dome ceiling in Finish sauna stainless steel jacuzzi and private jacuzzis from s lid marble in the treatment rooms. （卡拉拉大理石和私人）
實心鐵杉與穹頂天花板桑拿不銹鋼按摩浴缸和私人按摩浴缸固體大理石治療室；
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03. "NEW"NATURAL SURFACES “新”自然表面
Semantic surfaces
_ imitative materials: a booming business
_ digital tecnologies and «imperfections»
（語義的表面 ·仿制材料:生意興隆 ·數字技術和«不完美»）
Imitative materials 模擬材料
The visual and tactile qualities of surfaces has become so important that manufacturers have focused all efforts in the development of increasingly sophisticated finishes, very often faithful imitations of "natural“ features.
（表面的視覺和觸覺質量已經變得如此重要，以至于制造商將所有的努力都集中在日益復雜的表面處理上，經常忠實地模仿“自然”特征）
Examples are ceramics that replicate brick, stone and now - oddly enough - even concrete, metal or resin. Not to mention the melamine laminate that, at a glance, it is difficult to distinguish from natural veneer.（例如陶瓷可以復制磚、石頭，現在甚至是混凝土、金屬或樹脂。更不用說三聚氰胺層壓板，一眼望去，它很難與天然單板區分。）
It often happens that the aesthetic quality of industrial products are more precisely delineated than those seen in the original natural material. （通常情況下，工業產品的審美品質比原始自然材料中所看到的更加精確。）
“New” natural materials 新”的天然材料
Imitative materials don’t overshadow interest for natural ones, that obviously have limited availability. 模仿材料不會掩蓋人們對天然材料的興趣，自然材料顯然是有限的。
On the contrary many of them have been rediscovered in the last few years, like natural stones, a booming business, with new processes that allow greater versatility to match a more “natural” aesthetic effect. 相反，在過去的幾年里，它們中的許多被重新發現了，就像天然石頭一樣，這是一個蓬勃發展的行業，有新的加工方法
Natural as a new “category “ of the senses 自然作為一種新的感官“范疇”
_ surfaces that are uneven,
_ slightly rough or perfectly glossy
_ with muted colors and tones inspired by the landscape
Natural / artificial 天然/人工
We are witnessing the reformulation – maybe the cancellation - of the already tenuous distinction between natural and artificial materials, which now refers to the expressive characteristics, rather than the substance of the materials. （我們正在見證自然材料和人工材料之間本已脆弱的區別的重新形成——也許是取消，它現在指的是表達特征，而不是材料的實質 。）
To be and to appear 生存和出現
The play between indoor and outdoor space 室內外空間的互動.
To be and to appear 生存和出現
Inedited and limitless possibilities of interpretation 編輯和無限可能的解釋.
fossil wood 化石木
Eminent Wood porcelain stoneware surfaces are inspired by an extraordinary natural phenomen n; trees become stone, maintaining their original ligneous structure and turning into fossilized jewels. An allegory of evolutionary metamorphosis. The firm appearance typical of tree trunks blends with the mineral vigor resulting from thousands of years of petrification.
（杰出的木瓷炻器表面的靈感來自一個非凡的自然現象;樹木變成了石頭，保持了原來的木質結構，變成了寶石化石。一個進化變形的寓言。樹干特有的堅固外觀與數千年的石化所產生的礦物活力交織在一起。）
The Kauri (Agathis Australis) is a kind of conifer living in only the sub-tropical c mates of New Zealand. The first of them appeared during the Jurassic period (190/135 million years ago). They are the world's biggest trees (up to 70 meters). 貝殼杉(Agathis Australis)是一種只生活在新西蘭亞熱帶氣候的針葉樹。它們中的第一個出現在侏羅紀時期(1.9億至1.35億年前)。
About 50,000 years ago, at the end of the last ice age, a series of unexplained cataclysms submerged whole forests of kauris in water and mud. The specific qualities of the mud and the absolute lack of oxygen exempted these plants, trapped in the swamps for 30-50 thousand years, from the chemical processes of decomposition and petrification, letting them linger intact to the present day. 大約5萬年前，上一個冰河時代的末期，一系列無法解釋的大災難將考里斯的整個森林淹沒在水和泥漿中。這些被困在沼澤中3 -5萬年的植物，由于泥漿的特殊性質和氧氣的絕對缺乏，免于分解和石化的化學過程，使它們完好無損地留存至今。
To be and to appear 生存和出現
New concepts (i.e. sense of time/ageing) 新概念：即時間感/衰老感
To be and to appear 生存和出現
Sustainable luxury / rare materials 可持續奢華/稀有材料
Designers’ research 設計師的調研
Designers’ research 設計師的調研
Clear acrylic is cast in a wooden form with a strong grain andassembled the resulting pieces to create a table made of‘transparent wood‘. 透明的亞克力被澆鑄成具有強烈紋理的木制形式，并組裝成一個由“透明木材”制成的桌子。
We reproduced the butt ends faithfully and beveled the edgeslike floorboards, and matched the grains ends and dimensions of the wood used for the table legs to the ‘transparent wood’ to create a unified piece. 我們忠實地復制了對接末端，并像地板一樣傾斜邊緣，并將用于桌腿的木紋末端和尺寸與“透明木材”相匹配，以創建一個統一的作品。
The two tables have specific and different optical effects: at first glance the black table is wood, but a closer look reveals its transparency, while the clear table is the transparent at first glance, and only later reveals i s wooden form. 這兩張桌子有著獨特而不同的光學效果:黑色的桌子乍一看是木頭的，但仔細看就會發現它是透明的，而干凈的桌子乍一看是透明的，之后才發現它是木制的。
Alcantara of various colours have been layered and rolled up to create a kind of ‘log’, and then cut into slices of lumber to create the effect of ‘Alcantara tree-rings’. This material can be used for flooring or furniture finishes, bringing out a whole new expressive dimension to Alcantara.
各種顏色的阿爾坎塔拉被分層和卷起來，創造出一種“原木”，然后切成薄片，創造出“阿爾坎塔拉樹年輪”的效果。這種材料可用于地板或家具飾面，給阿爾坎塔拉帶來了一個全新的表達維度。
Pieces on display at project exhibition held at the PalazzoReale adjacent to Duomo di Milano, in conjunction with theEXPO Milano 2015.項目展覽在與米蘭大教堂相鄰的Palazzo Reale舉行，與2015年米蘭世博會相呼應。
Presided over by Italian material manufacturer Alcantara, the pieces have been selected for their resistance ‘to fraying around the edges even when cut apart from the whole’. 由意大利材料制造商Alcantara主導，這些碎片的選擇是為了“即使從整體上切割，也能抵抗邊緣的磨損”。
The material is natural crystals, which contain some kind of mineral. and soft fiber structure is used as a base of the chair. 這種物質是天然晶體，含有某種礦物質。柔軟的纖維結構用作椅子的底座
“We put a block of soft polyester fiber in a huge aquarium with a solution, where special mineral is melted in. On the polyester fiber, natural crystal begins to form its structure and continues a gradual grow until “VENUS – Natural crystal chair” is completed. It takes approximately 1 month to complete the chair.“ 我們把一塊柔軟的聚酯纖維放在一個有溶液的巨大水族館中，在那里融化特殊的礦物。在滌綸纖維上，天然水晶開始形成其結構，并繼續逐漸生長，直到“維納斯-天然水晶椅”完成。大約需要1個月的時間來完成這個椅子。
The “Venus” chair is neither about creating visual resemblances to nature, about presenting works that use natural materials, nor imitating the surface of principles. It looks at the mysterious beauty of nature and seeks to investigate designs, which appeal to human heart. “維納斯”椅既不是為了創造與自然的視覺相似性，也不是為了展示使用自然材料的作品，更不是為了模仿原理的表面。它著眼于大自然的神秘之美，尋求研究吸引人心的設計。
Technical innovation 技術創新
The prominence of the sensorium over the cultural and symbolic is the result of a rapidly evolving technique that has freed many materials from the traditional constraints of application. 感官在文化和象征之上的突出是一種快速發展的技術的結果，它將許多材料從傳統的應用限制中解放出來。
Technological innovation proceeds by removal of constraints and designers are responsible for guiding evolution, by suggesting precisely what constraints they wanted more urgent release. 技術創新是通過消除限制條件而進行的，而設計者則負責指導進化，通過精確地提出他們想要更迫切地釋放的限制條件。
This idea makes us wonder what is the "minimum level" of technical expertise needed to design and produce innovative solutions, but also effective to propose an improvement of the aesthetic and functional quality of the materials. 這個想法引發我們去思考，什么是“最低水平”的技術專長，需要設計和生產創新的解決方案，但也有效地提出了提高材料的審美和功能質量。
