英国伦敦著名设计师-PeterLinnett-中国国际室内设计网-设计频道专访

PeterLinnett（彼得 林奈特）来自英国伦敦，创作奢华雕刻家具及定制金属制品。他的雕塑作品、室内装置作品在英国曾获过奖项。2000年开始家具设计，在好莱坞和俄罗斯有一定的影响力。作品【凤凰壁炉】被好莱坞大导演（拍过后天等大片（私人收藏，近几年影响力剧增，被英国第二大媒体The Daily Telegraph及Perspective,Forbes China官邸等知名媒体争相报道。以古董修建为职业背景的他，其设计与历史共鸣，融合英式建筑，西方神话传说，别具一格，极富个性。每件作品皆采用传统手工工艺和材料为基础，运用高科技的加工及独具风格的设计，全部在英国手工订制。

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彼得.林奈特先生，您好，很高兴今天能够采访您。首先请您简谈一下您的设计历程？您个人对艺术设计有怎样的深刻解读？

彼得.林奈特：

I have always sculpted things, for as long as I can remember.I studied engineering at university, then moved into restoring antiques. I have spent many years avoiding being financially dependent on art or design, because I don't want to constrain my freedom or limit my risk taking. This has allowed me to do completely outrageous work – and has really defined my style.I don't feel any desire to clone or imitate any fashion or trend; I am perfectly happy to be myself. I think that is at the root of art.我一直都在玩雕刻，从我能记事开始。我在大学学的是工程，然后我转去修古董修复。我花了很多时间去摆脱对艺术或设计的财政依赖，因为我不想把自己在冒险方面的自由空间束缚或是限制住。这允许我完成各种令人震惊的作品——这也定义了我自己的风格。我一点也不想去克隆或是模仿其他任何的时尚或潮流；我非常乐意做我自己。我觉得这就是艺术的本质。

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彼得.林奈特先生首次中国亮相是在2014年2月的设计上海国际设计展，展出最受瞩目的家具［龙椅］。您当时为什么会选择到中国来展示自己的作品？

彼得.林奈特：

I really didn't know what to expect or how my work would be received. Dragon is a kind of statement piece for me – it is what happens when I create without restrictions of practicality or client demands. So the fact that it was so well received at Design Shanghai 2014 was very reassuring for me, and made me feel I must have some deep connection with China!我真的不知道应该期待什么，或是我的作品会得到怎样的评论。“龙”更像是我的个人陈述——这就是当我不受任何操作性限制、客户需求的时候所能创造出的作品。所以，它能在“设计上海”2014上获得如此好评使我感到非常安心，并让我觉得我必须加深自己对中国的联系。

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简单介绍一下［龙椅］这个作品？通过这个作品您想要向大家传递怎样的理念？

彼得.林奈特：

For me, creativity is about unrestrained fantasy and freedom of expression, and not about dogma. “Form follows function” might work as an ethos for engineering, but, for me, creative design is more about narrative and storytelling: it needs some human depth. Dragon is the epitome of this: it is a wild and fantastical work which serves its stated purpose – you can sit on it - as just a starting point. It then goes on to say so much more. It is a bit like a pet that demands love and attention, but gives back some deep emotional rewards in return. It is a member of the family. And a dragon.对我来说，创造力关乎不受限制的畅想和表达上的自由，它与教条规则无关。“形式取决于功能”这句话或许只对工程奏效，但是，对我来说，创意设计更应该考虑叙事性和故事性：它需要一定程度的深度挖掘。“龙”是这类作品的典范：它粗犷、灵异，还在功能上达到描述的需求——你能很舒服地坐在上面——就像创作它的出发点那样。接着，它能展现出更多的奇特之处。它就像一只需要爱和关注的宠物，但是它懂得回报这份情感以深情。它是家庭中的一员。也是一条龙。

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您一直以“创作奢华雕刻家具及定制金属制品”为主，那么您对这样的艺术作定义在什么样的空间及客户人群？

彼得.林奈特：

The customer I have in mind when I create is simply a reflection of me – someone who shares my sense of humour and enjoys a bit of absurdity. Clearly my customer has to be independent minded – there is no celebrity-endorsed label to give someone access to a big established club; so my clients are independent-minded and confident in their taste and judgement.当我在创作这件作品的时候，我心里想象的理想消费群众可以简单地描述成是我的倒影——那些跟我有一样的幽默感，懂得享受一丝荒谬的人。无疑，我的消费者必须有独立的思想——不是说只有贴着明星代言标签的人才能进入一个成型的市场；所以我的客户是可以独立思考、对自己品味和判断保持自信的人。

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您认为制作手工艺术品的困难之处在哪儿？它又有怎样的吸引力，让你一直坚持下去？

彼得.林奈特：

It is very easy to make things perfect now. Modern manufacturing guarantees consistency and flawless perfection. So the goal that craftsmen have striven for for centuries is no longer really a great achievement.

But humans make things imperfect. People have moods and emotions, and this makes their work unpredictable.

So I am going to change your question slightly, and say that the most difficult challenge is in changing our expectations and aims. I am seeking a sort of controlled imperfection. I want to create work which communicates and connects people through all of those little human things: mistakes and accidents. In this context there is no longer a line between making and using, where the work is only perfect for the brief time that it is in the showroom, carefully wrapped in protective film. Creation is an ongoing thing – it is every scratch and stain that happens through use. This is something that I have discovered through working with antiques: the most interesting antiques are not perfectly preserved pieces, but are the ones mottled with blemishes which tell you all of the stories of people who have interacted with them.在如今，想要把事物完美化非常容易。现代制造业为一致性和无暇的完美品提供了保证。所以，工匠们几个世纪以来所奋斗的已经算不上什么真正的伟大杰作。但是，人往往会制造一些不完美的事情。人们拥有心境和情绪，这使得我们的作品赋有不可知性。所以，我想稍微改变一下你的问题，应该是这样，最困难的挑战存在于如何改变我们的期望和目标。我在不断寻找一种能被控制住的不完美。我想要创造一些能通过那些所有人性中存在的过失和意外来与人们进行沟通、产生勾连的作品。在这种情况下，制造和使用之间的界限就不复存在了，完美品将会成为一个短时期的象征被摆放在陈列室里，用保护薄膜小心地包裹着。创造是一个进行时的东西——它是使用过程中发生的每一道抓痕和污迹。这是我在研究古董时体会到的心得：最有意思的古董并不是那些被保存得非常完好的，而是那些带有污点杂色的、能对观赏者讲故事的。

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您对中国的设计环境及发展怎么看?和国外相比存在哪些差异？

彼得.林奈特：

I feel, from my limited experience, that there is a combination of inquisitiveness about ideas, and self-confidence in taste and style here in China – which is quite unique, particularly in what is seen as an “emerging” market. I find the Chinese to be daring and individualistic.我觉得，从我有限的阅历来看，中国的品味和风格是对思想求知欲和自信的结合——这是独一无二的，特别是对于一个“正在新兴”的市场来说。我觉得中国人非常惹人爱也很有个性。

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2015设计上海国际设计展上，您将带来哪些最新的设计作品与大家会面呢？请简单介绍一下您本次带来的佳作及创作理念。

彼得.林奈特：

This year, I have a new work which references a specific episode from Greek mythology. The story is of Zeus – the God of Thunder – setting out on a mission to abduct the Goddess Europa. According to the legend, he disguises himself as a bull and conceals himself amongst a herd of cattle.

This is a story which lends itself, in my imagination, to being re-told in a set of dining chairs. We start with a chair representing Zeus as part-bull-part-lightning-bolt, and then we can add as many extra chairs as required, in the form of cows and bulls of the herd.

Like real cattle, they all look superficially similar, but, because they are hand-made, they are all unique, and once we become familiar with these differences, we see them all as individuals, and give them names and characters. They are like pets.

今年，我的新作品来自于古希腊神话中一个具体的典故。这个故事是关于雷神宙斯的，讲述了宙斯要去诱拐女神欧罗巴。根据这个传说，他化身为一头公牛藏身与牛群中。这个故事在我的想象中给予我将它重述的欲望，用餐椅的形式。我们从代表了宙斯的椅子开始，它的一部分是公牛，一部分是闪电，当我们按照计划着手添加其他的椅子时，其他的椅子是以牛群中的奶牛和公牛作为原型。就像真的牛一样，它们在表面上看上去极为相似，但是因为它们是手工铸造的，它们每一个又都独一无二。一旦我们熟知了这些不同，我们会把它们视作独立的个体，赋予它们名字和性格。它们就像宠物那样！

中国国际室内设计网：

简谈一下您此次前来参加本次展览的意义和期望？

彼得.林奈特：

China as a very interesting and exciting place for art and design right now, and I am keen to be much more involved here. We are currently setting up a small office here in Shanghai to complement our London base. Design Shanghai 2015 is really the launch of that. I want to develop working relationships here in China which will help us develop the future of the business.中国现在在艺术和设计方面是一个引人注目、充满了激情的地方，我很热衷于更投身于此。我们现在正在上海设立一个办事处作为伦敦总部的部署。“设计上海”2015是建造这个办事处的一大动力。我想要在这里进一步发展与中国的合作关系，这将帮助我们拓展未来的商机。

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在目前设计市场竞争激烈的大趋势下，您认为自己的优势是什么？即将面临怎样的机遇和挑战？

彼得.林奈特：

Our strength is really our individuality and uniqueness. We don't fit into any existing category.That is also our weakness – because it is difficult to get noticed and accepted if you are not part of an existing club. We have to get the machetes out and hack a new pathway through the jungle.我们的强项在于我们的个性和独特性。我们不属于任何现存的类目。这同时也是我们的缺点——因为如果你不是任何一个流派的一部分，想要获得关注和认可是很困难的。我们不得不大刀阔斧地开辟出一块新天地。

中国国际室内设计网：

非常感谢您接收中国国际室内设计网《中国国际室内设计网》的采访，也希望您本次作品展览圆满成功，谢谢！

彼得.林奈特：

Thank you, I wish China international interior design network even better!谢谢，祝愿中国国际室内设计网越办越好！