IFDM n. 5-2018 | China

N. 5 | 中国 China

2018 年11 月 - 年份 Year XII - www.ifdm.design

chinese and

English

texts

44 PEOPLE&OPINIONS

Giorgio Armani

Photo © Stefano Guindani

GRUPPO ARMANI

24

ARCH&INTERIOR

打磨场，还原京味生活

26

24 HOURS IN SHANGHAI

上海，文化激荡中的城市

51

PEOPLE&PROJECTS

专访 Antonio Citterio

保持联系 Let’s keep in touch!

features

21 PEOPLE&PROJECTS 专访 Neri&Hu

     ifdmdesign 年份 YEAR XII

PEOPLE &PROJECTS

CLOSE UP 48 MEGAHOME 成功的合作伙伴关系

21 专访 Neri&Hu

ARCH

&INTERIOR

TREND 10 城市灯光

N. 5 | 中国 China

2018 年11 月 - 年份 Year XII - www.ifdm.design

ECONOMY

&MARKETS

12 走近中国的“常态” chinese and

English

texts

44 PEOPLE&OPINIONS

Giorgio Armani GRUPPO ARMANI

SIX NEWS

from IFDM.design

24 HOURS IN

SHANGHAI

26 上海，文化激荡中的城市

FOCUS ON

36 SCAVOLINI

品牌特性的三种表达

38 LIVING DIVANI

协同效应

39 GIARDINI WALLCOVERINGS

感官视域

&PROJECTS SPOTLIGHT

SALONESATELLITE

54 未来从这里开始 ARCH &INTERIOR 58 空间的无限可能 CLOSE UP 62 DOMUS TIANDI 家中自有天地

REPORT BEIJING DESIGN WEEK 64 风格首秀

14 网站新闻

Photo © Stefano Guindani

打磨场，还原京味生活

26 24 HOURS IN SHANGHAI

上海，文化激荡中的城市

51 PEOPLE&PROJECTS

专访 Antonio Citterio

On cover: Giorgio Armani Armani/Casa collection

GOOD

主编 Editor-in-chief Johannes Neubacher johannes@ifdm.design

出版协调 Publishing Coordinator Matteo De Bartolomeis matteo@ifdm.it

总编辑 Managing Editor Veronica Orsi orsi@ifdm.it

编辑 Editors

Alessandra Bergamini, Manuela Di Mari, Rachele Frigerio, Min, Tara, Vera

撰稿人 International Contributors

洛杉矶 Los Angeles Jessica Ritz

LIKES

公关经理&市场经理 PR & Marketing Manager

PEOPLE &OPINIONS

Marta Ballabio marketing@ifdm.it

18 NATUZZI ITALIA 专访 Pasquale

出版人 Publisher Paolo Bleve bleve@ifdm.it

纽约 New York Anna Casotti

16 设计只需点击一下即可 24 ARCH&INTERIOR

中国 CHINA ISSUE

PEOPLE

51 专访 Antonio Citterio

24 打磨场，还原京味生活

05

设计部 Graphic Department

Junior Natuzzi

64 REPORT

Beijing Design Week

Sara Battistutta, Marco Parisi grafica@ifdm.it

网络部 Web Department web@ifdm.it

翻译 Translations

40 CEPPI STYLE

风格之蜕变

HOTEL

SHOWROOM

NEW OPENINGS

68 设计之都

&INTERIOR

EVENTS 42 来自历史和自然的灵魂 &APPOINTMENTS

42 HOTEL&interior

滋养

PEOPLE

&OPINIONS

44 GRUPPO ARMANI 专访 Giorgio Armani

72 行业动态

Trans-Edit Group - Italy

广告 Advertising

Marble/ADV Tel. +39 0362 551455 - info@ifdm.it 由编辑团队于11月9日完成

Closed by editorial staff 9th November 2018

出版商 Owner and Publisher Marble srl

总部 Head office & Administration

Via Milano, 39 | 20821 | Meda, Italy Tel. +39 0362 551455 www.ifdm.design 蒙扎法院授权 213号 2018.1.16

版权所有。未经版权所有者事先书面许可， 不得以任何形式或通过任何手段 （电子、机械、影印，录制或其他任何方 式）复制、传播本出版物的任何部分， 也不得将任何部分存储在检索系统中。 Marble提供记录和图片文件。

IFDM 4 November 2018

editorial

PAOLO BLEVE | 出版人 Publisher

面

向中国，这个需要更具策略性的方针才能 成功开拓当地业务的国家，意味着我们需 要对公司的才能和经商习性深刻反省和改 进。这是一个难以进入的市场，中国拥有 丰富的国家文化和传统，地大物博的国土 内亦综合着各种不同的文化和传统。但这个国家却魅力不 凡，充满活力生机，而且正在急剧发展，对入口商品和中外 融合抱持开放态度。没有什么比正积极寻求新商机和新对话 者的意大利制造品牌更能了解和欣赏与意大利设计文化同样 有深厚历史的中国文化。

发展东方市场 在中国地区发展业务意味着什么?我们可以说一说我们的公 司，或者从编者的观点与角度上说比较好，因为我们与其它 公司一样，亦决定展开这个挑战，跨越新界限，见证着意大 利品牌以其西方设计概念在东方市场寻找一席位。 然而对我们公司来说，这是我们重点投资的地区市场─我们 在北京设立了我们出版社的分公司，并有一位总编辑和支援 意大利编辑人员的团队。他们展开一个全新和极具鼓舞性的 计划─今年秋季在中国市场首度面世的两本全新中国版刊物 (IFDM杂志和《定制和酒店项目书刊》中国版)。这个计划 代表了我们高瞻远瞩的眼光，旨在建立连系网络，让我们得 以深层扩展我们的业务范围，以及持续保持开放的态度，透 彻理解这个中国市场以及为它带来丰富多样的景象。 我们未能确认这个理念方针的成效，但肯定的是，我们期望 为这个行业投放更多心机，让它得以蓬勃发展。

Grow in the Far East Looking toward China – understood in its more ‘strategic’ meaning as an objective of expansion over the territory – inevitably implies a reflection on our ability and propensity toward such an enterprise. It is a difficult market to approach, as we know, rich in its own culture and traditions, geographically vast and therefore a composite of elements. But at the same time fascinating, dynamic, in full development, open to influences and contaminations.

Nothing better for that Made in Italy in search of new business opportunities and new interlocutors who are able to understand and appreciate a culture equally as profound as that of Italian design.

What does growing in this territory therefore imply? We can state our opinion on the subject, or rather, provide our point of view as Publishers, precisely because we too – in parallel with the companies – have decided to undertake this challenge and cross new boundaries, to witness on site that Western project that in the Far East is in search of its place.

For us, it means investing primarily in the territory: in fact, in Beijing, we set up a branch of our publishing company, with an Editor in Chief and a team supporting the Italian editorial staff. It means supporting a new, courageous project: there are two brand new publications this fall that have been launched for the first time on the market and dedicated entirely to the market (IFMD Magazine and the Contract & Hospitality Book China Regional). It means, therefore, looking in perspective – generating a network of contacts that allows us to greatly expand the radius of action – and keeping the mind constantly open, so as to assimilate everything enriching that the market makes available.

It will certainly not be ‘the’ recipe, but it is absolutely ours, which we intend to pursue and cultivate to help give vigour and vitality to a sector that we have the fortune to be part of.

IFDM 7 November 2018

editorial

JOHANNES NEUBACHER | 主编 Editor-in-Chief

开

始仅两年的Salone del Mobile米兰国际家 具（上海）展览会今天已经成为中国设计 年度大事中最重要的活动之一。这个汇集 了世界领先的设计品牌，开发商，建筑师 和设计爱好者的展会相当于意大利和中国 之间米兰和上海之间的文化和商业桥梁。它不仅仅是一个商 业展览会，它还是中国与意大利设计的意大利式爱情的新片 章。快速浏览一下数据显示，2017年意大利家具出口到中国的 比例上升了42％。而且这种良好的关系仍在不断发展升华中。

中国之恋 因此，这是我们推出IFDM杂志中国版特刊的最佳时机。作 为信息和商业的创新平台，我们多年来一直是设计，开发人 员，设计师，建筑师，买家，承包商，制造公司，零售商和 分销商等专业人士交流的中心和重要参考。今年九月，在“ 设计中国北京”期间，IFDM推出中文版《Contract & Hospitality》一书的中文版，同时启动中文微信社交账户。这是 IFDM加强在中国发展的新举措。以此为基础，不仅提供权 威的行业内容，还从我们针对希望进入高端设计圈子一部分 的专业人士的商务礼宾服务，经由量身定制的内容和事件营 销策划获得商机，通过独特设计的参与计划将品牌与企业结 合在一起，让这份中意之恋开花结果。 祝大家享受愉快而丰富的阅读乐趣！

A China Love Affair What started only two years ago, the Shanghai edition of the prestigious Salone del Mobile, has today already become one of the most important events on the Chinese design calendar. Bringing together the world’s leading design brands, developers, architects and design aficionados, this event serves like no other as cultural and commercial bridge between Milan and Shanghai, between Italy and China. And it is far more than just a commercial fair, it is another chapter in the history of China’s love affair with Italian design, with Italian lifestyle. A quick look at the figures shows that exports of Italian furniture to China rose 42 per cent in 2017. And the love affair is still growing.

Reason enough for us to launch a special Chinese issue of IFDM Magazine. As an innovative platform for information and business, we have for years a meeting point and reference for professionals in the world of design, developers, designers, architects, buyers, contractors, manufacturing companies, retailers and distributors. After the launch of a Chinese edition of our IFDM Contract & Hospitality Book and our Chinese social media account on Wechat during Design China Beijing in September, this is another important step for IFDM to strengthen its China base. A base that offers much more than authoritative content, from our business concierge, a service targeted to professionals wishing to become part of the network and gain access to business opportunities to our tailor-made content and event marketing services, bringing brands and businesses together through uniquely designed engaging programs.

Wishing you all an enjoyable and informative reading pleasure!

IFDM 9 November 2018

trend

三奖加身

Three times yes 在赢得芝加哥优良设计奖和红点 设计奖后，Vistosi的Sata灯具又 荣获了2019年德国设计奖。此灯 具由Favaretto&Partners设计， 实木三脚架上支撑着吹制的水晶 灯罩。

(TRASPARENTESI) installation by Flos

照明设计

城市灯光 THE LIGHTS OF THE CITY 从室内物品到装置和艺术作品，充满灯光及其视觉和情感效果，照亮国际设计的主要城市

After obtaining the Good Design Award in Chicago and the Red Dot Design Award, the Sata lamp by Vistosi has also won the 2019 edition of the German Design Award.

Designed by Favaretto&Partners, it is composed of a three-legged base in solid wood that supports a lampshade in blown glass.

光

，富有想象力的力量，以 及它可能的变化是无穷无 尽的。今年3月，我们在法 兰克福的Light + Building（ 法兰克福国际建筑与照明展）这一业内专 业展会上看到了最具“建筑”形式和最 具科技含量的照明。该展会每两年举办 一次，每年与另一个行业双年展交替召 开：Euroluce – 与4月米兰国际家具展同 时举行的照明展。在其中，专为照明设 计世界设立的空间实际上是一个多面调色 板，在这里，照明产品在进入到“传统” 展览之前，仍采用其全新和原创的配置。 而随后在各种贸易盛会、国际设计周、每 个“设计之城”，将会以新的照明表达方 式出现，用只有光才具备的揭示能力带

T

he imaginative powers of light and, therefore, its possible variations, are boundless.

This year we have envisioned lighting in its most ‘architectural’ and technological form at the appointment par excellence dedicated to this sector, Light+Building in Frankfurt, in March. It is an event that alternates, from year to year, with another reference bienniale: Euroluce, the exposition of contextual lighting at the Salone del Mobile in

“BREATH OF LIGHT” by Preciosa

来附加价值、情感和创作自由。在伦敦 设计节令人激动的氛围中，Foscarini成为 了在Oneroom画廊举行的沉浸式展览的主 角：“The Foscarini Rooms”由Carlo Ninchi 和 Vittorio Locatelli（Oneroom的创始人） 打造，通过前两层为黑白的设置，来呈现 最终第三层的颜色爆炸，并展示了由Ferruccio Laviani设计的新胶囊系列Be/Colour!。 巴 黎 ， M a i s on & O b j e t 的 大 本 营 ， 将 其‘fuorisalone’（沙龙外）提供给年轻 设计师，以展示他们一个全新灯光诠释 的系列，他们把光作为一种艺术形式对 待：Tarek ElKassouf（M&O新兴才俊之 一）在S. Bensimon画廊展示了他的Melting Lamps（融化灯），一件介于物质性，几 何性和超现实主义之间的作品；还有Jean

Baptiste Durand - 2018瑞士雷达表创星大 赛获奖者 - 在Le Off的路径上呈现了作品 Brume，一款充满诗意的灯具，在灯身内 封装了璀璨的迷雾。 米兰，卓越设计之都，一场三年展正在 上演，并将会持续到2019年1月20日：A Castiglioni，由Patricia Urquiola 与 Federica Sala合作策划。大师的百周年以一场名为 （trasparentesi）的定点装设来庆祝：100个 Flos Parentesi灯如同100支蜡烛，在参观者 的面前点亮。 迪拜也并未旁观，在刚刚结束的设计周 上，Preciosa 设计的装设“Breath of light” （光之呼吸）吸引了关注的目光，这是一 个灯光星座，邀请参观者与作品互动， 并“吹”起新生活。

Milano, in April. Between them, the spaces dedicated to the world of lighting design are in fact a palette of facets, where the luminous products display heretofore unseen and original configurations before returning to a ‘traditional’ expository order. So we see appearing in every trade fair, every international design week, in every ‘design city’ a new expression of lighting, bringing with it that added value, that charge of emotion and creative freedom that only light, with it revelatory capacities, is able to offer us.

In the frenetic setting of the London Design Festival, Foscarini was the protagonist of an immersive exposition at the Oneroom Gallery: “The Foscarini Rooms” was curated by Carlo Ninchi and Vittorio Locatelli (founders of Oneroom), through a black and white setting of the first two floors, to conclude with an explosion of colours on the third with the presentation of the new capsule collection Be/Colour! designed by Ferruccio Laviani. Paris, the city of Maison&Objet, has presented in its ‘outside the salon’ a constellation of new luminescent interpretations by young designers who have treated light as an art form: this is the case of Tarek ElKassouf (among the Rising Talents of M&O) that at the Gallery S. Bensimon has staged his Melting Lamps, between materiality, geometry and surrealism; and of Jean Baptiste Durand, winner of the Rado Star Prize 2018 with Brume - presented in the Le Off circuit - lamp with a poetic flavour that encapsulates a brilliant mist in its body. Milan, capital of design par excellence, is identified with an exhibition staged at the Triennale until 20 January 2019: “A Castiglioni”, curated by Patricia Urquiola in collaboration with Federica Sala. The centenary of the master is celebrated with a site-specific installation entitled (trasparentesi): 100 Parentesi by Flos, just like 100 candles are activated in the presence of the visitor.

Dubai is not just watching, and on the occasion of the Design Week just concluded, captures the attention of the public with the installation designed by Preciosa “Breath of light”, a constellation of lights that invites visitors to interact with the work and to ‘blow’ new life into it.

IFDM 10 November 2018

ECONOMY

&MARKETS

走近中国的“常态” GOING TOWARDS CHINA’S ‘NORMAL’ 对于许多人来说，中国看上去仿佛是“东方奇境”，但是对于我们来说，必须深入了解它发展的动力才能懂得这个国家的潜力。目前的 情况（基于意中基金会的“中国2018”报道）表明由习近平领导的中国政府如何改革，从而带来稳定的6/7%的年增长，由此也促进人均 收入和消费的提高。改革之一便是逐步的城镇化和逐渐增长的中产阶层，他们在购买选择上更加复杂精细。意中基金会长期培训学校总 监Francesco Boggio Ferraris博士对此进行了深入的分析和研究

“新

常态”和最新的五 年规划对这国家有 怎样的影响？ 在中国，“新常 态”是指一种全新的速度较缓的发展道 路。它还有另一层更为广阔的含义，从 宏观来看，基于消费、服务、创新来考 量，中国将成为发达经济体。这一新经 济时代的主要特点是，质量代替数量， 这一准则将应用于生产、消费和生活本 身。要了解它的影响有多大，是否继续 影响中国人的生活方式，只需要看一下 《“健康中国2030”规划纲要》即可， 规划纲要与许多卫生健康相关的主题有 关，这些都包含在第十三个“五年规 划”里，倡导更健康的生活方式和工作 环境。由此带来的益处自然而然将会反 映在消费水平和零售方面。同时，中国 经济模式的转型将降低低质量产品的出 口，增加科技含量更高的产品，这也会 影响整个世界。 中产阶层有多少人，他们具有怎样的消 费能力？ 感谢不断增多的中产阶层和他们更为 精致的挑选品味，换句话说购买奢侈 品。2016年到2017年，中国的消费额增 长幅度达到20%，奢侈品市场消费额达 到180亿欧元。2017年，在奢侈品市场， 中国全球市场份额的增长为两个百分 点，达到32%。但是，其中只有8%的购 买发生在中国境内。同时，奢侈品的消

费在中国也增长了11%。这来自于不断 增长的消费者信心和关税的减少，由此 带来更为合理的价格，相对西方国家的 价格而言。 但是，如果我们对中国各个省份的平均 工资进行分析，包括城镇和乡村在内， 可以很明显地看到财富的分化状况非 常严重，还有很长的路要走。在首都北 京，年平均工资收入约为12万人民币， 相当于15000欧元。这也显示中国中产阶 级的收入，对于购买奢侈品而言仍旧是“ 收不抵支”，比如说意大利的奢侈品。

的例子就是“娱乐式零售”模式，以情感 因素作为产品销售的关键驱动。根据这种 模式，消费者可以通过智能手机，先进行 场景尝试，然后再线上下单。 城镇化的改变是如何进行的？那么由此 而来的生活空间有着怎样的变化？ 目前，大约有7.93亿中国人居住在城市 里，这意味着中国的城市化比率达到 70%。在接下来的15年，预期还将有3.5 亿人将从乡村进入到城市。在中国，住 房的平均面积大约为60平米，2003年还 只是一半，30平米。

中国的“千禧代”是谁？他们在全球社 会扮演怎样的角色？ 根据《金融时报》2017的研究表明，目 前中国的“Y世代”大约有3亿人，“ 千禧代”属于“Y世代”。他们是中国 发展壮大的主力军。2017年，中国出 境游人数达到1.43亿，其中39%为千禧 代。这一群体尤其关注优质的产品和服 务，期待获得更好的福利，更好地展示 自我。

他家具、办公家具是最要驱动力。德国 第二，主要因为他们的厨房产业。 （来源：依据GTA数据的Centro Studi FederlegnoArredo报道）

意大利奢侈品市场份额有多大？尤其是 意大利家具。 2017年，家具行业的零售价格在中国各 省都有所提高，这当然受到了通货膨胀 现象的影响，同时也是因为对于优质产 品需求的提高。2017年，意大利依旧是 最大的家具供应商，总价值为4.7亿欧 元，占出口市场的22%，软体家具、其

这些年来购买方式有哪些变化？电商的 影响有多大，更直接的消费者体验有多 重要？ 这些年来购买方式发生了翻天覆地的变 化，而且现在每天都在改变。如果你想更 戏剧性，你甚至可以说，电商代表了过 去。家具的最新前沿是线上O2O，在同 一销售过程融合数字化和实体化。最完美

Francesco Boggio Ferraris

IFDM 12 November 2018

总而言之，家具市场的未来前景如何？ 在所有家庭中，家居用品的消费仍在逐步 增长。在过去的十年间，人均消费增长翻 了一番。住房修建和呈指数式增长的城镇 化都会带来对意大利家具需求的增长。

CHINESE MIDDLE CLASS: 2008-2011, mln of families

H

ow have “New Normal” and the latest Five-Year Plan changed the dynamics in the country?

In China, the phrase “New Normal” refers to a new economic path characterised mainly by a slower rate of growth. The idea has a broader meaning too, however, referring to a general vision that will see the country become an advanced economy based around consumption, services and innovation. The key aspect of this new economic era is the idea of replacing quantity with quality – that applies to production, consumption and quality of life itself. In order to understand just how far this new approach is impacting – and will continue to impact – lifestyles in China, simply look at the Healthy China 2030 plan, which touches on many of the themes around hygiene and health contained in the 13th Five-Year Plan, which promotes healthier lifestyles and working environments. Reaping the benefits of this will naturally be consumption levels and the retail sector, which will see growth rates of around 10% across the next five years, fuelled largely by urbanisation and increased disposable income, as well as the efforts of the government to incentivise domestic private consumption. At the same time, the effects will be felt all over the world, as the transformation of the Chinese economic model will lead to lower levels of low-quality exports and an increase in technologically advanced products.

How big is the middle class and what kind of purchasing power do they have?

Thanks to a growing middle class and greater sophistication in terms of choosing which luxury products to buy, consumption in China increased by 20% between 2016 and 2017, with the luxury goods market reaching a total value of €18 billion. In 2017, China’s global market share in the luxury sector grew by two percentage points to 32%, yet only 8% of all purchases took place in China. In the same period, consumption of luxury products in China increased by 11%.

This was due both to increased consumer confidence and a reduction in duties, which resulted in more reasonable prices in comparison with those in the West.

However, if we analyse the average salaries in the individual Chinese provinces, across both urban and rural areas, it’s clear that the diffusion of wealth is still a work in progress – with a long way to go. In the capital, Beijing, the average annual salary is around 120,000 RMB, the equivalent of €15,000. It shows that the Chinese middle class still lags far behind the spending power necessary to purchase Italian luxury goods, for example.

by the phenomenon of inflation but also by an increased demand for product quality. Italy was the biggest supplier again in 2017, with €470 million and a 22% share of the import market. Soft furniture, other furniture and office furniture are the biggest drivers. Germany is in second place, largely because of its kitchen industry.

(Source: Centro Studi FederlegnoArredo report based on GTA data)

Have purchasing methods changed over the years? How big a factor is e-commerce and how important is a more direct customer experience?

They’ve changed enormously and continue to do so every day. If you wanted to be a bit dramatic, you could even say that e-commerce represents the past.

The future is about the new frontiers of the Online 2 Offline (O2O) approach – i.e. integrating digital and physical in the same sales process. A perfect example of this is the retailtainment model, which sees the emotional factor as the key driver in product purchases. According to this model, customers might try out a product in a brick and mortar store before buying online via their smartphone.

Less than 60.000

60.000-106.000 Rmb

106.000-229.000 Rmb

More than 229.000

PURCHASING POWER, 1990 – 2016, in USD

How has the phenomenon of urbanisation changed? And how have living spaces changed as a result?

There are currently 793 million people living in cities in China, which works out as an urbanisation rate of 70%.

Over the next 15 years, it’s expected that a further 350 million people will move from the country to the city.

The average size of an apartment in China (counting both urban and rural areas) is around 60m², while back in 2003 it was just 30m².

Per capita GDP (usd current) Per capita GDP in terms of purchasing power (usd current)

URBAN AND RURAL POPULATION, MLN OF PEOPLE, URBANIZATION RATE %

Who are the Chinese millennials and what role do they have in global society?

According to a 2017 study by the Financial Times, there are currently around 300 million “Y shidai” in China – millennials belonging to the Y generation. They are the true protagonists of China’s growing power. Just think that of the 143 million Chinese people that visited other countries in 2017, 39% were millennials. This demographic group is increasingly focused on goods and services that combine high quality with uniqueness, as a way of obtaining greater well-being and boosting their reputation.

How big a market share does Italian luxury products occupy? And what about Italian furniture specifically?

Urban population

In conclusion, how do the future prospects of the furniture market look?

Homeware consumption among families is growing progressively and has doubled in the last decade on a procapita basis. Home building and exponential urbanisation also point to increased exposure for furniture from Italy.

Retail prices in the furniture industry increased in the Chinese provinces in 2017, certainly influenced IFDM 13 November 2018

Rural population

Urbanization rate

Source: “China in 2018. Scenarios and prospects for companies”. CeSIF, Fondazione Italia Cina

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EVERYDAY

from IFDM.design

live on IFDM.design 意大利工业设计协会倡导创新

意大利工业设计协会从746件报名作品里精心挑选出172件产品 入围即将到来的“金罗盘”奖，无论是以技术为主的设计，还 是从用户出发的设计，这些产品都密切关注具体过程的标准。

THE ADI CELEBRATES INNOVATION

With 172 products selected from 746 entries, the longlist for the upcoming Compasso d’Oro award has focused strongly on the criteria of tangible progress across both technology and user-oriented design.

大馆，HERZOG & DE MEURON的再利用艺术

坐落于香港商业中心的文化堡垒“大馆”经过Herzog & de Meuron工作室的修复重建，成为历史遗产和艺 术的中心。

设计城市 1个城市、3天时间、230项 活动，迪拜设计周和城市 设计充分展现了迪拜的创 意和创新。

TAI KWUN, THE ART OF REUSE ACCORDING TO HERZOG & DE MEURON © courtesy of Tai Kwun

A cultural bastion in the centre of bustling Hong Kong, Tai Kwun – Center for Heritage and Arts arose from a restoration project developed by the Herzog & de Meuron studio.

DESIGNING THE CITY

With over 230 events spread across d3 and the entire city, Dubai Design Week and Downtown Design reveal Dubai’s purely creative and innovative side.

© Christian Horan photography

从城市中心出发

由George Yabu和Glenn Pushelberg设计的四季奢华公寓完美 融入时尚动感的城市中心，成 为曼哈顿特里贝克地区57号街 的新地标。

A DOWNTOWN DEPARTURE

For the Downtown compliment to its 57th Street icon, luxury hotel brand Four Seasons chose to embrace the hip, downtown vibe of apartments in nearby Tribeca, enlisting the design duo of George Yabu and Glenn Pushelberg to help weave the tale.

KETTAL，不仅仅是室外

科隆国际办公家具展上，西班牙品牌Kettal带来 办公室展示件，可移动的墙面适合室内室外两 种环境。

KETTAL, MORE THAN JUST OUTDOOR

The Spanish brand presents the Office Pavilions at Orgatec, spaces made up of movable walls suitable for both indoor and outdoor environments.

TURRI, 独一无二的奢华

由意大利天才设计师Andrea Bonini 设计的410平米的 样板公寓以Avalon, Noir, Madison系列产品装饰。

TURRI IN THE SUMPTUOUS THE ONE

410 square meters of the sample apartment designed and furnished with products from the Avalon, Noir and Madison collections designed

by Andrea Bonini.

IFDM.DESIGN

IFDM WECHAT

photography | Matteo Imbriani

Audrey, 沙发 sofa | Chanel, 咖啡桌 coffee table | Cookies, 咖啡桌 coffee table | Lou, 软凳 pouf

salone del mobile milano.shanghai shanGhai Exhibition cEntEr

米兰国际家具（上海）展览会

| 22-24.11.2018 | Ground floor - EastErn

| 2018年11月22-24日

上海展览中心 | 底层-东馆 | 展位EG32

gallottiradice.com

hall

|

stand EG32

good

LIKES

CLANMILANO.HOUSE

公司网站的主页将用全屏图像欢迎用户的访问，这是一 个具有强烈视觉冲击力的图像，直接投射到Clan Milano 兼收并蓄且远见卓识的世界内部。该网站依照简化浏览 的原则进行了重新设计，专注于产品类别和新闻。专门 设立了Press（新闻）板块，您可以在其中查看国际上发 布的所有关于该品牌的消息。

A full-screen image welcomes visitors to the homepage of the company’s website, an image with great visual impact that immediately immerses one in Clan Milano’s eclectic and visionary world. The website was redesigned with the intent of simplifying navigation, placing focus on product categories and new developments. Space was also given to a Press’section, where one can browse all of the international publications dedicated to the brand.

设计只需点击一下即可 因为有了网络，地理边界失去了其严格性，从而更有利于开放和全面的互动。如果新的网站和应用程序允许随时随地 访问设计领域，企业 – 作为硬币的另一面 – 将可与越来越全球化的用户交互，并为此适应和发展。在这里， 我们将简要回顾数字世界的最新消息

SCIC.IT

在极简且形式清爽的布局内提供充足的图像 空间。以此为原则，Scic网站重新进行了风 格设计，这家厨房制造商正在举行成立70周 年庆，这在主页上的公司标识和相关新闻中 也加以强调。可从主页直接进入到专为Fendi Cucine Collection（Fendi厨房系列）和Scic Italia Collection（Scic意大利系列）以及承包项目和 销售点所设的主要板块（后两个板块呈现动 态视差效果）。

The minimalist design and cosmopolitan style of Ceramica Cielo are showcased within a new digital platform. The homepage welcomes users with a sequence of images from the latest collections which fade from one to the next and guide visitors in their discovery of the Cielo world. Thanks to the new menu located in the upper left-hand corner of the screen, one can access a great deal of content: Company, Products, News, Showrooms, and a Reserved Area where one can find 2D and 3D files of the company’s products. Available in five languages.

BEBITALIA.CN

Bebitalia.com数字平台现在也提供中文版 本，从而可与其相关市场进行直接对话。通 过产品、历史、系列、项目或新闻，业务领 域得以深化，也因此可供中国设计界使用： 通过微信渠道的整合加强内容共享。

DUBAI DESIGN WEEK APP

迪拜设计周推出了其首个免费数字化指南，为用户 提供“触手可及”的互动和可定制节日体验。新的 APP允许访问者在设计周组织的丰富活动中根据自 己的偏好和兴趣创建个性化计划，接收有关不容错 过的发布会和活动的通知，并享受折扣和优惠，包 括进入市中心设计展馆的免费快速通道。

Ample space is given to images within a minimal and formally clean layout. It is on these tenets that the restyling of Scic’s company website was developed; a company that produces kitchens and is celebrating 70 years in business – as emphasised in its logo and in the relevant news on its homepage. The primary areas dedicated to the Fendi Cucine Collection and the Scic Collection, to the world of Contracting, and to its Points of Sale (this last presented with a dynamic parallax effect) are directly accessible from the homepage.

CERAMICACIELO.IT

Ceramica Cielo用简约设计和国际化风格呈现在 一个全新数字化领域内的窗口。主页用一连串最 新系列的图像迎接用户，以渐显的方式浏览，引 导着访客探索Cielo的世界。 借助左上方的新菜 单，您可以访问许多内容：公司、产品、新闻、 展厅，还有保留区域，您可以在其中找到产品的 2D和3D文件。带有五种语言版本。

Dubai Design Week has launched its first free digitalized guide, offering users an interactive and customizable experience of the festival at their fingertips. The app allows visitors to create personalized schedules based on preferences and interests, be the first to get notified of must-attend launches and events as well as to benefit from an array of exclusive discounts and offers, including a complimentary fast-track access pass to Downtown Design.

IFDM 16 November 2018

The B&B Italia digital platform is now also available in Chinese, facilitating a direct dialogue with one of its most important markets. The world of the company, enhanced through products, history, collections, projects, and new developments, is thus also available to the Chinese design community: a sharing of content that is accentuated by the integration of the WeChat channel.

people

&OPINIONS

Pasquale Junior Natuzzi

CHIEF MARKETING OFFICER & BRAND AMBASSADOR of NATUZZI ITALIA 作者 Veronica Orsi

Natuzzi与中国保持着长期的关系，在目前的市场， 处于什么位置？ 对于Natuzzi而言，中国是战略市场，我们一直深信 这一点。我们花了20年进行核心业务的拓展：生产、 推广、营销。根据最近Nomisma的研究《“意大利制 造”在中国的分析和定位》表明，在中国的中产阶层 中，我们是少数几个拥有主要客户群的意大利家具品 牌之一。 与Kuka合作，使得Natuzzi在中国发展迅速，那么在 未来，您的目标是什么？ Natuzzi在中国有超过150家专卖店，其中37家是在2017 年开的。通过将Natuzzi的品牌定位与Kuka对中国 市场的深入了解相结合，我们携手挖掘中国奢华家具 市场的巨大潜力，让我们能够充分利用好巨大的客户 群，加快Natuzzi Italia零售和Natuzzi Editions在中国一 些全新地区的扩展，也包括线上。随着我们销售网络 的扩大，使得市场加深Natuzzi品牌的认识，同时预期 的增长能够为意大利的生产制造和Natuzzi Italia的店铺 经销带来明显的积极影响。 启发品牌的“和谐制造者”理念是如何适用于中国消 费者的？ 和谐是指导所有Natuzzi创意的 “信仰”，从产品到 专卖店都是如此。我们是一个生活方式品牌，希望传 递的理念基于室内设计的舒适性、功能性、创新性、 和谐性，这些价值与中国消费者和行业专业人士完美 同步。去年发起的“Natuzzi设计大奖”见证来自中国 各地的设计者和建筑者诠释“和谐制造者”的理念， 由此产生了很多令人欣喜的项目。这也是设计在中 国不断发展的范例，展示了Natuzzi Italia“和谐制造 者”概念是如何深入人心。 在即将到来的米兰国际家具(上海)展览会，您会揭幕 其他新的项目吗？ 我们正在推进一个新的理念，叫做“Open Art in Harmony”，它与世界各地的艺术相连，中国和欧洲的 艺术是如此的不同。很久以前，Natuzzi就与世界各 地的艺术相联系，在全球进行了多个项目之后，我 们首次将这一理念带到中国，并于今年5月在上海推 出，在即将到来的米兰国际家具（上海）展览会上， 我们将推出由艺术家徐震带来的全新创意，他将采用 Natuzzi Italia系列的产品在嘉里中心带来一个装置艺 术品。之后，我们还将举办派对，为年轻的、初出茅 庐的艺术家提供一个舞台，他们将对我们的最具代表 性的产品之一——Re-vive用特别的花纹进行定制。

你们团队与 LG电子合作推出“智能生活”理念，请 问这会代表我们生活的未来吗？ 在过去的6年，我一直从事这方面的工作，并且逐渐 意识到对我们而言，其中有着巨大的机遇。创建崭新 的细分市场，在这里互联网可以与智能家具系列相结 合。我联系LG是因为在人工智能和智能设备领域， 他们居于世界领先行列。我拜访了LG在首尔的科技 园，亲眼看到他们在创造智能家园的过程中所取得 的进步，包括烹饪、清洁。面对这样崭新的未来，我 们着手这一革命性的生活理念，从沙发，这一家庭生 活的中心开始。我们希望沙发可以与其它室内设施互 动，并且拓展到卧室、休息间。 从您来到公司，带来了令人瞩目的进步。是否这就意 味着您是千禧时代的一员？时代和Natuzzi之间有着 怎么的联系？ 我当然会购买电子数码产品，这是我们所见证的时 代。我喜欢分析数码科技对品牌带来的影响，了解 最新的创新代表，寻找最新的沟通方式。我关注这三 点以期将公司和品牌带入崭新的纪元，构建全新的 关系。我相信一定有与我们的品牌爱好者进行互动和 沟通的全新方式，我希望通过引入这些新的声音将 我们的故事继续讲述。这会让我们拥有吸引新一代 消费者的魅力，同时让消费者在购买家具时，能够认 为Natuzzi是最具活力和创新的品牌。我确信Natuzzi 最大的力量是能够吸收不同观点概念带来的灵感和启 发，这让我们始终坚持“以人为本”，并以此作为生 产理念的核心，同时从不同领域汲取灵感。我们希望 保持本地特色亦兼具国际眼光，既有独一无二的产品 也具备进行批量化工业生产的能力，因为我们的品牌 就是在不断进步中。 IFDM 18 November 2018

经过20年的运营发展，与KUKA携 手，NATUZZI ITALIA针对中国创意行业 大规模扩展零售网络，进行多项艺术 和设计推广活动。市场的巨大潜力和企 业对创新的关注所带来的光明前景， 使得NATUZZI ITALIA和中国之间的联 系愈加紧密。在这里，我们与NATUZZI 家族第二代PASQUALE JUNIOR NATUZZI 探讨这些话题，作为家族企业的新面 孔，PASQUALE JUNIOR将自己定义为一 位“当代土著”，他属于千禧一代。但 是，就像他所代表的公司，他从不缺乏 见识，更不会迷失自我。

FURROW chair, AGRONOMIST collection

ent in China to what we’re used to in Europe. Natuzzi’s bond with the art world goes back a long way and now – after working on a host of projects around the world – we’re bringing that to China for the first time.

Launched in Shanghai back in May, the project will go to the next level during Salone del Mobile.Milano Shanghai, when we’re going to be unveiling a new creation by the artist Xu Zhen, who’ll be producing a site-specific installation at the Kerry Center Mall using products from the Natuzzi Italia collection. We’re also organising an afterparty where we’ll give a platform to young, emerging artists, who will customise our Re-vive – one of our most iconic pieces – with specially developed patterns.

Natuzzi Italia Store | Shanghai

TORSION table

OCEANOGRAPHER collection

Natuzzi has a long-standing relationship with China.

What position do you currently occupy on the market?

China is a strategic market for Natuzzi and one we’ve always believed in. We’ve spent over 20 years investing in the core assets of our business: production, marketing and distribution. Right now we’re one of the very few Italian furniture brands to have high popularity among the socalled Chinese upper class, according to a recent study by Nomisma called “Perception and positioning of Made in Italy in China”.

The joint venture with Kuka has enabled you to expand in China in a big way. What are your objectives for the future?

Natuzzi already has over 150 stores in China, 37 of which opened over the course of 2017. By combining the Natuzzi brand positioning with Kuka’s deep understanding of the Chinese market, we’ve been able to create a joint force ready to tap into the huge growth potential that China’s luxury furniture market has. The venture will enable us to make the most of a huge pool of users and accelerate the retail development of Natuzzi Italia and Natuzzi Editions in areas in China in which the brand isn’t yet present, as well as online. The expansion of our distribution network

will also increase brand awareness for Natuzzi in an enormous market, while the expected growth will obviously also have positive repercussions on production in Italy and distribution via our Natuzzi Italia stores.

How aligned is the Chinese public with the “Harmony Maker” concept that inspires the brand?

Harmony is the “religion” that guides all Natuzzi creations, from products to stores. We are a lifestyle brand that wants to convey a concept built around interiors that are comfortable, functional, innovative and harmonious. These values are perfectly in sync with those of Chinese consumers and industry professionals. As a result of the Natuzzi Design Award, which was launched last year and has seen designers and architects from all over China offer their interpretation of the “Harmony Maker” concept, a whole range of fascinating projects have been started. It’s a really clear example of the way design in China is evolving and shows that Natuzzi Italia “Harmony Maker” concept is being taken to heart.

Are you going to be unveiling any additional projects at the upcoming Salone del Mobile.Milano Shanghai?

We’re working on a new concept called “Open Art in Harmony”. It’s linked to the world of art, which is very differIFDM 19 November 2018

You teamed up with LG Electronics to launch the Smart Living concept. Does that represent the future of how we live?

Over the past six years I’ve spent working in the sector, I came to realise that there was a huge opportunity there for us to create a new market segment in which the Internet of Things could be combined with a Smart Furniture collection. I contacted LG because they’re the best in the world when it comes to artificial intelligence and smart devices. I visited the LG Science Park in Seoul and saw how they’re making more and more progress in terms of creating a smart home that does everything for us – from preparing food to doing the cleaning. Faced with this new future, we set about devising a revolutionary living concept, starting with the sofa – the centre of domestic life. We wanted the sofa to be able to interact with other living room devices and will be rolling the concept out to other rooms, including the bedroom and lounge.

Your arrival at the company has been followed by a noticeable process of change. Is that down to the fact that you’re a millennial? How much affinity is there between that generation and Natuzzi?

I’m naturally inclined to buy into the digital disruption we’re witnessing at the moment. I like analysing the impact of digital technology on brands, identifying the latest icons of innovation and looking for new ways to communicate.

I’ve focused on these issues in order to bring the company – and the brand – into a new dimension and forge new relationships. I believe in a new way of interacting and communicating with our brand lovers and I want to take our story to the next level by bringing in new voices. That’s what’s going to be able to give us the appeal needed to attract new generations of consumers and make them think of Natuzzi as the most dynamic and innovative brand around when it comes to furnishing their homes. I’m convinced that Natuzzi’s biggest strength is the way we draw inspiration from different ideas and concepts – it allows us to ensure we keep people and human relationships at the centre of our production philosophy while taking inspiration from a wide range of fields. We want to be about both local and global, unique pieces and industrial-scale production – because our identity is constantly evolving.

Salone del Mobile.Milano Shanghai Western Hall second floor - booth WS36

MADE IN ITALY

MADE IN ITALY

Photo © Andrew Rowat

people&PROJECTS

专访

NERI&HU 作者 Tara

2004年，郭锡恩和胡如珊一起创立了如恩设计研究室 （Neri&Hu），主要提供国际化的建筑、室内、整体规 划、平面以及产品设计服务，总部位于上海，在英国伦敦 也有分支。如恩设计目前的项目分布在很多不同的国家， 拥有来自全世界各地的员工，使用超过30种语言。不同文 化背景组成了如恩的设计团队，而这种差异独特性恰恰回

应了如恩的设计理念：以全球化的观念结合多元、重叠的 设计理念来创造一个新的建筑范例。除了如恩设计，成立 于2006年的如恩制作是凝聚了如恩对手工制作和中国美 学的思考而诞生的手工艺家居品牌，而设计共和（Design Republic）则是一家汇集诸多国际顶级设计师系列产品的 家居零售店。

Founded in 2004 by partners Lyndon Neri and Rossana Hu, Shanghai-based Neri&Hu Design and Research Office has a branch in London, providing international architecture, interior, master planning, graphic and product design services. The firm has projects in many countries and employees from all over the world speaking more than 30 different languages. Different cultural backgrounds enhance the team, and the uniqueness of this difference exactly reflects Neri&Hu’s design philosophy: to respond to a global worldview incorporating overlapping design disciplines for a new paradigm in architecture. In 2006, Neri&Hu was founded in Shanghai. It is a handicraft furnishing brand that integrates their thoughts on craftsmanship and Chinese aesthetics. Design Republic is a home furnishing retail store with many collections of international top designers.

IFDM 21 November 2018

雪花秀首尔旗舰店Sulwhasoo Flagship Store | 韩国 首尔 如恩设计以灯笼为设计灵感，改造了首尔江南 区一座五层高的大楼，为风靡亚洲的护肤品 牌雪花秀打造全球首家旗舰店。该大楼始建于 2003年，由韩国建筑师承孝相设计

最初，当人们谈论如恩设计的时候，习惯用“清水工 业风”来形容当时如恩的极简设计所带来的强烈冲 击。近几年，如恩的作品越发多样和成熟，所以我们 应该怎样界定如恩的设计风格？ 虽然在谈及艺术和设计的时候，不可避免地会说起风 格，但如恩设计真的没有太多考虑过关于“风格”的问 题。如果非要给个回答，我们认为如恩作品的“样子” 是我们思想物化的产物，代表着我们的思想通过形式、 颜色、材料、空间和感知落地为实的转化过程。当然， 我们不仅仅设计自己喜欢的东西，任何项目都需要对客 户的需求负责，对问题的解决负责。所以，在“外观” 之外，其实空间内加入的元素都是项目所需的。 谈一谈最近完成的项目？ 今年落成的项目有阳澄湖别墅、青普扬州瘦西湖文化 行馆等。拿墙垣——青普扬州瘦西湖文化行馆来说， 这个项目位于扬州风景秀丽的西湖附近，由于场地各 处散布着小湖泊和一些现有的建筑，这家包含20间客 房的精品度假酒店对如恩来说颇有挑战。业主希望对 基地原有的部分老建筑进行适应性再利用，为之赋 予新的功能，同时增加新的建筑以满足酒店的容量需 不难发现，如恩的涉猎范围几乎涵盖了设计的所有方 面，套用现在流行的说法，“整合经营”做得相当出 色。这是如恩在成立之初就做好的决策吗？ 当然不是，三个发展方向的形成其实是一个自然而然 的过程。如果回想一下如恩设计成立之初的项目—— Michael Grave的办公室设计，你就会发现，这个以 建筑为由头的跨学科设计案例几乎代表了如恩对待设 计的态度。一直以来，我们都以一种开放的心态思考 设计，时刻警惕着思维局限。设计无界，在世界设计史 上，很多杰出的设计师也都是从“跨界”开始的。比如 大家熟知的芬兰建筑大师Alvar Aalto，最初的事业是创 立家具品牌Artek。他还在赫尔辛基开过设计商店，做 过经销商。听起来跟如恩有些相似？其实一刚开始我 们并不知道这些故事，直到今天，我们回过头来看， 才觉得“有商业压力的设计共和”和“能够坚持设计 的如恩设计”可能是一个相当聪明的结合。尽管如恩 和设计共和各自的发展有着截然不同的路径，但我们 欣然发现，在边界被不断被打破的今 天，三者能够为共同的目标——提供 上海大戏院New Shanghai Theatre 更完整的设计体验而服务。 项目的前身是一座建于二十世纪 三十年代的电影院，现存的建筑 在过去的几十年中经历了数番改 造，期间剥除了很多原有的特色 和细节，最后留下来的是一座糅 杂了各种风格和功能的建筑 如恩设计一直在强调“回归设计本质的部分”， 如何理解“本质”，如恩设计的核心精神是什么？ 基本上所有设计师都通过设计作品来实现某种自我 定义或自省。如恩设计的核心在于拥有独立的美学价 值观，在此基础上加入了一些社会，文化与哲学的表 达。如果将对设计的考量形容为一个金字塔，那么对 于如恩来说，位于根基的部分是对功能性的思考。解 决功能问题是设计的前提。而在上层，我们则会注入 一些“个人理解”——有时候融入对商业性的评论， 有时候是文化批评，或者一些幽默的小元素，都不尽 相同。同时，在回答这个问题的时候，我们也会想到 我们的专业可以怎样服务社会，无论是做地产项目还 是生产一件家具，我们相信设计会带来创造性的价值。 IFDM 22 November 2018

求。以中国四合院的建筑形态为灵感，我们利用了场 域里最具特色的两个元素——墙与院，来框定围墙和 通廊的布局，将散落的空间整合起来，形成了一个多 院落的围场。和传统的庭院一样，院落使空间内部的 层次丰富多变。由灰色回收砖砌成矩阵式的砖墙则为 现场加入了不少文化和神秘感。我们希望通过粗犷的 材料和精巧层叠的空间营造，重新定义传统的建筑形 式。阳澄湖别墅的设计概念也有相似的部分，但这个 项目更侧重于考察新时代的中国村落生态和人的居住 行为，试图创造一个适应于现代中式生活的范例。在 我们定义的郊区生活空间中，景观不再被单独定义为 室外空间，小径，门槛，中心景观等中式园林中常见 的元素，都被有机组成在室内外的各个角落。

It is not hard to realize that Neri&Hu has covered almost all design aspects. And you do a pretty good job in “integrated operations”. Is this a decision that was made when Neri&Hu was founded?

Of course not. It is actually a natural process. If you go back to Michael Grave’s office design, one of the earliest projects of Neri&Hu, you’ll find that this idea of interdisciplinary design led by architecture almost represents Neri&Hu’s approach to design. We keep an open mind when speaking about design and always try to dodge thinking limitations.

Design has no boundaries. In the international design history, many outstanding designers also arrived from other sectors. For example, Alvar Aalto, a well-known Finnish architect, started his career by launching the furniture brand Artek. He also opened a shop and worked as a dealer in Helsinki. Do you see the similarities between him and Neri&Hu? We didn’t know these stories at first, but today when we look back, we feel that “Design Republic with business pressure” and “Neri&Hu capable of sticking to design” might be a rather smart combination. Although Neri&Hu and Design Republic take distinct development paths, we’re pleased to find that these two can serve the common goal of providing more complete design experience in a context where boundaries are being constantly crossed.

thoughts, representing the conversion process in which our thoughts become reality through form, color, material, space and perception. Of course, we not only design what we like.

For every project, we need to meet the needs of customers and keep in mind the problem we are solving. Therefore, in addition to “appearance”, the elements added into the space are all required by the project.

What about your latest completed projects?

Yangcheng Lake Villas and Tsingpu Yangzhou Retreat are two of the projects completed this year. For example, Tsingpu Yangzhou Retreat is located near the West Lake in Yangzhou. As the site is dotted with small lakes and established buildings, the 20-room boutique resort was quite challenging for Neri&Hu. The owner hoped to make adaptive reuse of some of the original old buildings by giving new functions to them, while adding new buildings to meet the accommodation needs of the hotel.

Inspired by the architectural form of Chinese courtyard, we used two distinctive elements in the field - walls and courtyards - to frame the layout of walls and corridors and integrate the scattered space to form a multi-courtyard enclosure. Like the traditional courtyard, the courtyards make the interior of the space varied. The walls made of grey recycled bricks add a lot of cultural sense and mystery to the

Neri&Hu has been emphasizing the idea of “returning to the essence of design”. How can we interpret “essence”? What is the soul of Neri&Hu? Almost all designers achieve some kind of self-definition through their design work. The core of Neri&Hu lies in independent aesthetic values, based on which some social, cultural and philosophical expressions are added. If design considerations are described as a pyramid, for Neri&Hu, the part that lies at the root is the reflection about functionality. Solving functionality problem is the prerequisite for design. On the top level, we will inject a bit of “personal understanding” commercial comment, cultural criticism, or some humorous elements. At the same time, we think about our commitment to society. Whether a real estate project or a piece of furniture, we believe that design will highlight the creative value.

At first, when people talked about Neri&Hu design, they liked to use “light industrial style” to describe the strong impact from the minimalist designs of Neri&Hu at the time. In recent years, your projects have become more diversified and mature, so how should we define Neri&Hu’s style?

Although it is inevitable to mention style concerning art and design, Neri&Hu really doesn’t think too much about “style”. If we have to name it, we believe that the “look” of Neri&Hu’s works is the result of the materialization of our

墙垣 -- 青普扬州瘦西湖文化行馆 The Walled - Tsingpu Yangzhou Retreat 扬州青普瘦西湖文化行馆位于扬州风景 秀丽的西湖附近。由于场地各处散布着 小湖泊和一些现有的建筑，这家包含20 间客房的精品度假酒店对如恩来说是一 个颇有挑战的项目

设计共和Design Republic 中国 上海 设计共和位于上海市中心，是一个设计师和设 计迷们可以聚会，欣赏设计，交流学习的空 间。它包括设计共和旗舰店——一家现代家具 零售店，以及与设计相关的零售概念——包括 书籍，时装，灯饰，配饰和花

scene. We hope to redefine traditional architecture through raw materials and the creation of delicately stacked spaces.

The design concept of Yangcheng Lake Villas features a similar concept, yet focuses more on observing the ecology of Chinese villages and habitation behavior in the new era, trying to create an example that reflects modern Chinese lifestyle. In our definition of suburban living space, landscape is no longer defined as outdoor space alone. Footpath, threshold, central landscape and other common elements in Chinese-style gardens are set organically in every corner of indoor and outdoor.

Which one of Neri&Hu’s product designs left a mark on you?

Last year, we worked with Artemide, an Italian lighting brand, and designed the Yanzi collection. It achieved great success. This collection reflects Artemide’s brand philosophy of “The Human Light”. It was inspired by the vivid images of birds resting on branches. Brass Yanzi lamps of various shapes stand on a black rack, showing respect for the nature and the city, full of a particular sense of humor as well. The Christmas limited-edition collection also features a simple glowing globe with flexible ring-shaped brass accessories. The structures recall the pattern of pins, combining the functions of chandeliers and desk lamps as they can be placed at any angle.

IFDM 23 November 2018

arch

&INTERIOR

打磨场，还原 京味生活 作者 Alessandra Bergamini

坐落于北京为数不多保留完好的胡同街区， 现代版古宅院拥有历史古城样态的根基，经 过小规模的修缮复原后，即能很好地满足现 代的都会环境和生活方式的需求

从

北京城中心前门东区的打磨厂街 开始，前门东小街西至草场三 条，沿线串起了众多纵横交错的 胡同，即北京城中历史民居群落的 典型代表。“打磨场”形成于明 清两代，街内许多手工作坊与民居完美合而为一。 从 2017 年开始，西打磨厂街被纳入了一项修缮项 目，旨在保护并整治这片历史悠久的旧城风貌。在 北京市政府、东城区政府、北京市规划和国土资源 管理委员会的大力支持下，自 2014 年起，北京天街 集团和北京天安时间当代艺术中心针对这一毗邻天 安门广场的旧城区联合发起了一项开发计划并提供 了更新的平台。七座精心打造、各具特色的院落， 将成为历史建筑复兴的“原型”典范，激活全新的 社区功能，集文化、民居和工作于一体，为胡同街 坊带来全新体验。本项目邀请了中外七家建筑事务

IFDM 24 November 2018

所，以他们独有的设计，各自诠释一座“濒危”的 院落空间，他们分别是北京市建筑设计研究院有限 公司、隈研吾建筑都市设计事务所、MAD 建筑事务 所、MVRDV 建筑事务所、如恩设计研究室、都市 实践和非常建筑事务所。 几个世纪以来，胡同一直是民居的一种特殊样态， 它将工作空间和住房无缝衔接，并将乡村水平的组 织模式搬到了密集的城市布局中。而随着北京城市 景观的快速更迭和大规模转型，一种全新的垂直聚 落模式成为主导，首当其冲的，就是城市中的胡同区 域。特别是为了迎接 2008 年北京奥运会，这座历史 古都的许多街区都遭到拆除，只剩下一个个稀少的 胡同“孤岛”。转机始于在 2006 年威尼斯建筑双年 展上，MAD 建筑事务所以其作品——胡同泡泡 32 号，呈现了胡同的一种小规模“保护”之道，在该项 目中，一个反光饰面的“泡泡”被嫁接到原有的建筑 体上，给其内部和外部区域注入新鲜血液，为“四合 院”模式赋予新的生命，与传统共生，却又足以吸引 新用户，幻变出新的功能。这些胡同中的三四层或是 一两层的建筑其实围绕着一座院落而建，外侧是一道 围墙，力图在高密度的环境下守护私密空间。MAD 设计师的本意，是通过改善日常生活，而不是抹除历 史遗迹的方式，为城市化演变带来另一种思路。 十年后，隈研吾建筑都市设计事务所完成的院落项 目充分利用了这种传统建筑形态的潜力，将这座四 合院打造了一座工作室和一座咖啡厅，改造完成后 隈研吾建筑都市设计事务所北京工作室已入驻于 此。原有的木质结构经木匠拆下、修复并重组，立 面和外墙上，铝制构件组成的雕窗般的铝幕，与传 统砖墙和透明玻璃幕墙相结合，创造出一座面向街 坊开放的四合院。隈研吾及所有“打磨场”项目建 筑师的设计初衷，是将胡同旧貌改造为一种开放式 的社区和“复兴”的都市景观，不同的功能——住 房、办公、购物、餐饮、文化空间和酒店——和谐 共存，不断吸引充满活力的群体。

Da Mo Chang,

a prototype for the community

From Da Mo Chang Street, in the Qianmen East district of central Beijing, Qianmen Road connects to Chao Chan San Tiao, intersecting a series of hutongs, historical urban conglomerates typical of the city. Since 2017, Da Mo Chang also has identified a special regeneration project that intends upon saving and enhancing that very same ancient urban fabric, which was created over the centuries during the Qing and Ming dynasties, and combined crafts and manufacturing activities with housing. With the important support of the Beijing municipality, the Dongcheng District Government, and the Beijing Municipal Planning and National Land Resources Management Committee, since 2014 the Beijing Tianjie Corporation and the Beijing Center for the Arts have created a development plan and a renewal platform for the area, not far from Tian’anmen Square, identifying a complex of seven courtyard buildings that would become the ‘prototypes’ of historical-architectural recovery and the activation of new community functions - for cultural, housing and work purposes - for the hutong neighbourhoods. Seven Chinese and international architecture firms have also been called upon to give their own design interpretation to an ‘endan-

gered’ urban typology, Biad Beijing Institute of Architectural Design, KKAA Kengo Kuma And Associates, MAD, MVRDV, Neri&Hu, Urbanus and FCJZ. For centuries the hutong has been a form of human settlement that combined work spaces and housing and that

transferred the horizontal organisational model of the rural villages in the dense urban fabric. In the rapid and massive transformation of Beijing’s urban landscape, the urbanised areas with hutongs were the first to be sacrificed to a totally new model of vertical settlement. In particular, in view of the 2008 Olympics, many neighbourhoods surrounding the historic city were demolished, leaving only rare ‘islands’ of hutongs. Already at the Venice Architecture Biennale in 2006, however, the architectural studio MAD supported a ‘conservative’ small-scale approach with the Hutong Bubble 32 project, in which a ‘bubble’ with a reflective finish has been grafted onto the existing buildings to increase their internal and external area, and to give life to a new model of ‘courtyard house’ in symbiosis with tradition but able to attract new users and new functions. The three or four one- or two-storey buildings of the hutong were in fact built around a courtyard and protected by perimeter walls to defend the private sphere in a context of high-density. The addition proposed by MAD evolves the urban model by improving the quality of life without erasing the history of the city.

Ten years later, the potential of the traditional typology was taken advantage of in the project completed by the

Kengo Kuma Studio, which recovered the Siheyuan (house with courtyard) to transform it into an office, the Chinese office of the architectural firm, and into a café. If the wooden structures were dismantled, restored and reassembled, the façades and the external walls were instead reinterpreted by combining the existing exposed brick walls with transparent glass curtains and perforated screens in extruded aluminium, thus creating a version of the Siheyuan that opens towards the road and the community. The design’s intent, by Kengo Kuma and all the architectural firms involved in the Da Mo Chang project, was to transform the hutong model into an open community and a ‘rejuvenated’ urban landscape that could harmonise different functions - housing, offices, shops, restaurants, cultural spaces, hotels - able to attract a dynamic community.

IFDM 25 November 2018

一生中一定要去一次上海 那里的美食 人文、建筑、艺术，交织着传统与现代，令人着迷。你可 以在这里久居，也可以短暂停留，如果只有24小时，不妨去到我们推 荐的地方，也会不虚此行。

IFDM 26 November 2018

24 HOURS IN

上海24小时

SHANGHAI 上海，文化激荡中的城市 SHANGHAI, THE CITY OF THE COLLIDING CULTURES 英国作家Aldous Huxley谈到上海时，曾这样写道：“无法想象还有比这更为热情的生活。” 作者 Min

作

为中国最有影响力的经济中心，上海也是多元文化 的大都会，不断给来自世界各地的游客带来惊喜。 多样的文化中融入现代和传统、西方和东方，它们 之间有着冲突和矛盾，亦互相衬托和融合，散发出 属于这座城市的独特魅力。 近30年，上海发生了巨大的变化，作为现代的经济中心，它将 自己的繁华化为无以伦比的城市天际线和炫目多彩的夜生活。同 时，上个世纪三十年代的上海亦在这现代的繁华中留下自己的印 记。具有历史韵味的外滩是上海的标志，往昔的银行、贸易公司 大楼沿着黄浦江岸鳞次栉比，在一百年间各种风格的建筑见证 了变化的历史，记录着曾经的辉煌。当然，奢华的购物中心、餐 厅、酒店、画廊、博物馆在古老的街道星罗棋布，它们时时提醒 你生活在现代的大都市中。此外，在未来的五年，上海计划将建 立更多的博物馆，作为商业中心的同时，也要让艺术在这里开出 更绚丽的花朵。 如果今年11月刚好在上海的话，一定不要错过米兰国际家具（上 海）展览会，展会将于11月22日到24日在上海展览中心举办， 全方位展示“意大利制造”的卓越的工艺品质、高雅的品味和 意式的奢华。 作为设计和创意的国际基准，米兰国际家具（上海）展的主题是 展现在上海的意大利产品和意式生活方式，它更是米兰国际家具 展在中国市场的延伸。世界知名的米兰国际家具展已经有57年的 历史，如今成为全球家具和室内设计行业公认的潮流风向标，汇 聚了顶级品牌，代表了“意大利制造”的最高水准和生产工艺。 一生中一定要去一次上海，那里的美食、人文、建筑、艺术，交织 着传统与现代，令人着迷。你可以在这里久居，也可以短暂停留， 如果只有24小时，不妨去到我们推荐的地方，也会不虚此行。

WHERE WE ARE November 22nd-24th: Salone del Mobile.Milano Shanghai | Dome Hall - D20

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hanghai, the most influential economic and financial center in China, is a multi-cultural metropolis, which never stops surprising the visitors from all over the world. It is a city of multicultural flair, combining the modern with the traditional, and the western with the oriental.

Over last three decades, Shanghai has change itself physically and economically over. As the modern business center, Shanghai has been well known for its breathtaking skyline and glitzy night life. In the meantime, the glory days of 1930s’ Shanghai had left an indelible imprint.

The historic Bund is the landmark of the city — the stretch of former banks and trading houses along the Huangpu River, built a century ago in a kaleidoscope of architectural styles, is a monument to the grandeur of another era. While there are plenty of shopping malls, restaurants, hotels, creative art galleries and museums for the life in the metropolis. Furthermore, under a national five-year plan to promote culture by building more museums, Shanghai has set out to transform itself from a flashy commercial center known mostly for its spectacular skyline and luxury shopping into a cultural heavyweight.

If you happen to be in Shanghai this November, don’t miss the third edition of Salone del Mobile.Milano Shanghai from November 22nd to 24th at the Shanghai Exhibition Center, an exhibition with a full immersion in the beauty and quality, luxury and elegance of Made in Italy goods.

As an international benchmark for creativity and design, Salone del Mobile.Milano Shanghai exhibits Made in Italy products and the Italian Way of Living in Shanghai. It is a “special” edition brought to the Chinese market by the international platform for furnishing, the world well-known Salone del Mobile.Milano of 57-year history, showcasing a selection of top Italian companies, representing the pinnacle of Made in Italy and top quality manufacturing.

24hours in

FOSCARINI

SHANGHAI

Eastern Hall ground floor booth EG08 EG12

Foscarini灯的名字、形状、甚至灯 光都来自月亮。Plena（由Eugenio Gargioni 和Guillaume Albouy设计） 尺寸较大，但是外观更动感，更明 亮，双重照明既能照亮较为低的空 间，也能让光线发散到顶部天花板。 This lamp takes its name, shape and even light from the Moon. Plena (designed by Eugenio Gargioni and Guillaume Albouy) is large in size but dynamic and light in its appearance, with double illumination: reflected on the lower level and diffused towards the ceiling.

DADA

Eastern Hall ground floor booth EG18 EG20

Dada是向Vincent Van Duysen设 计的充满活力的VVD厨房的致 敬，它以现代的方式诠释了嵌入 式把手的细节，突出了薄面和相 对较厚的顶端的对比。活力和动 感同时也展现于材料的选择上， 以及空和满的对比上。

This is a tribute to the formal dynamism of the VVD kitchen designed by Vincent Van Duysen, which reinterprets the detail of the recessed handle in a modern light, working on the contrast between the thin side and the end units with the substantial thickness of the top. Dynamism is also displayed in the alternation of materials, as well as the contrasts of full and empty.

BELLAGIO SHANGHAI No. 188 Beisuzhou Road Hongkou District

上海苏宁宝丽嘉酒店由著名设计公 司WATG打造，将意大利巴洛克式 低调奢华与外滩新古典主义风格完 美融合。酒店的内部装饰由全球酒 店顶级设计公司Wimberly Interiors操 刀，巧妙地展现出现代的美感，魅力 与奢华。数千件精选自世界各地的 艺术佳品陈列在酒店的各个角落。

Designed by the leading hospitality design firm WATG and affiliated design studio Wimberly Interiors, the Bellagio Shanghai presents sophisticated luxury alongside timeless class. Bellagio Shanghai has 162 luxurious guest rooms and suites. More than 1000 art pieces have been curated from around world and placed throughout the hotel.

ZANABONI

Western Hall ground floor - booth WG23

这款Colette扶手椅是Contemporary系列 家具之一，宽敞的造型，色彩鲜艳的 包覆面料，流露优雅气质和舒适惬意 感。设计独具一格，圆浑的外型勾画 出椅子的轮廓，配有拱门型的木质底 座，将建筑几何美学注入家具设计。 Colette is part of the Contemporary line; a small and elegant armchair, charming not only in its reduced size, but also for its colourful upholstery. The distinctive, rounded shapes that define its perimeter, down to the wood base, call to mind an ‘architectural’ arch.

MINOTTI

Eastern Hall second floor - booth ES31

在Dan的设计上，Christophe Delcourt强调的区域 通常在阴影中，在桌子下面。浑圆的、凹形的腿是 重点，横木将其相互连接，与之相对比的是铝制的 腿，在表面刷上不透明的甘草色，里面搭配抛光的 铜或者淡淡的青铜色，带来一种迷人的灯光效果。 IFDM 28 November 2018

In the design of Dan, Christophe Delcourt emphasised an area usually in the shade, beneath the table top: the base is defined by the rounded, concave legs and a crosspiece that connects them, while the contrasting finishes of the support legs in aluminium – painted in opaque Liquorice colour on the outside, with polished copper or painted light bronze finish on the inside – create a fascinating play of light.

POLIFORM

Eastern Hall second floor - booth ES32

扶手椅、椅垫、长椅， Jane系列（由Emmanuel Gallina设计）是扩展的，不断提供更多 受欢迎的尺寸和纹路。Jane Lounge高背扶手椅是舒适和审美的完美展现。 Armchairs, poufs, benches: the Jane collection (designed by Emmanuel Gallina) is extended, providing increasingly welcoming sizes and lines.

The Jane Lounge stands out, a high-backed armchair that combines comfort with a strong aesthetic presence.

FLEXFORM

Eastern Hall ground floor - booth EG09 EG11

Taylor是这一系列的收纳箱，突显简约轻松的审美，但是在细节 的地方精美繁复。磨光的铝制框架可装有铰链式门或者滑动门 （外面可以包裹皮制或者加纳莱托核桃木、乌木板，展现出多种多 样的繁复色彩）。顶部可以用木制，保持一致性，也可以用大理石。 Taylor is a family of containers furnished with an aesthetic lightness that does not renounce sophisticated construction details: the burnished aluminium frame is completed with hinged or sliding doors (covered in leather or Canaletto walnut, ash and ebony veneer in a variety of sophisticated colours) and the top, also made of wood, with an effect of continuity, or marble.

SHANGHAI NATURAL HISTORY MUSEUM

510 Beijing Xi Road, Jing’an District

上海自然博物馆 坐落于上海市静安雕 塑公园内，建筑面积45,257 平方米。 博物馆建筑的设计灵感来源于“螺” 的壳体结构，由帕金斯威尔建筑设计 事务所全球设计负责人拉尔夫· 约翰 逊设计。博物馆里有来自于七大洲超 过10,000件手工艺品的陈列，包括展览 空间、一个4D剧院、一个户外展览花 园和30米高的中庭，外覆细胞墙，玻 璃墙上有着动植物图案的多孔结构。

Located in the Jingan Sculpture Park, Shanghai Natural History Museum is designed by Perkins+Will’s Global Design Director Ralph Johnson. The 44,517 square meter-museum offers visitors the opportunity to explore the natural world through the display of more than 10,000 artifacts from all seven continents. The building includes exhibit spaces, a 4D theater, an outdoor exhibit garden, and a 30-meter tall atrium with an abundance of natural light filtered through a striking glass wall.

SHANGHAI MUSEUM OF GLASS

685 West Chang Jiang Road, Baoshan District

秉持“营造并共享博物馆美学新生活”的理念， 上海玻璃博物馆以玻璃为艺术主体、上海玻璃博 物馆为艺术核心，首创全新、多功能化的上海玻 璃博物馆园区。一方面，以多元、开放的建筑群 落和功能单元，多层次、多角度地诠释、更新、 丰富、分享玻璃的物质和精神形态；另一方面， 以玻璃为媒介，探索、发现、创新并延伸自身乃 至城市文脉。 Under the principle of Creating and Sharing Museum Aesthetic New Life, Shanghai Museum of Glass founded the brand new and multi-functional Shanghai Museum of Glass Park. Developed from glass art and the museum into a complex of diverse buildings, the Park interprets, complements, and exhibits the physical and spiritual dimensions of glass from different layers and perspectives.

CLAN MILANO

Eastern Hall ground floor - booth EG00

Clan Milano的艺术总监Alessandro La Spada 是一个心怀创意的设计者，带来创意的爆 发。他的大堂桌采用拟态的手法，展示了不 同水平上的桌腿的错列工艺。

A concentrated ‘explosion’ of creativity – like the creative mind of its designer, the brand’s Art Director, Alessandro La Spada. The Lobby table with round top, in Mimetica finish, displays staggered working on the legs on different levels.

IFDM 29 November 2018

24hours in

BAXTER

SHANGHAI

Eastern Hall ground floor booth EG03

Roberto Lazzeroni设计的Jorgen 扶手椅，带着复古的感觉和当 代的表现。柔软的皮革（克什米 尔蔚蓝和托斯卡纳Punta Ala） 包裹着座椅，舒适而包容，桌 脚采用打磨光泽的黄铜制成。 Roberto Lazzeroni designed the Jorgen armchair, with a retro feel and a contemporary appearance. Encompassing and comfortable, it is covered in soft leather (Kashmir Azure and Tuscany Punta Ala), supported by a base in wengé and feet in satin-finish brass.

MISURAEMME

Western Hall ground floor - booth WG29

Over系统（由Castiglia Associati工作室设计）的最大优势在于高度 的个人化。无论是从材料的角度，还是从构成的角度，这使得设计 的幅度超过2米、包括几何对称系统和综合照明系统。 The strongpoint of the Over system (designed by Castiglia Associati) is the high degree of personalisation, from the point of view of both the material and the composition, which allows the design of large spans of more than 2 metres, geometric asymmetry and an integrated lighting system.

LUALDI

Eastern Hall second floor booth ES50

古典审美搭配当代设计定义了L7 滑动系统（由Piero Lissoni设计） ，展示于此的是四门青铜色玻璃 和香槟色框架结构。无论是家庭生 活还是工作环境，都极为合适。

Classic aesthetic but contemporary design define the L7 sliding system (designed by Piero Lissoni), displayed here in the fourdoor version finished in bronze glass and champagne profiles. Perfect for domestic and work environments.

ULTRAVIOLET

BY PAUL PAIRET

ANTONIOLUPI

Eastern Hall second floor - booth ES21

独立的Albume洗脸盆（由Carlo Colombo 设计）使得诗歌的对立面更加具象，不同 的、重叠的几何形式，加之自然的大理石 材料和富有创意的Cristalmood透明树脂。 上面部分的色彩和底部采用大理石产生的 无限变化，形成了鲜明的对比。 The free-standing washbasin Albume (designed by Carlo Colombo) incarnates the poetry of opposites: different, overlapping geometric forms, combinations of materials – such as natural marble and the innovative Cristalmood transparent resin - chromatic contrasts that are generated between the colours of the upper part and the infinite variations of the marble used for the base.

© Scott Wright of Limelight Studio

上海Ultraviolet自开业以来 一直以神秘与前卫著称，没 有人知道这间餐厅的具体位 置，餐厅只在晚上营业，仅 提供两套定食菜单，且只有 十个座位，食客在指定的时 间和地点集合，然后共同乘 坐餐厅的商务车前往。餐厅 主厨Paul Pairet以声、光、电 等方式模拟出的不同场景， 通过多种感官刺激，让食客 在用餐过程中品尝到“精神 的味道”。

Ultraviolet by Paul Pairet is considered to be one of the most avant-garde and mysterious restaurants in the world. With a single table of ten seats and only dinner served, it attempts to unite food with multi-sensorial technologies in order to create a fully immersive dining experience. Dinner unfolds as a sensory play choreographed by chef Paul Pairet and the Ultraviolet Team. Specifically equipped with multi sensorial high-end technology, the dining room is dressed-up by lights, sounds, music, scents, a cool air blow, an immersive projection, images, imagination and food.

IFDM 30 November 2018

POLIFORM

Eastern Hall second floor - booth ES32

Phoenix厨房的设计是由纯粹的几何图形组成，旨在突出最大限度的简 约，而最能展示这一点的则是把手处的细节。无论是门，还是桌面都有充 分的组合可能。 Pure geometry makes up the design of the Phoenix kitchen, the aesthetic of which is aimed at maximum simplicity. The proof of this is the detail of the integrated handle. There are ample possibilities of composition as well as a choice of finishes for the top, door and snack top.

ELLEDUE

Western Hall second floor - booth WS03

由Alex Charles为Penelope 系列设计的最新力作。新 作包括独具一格的沙发，採 用弧线形设计，以垂直绗缝 花纹图案点缀，散发一出复 古气息。

GALLOTTI&RADICE

Eastern Hall ground floor - booth EG32

这套家具系列综合了品牌代表性的精湛工艺和精致品味，采用玻 璃、金属、木材，达到完美的平衡。这里展示的系列里有Audrey 沙发（由Massimo Castagna设计）搭配Cookies咖啡桌（由Pietro Russo设计），而Bolle Tela灯（由Massimo Castagna设计）负责 照亮一切。 The furniture settings created by the brand combine the company’s typical craftsmanship with a transversal and sophisticated taste, in a balanced ensemble of materiality (glass, metal and wood). So it is in the setting displayed here, where the Audrey sofa (designed by Massimo Castagna) commands the scene accompanied by the Cookies coffee tables (designed by Pietro Russo), illuminated by the Bolle Tela light (designed by Massimo Castagna).

New products enrich the Penelope collection, designed by the Alex Charles duo. Among these is the original sofa, characterised by sinuous lines and a vertical matelassé motif that distinguishes and enhances the back of the couch.

W SHANGHAI - THE BUND

No.66 Lvshun Road

上海外滩W酒店的设计甄选最能代表上海文化的元素，将历史与现代完美结合，向人们展现城市的多 样性，以及对老上海过去那些辉煌时代的诠释，打造出和谐共处的独特空间。上海外滩W酒店在北外 滩的众多大型建筑群中，以其特有的曲面型结构独树一帜，这样的外形设计，也保证了酒店几乎所有 客房都可以尽享到黄浦江的迷人景致。上海外滩W酒店拥有374间客房及套房，均配有可开关式液晶玻 璃墙面，带来如魔术般的私密空间。置身在房间中，还可以亲身感受到别出心裁的上海设计元素。 Combining inspiration from Shanghai’s historic local life while transporting guests to the future, design concept of W Shanghai - The Bund features Hai Pai, which translates to Shanghai style, to the way the city combines old with the new and east with west. W Shanghai - The Bund, located on the up-and-coming North Bund, comprises 374 supremely chic guestrooms and suites and fuses sophisticated Mandarin designs with playful contemporary twists.

ETRO HOME INTERIORS

Western Hall second floor - booth WS02

带着东方灵感的“德里”橱柜以珍贵的质地使得Etro 家居系列更为丰富。沙发面的框架采用了玻璃和抛光 的黄铜，带来优雅而光泽的效果。 Eastern inspiration for the Delhi cabinet, which is enriched with precious fabrics from the Etro Home Interiors collection. The soft cover is combined with glass and polished brass in the frame, bestowing an ethereal and luminous touch.

IFDM 31 November 2018

24hours in

SHANGHAI

VISIONNAIRE

Central Hall ground floor booth CH10

Ripley（由Fabio Bonfà）用环绕 型三联结构重新唤起人们对上个 世纪七十年代的记忆。床头板可 以包入皮革或是纤维，外框可以 覆盖或者搭配略有垫料的边缘。

JUMBO COLLECTION

Western Hall ground floor - booth WG02

The Ripley bed (designed by Fabio Bonfà) evokes the forms of the 1970s with an encompassing triptych structure. The bedhead – quilted in leather or fabric – is framed by a profile that is also covered and incorporates slightly padded sides.

Livio Ballabio重新创意的这一系列充分 考虑到了当下最受欢迎的细节。Yoshi 扶手椅以锻铁为框架，搭配硕大的厚圆 椅垫，同时还有两个装饰性的靠垫。 Livio Ballabio has recreated an island of comfort that is not without sought-after details. The Yoshi armchair, in fact, presents a wrought iron frame that embraces the large round pouf of the seat and, at the same time, also supports two decorative cushions.

LONG MUSEUM

3398 Longteng Avenue, Xuhui District

龙美术馆是由中国收藏家刘益谦、王薇夫妇 创办的私立美术馆，目前在上海同时拥有两 个大规模的场馆——龙美术馆（浦东馆）和 龙美术馆（西岸馆），构成独特的“一城两 馆”的艺术生态。西岸馆由中国建筑师柳亦 春负责设计建造，美术馆主体建筑以独特 的“伞拱”结构为特征，共分为四层。地上 一层、二层为绘画、雕塑、装置、新媒体等 当代艺术的展示空间，拱形空间表面由质地 细腻的清水混凝土浇灌而成，与原北票码头 构筑物“煤漏斗”改造而成的“斗廊”形成 视觉呼应，营造出理性冷静的工业感与原始 感。地下一层为中国古代艺术珍品及民国 时期美术作品的常设展示空间，“白盒子” 式的矩形展厅突显中国传统艺术的历史传承 与博大精深。 Founded by Chinese collectors, Mr. Liu Yiqian and his wife, Ms. Wang Wei, the Long Museum owns two huge places for exhibition and related functions: Long Museum Pudong and Long Museum West Bund. Designed by Chinese architect Liu Yichun, the main building of the four-storeyed Long Museum West Bund is a unique umbrella-vaulted structure. The first and second floors are devoted to contemporary art including paintings, sculptures, installations, and new media. The surface of the concrete vault has a fine and smooth texture. Visually, it is in concert with the fashion space “Hopper Corridor”(doulang), which was transformed from the former “Coal Hopper” (meiloudou) at Beipiao Port.

OPERA CONTEMPORARY

Western Hall ground floor - booth WG01

坚固的材料（来自坚实的加纳莱托核 桃木）是Victor系列共同的特色，这一 系列包括餐具柜、抽屉柜、床边桌、酒 吧家具、桌子等。不仅如此，钻石的浮 雕图案为这一系列赋予了多样而优雅 的现代感，增加了更多的时尚特色。 Material solidity (given by the solid Canaletto walnut) is the common thread for the Victor collection, which includes sideboards, chests of drawers, bedside tables, bar furniture and vanity desks. Not just that. A stylistic touch is the embossed diamond pattern that bestows variety and elegant modernity on the product.

An evolution of the solidity of the first Gentry, Gentry Extra Light focuses on more slender and lighter forms. In this relaunch operation, designer Patricia Urquiola is aiming at an all-embracing lightening, from the frame (the height has also changed) to the Braid lining, deliberately reduced in the scale of the stitching (Baby Braid).

IFDM 32 November 2018

MOROSO

Eastern Hall ground floor - booth EG22

这是首个Gentry系列的演 化。Gentry Extra Light沙 发关注于更细节、更放松的 表达能力。通过重新发布 这一系列，设计者Patricia Urquiola的宗旨是囊括包容 一切，更加轻松，从框架 （高度也可以改变）到内里， 尤其是减少缝合的部分。

GIORGETTI

Eastern Hall ground floor - booth EG01 EG02

蕴藏着公司历史的家具新品“The Cabinet of Memories”格子柜，由设计师卢志荣设计，以 古代收藏家的珍宝室为设计概念，线条简约， 仿如雕塑作品。高度和宽度为2,018毫米，象征 公司今年创立120年。柜子上120个格子，采用 一深一浅交替出现的枫木饰面，呈现和谐有致 的平衡美。 The company’s history in a single piece of furniture: The Cabinet of Memories, a Wunderkammer concept, a furniture-sculpture with simple lines, designed by Chi Wing Lo. Measuring 2,018 mm tall and wide, it represents 120 years since the foundation of the company (celebrated this year); 120, the same number as the squares it contains, in a balanced alternation between the maple wood’s light and dark finishes.

FLOU

Central Hall ground floor booth CH30

Matteo Nunziati设计的New Bond床特点显著，皮制 的 “带”状图案贯穿床头 板的两端。New Bond床铺既 可以覆盖布料也可以皮制， 可以搭配一个橱柜基地、固 定基底、或者电动基底。 A pattern of leather ‘belts’ that intersect at two points of the bedhead is the distinctive touch of the New Bond bed designed by Matteo Nunziati. The bed can be covered in fabric or leather, with a container base, fixed base or base with electric movement.

BULGARI HOTEL SHANGHAI 33 North Henan Road

上海宝格丽酒店为中国酒店业设立了全新的奢华 标准。酒店位于宝格丽大楼的顶部8层，在此可俯 瞰外滩美景和观赏壮观的上海天际线、传奇浦江 和蜿蜒苏州河。由意大利颇负盛名的建筑事务所 Antonio Citterio Patricia Viel设计，酒店既保留了 意式建筑和设计风格的精髓，又融入了上海独具 韵味的海派风情。酒店仅82间客房与套房，精益求 精，客房的平均面积在60㎡以上。客房以黑白相间 的主色调，客房家具及照明均由享誉全球的意大利 品牌量身定制。 Antonio Citterio Patricia Viel, the firm that designed each Bulgari Hotel & Resort around the world, has created a glamorous contemporary masterpiece by blending the distinctive Italian refinement of Bulgari with rich layers of Shanghai history. The property combines intimate ambience and personalized service, including in the 82 Rooms, 19 of which are exquisite Suites.

ZWILLING

TaiKoo Hui, Shanghai | Shimen 1st Road, N ° 286, W101

German engineering meets Chinese excellence in the new Zwilling flagship store designed by Matteo Thun & Antonio Rodriguez. The store includes a shop with the brand’s complete range, a cooking school and an elegant bar and restaurant, The Twins. The design was conceived in a unitary way as an experiential journey into the Zwilling world, where Oriental and Western traditions combine in an iconic materiality.

© Dirk Weiblen

由Matteo Thun和Antonio Rodriguez设计的双立人之家全球旗舰店是德国工程设计和中国卓越文化的 完美融合。双立人之家里包括一家售卖双立人全系产品的商店、一所烹饪学校、一家优雅的酒吧&餐 厅——The Twins。双立人之家的设计展现了进入双立人世界的体验之旅，用这幢标识性建筑将中西方 传统融合并诠释。

PORADA

Eastern Hall second floor - booth ES56

作为庆祝公司成立70周年，在上海一处特别布置 的所在展示品牌三件极具历史意义的产品，在 这一周年庆场合的重现。其中，就有Trittico咖 啡桌（曲柳实木的框架，顶部是斜切的钢化玻 璃），既可以单个使用，收纳时也可以堆叠。 The celebrations for the company’s 70th anniversary continue in Shanghai, where a special setting houses the brand’s three historic products, reworked on the special occasion of the anniversary. Among these, the Trittico coffee tables (frame in solid ash and top in bevelled tempered glass), designed to be used individually or stacked one on top of the other.

IFDM 33 November 2018

24hours in

SHANGHAI

INTERCONTINENTAL SHANGHAI WONDERLAND

Chen Hua Road No. 5888, Songjiang District

由阿特金斯团队 担任建筑设计的上海佘山世 茂洲际酒店预计年内开业，酒店沿崖壁而建， 面向横山，和自然融为一体。主楼采用大面积 玻璃和金属元素，人造瀑布幕墙长达80米，尽 显奢华。酒店提供多种不同房型，从工业到 矿洞，风格迥异，水下套房设有私密水族馆视 角，而水上房间则坐拥“空中花园”走廊。

GIORGIO COLLECTION

Western Hall ground floor - booth WG10

Infinity系列（由Giorgio Soressi设计）包含超过50件家具，它们 的关键点在于桃花心木带来的温暖感，镀金的细节之处使整个系 列更加丰富。这是为夜晚而定制，装饰华丽的欧式大床是重点。

© courtesy of RoarcRenew

Designed by the Atkins team, it is expected to open during the year. The hotel has been constructed 300 feet into a former quarry. It has 18 floors in total, 16 of which are situated below ground, and the bottom two floors are underwater in a 33-foot-deep aquarium.

The warm intensity of the Makoré mahogany wood is the key feature of more than 50 elements in the Infinity collection (designed by Giorgio Soressi), enriched with gilded details. This is also true of the night area, where the centrepiece is the European king size bed with an upholstered bedhead.

CARLOWITZ & CO

No.255, Middle Jiangxi Rd., Huang Pu District

RoarcRenew 裸筑更新，将地处于江西中 路的礼和洋行(Carlowitz & Co.)的3-5层改 造为新的共享办公空间。工作室重新恢 复了建筑的原结构（最早可以追溯到1898 年），以大块天然石料和清水红砖建造 而成。在本次改造中，裸筑更新基本沿 袭了原始的结构，混凝土墙及修补的建筑 肌理。历史文化底蕴搭配现代的室内设 计审美，继续这一当代与历史的对话。

ZANOTTA

THE MIDDLE HOUSE SHANGHAI

Eastern hall second floor - booth ES25

No. 366 Shi Men Yi Road, Jing’an District

上海镛舍以申城悠久的精致工艺文化为灵感， 将极简主义与经典海派元素巧妙融合，致力 于打造繁华都市中心的雅致居舍。镛舍共设有 111间客房，房型面积从50平方米至100平方米 不等、另有一间Gallery Suite及一间顶层阁楼 套房。室内设计由著名设计师Piero Lissoni操 刀主理，诠释简约与精致的平衡，同时融合上 海本地特色，全新展示了现代化简约风格。 The spirit of modern-day Shanghai is palpable through The Middle House’s 111 modern studios, varying from 50 sqm to 100 sqm, a gallery suite and a Penthouse – all influenced by celebrated architect Piero Lissoni’s sophisticated interior design. The design draws inspiration from the city’s rich heritage of craftsmanship and culture, marrying minimalist style with classical Shanghainese elements.

RoarcRenew has renewed the space of Carlowitz & Co (from the third to the fifth floor) in an original venue for co-working.

The studio has recovered the building’s original structure (dating from 1898), the concrete walls and the architectural texture, giving the environment a historic and cultural touch, combined with the choice of a modern interior and aesthetic. For a continuous dialogue between the old and the new.

Ludovica + Roberto Palomba 二人组，通过更加风格化 的语言重新诠释了典型的利 古里亚手工艺座椅，打造出 了Noli。这是一款轻盈优雅 的座椅，采用山毛榉实木制 作，配以色彩鲜艳的漆面。 极简、几何的结构，搭配略 带衬垫的舒适椅座。 The duo Ludovica + Roberto Palomba has reinterpreted the typical handcrafted Ligurian chair through a more stylised language. Thus Noli is born, a light and elegant chair made in solid beech wood and painted in an array of colours. The structure, geometric and minimal, is combined with lightly padded seating.

IFDM 34 November 2018

ARAN CUCINE

Western Hall second floor booth WS37

度身定制，不断更新。这就是 Cover厨房的核心特质。在其位于 上海的品牌展厅中，品牌名称用 极具想象力的聚氯乙烯膜 （像真正的膜一样）贴在 特别制作的门上。门的制 作享受专利权，采用层 压的LPL和金属板制成。 Customisable and continuously renewable. These are the essential prerogatives of the Cover kitchen, which owes its name to the imaginative magnetic PVC films that (like real covers) stick to the special patented door, made of a panel in laminated LPL and a metal sheet.

B&B ITALIA

Eastern Hall ground floor - booth EG28

B&B Atoll是一个完整的系列，包括传统因素，比如‘长枕’（卷起的靠垫），搭配精致 的、严密的支撑结构”。这就是设计师安东尼奥·奇特里奥对B&B Atoll系列的描述，它 包含全新的座位系统、完全动态的、多样化的组合：多人沙发、转角、沙发床、单人或者 带有躺椅或者圆厚椅垫的组合。

CAPELLA SHANGHAI, JIAN YE LI

480 West Jianguo Road, Xuhui District

上海建业里嘉佩乐酒店坐落于上海徐汇区衡复历史文化风貌保 护区，坐拥上世纪30年代建成的“石库门”建筑群，共有55间 套房和40 座豪华公寓，是上海唯一全别墅式城市度假酒店。这 些“石库门”建筑经过精心修复，结合了传统的上海风格和西方 的建筑风格。重塑后的建业里展现出海派文化和巴黎风情和谐交 融的上海住宅传统风貌，那些久远的历史风貌重回人们的视野。 Located within the cultural preservation zone of Xuhui District, Capella Shanghai, Jian Ye Li is Shanghai’s only all-villa urban resort, and one of the last remaining clusters of shikumen architecture dating back to the 1930s. Capella Shanghai comprises 55 shikumen villas and 40 luxurious serviced residences. The design concept, created by Jaya Design International, embodies the spirit of Jian Ye Li - reflected in the fusion of French and Chinese elements, a nod to its heritage and the golden era during the 1930s.

B&B Atoll is an across-the-board collection that includes elements of tradition, like the “bolster” (rolled cushions), combining them with a fine, rigorous support structure”. This is how the designer, Antonio Citterio, describes the features of the new system of seats, entirely dynamic and versatile in forming different types: cockpit sofas, dormeuse, end corners, individual or modular elements with chaise longue and pouf.

THE SUKHOTHAI SHANGHAI

380 Weihai Road, Jingan District

上海素凯泰酒店兼具动静之美，由如恩事务所一手打造。设计灵感源自“城市绿洲”的概念，处处流 露出融入自然、返璞归真的理念。匠心设计的装饰和精挑细选的艺术品将酒店打造成一座清新绿洲， 处处流露出富有设计感的自然之美。酒店拥有170间客房和31间豪华套房，面积为44至172平方米。房 间以木质元素为主，金属色系点缀、家具采用灰蓝为主。

WALL&DECÒ The Sukhothai Shanghai’s design takes inspiration from the concept of the “urban oasis”. Designed by Neri&Hu Design and Research Office, the hotel comprises 170 tastefully designed guest rooms and and 31 wellappointed suites, , featuring natural materials including the environmentally friendly diatom-silica clay wall.

Western Hall ground floor - booth WG26

Wet System系列带来对浴室的全新诠释。这一系 统，采用Wall&Decò专利覆盖淋浴墙面和潮湿的 空间空间，完美融合极具装饰价值的技术属性。 既有利于健康，也在视觉上达到美观的效果。 The Wet System collection offers new interpretations for the bathroom. This system, patented by Wall&Decò for the covering of shower walls and damp rooms, combines technical properties with high decorative value.

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Salone del Mobile.Milano Shanghai

Central Hall ground floor - booth CH01

Contacts

asiapacific@scavolini.com www.scavolini.com

独一性和企业价值的强大优势完美体现于 SCAVOLINI为家居环境带来强调“整体造 型”解决方案，让品牌成功打开了中国市 场的大门，发展与日俱增

LIBERAMENTE

品牌特性的三种表达

厨

房、起居室和浴 室，Scavolini的家居 世界总是日趋全球 化，不仅限于地域性 和国际性发展策略， 更覆盖到设计层面，体现于其进一步完 善了每个家居环境的广泛解决方案。打 造整体家居概念的独特风格，以及创新 性设计和卓越品质的结晶，让Scavolini 成功为居所注入强调“整体造型”的家 具解决方案，满足各种风格和个人化特 色的需求。拥有与中国人的喜好极其吻 合的价值观，公司成功进入中国市场多 年，发展稳步向上，在中国开设有超过 十间品牌专卖店和公司办事处，骄人成 绩可见一斑。“我们在零售渠道的合作 伙伴是公司国际化进程中的一个重要角 色，它能够通过高质量的零售购物体验

传达公司的价值。” 公司首席执行官Fabiana Scavolini认为品牌在中国的优势来 自品牌的独一性，“中国市场十分欣赏拥 有深厚传统和悠久历史的公司；我们公 司便是一个典范，创业超过50年以来， 得益于我的父亲Valter和他兄弟Elvino的 创业精神，在短短数年里，已成功将一 个小型的厨房制作工坊变成了意大利最 重要的工业企业之一。” “充满生机和活 力的中国市场，对智能设计和能够优 化空间的项目尤有需求，Scavolini早已 引入这个设计趋势，进一步提供扩大产 品范畴，提出为浴室环境专设的解决方 案，并由此将解决方案延伸至其他家居 区域，以至起居室。公司在中国市场上 引进广泛的家具系列后不久便获得了骄 人的成绩，这些家具系列独有的元素成 为我们重大的竞争优势。”

Three expressions of a single identity

K

这三大家具方案将于米兰国际 家具(上海)展览会隆重亮相，带 来品牌四个不同的系列，包括 Exclusiva、Liberamente和Magnifica

浴室系列，以及由Nendo为厨房和浴室 空间设计的Qi系列，“旨在展示Scavolini在体现连贯性和整体性的家居风格 演绎上拥有的雄厚实力。”

QI

itchens, living rooms, bathrooms. The world of Scavolini is increasingly global, not only in terms of geographic and strategic internationalisation, but also in terms of design, expanding its ever more thorough range of products for every room in the house.

Creating a fil rouge that stretches across the entire panorama of domestic areas, based on avant garde design and quality, Scavolini has created a ‘total look’ series of home furnishings that responds to every stylistic and individual need. A value that has received very positive response in the Chinese market, where the company has been present for some time and where it has experienced continuous growth, as demonstrated by the opening of over ten mono-brand sales outlets and a corporate office. If partnership with the retail channel “remains a fundamental asset in the company’s process of internationalisation, conveying its values through the quality of the purchasing experience,” as states CEO Fabiana Scavolini, then the brand’s strength in China is a product of its own identity. “The Chinese market has a great appreciation for tradition and for companies with a rich history. From this standpoint our company is an emblematic example, having been established over 50 years ago thanks to the initiative of my father, Valter, and his brother, Elvino, who in just a few years transformed a small artisan manufacturer of

kitchens into one of the most important industrial companies in Italy.” In terms of production, this appreciation (as well as confirming the strategic choice made years ago to penetrate this market) has translated into immediate receptiveness to the ‘total look’ home products designed

by Scavolini. “In addition to being extremely dynamic, the Chinese market demands intelligent and coordinated projects that optimise space, a trend which we at Scavolini anticipated, thus expanding our range of products and offering specific solutions for bathrooms, which often serve as a catalyst for other areas in the home, and for living rooms. A few years after introducing these extensions to our product range in the Chinese market,” continues the CEO, “the results seem to confirm our choices, with these becoming our strongest products as well as elements that set us apart from our competitors.”

It is this ‘decorative tryptich’ that will be presented at the Salone del Mobile.Milano Shanghai trade show, broken down into four collections: Exclusiva, Liberamente, Magnifica for the bathroom and the Qi system designed by Nendo, for kitchens and bathrooms, “demonstrating how Scavolini is able to offer a cohesive and unified stylistic interpretation of domestic environments.”

IFDM 36 November 2018

Design by Giovanni Luca Ferreri

by Bellotti Ezio

B ellotti Ezio Arredamenti

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Cabiate (C O) - Italy

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www.b elmondobyb ellotti.it

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协同效应 Salone del Mobile.Milano Shanghai

Eastern Hall second floor - booth ES03

Contacts

info@livingdivani.it www.livingdivani.it

LIPP BED

从零售到承包，LIVING DIVANI在中国地区的事业 发展达到多元化的表现力， 彰显着品牌变化多样的风格 与中国古老文化和居住价值 达到完美融合的境界

Elective synergies

N

不

单是品牌与中国文化 和居住价值的完美融 合，Living Divani和 中国市场之间产生的 协同效应背后，还存 在着对设计概念，或者更综合来说，对 家居概念的共通情感，让双方找到相同 的语言交流。设计基于审慎性、中立性 以及极高品质细节(Living Divani系列 的设计特色)，从而形成一种以人为中 心的生活概念，它考虑个人的社会性、 集体性、关联性，更重要的是从家庭的 角度进行考量。在这些原则上，造就了 中国与这个意大利制造品牌发展合作关 系，品牌在国际间强大的号召力，让它 的海外业务占其整体业绩达85%，尤其 是在东方国家获取巨大的发展机会。 Living Divani已经在日本、韩国、新 加坡、中国香港、河内、胡志明市、 马尼拉、雅加达、曼谷以及中国台湾 地区设立品牌陈列室；北京、上海、 深圳（在新的艺术设计中心内）、厦 门则是最近新发展的市场，杭州、广 州、成都、张家港、广州将成为Living Divani新的发展城市。

FLOYD

“地大物博的中国国土为设计公司赋 予了极大的发展潜力，但业务管理却 变得复杂。”公司市场传讯总监Carola Bestetti解释说，“因此我们在亚洲地区 的业务拓展策略着重与经销商建立紧密 的合作伙伴关系，这些经销商经过严格 甄选，除了能够推广我们的产品，更能 传扬意大利设计的生活方式和文化。” 虽然零售业是开拓市场主要渠道，但 通过新的品牌空间或者潜在品牌合作 来拓展业务也很重要。上海新近落成 的镛舍酒店的建筑部分由Lissoni Architettura参与合作完成，这是经典上 海元素与时尚风格的完美融合，在中 国传统文化中无缝接入Living Divani 家具展现的生活方式。在即将到来的 米兰国际家具(上海)展览会上，Living Divani将采用这种中西合璧的方式带 来 全 新 版 的 Notes餐 桌 ， 由 Massimo Mariani精心设计，是Living Divani为 这个拥有数千年历史的中国文化特意 打造之作。栗木制造的桌面上设有撒 哈拉黑色大理石转盘，这个实用性的 设计，将中国家宴文化的价值切实体 现于日常生活之中。

ot only a matter of stylistic affinity. Behind the synergy between Living Divani and the Chinese market is a common sensitivity for the concept of design and, more generally, of the home, which allows these two entities to speak the same language. An approach to design built on the values of discretion, neutrality, and incredibly high quality details (traits that are integral to Living Divani’s collections) is developed into a living concept that focuses on the individual, according to the social, collective, relational, and most importantly, familial perspectives. These are the cornerstones on which the relationship between China and this ‘Made in Italy’ brand is founded: a brand that, with a strong international presence that allows it to reach 85% of its revenue abroad, finds the greatest growth opportunities in the East.

Japan, South Korea, Singapore, Hong Kong, Hanoi, Ho Chi Minh, Manila, Jakarta, Bangkok and Taiwan are the destinations where the company has already established a stable presence; Beijing, Shanghai, Shenzhen (within the new International Art Design Center) and Xiamen are the most recently conquered markets; meanwhile Hangzhou, Chengdu, Zhang Jia Gang and Guangzhou will be the next destinations.

“Due to its sheer size, China is a country that has great potential for design companies, yet one that is difficult to manage,” explains Carola Bestetti, Head of Marketing and Communication for the Company. “For this reason, our strengthening strategy in the Asian region aims to establish partnerships with selected dealers capable of promoting our product, but above all, of conveying the lifestyle and culture of Italian design.”

Though retail is the channel that provides primary access to the market through new branded spaces and potential monobrands, the contract sector is significant as well. The Middle House Hotel in Shanghai is a recently completed example of hospitality project made in collaboration with Lissoni Architettura: an ideal combination of local flavour and modern aesthetics, a perfect example of the seamless integration of Living Divani’s lifestyle within the traditional and cultural heritage of China. It is this very blend that comes to life in the new product on display by the brand at the Salone del Mobile.Milano Shanghai (in which the company has been participating since the very first edition): the new version of the Notes table, by Massimo Mariani, which Living Divani has dedicated to this ancient culture. The chestnut surface is enhanced by a central Lazy Susan in sahara noir marble, a functional variation which brings the value of conviviality back to the centre of home life.

NOTES

IFDM 38 November 2018

感官视域

色

彩繁多和呈现丰富材 质的家具装饰壁布在 室内家居环境带来 独树一帜的视野。 这种室内建筑设计 打造能刺激视觉和触觉体验的感官世 界。Giardini Wallcoverings系列的设计 概念由此而生，装饰壁布与美学，功能 性，甚至情感完美结合于一体，并藉由 采用天然纤维编织而成的基本材质，巧 妙创造出效果不一的亮度、折射光感、 对比元素、起伏质感和柔软感。此品牌 由Giacomo Giardini于2000年创立，现 在已遍及全球超过40个国家，它的产品 系列是室内设计项目的重要部分，有 如布景板衬托着家具组合；装饰壁布 采用色彩、面料、质感让牆壁充满生 命气息，为每个室内环境带来丰富的 想象空间，展示出崭新的表现风格， 激发无限创造力。 Abaca系列呈现丰富而实在的质感，由 纤维面料与三种不同的色彩结合编织 而成；Great Abaca系列则采用中性和 较鲜明的色调突显独有的质感。Gioia Grande系列将各种的情感混合于一体 ─充满柔美感的混色面料由带有不同色 调和凸凹对比效果的面料编织而成，视 觉和触觉上都营造温柔而典雅的美感。 鲜明突出，设计一反传统的Gioia系列 采用带亮泽感的聚酯纤维打造仿丝绸和 尼龙的视觉效果。极其完美的Basmati 系列呈现仿如绸缎的独特柔亮感。 ABACA

Contacts

service@giardiniwall.com www.giardiniwall.com

为视觉和触觉制造刺激感的家具布 景。GIARDINI WALLCOVERINGS壁 布系列加强了室内设计的元素，各式各样 的面料组合，开启了无穷的创作空间

GIOIA

ABACA & GREAT ABACA

Sensory Horizons

T

hey stand out within the domestic context as the future of design: colourful and textured. The architectural framework thus becomes a support for the creation of sensory experiences that stimulate visual and tactile perceptions. In this way the design values of the Giardini Wallcoverings collections emerge; fabric wall coverings that manage to combine aesthetic, functional, and even emotional qualities. The weave of natural fibres which is the basis of the compositions, creates plays of light, reflections, contrasts, reliefs, and softness. The collections of the brand (founded by Giacomo Giardini in 2000 and today present in over 40 countries) become an integral part of interior design projects, embracing furniture arrangements like a theatrical set. The scenographic nature emerges in the colours, the workmanship of the fabrics, the textures which animate the surfaces, augmenting the imaginative power of each environment as it comes to life with new expression: true domestic landscapes in which one’s imagination can run wild. Take, for example, the tactile richness of the Abaca collection, with its palpable thicknesses derived from the union of fibres that, in a play of distortions, absorb three different dyes; shades which – alternating between neutral and more intense tones – are exaggerated in the texture of Great Abaca. Blends of varying sensibilities shine through in the Gioia Grande collection: the soft mélange appearance of the fabric, made up of varying coloured fibres with faint contrasts, creates atmospheres that are elegantly subtle to the touch and to the eye. Meanwhile, the splash of colour of the Gioia collection is bold and irreverent; a collection characterised by glistening reflections which derive from the polyester fibres that give the impression of silk and linen. Finally, the Basmati collection, with its distinctive satin highlights, creates an almost ethereal and impalpable look. These are only the most recent creations by the brand, which draws just as much from the world of interior design as it does from the latest trends in fashion, to create products that fit perfectly into both residential and contracting projects.

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Contacts

info@ceppistyle.it www.ceppistyle.it

CONTEMPORARY DÉCO

风格之蜕变 CONTEMPORARY DÉCO

浓

厚的传统和文化历史 为Ceppi Style打造独 一无二的发展历程； 一个与品牌发源地， 以高超的木工艺术 见称的布里安札紧紧相扣的故事。在 品牌创始人Claudio Ceppi巧妙的设计 下，将纯手工制作的精湛技艺完美体 现于品牌每个经典与现代风格的奢华 作品之中。公司在过去超过40年不断 发展和蜕变，最终打造出品牌独创性 的风格，满足居住者对室内家具系列

CEPPI STYLE以广泛的风格开拓其国际化市场，成功满足客户日趋全球化的品味和需求，同时坚守一贯的品质价值、采用意大利制 造的物料和定制家具的手工技艺

的欲望。从过去推出的家具系列采用纯 手工打造优雅高贵的外型，体现Ceppi Style追求崭新表现风格的独有气质， 发展至最新推出的Contemporary Déco 家具系列，仅采用桉木、加州胡桃木， 黑胡桃木、胡桃树根、蔷薇木和黑檀木 为主要材质，并以黄铜，珍珠母，银和 锌为主的嵌饰点缀，为家居环境赋予独 特的和谐感和历久弥新的优雅气派。“ 对Ceppi Style来说，为奢华的居所设计 家具意味着要挑战创意和手工艺的限 制。”公司出口经理Alessandra Ceppi

说，“我们创造的家具都散发独一和高 贵的气息，完美配合居住者的品位。” 这些家具设计项目包括住宅、公共建筑 或总统官邸。 公司在国际市场上不断发展，同时也见 证着它在创作风格上的蜕变。中国、俄 罗斯、阿拉伯、卡塔尔和越南皆是Ceppi Style重点发展的市场。“意大利是我们 公司创业之初的主要市场，现在我们的 家具生产几乎完全以东方市场为主，并 销售至海外，因此我们配合这些市场的 风格和家居品味带来全新创作的家具产

品。”Alessandra Ceppi续说。“特别在 面料、颜色和材质的选择，我们会根据 不同地区的市场而作出改变。”公司于 十月参与了米兰国际家具(莫斯科)展览 会，进一步肯定品牌采用的市场策略。 『我们的全新系列和全新产品目录在展 会上获得积极的回应。虽然这个市场没 有即时带来成效，但我们深信它会有良 好的前景。”公司的下一个挑战是开拓 中国市场。“这是一个有极大需求的市 场，这个因素推动我们积极向上，以及 创制出更多崭新和高品质的家具。”

Evolution With Style

A

CLASSIC COLLECTION

history seeped in tradition and culture characterises Ceppi Style’s growth over the years; a history that received its lifeblood from the geographical area in which the company originally put down its roots: Brianza, where wood craftsmanship has become an art. If the brand’s high quality hand craftsmanship represents the backbone of every one of its classic and contemporary luxury collections (all skilfully designed

by Claudio Ceppi, founder of the brand), then the development and evolution of this identity, over the 40+ years of the company’s history, have pushed for never-before-seen stylistic results, yet with an unwavering constant that serves as both the company’s inspiration and aspiration: to satisfy the desires of those who will live with these interior design collections. Beginning with the elegant and sophisticated furniture series, inlaid entirely by hand, which have characterised Ceppi Style’s exploration of new methods of expression, all the way to the most recent series, Contemporary Déco (with pieces built from exclusive woods like eucalyptus, California walnut, Canaletto walnut, walnut root, rosewood, and ebony and embellished with brass, mother-of-pearl, silver, and zinc inlay), the company’s products enhance domestic spaces with a distinctive harmony and timeless elegance. “For Ceppi Style, creating furniture for a luxury home means rising to a creative and manual challenge IFDM 40 November 2018

each time,” states Alessandra Ceppi, Export Manager for the company. “The result is furniture that is unique and exclusive, exactly like the people who will live with it on a daily basis.”

Whether we are talking about pieces for residential environments, public spaces, or presidential palaces.

This stylistic evolution was concurrent with and consequential to the company’s growth in international markets. China, Russia, the United Arab Emirates, Qatar, and Vietnam have become countries of reference for Ceppi Style. “While initially our primary market was Italy, today our production is completely oriented towards exports. So we’ve reinvented ourselves according to the respective stylistic and residential tastes,” continues Alessandra Ceppi. “We also pay particular attention to the choice of fabrics, colours, and grains, which vary according to the different geographical markets.” The company received additional confirmation of the effectiveness of this strategy at the Salone del Mobile.Milano Moscow trade show, in which it participated in October. “We received positive response to our new collections and to the new catalogues and are certain that the market is showing positive signs of recovery, even if not immediately.”

Meanwhile, the next challenge is China, “a very demanding market that pushes us even further to outdo ourselves and to create increasingly more innovative and high quality products.”

hotel

&INTERIOR

坚固的灰石墙面与暖色调的木制 内饰和庭院相综合。柱子、天 花、地板、镶板以及现代简约的 家具，木材的运用贯穿始终。

来自历史和自 然的灵魂滋养 作者 Alessandra Bergamini

安缦集团在中国最新的度假酒店养云安缦 是对文化遗产的保护珍藏，更是对江西人 文和自然历史的赞颂。

度假村包括迁移过来的古 建和更为当代的建筑

位

于上海闵行区的养云安缦堪称酒店 项目的典范，它不遗余力地保护了 自然文化遗产。2002年，中国政府 计划在江西省修建廖坊水库，上海 古杉投资管理有限公司和上海古胤 置业有限公司总裁马达东做出决定，保护当地，也是 他自己故乡的这一片拥有百年历史的香樟林和古代村 落。在接下来的10年时间里，由植物学家、工程师、 建筑师、工匠组成的团队迁移栽种了数千棵香樟树， 将明清时代的传统古建筑一一拆卸。大家耗尽心力， 不辞辛劳，最终将香樟树和古建转移到了700公里之 外的上海郊区马桥镇。 2011年，与安缦集团总裁Adrian Zecha达成协议，这 片树林和村落将成为安缦集团在中国第四家酒店的所 在，前三家分别为颐和安缦、大研安缦、法云安缦。 除了10,000多棵移栽的香樟树外，度假村还包括转移 过来的古建和当代建筑，所有从当时古村落抢救出来 的材料都被小心地用于重建度假村的26间套房。另外 13幢古宅庭院均设有4间卧室、花园、私人泳池。此 外，养云安缦还有24间明苑套房分布在养云安缦广阔 的园林之间，均设有私人庭院和浴室，其它老房作为 安缦住宅，用于销售。 作为2018年Prix Versailles获奖设计，对于养云安缦的 设计，Kerry Hills在当代要素与风格和古旧建筑之间 把握了完美的平衡。冷色调的坚固灰石立面与室内 和内部庭院的暖色相抵消，立柱、天花、地板、木镶 板、现代的简约家具均采用木质材料。朝向花园的大

窗带来了令人赞叹的自然环境和充裕的采光，与主要 区域和浴室里石质表面和中性地面相互呼应。 度假村有序精确的布局有助于创造祥和、内省、平静 的氛围，而由伦敦Dan Pearson工作室带来的景观设计 融合了古树、静水、花园，使得这种感觉更加强烈。 除了古宅，掩映于绿荫中的安缦水疗馆设有健身房、 室内室外泳池、公共区域。这里的菜品多种多样，中 餐厅Lazhu的六位厨师带来风味赣菜，Arva餐厅则以 正宗的意大利餐而著称，日餐厅Nama不能错过的是 闻名于世的和食。除此之外，度假村还设有主打鸡尾 酒的酒吧和雪茄廊。 最为珍贵的重建建筑位于养云安缦的中心位置，其 中“楠书房”以北京故宫紫禁城中“南书房”命 名，秉承“美成在久”的信念，以金丝楠木为载 体，将中国传统文化造物为良的法度与风骨融入 器物的营造之中，在这里可以赏昆曲、品清茶，感

of botanists, engineers, architects and craftspeople worked tirelessly to remove and preserve thousands of camphor trees, as well as dismantling traditional dwellings dating back to the Ming and Qing eras piece by piece. This painstaking conservation effort culminated in the complicated relocation of the trees and the village over 700 kilometres away, in Maqiao Town, on the outskirts of Shanghai.

Thanks to an agreement reached in 2011 with the then president of the Aman group, Adrian Zecha, the forest and village have now become the physical and spiritual heart of the design for the fourth Aman hotel in China, which followed Aman Summer Palace, Amandayan and Amanfayun by opening at the start of 2018. In addition to the 1,000 replanted camphor trees, the resort combines the old relocated buildings with more contemporary structures. The materials and structural elements salvaged from the village have been carefully reused to create 26 apartments in the new resort. Alongside 13 Antique Villas featuring four bedrooms, gardens and a private pool, Amanyangyun also offers 24 new-build Club Suites with private courtyards and outside bathrooms, while the rest of the old houses are for sale as Aman Residences, alongside other new units.

The winner of the Prix Versailles 2018 architecture award,

the design by Kerry Hills Architects strikes a harmonious balance between more contemporary elements and styles and the old structures. The stern façades in grey stone are offset in the interiors and internal courtyards by the warmth of wood, which is used throughout, the columns and restored high ceilings and floors, the wood panelling and the modern, simple furniture. Large windows open out onto the gardens and stunning natural surroundings, flooding the mineral surfaces and neutral flooring in the main areas and bathrooms with light.

The ordered, precise layout of the resort helps to create an atmosphere of serenity, introspection and silence, a feeling heightened by the ancient trees, ornamental water features and gardens combined in a landscaping project by the London-based Dan Pearson Studio. In addition to the villas, also hidden amongst the green is the Aman Spa and Wellness Centre, with gym, outside and inside swimming pools and communal areas. There is a wide range of cosmopolitan food on offer, from Chinese cuisine from Jiangxi Province served up by a full six chefs at Lazhu to Italian food at Arva and Japanese - or Washoku - at Nama.

On top of that, there’s The Bar, specialising in cocktails, and a Cigar Lounge.

受书法、木雕、古琴带来的传统书斋文化。这座安 缦度假酒店的名字“养云”亦是来自于中国传统文 化。300年前，清代乾隆皇帝为“养心斋”题字“养 云”。如果直接翻译成英文，其意为“滋养浮云” ，但在中国文化中养云的“云”意指心灵的意境， 养云即是养性。养云安缦中樟树与古村庄所承载的 思想，是内省式的静修，是对自然世界的热爱，更 是对历史变迁、四季更迭的尊重。

Nature and history provide nourishment for the soul Amanyangyun, in Shanghai, is a fine example of what can be achieved when a hospitality project combines a mission to preserve cultural and natural heritage with a superhuman effort from those involved. In 2002, Ma Dadong - president of Shanghai Gu Shan and Shanghai Gu Yin Real Estate - took the momentous decision to save a centuries-old camphor forest and an ancient village from destruction following the Chinese government’s plans to create the Liao Fang Reservoir in Jiangxi province, Dadong’s native land. In the ten years that followed, a team Situated right in the heart of the new resort is the most precious of all the rebuilt structures. Nan Shufang, named after the royal reading pavilion in the Forbidden City, is a cultural space designed to share knowledge of the arts of ancient China and provide visitors with a space for contemplation. The structure will also be used for performances of Kunqu Opera, tea and incense ceremonies and courses spanning anything from calligraphy to wood carving and guqin, the traditional Chinese stringed instrument.

Even the name of the resort is a way of celebrating ancient Chinese history. Three hundred years ago, the words “Yang Yun” were added to the Yang Xing Zhai pavilion in the Forbidden City by the Qianlong Emperor. Translated into English, these evocative words mean “nourishment of the clouds”, a reference to the nourishment of the human heart, love for the natural world and respect for the rhythms of the universe.

度假村包括13幢古宅庭院均设有4间 卧室、花园、私人泳池，沉浸于平 静、内省、安宁的氛围之中

Photo credits: courtesy of Aman

IFDM 43 November 2018

people

&OPINIONS

Giorgio Armani PRESIDENT & CEO of GRUPPO ARMANI

© inhouse photographer

作者 Veronica Orsi

1982年设计的Logo Lamp堪称Armani/Casa系列的先 驱，这一作品是如何产生的？ 1982年，Logo Lamp是我们进入家具世界的第一步， 这个想法一直让我着迷不已，只是我的行动晚了几 年。我很喜欢Logo Lamp，它也是Armani/Casa的 logo。纯粹的几何外形、自然的色泽和材质，在我的 设计哲学中，这些就是所有的核心要素。 在您看来，照明有多重要？ 照明非常关键，因为在所有的室内空间中，灯光起 到“指引”的作用。光线触摸物体和家具，必须 令人视觉、心理都感到舒适。总体来说，我喜欢弱 光，光线从来都不应该直接照射。因此，我们这一 系列里有各种各样的灯，甚至包括以珍贵的穆拉诺 玻璃作为模型制作的灯。它们独一无二，只有那些 代代相传的精湛手工技艺，加之满心热爱和精心巧 思，方可制作而成。 您曾说过，建筑、电影、摄影、艺术都是您的主要灵 感之源。如何将其带入到室内设计中？ 我常常从旅行、艺术、建筑、摄影之中汲取灵感，不 过简单如观察周围的环境也能让我有所启发，在创意 的过程中，我不断尝试各种因素和影响，以期符合 我的个人品味。多年以来，基于审慎而永恒的优雅理 念，我发展出一种审美风格，它将成为我所有项目的 指南，其中就包括设计领域。

时尚对于您的室内设计有多大的影响？如何影响？ 时尚和设计之间的确联系紧密。对于家居设计，我的 核心理念来自于对纯粹形式、手工技艺、节制、低调 的奢华的理解和欣赏。自然贯穿我所有的作品，当然 也要会有一些细微的异域风情和奇思妙想的火花。你 常常会直接联系到时尚，比如采用使用特定的颜色来 突出细节，或者重复某种花纹和设计。其实说起来， 我的服装设计和家具系列之间的联系与其说是刻意为 之，倒不如说是因为共同的审美。 在一次采访中，您曾说过特别喜欢自己的家，为什 么？您的居所是怎样的？ 对我而言，家带来温暖和平静。这是身心的避风港， 你能在这里找到放松的平静所在。我所有的家，不仅 仅是米兰的，都在不停的改变中。我喜欢给家中添置 物品，大部分是我在旅行途中购买的，我经常改变家 居的布置，不断调整。例如，我在安提瓜岛的家，最 近扩展了走廊，在海滩边修建了一块新的区域，特别 适合朋友聚会。 我们已经看到阿玛尼的生活方式和设计理念在服务业 繁荣兴盛。那么阿玛尼酒店的概念是什么？会有更多 家开业吗？ 曾经，人们在酒店会待很长时间，因为酒店的服务和 气氛让他们有家的感觉。在我看来，对于酒店的基本 需求就是，让舒适、审美，以及始终如一的谨慎服务 理念落到实处，为客人提供“宾至如归”的感觉，住 在酒店就好像是住在自己的私人公寓一般。关于新酒 店，我们一直在不断努力，很多项目都在计划中。 IFDM 44 November 2018

乔治 · 阿玛尼的王国是“创意和进取 之地”，没有禁锢和边界（尤其是地理 意义上的边界）。阿玛尼品牌正在不断 发展中，广泛涉足时尚、室内、设计、 服务业等不同行业。线条、节制、简约 是阿玛尼品牌核心价值的标识，由此， 乔治 · 阿玛尼也成为优雅的典范。每 当想到Armani/Casa，“优雅”绝对是第 一印象，伴随着现代感、轻盈度。阿玛 尼通过自己的“审美敏锐”，“赋予建 筑以生命” 最近您在伦敦开了旗舰店，客户体验有何不同，这又 如何通过旗舰店体现出来？ 多年前，店铺建筑的设计主要通过恒久的、静态的方 式来传递品牌价值。如今，我们的购买习惯已经发生 了翻天覆地的变化，由此除了商品，自然而然也会 带来商铺的变化。2000年的时候，我开始推进这些改 变，开设Armani/Manzoni 31。从那时起，我分析了 很多不同的理念，依据品牌或者位置而不同，多样性 至关重要。在未来，我会采用更具有流动性、模块 性的解决方案，更易复制，不变的是坚持使用自然材 料。在伦敦斯隆街有我们两家专卖店，通过它们我希 望传递出一种信息，包含乔治 · 阿玛尼时装和Armani/Casa家居在内。在我的设计里，阿玛尼风格用一 种包容、珍贵、优雅的方式表达。置身其中，在不同 的品类之间转换，你可以感受到一种天然的自由。 阿玛尼品牌第一次进入中国市场，采用了堪称典范 的市场策略。那么Armani/Casa在中国市场的表现如 何？在中国，您会面对哪些挑战和发展预期？ 中国一直是世界上最重要的市场之一。我可以说，近 几年的表现也确认了我在1998年做出的预测，那时我 在北京开了第一家阿玛尼专卖店，刚好就在中国经济 腾飞前夕。如今，亚洲市场巨大而复杂，但是对于阿 玛尼品牌非常包容，其中就包括我们的家具系列，这 让我们看到了未来发展的信号。

roundings. During the creative process, I rework the various elements and influences to fit my personal taste. Over the years, I’ve developed an aesthetic style based on a discreet, timeless elegance, and that’s the idea that guides all of my projects, including those in the field of design.

Smart Hero - Central Park Plaza Residences, Beijing

Armani Hotel Dubai

How much does fashion influence your interior design pieces and in what ways?

There’s a really strong bond between fashion and design.

For the home, my core idea draws on an appreciation for pure forms, craftsmanship, sobriety and understated luxury.

Naturalness is the thread that connects everything I do, albeit scattered with subtle, exotic hits and flashes of eccentricity. At times, you can pick up on direct links to fashion, such as the use of a specific colour to emphasise the details, or the repetition of a pattern or design. That said, more often than not the connections between my clothing lines and my furniture collections are less overt – it’s more about a shared sense of aesthetics.

Armani/Casa | 2018 collection

作为阿玛尼旗下地产发展的组成部分，在中国的阿玛 尼艺术公寓，一座位于成都，另一座位于首都北京。 它们将如何融入中国的这些城市? 我觉得经过这些重要项目，我能够将我的审美理念 带入中国，同时也尊重当地的个性，我觉得我已 经做出了自己的努力。在北京，我采用自然材料， 修建了这种被认为是当地最大的“绿色”建筑综合 体。在成都，我很激动能够参与建造这样一座宏伟 现代的多功能建筑。在未来，将通过Armani/Casa 室 内设计工作室专注多个项目，为世界各地的奢华居 所设计全新的家具。 越来越多的时尚品牌正在进入室内设计行业，但是 您是独一无二的，掌控各个部门的创意设计，包括 室内设计工作室。您将如何描述所有这些创意之后 的核心理念？ 核心理念都是相同的。我觉得我们的居住地非常重 要，是我们生活的延伸，是我们感触的所在，让 我理解“家”的意义，懂得如何在“家”居住。同 时，对我来说掌控这一领域的设计再自然不过。通 过提供室内设计咨询服务，能够拉近我们与客户的 距离，从而以真正阿玛尼风格来设计空间，同时兼 容他们的品味和个性。

The precursor to the Armani/Casa collection was the Logo Lamp from 1982. How did that idea come about?

Back in 1982, the Logo Lamp was our first step into the world of furniture, a sector that has always fascinated me but into which I only really made my move some years later. I’m really attached to the piece – it’s now the logo of Armani/Casa. With its pure geometric form and natural colours and materials, it’s symbolic of all the core elements in my design philosophy.

How important is lighting to you?

Lighting is vital because light plays a “guiding” role in all domestic spaces. It should caress the outlines of objects and furniture and it must be relaxing for the eyes and mind.

Generally speaking, I prefer dimmer lighting – it should never be too direct. For this reason, we have a wide range of lamps in the collection, including some models made from precious Murano glass. They’re unique objects, made with care and passion according to artisanal methods which have been handed down from generation to generation.

You’ve said that architecture, film, photography and art are big sources of inspiration for you.

How do these areas come through in interior design?

I’ve always drawn inspiration from travel, art, architecture and photography, but also from simply observing my surIFDM 45 November 2018

Armani/Casa | 2018 collection

In one interview you said that your obsession is your homes. Why is that? What are they like?

For me, the home brings a feeling of warmth and tranquillity. It’s a haven for the body and the mind, a place where you can find a silent space for relaxation. Having said that, all of my homes, not just my house in Milan, are constantly changing. I like to fill them with objects, the majority of which I buy while travelling, and I often change the layout of the furniture and make other tweaks. For example, at my house in Antigua, I recently extended the veranda and created a covered area on the beach which is perfect for spending time with friends.

people

&OPINIONS

We’ve seen Armani’s lifestyle and design concepts flourish in the hospitality industry. What’s the concept behind the Armani Hotels? Can we expect any more to open?

Once upon a time, people spent long periods at hotels because the services offered and the atmosphere around the place made them feel at home. For me, that’s the fundamental requirement for a hotel – to embody a concept of hospitality based around comfort, aesthetics and constant, discreet service which makes guests feel at home even when they’re a long way from that. A bit like if they were staying in a big private apartment. In terms of new openings, we have a lot of projects on the go.

You recently opened a new flagship store in London.

How has the customer experience changed and how has that been reflected in the store itself?

Years ago, the architecture of a store was designed to convey the values of the brand in a long-lasting, solid and perhaps static way. Nowadays, our purchasing habits

Armani Hotel Milan

Armani & Armani/Casa flagship store in London

have profoundly changed and it’s only natural that stores themselves change too, in addition to the products they offer. I started to push for these changes way back in 2000, with the opening of Armani/Manzoni 31. Since then, I’ve analysed lots of different concepts, which differ according to the brand or location. Diversification is essential.

In the future, I envisage more fluid, modular solutions that can easily be reworked, with natural materials still at the heart of everything. In the case of our two interconnected boutiques on London’s Sloane Street, I wanted to send out a common message bringing together Giorgio Armani fashion and Armani/Casa furniture. I created spaces in which the Armani style is presented as an all-en compassing lifestyle, precious and elegant. There’s a free, natural feel to the way you move from one product category to the next.

The Armani brand was the first to penetrate the Chinese market, using an exemplary marketing strategy.

How is Armani/Casa performing in China? What are the challenges and growth prospects in the country?

China continues to be a very important market. I can now say that its performance in recent years confirms predic-

tions I made a long time ago in 1998, when I opened the first Giorgio Armani store in Beijing, well before the economic boom. Nowadays, the Asian market is vast and complex, but it’s very receptive to the various strands of the Armani brand, including our furniture collections, where we’re seeing constant signs of growth.

Chengdu is home to the two towers of the Armani Art Residence, while the Capital Residence in Beijing is just another of the group’s many real-estate projects.

How do these fit into the urban makeup of the cities?

I think that through these important projects I’ve been able to bring my aesthetic concept to China while respecting the identity of the city. In cities that are already very much focused on the future, I think I’ve made my personal contribution. In Beijing, I worked with natural materials and forms in what is considered the largest “green” building complex in China, while in Chengdu it was really exciting to collaborate on the construction of such an imposing and modern multi-functional complex.

In the future I’m going to be concentrating on projects through the Armani/Casa Interior Design Studio, creating new furniture for luxury residences around the world.

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Armani/Casa | 2018 collection

More and more fashion brands are moving into the world of interior design, but you are unique in that you have remained in control of creative direction across all sectors, including the Interior Design Studio. How would you describe the core concept behind every creation?

The core philosophy is the same. I’ve always given great importance to the places in which we live – they are an extension of the way we are and the way we feel. For me, offering my take on what a home should be like and how a home should be lived in was the natural next step. At the same time, it seemed perfectly natural for me to stay in creative control in this field too. Through the interior design consultancy service, I’ve taken a step closer to my public, allowing us to create a space together in true Armani style while incorporating their tastes and personality.

Ph. Marco Mussi

GLO

New colors 2018 Blue · Green · Violet

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pentalightgroup.it

Carlo Colombo

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成功的合作伙伴关系

兆

James He, Director of MegaHome

兆霖家居作为 中国零售奢侈品 家居行业的领导 者，是如何达到 这个目标？ 在过去二十年，中国房地产蓬 勃发展，兆霖家居凭借敏锐的市 场触觉，抓住了中国奢侈品家居 行业的发展机会，依托深厚的市 场资源，通过经营博德宝厨房 产品，在工程项目上获得巨大成 功。随着国内高端消费人群对于 家居生活重新理解和消费升级，

兆霖家居发现产品和客户过于 单一化，因此计划进行方向性 的调整:首先致力于为客户打造 一个满足高端人群产品维度多 样化的横向平台，提供全面进 口奢侈产品匹配的整体家居解 决方案。因此，我们把重点放 在厨房和系统家具，引进了其 他高端产品，如库博仕电器和 意大利MisuraEmme家具，到 如今的门具品牌Glas Italia和 厨房品牌Minotti Cucine。同 时，逐步展开从B2B走向全国

经销网络及零售业务的转变。 最重要的是在转变过程中，我 们组建了为客户提供一站式基 础落地服务的团队，充分为客 户提供无条件高附加值的专 业服务。总结下来，我们成为 行业领导者之一的原因有三大 核心能力，这也是兆霖家居整 体家居的概念：以丰富的产品 选择、高贵优雅的家居体验环 境，为国内重视高端生活品位 人士提供定制厨具及集成系统 家具专业式一站式服务。

兆霖家居在工程项目市场取得 了巨大的成功，从中有哪些成 就和经验可以分享给我们？另 外，在工程项目这块市场，未 来是否有进一步的计划？ 兆霖家居一直以来通过服务博 德宝这个品牌，在过去取得了 傲人的成绩，比如浦东外滩的 世茂滨江4210 套橱柜，和天价 私宅“浦东汤臣一品” 近400 套大平层豪宅项目，还有翠湖 天地 300套和瑞安新城将近1000 套橱柜等等，因而和很多开放

兆霖家居集团作为全球高端品牌 甄选者，经营顶级进口家具、橱 柜、厨房电器及相关家居产品， 集团旗下至臻家居品牌包括：德 国奢侈品橱柜品牌Poggenpohl, 德国高端厨电品牌Küppersbusch, 意大利顶尖家具品牌米舒拉艾美 MisuraEmme, 意大利国宝级玻璃 门具品牌Glas Italia和意大利顶级 厨房品MinottiCucine。旨在为众 多国内重视高端生活品味人士提 供定制厨具及集成系统家具解决 方案，打造格调奢享生活。 兆霖家居拥有的高端体验展厅， 分别设立于北京、上海和广州城 市核心地段，尤其在上海的旗舰 展厅，通过高端品牌、艺术品味 与生活体验融为一体，将顶级奢 华生活方式以互动式的方式尊享 呈现，获得了久负盛名的工业设 计机构汉诺威工业设计Interior Design Award和日本（Good Design Award）等一系列国内外大奖。 如今，多样生活是现代人的常 态。不同的角色，不同的生活状 态，让我们对家的要求越来越多 变。兆霖家居作为顶级生活方式 的一扇灵感之门，为国人的顶级 奢享生活，从极简的风格中提供 出源源不断的新鲜感，发掘形式 之外的情感归属。

MisuraEmme

MegaHome. Winning partnership

M

egaHome is one of the leading players in the retail sector in China: how did you reach this goal?

In the past two decades, with the booming development of China’s real estate industry, MegaHome has utilized its keen market sense to seize the development opportunity offered by China’s luxury furniture industry. Relying on its abundant market resources and by operating the extraordinary Poggenpohl’s kitchen products and its derivatives, MegaHome has achieved great success in construction projects. As domestic high-end consumers have developed new perspectives on home life, MegaHome found that the existing products and customer segments no longer met the trend towards high-end consumption. Therefore, the group began to adjust its strategy: first, it is committed to creating a horizontal platform to meet the highend customers’ needs of diversified products. So, we mainly focus on kitchen and systems furniture, and have introduced high-end products imported from Germany and Italy, such as Kuppersbusch appliances imported a decade ago, MisuraEmme furniture two years ago, and the current Glas Italia door collection and MinottiCucine kitchen products. At the same time, we’ve begun the transformation from B2B to nationwide distribution network and retail business. The most important progress is that we have established a professional team that provides customers.

IFDM 48 November 2018

In conclusion, there are three core competencies that make us one of the leading companies in the industry, and they are also MegaHome’s operation philosophy: through diversified products and elegant environment of home experience, we are committed to providing the domestic high-end lifestyle customers with professional one-stop service of customized kitchenware and systems furniture.

What kind of professional service does MegaHome provide to the clients?

MegaHome has made great achievements in the past by operating Poggenpohl. For example, the 4120 sets of kitchen furniture in Shimao Riviera, Pudong, the nearly 400 high-end private apartments in Tomson Riviera, the 300 sets of kitchen furniture in Cui Hu Tian Di and nearly 1000 sets of that in Rui An Xin Cheng. We’ve also established long-term and steady strategic cooperation with many developers, such as Tomson Group, Shui On Group, CWTC, Evergrande Real Estate and Poly Real Estate, so as to achieve multi-win in the promotion of luxury home quality and added value.

Under the current overall economic adjustment of China, we will accelerate the expansion of high-end product lines and integrate brand advantages to achieve complementary brands, provide customers with more diversified and efficient choices, and create greater value. We are also continuously improving our service quality in the aspects of sales,

商诸如汤臣集团，瑞安集团，世 贸集团，恒大地产和保利房地产 等，建立了长期稳固的战略合作 关系。在提升豪宅品质和附加值 上，实现多方共赢。 目前在中国整体经济调整状态 之下，我们加速扩展高端产品 线，整合品牌优势，达到品牌 之间互补，为客户提供更多样 化和高效的选择，创造更大的 价值。同时，持续改进提升落 地服务质量，首先从销售，市 场，设计，产品到安装团队人

Megahome Shanghai Flagship Showroom

才的挑选和培训；同时持续改 进服务流程，对我们的客户： 从开发商，设计公司和零售业 主，实现人员一对一的专享 落地服务，我们会依据客户的 喜好风格和预算，制定推荐方 案，从订单，付款，海运，清 关，运输，结算，设计等等， 为客户免去在实际操作层面遇 到的诸多问题。最终的目的是 让客户满意，这也是我们建立 服务团队创造长期根本效益， 为未来赢得更多机会。 您如何挑选合作品牌合作方？ 基于我们与德系博德宝合作的成 功经验，伴随着中国市场的日益 成熟，我们对高端人群消费理念 拥有了进一步深刻的理解：对于 提升生活品质让自身感知更多幸 福，是高端人士愿意投入越来越 多的消费方向。因而挑选的品牌 合作方考虑的因素也基于此，从 企业实力、品牌优势、产品品质 等多方面比较，更着重是欧洲 具有深厚文化底蕴的“匠心之 作”，经由代代相传的匠人手 工打造，更拥有臻于完美的品 质和出众设计的品味，来匹配 国内高端人士的需求，这就是

我们选择独具特点和价值的品 牌根本所在。拿公司旗下的意 大利米舒拉艾美举例，意大利家 具品牌繁多，但是经过公司管理 层对欧洲市场做过市场调研和研 究，真正符合我们要求，定位， 价值的品牌其实并不多。而米舒 拉艾美，是为数不多的佼佼者。 在过去几年中，你们的定位以 及和意大利品牌的关系发生了 什么样的改变呢？ 首先，我们可以看下全球性奢侈 品消费市场发展，国内市场已成 为最大奢侈品消费族群。更有一 些数据表明，目前奢侈品的消费 最重要的对品牌的认同。那为什 么认同？认同就是认同它背后的 价值观，文化和生活方式，是一 种价值观和文化认同，而意大利 的设计、艺术、时尚、家具、 美食、汽车、足球等文化产品 和元素在中国以及全球有极强 的认知，选择认同的意大利文 化和品牌是我们和高端消费者 建立的一种价值观的连接。11 月的米兰展上海站正式一个当 时得令的平台。 接下来，我们将会和越来越多 的意大利品牌有密切的合作，

除了米舒拉艾美家具，还有门 具品牌Glas Italia和厨房品牌 MinottiCucine。 您如何看待米舒拉艾美未来的 业务发展？ 我们米舒拉艾美的情况是，自 2016年 底 我 们 拿 到 经 营 权 ， 截止到2018年7月份，我们已 经实现了3自营旗舰展厅的开 业，和9经销商展厅的营业或 者筹备中。2017年7月份，第

一家是在北京居然之家开幕， 第二家展厅在2018年3月在上 海喜盈门揭幕。目前，南京， 苏州，成都都已开出展厅，新 签署杭州，海口，温州，济 南，无锡，武汉和贵阳等地展 厅将在2018年年底或2019年上 半年陆续登场。 我们将持续发挥北京和上海两 个自营展厅的标杆作用。推动 在经销商的开发和发展，陆续 实现重点区域城市覆盖，寻找 到经销商，开厅，业务常态 化。简单来说，短期的目标就 是在2018年底，我们要实现10 家的经销网点，2019年我们要 争取15家经销商的网点，在那 个时刻，我们就实现了米舒拉 艾美全国第一阶段的布局。

Poggenpohl

MisuraEmme

marketing, design, products, and the selection and training of the installation team. At the same time, we are continuously improving our service process. Customers will enjoy one-to-one exclusive service from our developers, design companies and retail owners.

Based on the customer’s preferences and budget, we’ll make recommendations on order, payment, shipping, customs clearance, transportation, settlement, design, etc., to minimize the problems that the customers may encounter on the operational level. The ultimate goal is to satisfy our customers, which is why we build service teams to create long-term essential benefits and win more opportunities for us in the future.

How do you choose your brand partner?

Based on our successful cooperation with Poggenpohl, and along with a greater maturity of Chinese market, we’ve had deeper understanding of the high-end consumer conceptenjoying happiness from improved quality of life, a consumption trend that is more and more favored by the high-end customers.

It is also a key factor we consider when choosing brand partners. Aside from evaluating the strengths of the enterprise, the brand advantages and the products quality, we appreciate more the European craftsmanship with deeply embedded culture. The works are handcrafted with exquisite skills that are passed down from generation to generation, and have perfect quality and outstanding design taste, so that they can meet the needs of the domestic high-end customers. This is our ultimate purpose of choosing the brands with unique characteristics and value.

Take MisuraEmme for example. There were numerous Italian furniture brands, but after our management’s research of the European market, only few brands stood out and met our requirements, positioning and value, and MisuraEmme was one of them.

How has the placement and the relationship with the Italian brands changed over the last years in China?

First, in the development of the global luxury consumer market, China has owned the largest luxury consumer group. Data shows that brand recognition is most important to luxury consumer. Then what makes people recognize the brand? It’s the value, culture and lifestyle represented by the brand. The Italian design, art, fashion, furniture, food, cars, football and other cultural products and elements are strongly recognized in China and around the world. The choice of Italian culture and brand is a value connection we build between high-end consumers and us. The Salone del Mobile Milano Shanghai that’ll take place in November will serve as a great platform. Besides MisuraEmme, we will cooperate with further Italian brands like Glas Italia and MinottiCucine.

How do you see your business development in the coming years?

We were approved to operate MisuraEmme at the end of 2016. By July, 2018, we opened 3 self-operated flagship showrooms and 9 dealer showrooms, which are either in operation or in the pipeline. In July, 2017, the first showroom was opened in Beijing Easyhome. The second was opened in Shanghai Xi Ying Men in March, 2018. At present, we have showrooms in Nanjing, Suzhou and Chengdu, and new showrooms will be opened in cities like Hangzhou, Haikou, Wenzhou, Jinan, Wuxi, Wuhan and Guizhou by the end of this year or the beginning of next year. We will continue to make the self-operated showrooms in Beijing and Shanghai our model showrooms. Through promoting the development of the dealers, we’ll gradually expand our network to key regions and cities. Our short-term goal is to open 10 showrooms by the end of this year, and make it a total of 15 in 2019. By then, we will finish the first expansion plan for MisuraEmme.

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精致的纺织墙面涂料

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Photo © Giulio Boem

people&PROJECTS

专访

A N T O N I O CITTERIO 作者 Matteo De Bartolomeis

终身致力于创新，而不是固守。他的设计和项目总是“事出 有因”，自由而审慎的选择和感性和情感的设计定义了他过

去40年的作品。在安东尼奥· 奇特里严肃、克制的外表之 下，是感性、包容、分享的内心世界。

Freedom is participation. A life dedicated to creating substance rather than appearance. There is always a reason behind his objects and projects, a past made up of free, contemplative choices and a sentimental touch that defined his first 40 years of work. Behind Antonio Citterio’s sober, measured appearance, there is a world of emotions, exchanges and sharing.

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people

&PROJECTS

《意大利科学、文学与艺术百科全书》对您性格的描 述是创新、严谨、冷静。您是怎样认为的？ 作为一个设计师，如果不能创新那是不可能的，因为 创新是改变的关键，它与创意紧密相连。比起可见 性，我更关注综合性。作为设计师，我的职业生涯中 第一个关键时刻绝对是为B&B设计Sity。项目开始于 1986年（虽然其历史可以追溯到1983年），那时跟沙 发有关的创新更多的是与类型有关，而不是在于表现 力。在那段时间，我观察与家庭生活相关的社会变 化。电视改变了家庭主妇们的生活习惯，甚至沙发也 不再是18世纪中产阶级的“固定配置”。Sity的特色 是延展，如今大家都称之为peninsula，这是第一次将

BULGARI HOTEL Beijing

ABCD armchair | Flexform

SITY sofa | B&B Italia

沙发转变成为更为大型的、更受欢迎的、更具社交性 的家具。因此，我回归自己的创新概念：人们很容易 记住埃托·索特萨斯的作品，因为它的形式、标识、 色彩都令人着迷。然而，它的类型几乎无人知晓，不 过这一因素改变了我们的生活方式，成为每家每户都 拥有的东西，极容易辨识。我还记得Kartell的Mobil 系列，用透明塑料做成的一组橱柜的确是为当时而设 计（在当时只有有机玻璃），经过复杂的工艺制模。 如果那时我能了解创新的重要性，或许今天我还能做 点别的。两年后，苹果用这一材料推出了他们具有革 命性的iMac。 您的一位同事曾这样评价您“他教会我们如何管理项 目”。如何理解这句话？ 我以一种较为宏观的视野来对待自己的工作。建筑 师的工作不会远离现实。我会考虑，如果设计的大 楼造价为数百万欧元，那么项目的运营和财务会十 分复杂，需要很多人从事这些工作，他们的未来取 决于设计者处理这些复杂问题的能力，我采用一种 负责的方式。从这一点来看，我求学的那一段历史 时期影响卓著。

我是上个世纪70年代读的大学，人们能感受到1968年 的影响。那时，有一项运动正在兴起，支持生产胜过设 计。它将设计者视作投机者，他们倾向于生产过时而陈 腐的产品，并由此创造了一个虚假的市场。虽然我是在 那种环境下接受培训，但更倾向于美国学校提出的规范 的、负责的设计，他们与生产商保持着良好的关系。 您觉得这会影响创新吗？ 我一直以来都坚持，我们职业中的创意与行业难分难 解。我必须强调的是，设计师，尤其是米兰设计学校 的学生都是最年轻的建筑师，他们都受到周围环境和 空间潜移默化地影响。实际上，这些环境和空间就能 启发灵感。Caccia Dominioni, Magistretti, Giò Ponti, 米 兰家具设计的故事都来自于这些建筑师，他们创新室 内设计，他们的产品亦来自于这些空间。 不到一年，北京宝格丽酒店和上海宝格丽酒店分别开 业，您如何看待中国的这种状况？ 关于北京宝格丽酒店的故事带我回到70年代。去酒店 的路上，需要经过天安门广场，那里挂着毛泽东的画 像，看到它瞬间就让我回到了自己的学生时代，因为

IFDM 52 November 2018

上学的时候，我的房间里也有一幅。当70年代的画面 出现在眼前，我发现自己来到了宝格丽，完全不同的 画面转换。出租车上的短暂路程，40年的历史从眼前 飞逝，瞬间从共产主义转换到了奢华现代，这也是这 个故事具有讽刺意义的地方。不过在我们看来，今天 的中国将会了解宝格丽表达的奢华理念。奢华来自于 真实存在的事物，来自优质的家具和作品、优秀的人 群，而不是那些粗俗的财富炫耀。 您与数家公司一致保持着长期的合作关系，您是如何 选择合作伙伴？ 我会逐个选择合作伙伴，上个世界70年代我开始与 B&B和Flexform合作，80年代是Vitra。我与他们的合 作建立在对话的基础上。如果没有互动和交流，就不 会有创意和未来。我总是很自由的，最重要的是我从 来不想说服任何人。我自己的工作室已经有46年历 史，如今我已经68岁。如果我想做一个新凳子，我不 用说服他人。一般就是直接开始做，再解释我的想 法，并进行于这一话题的交流，然后继续即可。 您做过白日梦吗？ 当然有。其实我最想设计的一个当代艺术博物馆。如果 你设计了一幢美丽的摩天大楼，里面有多间公寓，当大 楼落成时，它将不再是你的。因为你不认识的人群将居 住于此，留下自己的印记，你甚至不能进入其中。上 周，我们在米兰的Piazza Adriano Olivetti落成，它就像 是座博物馆，所以我可以一去再去。

© Courtesy Bulgari Hotels

to luxury in a few seconds: this is the irony of the story.

We think that today’s China will appreciate the concept of luxury that Bulgari expresses. Luxury formed of real things, of high-quality furniture, finishes and people, rather than a somewhat vulgar expression of wealth.

You work with several companies with which you have a long history of loyalty. How do you choose the partners who you design for?

I chose the partners one by one: I went knocking at B&B Italia and Flexform in the ‘70s and then Vitra arrived in the ‘80s. My relationship with customers is founded on dialogue: without interaction, there is no creativity and no future. I have always felt free and above all, I have never wanted to convince anyone. I have had my own studio for 46 years and I am now 68: if I want to make a new stool, I don’t have to convince a company. I go ahead and explain my idea and if there is an exchange of energy on the subject, then I proceed.

BULGARI HOTEL Shanghai

One of your fellow designers describes you as “the person who taught us project management”. What do you think about this quote?

I have approached my work by attempting to have a comprehensive vision. An architect’s profession is not far-removed from reality and I am aware that when you design a tower that costs millions of euros, there are many operational and financial complexities and many people who work on it whose future to some extent depends on the designer’s ability to organize this complexity: I take a responsible approach. In this regard, the historical period in which I studied had a major impact.

I started university in the ‘70s, when the influence of ’68

ATOLL sofa | B&B Italia

could still be felt. In the faculty, a movement was formed that supported production rather than design, since it viewed designers as speculators who worked towards making objects obsolete, thus creating a fake market: I was trained in that environment and I feel close to the American school that proposed ethical, responsible design that has a good relationship with manufacturers.

Does creativity suffer or gain from this?

I have always maintained that creativity in our profession is inextricably linked to the industrial process. Designers and, I should stress, especially those of the Milanese school, are primarily architects and they experience a daily osmosis between what they do and the spaces available. Indeed, the spaces are what inspire ideas. Caccia Dominioni, Magistretti and Giò Ponti: the whole story of Milanese furniture design comes from architects who also created interiors and their products originated from spaces.

Two Bulgari Hotels in less than a year – Shanghai and Beijing. How are things going in China?

The Bulgari in Beijing, designed together with Patricia Viel, like all my projects, has a story that brought me back to the ‘70s: to reach the hotel site, I once passed the square that contains a portrait of Mao (which I had in my room when I was studying) and I was immediately violently transported back to my time as a student. While images of the ‘70s passed before my eyes, I found myself at the Bulgari Hotels, which represents the exact opposite. 40 years in a taxi ride across a few metres; from communism

IFDM 53 November 2018

Do you have a pipe dream?

I do have a pipe dream. What I’d really like to design is a museum of contemporary art. If you design a beautiful skyscraper with many apartments, when it is opened, it ceases to be yours: unknown people occupy it and trample over it and you can’t even enter. Last week, we opened in Piazza Adriano Olivetti in Milan: I can go back there again, as would be the case with a museum.

NOVE office building, Munich

Photo By Rainer Taepper

The Treccani encyclopaedia describes you as a designer characterized by innovation, scrupulousness and sobriety. Do you recognize yourself in this definition?

The idea of being a designer without innovating is impossible because innovation is the key to change and it is closely linked to creativity. I focus more on synthesis than on visibility. The first significant moment in my career as a designer was definitely Sity for B&B Italia. It came out in 1986 (although the project dated back to 1983) and innovation related to that sofa was typological and not expressive: in that period, I observed social changes related to domestic life. Television had changed the habits of housewives and even sofas were no longer a bourgeois 18th-century “conversation piece”. Sity featured a side with an extension – what everyone now refers to as a peninsula – for the first time and transformed the notion of a sofa into something larger, welcoming and more social. I therefore return to my concept of innovation: it is very easy to remember the look of an object by Ettore Sottsass because we are attracted by its form, hallmarks and colour. However, its type passes almost unnoticed: it becomes an element that transforms our lifestyle; it becomes everyone’s and therefore ceases to be recognizable. I also like remembering the Mobil collection for Kartell, chests of drawers made of translucent plastic that was practically invented for that occasion (at that time, only plexiglass existed), with a complex engineering process related to moulding. If I had immediately understood the importance of that innovation, perhaps I would be doing something else today: two years later, Apple created their revolutionary all-in-one iMac with that material.

spotlight

SALONESATELLITE

未来从这里开始 THE FUTURE STARTS HERE

第

三届米兰国际家具（上海）展览会暨第三届米兰国际家具（上海）展览 会上海卫星展为35岁以下的本地设计师提供了一个展示创造能力的绝佳 舞台，此次卫星展吸引了50多件作品前来展出，广泛涉及手工技艺、国

际视野、创意概念和传统继承。35岁以下的中国年轻设计师、设计大学或者学院 的学生在这里展示他们的作品，经过国际评审团评选出的前三名将获得上海卫星 展奖，获奖者将受邀参加2019年米兰卫星展。

拾之毫厘

鲍乌勒娜

Fan Zhou | Leastbit

Wulena Bao

“我觉得设计必须关注概念和技术的结 合。如今的生活节奏非常快，因此我们 应该设计出越来越多的产品来满足日益 增长的消费需求。我的设计中最基本的 元素（可以从我在卫星展的项目中看 出）是材料，包括木头、软木，其中意 包含了中国和西方的文化。这一展出为 我提供了一个良机，不仅能够展出我的 产品，听取更多人的建议，同时也可以 向其他设计师和他们的作品学习。”

“在卫星展上，我展出了2018年的毕 业设计，采用植物印染工艺——‘变 成蓝色’。作为中国年轻的设计师， 将传统文化与现代工业设计相融合是 非常有意义的一件事。我认为，未来 的家居设计应该更加关注其后的文 化，多运用当地的资源：以环境影响 人和人们的需求。在我看来，设计并 不仅仅是一种珍贵的好奇心，更应该 进入人们的日常生活中。”

贾文龙

Roy Jia “我觉得未来的家具会变得更有趣，或 者说功能更多，能够为人们带来更多惊 喜。这也是我为什么决定在这次卫星展 上带来有趣的家具：我们生活中的家具 真是太呆板了。通过这个平台我想释放 一个信号，或许家具能够融入更多的活 动，就像生活中的小动物一样。”

«I think design should focus on combination of ideas and technology; now we live in a fast time, so we should design more and more products that meet the fast moving human consumption. The fundamental elements in my design (as you can see in the project I present at the SaloneSatellite) are the materials, including wood and cork, and the idea, including china and Western country’s culture. This exhibition is an opportunity to show my products to everyone, listen to the advice of many people, study other designers and their design».

«I think furniture in the future should be more interesting or have more than one function, bring more surprises to people.

That’s why I decided to show interesting furniture at the SaloneSatellite: the furniture in our life is too rigid! I want to release a signal through such a platform.

Maybe furniture can be made into activities, like a small animal in life».

«At the SaloneSatellite, I exhibit a 2018 graduation design work realized with plant dyeing, Turn to blue. As a young Chinese designer, it’s a meaningful thing to integrate traditional culture with modern industrial design. I think future design should pay more attention to the culture behind it and to the use of local resources: the environment affects people and people’s needs. In my opinion design should not be a noble curiosity but should enter the lives of the people».

IFDM 54 November 2018

段昺东

Duan Bingdong “我觉得用户体验不仅仅是对功能的满 足，也是一种精神上的愉悦。例如，设 计一把椅子不单是为了坐着舒服，更是 通过合理的结构和材料表达一种具有鲜 明风格的语言和设计创意，为用户带来 趣味十足的感觉。在卫星展上，我展出 的‘椅子’代表了军队元素与家居用品 结合的可能性。时尚产品与军队设施可 以紧密联系，特别是衣着。这些设施不 仅能够满足当时的冲突需求，也能满意 退伍人群的日常生活。” «I think that user experience is not only functional satisfaction, but also spiritual pleasure. For example, designing a chair is not only for sitting comfortably, but also expressing a strong style language and design idea through reasonable structure and materials, bringing interesting feelings to users.

I present The Chair at SaloneSatellite, representing the possibility of combining household products with military elements. Fashion products are closely related to military equipments, especially clothing. The equipment can not only meet the conflict demand at that time, but also meet people’s daily life, well after being retired from the army».

全套家居设计

VIALE ITALIA, 57 - CAMNAGO (MB) - ITALY - TEL +39 0362 560844 BAZZI@BAZZIINTERIORS.COM - WWW.BAZZIINTERIORS.COM

AD: galvanietremolada.it

C O MP L E T E H O ME S O L U T I ON

spotlight

SALONESATELLITE

T

hird edition for the Salone del Mobile.Milano Shanghai, as well as third edition for the concurrent SaloneSatellite Shanghai: a prominent showcase for local designers under 35 where to exhibit the best of their creativity. A combination of craftman techniques and international inspirations, innovative approaches and echoes of tradition draws more than 50 works on display. Talented designers under 35, as young Chinese designers, university and design school students showcase their projects in this exclusive setting.

The top three, chosen by a jury of sectoral professionals, will receive SaloneSatellite Shanghai Awards and an invitation to take part in the 2019 edition of SaloneSatellite in Milan.

姚宇

邱思敏

Yao Yu

Simin Qiu

我在卫星展上展出的是一把木凳，我一 直觉得自然界的物理法则就像是原野里 等待重获新生的沉木，饱有内涵的散落 在身边的各个角落，明明很近却再没人 捡起。那如果我能结合家具赋予他们新 的生命，那会是怎样的光景？于是我利 用杠杆、平衡、支点作为创作灵感，我 更期望以一种打破引力、保持平衡的方 式呈现坐具与人的互动，与上坐者共同 置于自然法则之中。

“这个项目创造了一个可以模拟海洋运 动的‘造浪机’，以探索涟漪图案形成 的辽阔而优雅的自然规律。它旨在模仿 自然过程的形成，由此带来即便是自然 也难以控制的精确和完美的呈现。这把 木椅的波纹就是由造浪机产生的涟漪通 过混凝土翻模制作的。我的兴趣在于自 然材料和过程，我做的很多项目的出发 点都是在拓宽传统的材料的认知和新的 应用过程。”

«I am exhibiting a wooden bench. I always think that the physical laws of nature are like the wilderness waiting for the resurrection of the sinking wood.

The connotation is scattered everywhere in the corner, obviously close to it. No one picks up again. Then, if I can give them a new life by combining furniture, what would it be like? Therefore, I use leverage, balance, and fulcrum as creative inspiration. I also hope that the interaction between the seat and the person will be presented in a way that breaks the gravitation and balances, and places it with the occupants in the natural law».

邹鑫

Zou Xin 这把桌子是我对家具与空间的认识的一 个解读。在我看来，家具不仅仅是家 具，它更像是一个生命体，每一个生命 体只有与空间相融才可以生存下去。我 的桌子线条灵感来源于康定斯基的抽象 作品第8号。该作品在我看来画的是空 间中无数的物品，但是每个物品用它最 关键的一个元素作为代表展现出来。我 的圆桌线条来自于这幅画也来自于我 们的生活空间，空间是由无限条线组成 的，所以我想要做一个可以融入到空间 的家具。

«This project creates a wave machine that simulates ocean movement to explore the broad and elegant principles underpinning the formation of ripples patterns. It aims at simulating the natural processes of making, and yet achieves a level of accuracy and perfection that are uncontrolled by nature. The ripples of wave created by the wave machine are cast in concrete. I’m interested in natural materials and the processes that define nature. I’m working on these projects to challenge and broaden the established horizon of traditional material and processes».

«This table is an interpretation of my understanding of furniture and space. In my opinion, furniture is not only furniture, it is more like a living body, every living thing can survive only when it is in harmony with the space. My desk line was inspired by Kandinsky’s abstract composition No. 8. It looks to me like a painting of countless objects in space, but each item is represented by one of its most critical elements. My round table line comes from this painting also from our living space.

IFDM 56 November 2018

宋瑞雪

Ruixue Song 这个课题是我近期有机会在四川实现 的，我们学校（中央美术学院）在四川 崇州建立了工作站，其中的项目包含“ 传统工艺当代转换的”课题，我有幸参 与其中，并应用鸟笼工艺和竹编工艺进 行设计，关于设计本土化的研究一直贯 穿于我的项目之中。 «It is a project I recently finished in the Sichuan Province. Our school (China Central Academy of Fine Arts) set up a workshop in Chong zhou. The work plan was carried out in three directions: to help improve the quality of the staff in the industry; to help reconstruct local industry; brand planning and brand promotion. Several projects where accomplished under these guidelines.

One of them is Retransformation of The Traditional Arts and Crafts, in which I took part with the birdcage craft and the bamboo weaving craft. Research in the localization of design has been carried out through many of my projects».

ifdm.design #RedesignDigital

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Discover the new digital design hub 

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arch

&INTERIOR

这个项目将空间、文化、艺术融为 一体，为使用者提供无限想象力

空间的无限可能 作者 Vera

空间的迷人之处，在于其能够承载生活的 各种可能性，为使用者提供无限的想象

R

esidence C.A.是由来自中国台湾的十颖 设计带来的又一力作，并且于今年，在 全球最大规模、最具权威性和影响力的 设计大赛——A’ Design Award and Competition中，获得铜奖。由王维纶和李佳 颖两位设计师担纲的十颖设计为空间设计带来全新的 诠释，空间、文化、艺术融为一体，成为Residence C.A.的重要标识。

Residence C.A.不同于十颖设计之前的旧房改造，作 为一个全新的项目，从建筑兴建到空间设计、施工 完成，前后耗费将近4年时间。当我们步入Residence C.A.，视线沿着流动起伏的长幅金属画作为出场序， 随后映入眼帘的是明亮而且宽阔的都市景致。当再进 一步向前移动，随着视线跳跃至下一个画面，感官所 接收到的是由明转暗如同画作般的框景，空间的深度 与人的关系随着不同比例的切割、色调和质感，开始 出现微妙的转折，天花以大量镜面将空间渐层叠迭的 延伸。身体在移动的过程，室内的空间如同场景一般 被切割成戏剧性的章节，在纵横向切片的缝隙之中透 出静谧沉着的明暗度。普鲁士蓝穿插斑驳的金铜线条 揉合在室内的各个角落串联起整体，让人彷彿走入画 中，从而感知无限且充满魔幻想像的生活经验。 在您看来，Residence C.A.的起居室和卧室的亮点有 哪些？ 我们经常与艺术家、文化工作者或传统工艺合作，能 从中挖掘潜在的资源，发现更多创意的可能性。因 此在Residence C.A.这一项目中，我们在很多细节的 地方用了很多黄铜作为装饰，并且采用不同的处理方 式。比如在起居室内，玄关墙上的长幅黄铜立体雕塑 内其实隐藏了对讲机，也可以放钥匙和信件。而在客 厅背墙上则有一幅写意黄铜画作，这对我们来说是 一个挑战。由于铜板的着色采用化学反应制作，画面 会因为锈蚀而不断的变化，为了将变化控制在预期的 呈现范围内，就需要借助图像分析不断进行反覆的修 正。考虑到画面的连续性，所有着色必须一气呵成， 稍有不协调之处，就得重新来过。这些合作运用在空 间设计中往往能带给我们新观点与想法。

IFDM 58 November 2018

空间的深度与人的关系随着不同比 例的切割、色调和质感，开始出现 微妙的转折

在Residence C.A.中，您曾经说过：“在移动的过 程，空间如同场景被切割成戏剧性的章节”这是因为 人、空间、装饰的相互作用吗？ 当我们在做空间设计的时候，会做非常多的假设和研 究，去探讨不同的尺寸、材质、光线等带给使用者不 同的空间经验。如何解决问题，如何通过设计进行协 调整合，创造出空间的层次感，所有这些思考都是立 足于人与空间之间的关系所建构出来的。 为什么您会使用普鲁士蓝、金色、铜色作为这一项目 的基本色调？ 当你仔细观察夜晚的天空，其实你会发现天色不是纯 粹的黑，而是混合了些许蓝色和紫色。我们以此为灵 感和概念，以此营造出静谧沉稳的空间氛围，所以选 择了普鲁士蓝作为主要色调。普鲁士蓝是一种非常特 别的颜色，它介于蓝色与绿色之间，在不同角度和不 同的光线下呈现出不同的效果。然后搭配金色的铜饰 配件，以此勾勒出空间中的细节，让沉静典雅的质感 更为立体。

您如何定义十颖设计? 在您的项目中，有哪些是你标 志性的痕迹？ 在十颖设计，我们为了“人”而设计，我们的目的在 于为使用者带来美观与实用兼具的空间。在我们看 来，空间已经从单纯承载生活的容器，转变成为足以 改变对于生活的想象力，我们希望拉近设计与人的距 离，并融入跨领域的媒介与特质，创造出空间美学的 意识与体验，让这个城市对环境与生活的自我追求， 得以日益茁壮坚定。 您对“奢华”的定义是什么？ 我觉得这是一种对生活的选择，而不是拥有数之不尽 的选项。奢华的重点在于全面深入地了解你的客户， 创造出独一无二，并且超乎预期的空间设计与服务， 同时在整合客户的需求与设计功能之外，融入更加丰 富的居住者的空间体验，这样的“奢华设计”必须经 得起时间的考验。

什么是您的动力和灵感来源？ 生活本身就充满了许多的灵感，而“观察”生活对我 们而言是关键所在。例如从不同的视角去看待和观察 一件平凡的事情，并为此提出新的看法。要学会从不 同的领域中汲取养分，这一过程能够不断激发我们向 前和努力。 作为设计师，让您最喜欢的是什么？ 作为设计师，我们觉得可以通过经典、创新、观察 这三种元素，并且将之于空间、文化、艺术相融 合，由此激发出生活中的各种可能性，给我们带来 无限的想象力。

IFDM 59 November 2018

在房间的每个角落，普鲁士蓝与斑驳的金铜线 条交织在一起，让空间成为一个整体

arch

&INTERIOR

What are the highlights of living room and bedroom in this project?

Why do you use Prussian blue, sparse gold and copper as the basic tone for a residence design?

We often work with artists, cultural workers, and craftsmen. It would be easier for us to develop the sources and more possible for us to discover the creative ideas. As for Residence C.A., we have approached brass in different ways. There is a 3D brass sculpture on the hallway wall, in which you can not only hide intercoms but also the keys and letters. However, the brass painting on the parados is a challenge. Because of the chemical colouring of the brass, the painting changes due to rusting. In order to keep it within the expected range, it has to be repeated corrected based on the analysis of image. The coloring should be finished without any interruption due to the consistency.

Otherwise it has to be done again. This kind of cooperation will inspire us in the space design.

When you look at the night sky very carefully, you will find that it is black mixed with some blue and purple, instead of pure black. Base on this, we wanted to create the quiet and peaceful atmosphere, so we chose Prussian blue as the main tone, a special color between blue and green. And it is influenced by the different angles and light. The golden brass accessories delineate the details, making the texture elegant and three-dimensional.

A Space with Possibilities

Designed by W&Li Design based in Taiwai, China, Residence C.A. has been awarded in the Interior Space and Exhibition Design Category of The A’Design Award and Competition (2017-2018), the world’s largest, most prestigious and influential design accolade, the highest achievement in design. At the helm of W&Li Design are Wang Weilun and Li Jiaying.

Residence C.A. integrates the space, culture, and art into one unity. It took around four years to finish the project from construction to space design. When you walk into the Residence C.A., as our eyes flow with the wavy, lengthy metallic painting, accepting it as a prelude, bright and broad urban landscapes jump out. Moving further forward, we see the next scene abruptly. Our sensors perceive a brightto-dark scenic framed view. The depth of the space and its relationship with the person inside begin to show delicate transitions along with different proportions of divisions, hues, and textures. The ceiling with large numbers of mirrors extends the space in gradient stacking layers. While the person moves inside the space, the space is cut into scenes of dramatic chapters, revealing serene shading and lighting from the cracks of slices in longitudinal and horizontal dimensions. Prussian blue interwoven with sparse gold and copper wires in every corner in the room connects the space as a whole. Entering into this space is like walking into a painting, experiencing life full of unlimited and magical imagination.

How do you define the style of W&Li design? Do you have any “signature” that you like to leave in your projects?

The space transforms from the original vessel that carries life to imagination that can change life. We hope to shorten the

天花以大量镜面将空间渐层叠迭的延 伸，身体在移动的过程，空间如同场景 被切割成戏剧性的章节

As you said, “while the person moves inside the space, the space is cut into scenes of dramatic chapters”, is that caused by the interacting between people, space and decorations, like furniture, lighting, etc.?

When we design the space, we do a lot of assumption and research on the experiences that different sizes, textures and lighting will bring, and how to solve the problems through the cooperation with design to create the level senses of the space. All thinking are based on the human and space.

distance between these elements and people. By integrating media and characteristics involved in various fields to create awareness and experience of spatial aesthetics we help people living in this city to gradually strengthen and consolidate their autonomous pursuit of the environment and life.

What is your personal definition of luxury?

This is a choice of life. The key is to understand the clients completely and create the design and service beyond expectation, integrating the abundant inhabitant experience besides the required functions and standing the test of time.

What are you driven and inspired by?

Life is full of inspirations. For us, the key is to observe, approach things from different perspectives, present the new idea, and learn from different industries. This process will keep inspiring us.

What do you like most about being an interior designer?

We can combine classics, creation and observation with space, culture and art, which inspires all kinds of possibilities of life and provides us with infinite imagination.

PH GIUSEPPE CAGGIANO

SALONE DEL MOBILE. MILANO SHANGHAI 22nd / 24th NOVEMBER 2018 SHANGHAI EXHIBITION CENTRE | SEC EASTERN HALL GROUND FLOOR - STAND EG 00 www.clanmilano.house

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家中自有天地 在中国进口家具行业，家天地（Domus Tiandi）被公认为是最早将意大利 家具艺术引入中国的先锋之一。 经过十多年的努力，如今家天地旗下代理近50家意大利及全球一线设计 家俬及生活方式品牌，包括Poliform, Promemoria, Donghia, Minotti, Baxter以及意大利的全球建筑及工程灯光第一品牌Viabizzuno等，为中国 消费者带来历久弥新的意大利顶级设计和工艺的同时，更是对当代品质生 活方式的探索。 家天地分别在北京和上海设立一站式家居终端体验店，为客户提供专业 的定制服务，其中位于北京核心地带金宝街的展厅面积达4000平米，并 是全国首个在大型实体商业中呈现“设计艺廊 Design Gallery”空间的综 合体验店。位于上海Minotti展厅则是全球最大的单一家具品牌实体店。 在展厅，家天地创始人任小勇带领团队精心挑选意大利的品质设计家居 产品，并结合中国的文化和传统，做出最别具匠心的陈列，由此开创将 西方的经典设计和东方居住精神融为一体的道路，以更丰富的方式来诠 释“家”的概念。在此，任小勇先生接受意大利《室内家具设计》杂志 的独家专访，分享关于家天地的经营理念和发展规划。家天地。它以其 前瞻性的审美、新颖的理念、独特的视角和态度，用“经典永恒”的标 尺，融会中外，贯通古今，发掘和造就属于中国人的当代奢享生活，发 掘形式之外的精神情感归属。

家

天地最初为什 么 会 挑 选 意 大 利 品 牌 ？ 其实我们感兴 趣的不单纯是 意大利品牌，只是意大利家具 在整个家具行业，无论是设 计，还是思考，或者说它的完 成度在整个行业都是领先的。 意大利的家具行业，无论是制 造、设计，还是产业链，大大 小小的品牌代表整个当下和未 来的趋势，吸引全球顶尖的设 计师跟他们合作。而且家具不 同于车，你可以选择德国车、 美国车、日系车，但是谈到家 具的挑选，如果选择顶级品质 的话，那么意大利家具的确是 最佳选择之一。而且我们一直 觉得中国和意大利两个国家有

着很多的相同之处，在两个国 家的文化里，都讲究家族，美 食文化也同样悠久深厚。 在挑选合作方的时候，家天地 的标准是什么？要传达怎样一 种理念？ 首先挑选的品牌必须符合家天 地和我的审美，这算是一条及 格线。第二，必须是一些真正的 家具品牌。所谓“真正”就是认 认真真做事的品牌，不是为了炫 富，也不是只看到短期利益。最 后也是我们的最高标准，就是 这些产品是否是timeless，是否 经得起时间的考验。我们售卖 的不仅仅是产品本身，而是当 产品进入到消费者的生活后， 所呈现出来的画面。 家天地或者您个人的审美是如 何形成？ 我本来就很喜欢家具，没有热爱

的话，在这个行业很难坚持下 去。世界上具有收藏价值和拥有 二手市场的物品不多，而家具就 是其中之一。我喜欢简约、干净 的设计，比如明清家具、意大利 家具、包豪斯风格等。我觉得 明清家具和意大利家具在某些方 面有着异曲同工之妙，不仅仅是 功能，更与当时的社会状态相 关，它们更具“人”味，有着各 自的风骨。我自己也收藏家具， 无论是之前装修自己的家，还是 当时在为公司承担的装修工作 中，我越来越多地接触家具， 从上个世纪80年末期在艺术家 朋友家的画报上看到意大利家 具，到2000年真正接触意大利 家具，仿佛有一种似曾相识的 感觉。不过在工作中，我发现 当时的家具经销公司在产品陈 列、专业服务上都存在或多或 少的问题，这也是我创办家天 地的原因。

Magis

Domus Tiandi. Enjoy the World at Home

W

hy did Domus Tiandi choose Italian brands at first?

Actually, we didn’t focus on Italian brands exclusively, but Italian brands did attract us more because they are the leader in the furniture industry in the aspects of design, innovation and completion. And they represent the current and future trends of the industry in terms of manufacturing, crafts, and industrial supply chains, attracting the world’s top designers to work with them. When you choose a car, you have many choices such as German, American or Japanese cars. However, when it comes to furniture, Italian brands are indeed the best choice for top-notch quality. Moreover, I always think that Italy and China have many similarities. The two countries all take family seriously and have rich history of cuisine.

What are Domus Tiandi’s criteria when choosing brand?

First of all, the brand as to share the same taste as Domus Tiandi’s and mine; this is the bottom line. Secondly, it has to be a real brand, which means down-to-earth, neither showing off nor short interest-orientated. Lastly, but most importantly, the products have to be timeless and be able to stand the test of time. We sell not only the products themselves, but also the lifestyle we inspire when the products enter the consumers’ life.

How did Domus Tiandi or you develop the certain taste for furniture?

I’ve always been passionate about furniture. Without passion, it will be very hard for you to keep going. There aren’t many items in the world worth collecting and which have secondhand market, and furniture is one of them. I like simple and clean designs, such as Ming and Qing furniture, Italian furniture and Bauhaus style. I think Ming and Qing furniture

and Italian furniture are connected on some levels. Not only the function but also the social status makes both types of furniture “human”, while keeping their own styles. I am a furniture collector. From decorating my own house and working as a decoration contractor, I have built a wealth of experience in furniture. The first time I saw Italian furniture was from a poster in my artist friend’s home back in the late 1980s. In 2000, Italian furniture became a part of my life, and it felt like a déjà vu. However, I found some problems in product display and professional service; this was also one of the reasons why I founded Domus Tiandi.

Could you be specific about the professionalism of Domus Tiandi?

Let’s put it this way: our ultimate goal is to become a “luxury version of IKEA.” For the people in some certain class, Domus Tiandi provides the solution to almost all problems concerning homeware. We classified customers according to their age. For the group from 40-50, they used to be the main buyers of high-end furniture, for whom the handcrafted, high-quality and perfectly completed furniture is suitable. For the group from 35-45, they are young and have consuming ability, as well as high demand for life. Suitable brand would be Minotti or Poliform. For the group born post 1990s, many of them have studied overseas and know about Italian furniture. They would prefer brands like Baxter or Magis.

Domus Tiandi is very focused on service, including reception, sales, after-sales, logistics. It’s not just about selling furniture, but taking the customers’ life into account. In the future, Domus Tiandi has broadened its business from furniture and decorative lighting to carpet, bedding, kitchen utensils, art, etc. It will grow together with customers, providing them with solutions to home quality problems, and bringing them customized lifestyle.

IFDM 62 November 2018

Poliform

家天地的专业度，具体体现在 哪里？ 其实，可以这么说，我们的终极 目标是想做一个 “奢侈版的宜 家”，相对某一个阶层而言，在 家天地，几乎可以解决所有与家 居品质相关的问题。我们对消费 者按照年龄层进行细分，首先是 针对40-50岁年龄层的消费者， 他们曾是高端家具最主要的消 费，适合有涵养、有质感、完成 度很高的手工家具；而Minotti, Poliform则是为35-45岁这个阶 段的消费者准备的，他们年富力 强，有消费力，对生活品味有着 较高的需求；然后就是90后，他 们中很多人从国外留学回来，对 于意大利家具有一定的了解，适 合Baxter, Magis这样的品牌。 从家天地的服务上来说，我们更 加专注。接待、售中、售后、物 流都是服务，服务行业最重要的 就是专注度，解决问题的能力、

Baxter

家的展厅几乎如出一辙，但 是在中国家天地呈现的版本则 独居特色，看似水到渠成的呈 现，其实是基于多年形成的美 学理念、文化背景、知识结构 所表达出来了一种属于家天地 的格调。无论是家天地的展 厅，还是在上海翠湖新天地、 绍兴安麓苑别墅、北京万科御 府等多个高档空间的项目设 计，都带着一种融合的气质， 东西文化的碰撞和交融，经典 与创新的对话和并存，内敛韬 光、隽雅洒脱。

提供方案的能力，不仅仅是卖 家具，要回到客户的生活中。 以后，家天地不仅仅是家具灯 饰，还会有地毯、床品、厨具 餐具、以及艺术品等等，它将 与客户一同成长，在以后的生 活中，为解决更多生活品质相 关问题为客户给出答案，带来 由家天地度身定制的生活画面。 家天地与合作品牌的关系是怎 样的吗？ 销售产品只是第一步，我们真 正是要学会驾驭这些产品。如 今，家天地寻找合作品牌不 难，难在完全读懂一个品牌， 并且驾驭它。使这些源自国外 的产品，真正成为中国人生活 的一部分，我们现在已经过 了“舶来品”这个阶段，现在 应该是“洋为中用，物为我 用”了。比如说，我们代理的 意大利家具品牌在全球其他国

How would you describe the cooperative relationship between Domus Tiandi and other brands?

Selling products is only the first step. What we really need is to manage these products. Finding the brands is not difficult for Domus Tiandi, but understanding and managing a brand to make the foreign products a part of the Chinese’s life is another story. We have passed the stage of “importing goods,” and now are in the stage of “making foreign things serve China, and adapting the foreign goods for our use.”

For example, the other countries tend to display the Italian brands in the same way, but Domus Tiandi has them uniquely displayed. What’s behind the seemingly simple display is the unique combination of Domus Tiandi’s time-tested aesthetic concept, cultural background and knowledge structure. Domus Tiandi’s showroom and its high-end projects, such as Shanghai Cui Hu Xintiandi, Shaoxing Anlu Villa and Beijing Vanke Yu Fu, are all characterized by rich culture and free style, combining Chinese and western culture together and embracing both tradition and innovation.

What’s the impact of smart living and the internet on the high-end handcrafted furniture and the retail store?

Innovation is an ongoing task for furniture design industry, which is not limited to form, but also about life application, manufacturing

Minotti

如何看待智能生活和互联网对 这些高端定制手工家具以及实 体店的影响？ 家具设计行业一直在创新，设 计不仅是形态，还是从生活应 用，制造方式，材质上都在不 断地创新。所有的制造行业是 否通过科技手段，提高效率。 智能化的生活，是一种趋势， 它服务于人，为生活提供便 利。而这些家具，也是服务于 人，更带有温度，两者可以兼 容，而且会很酷。家天地在家 具板块上，目前正在做线上的 体验店，互联网将作为一个非 常重要的媒介，带来信息的获 取，同时也作为渠道，降低成 本，回报到消费者。家天地的 线上体验店将360度体全方位呈 现展厅，让你在感受虚拟效果 之后，更想到实体店来体验。 对于目前家天地在中国市场的 布局有怎样的考量？ 目前，大本营设在北京，北京展 厅面积为4000平米；在上海的 Minotti是全球最大的高端设计家 居展厅，2000平米的单一品牌专 卖店，另外在深圳也有Minotti, Baxter的专卖店。这个行业在近 两年发展尤其迅速，二线城市迅 速发展，购买力也增强，的确有 很多需求产生，一方面他们有不 同的代理商，另一方面从总体量 来说，对于高端家具的需求相比 较于北京、上海，二线城市还是 差很多。家天地目前的计划还是 精耕于现有的区域。

method and material. The manufacturing industry relies on technology to improve efficiency. Smart living is a trend, which serves people and provides convenience for life. Furniture, with its functional role, also serves people. We can combine smart living and furniture together to create something cool. Home is actually a mini museum that houses all your interests.

Domus Tiandi is currently operating an online store. Internet will play an important role in obtaining information and reducing cost, which results in benefiting customers. Domus Tiandi’s online store will present a 360-degree virtual world for the clients. And it is possible that this experience will stimulate their interest to visit the retail store.

What’s Domus Tiandi’s development plan in China?

Domus Tiandi’s flagship showroom is located in Beijing, in an area of 4000 square meters. The Minott flagship showroom in Shanghai is the world’s largest, with an area of 2000 square meters. We also have Minotti and Baxter stores in Shenzhen.

The industry has developed rapidly in the past two years, especially in second-tier cities, where we’ve seen increasing consumer ability and growing need for high-end furniture. However, the second-tier cities have different dealers, and their overall demand is still much lower than Beijing and Shanghai. So, Domus Tandi will focus on the existing areas.

IFDM 63 November 2018

Ren Xiaoyong and his wife Zhang Xia

report

风格首秀

伦敦蛇形美术馆与王府中環（香港置业集团旗 下零售中心）携手合作，在王府中環打造一 座蛇形美术馆展亭，这也是蛇形美术馆首次在 英国以外的地区，合作委托和建造蛇形美术展 亭。蛇形美术馆展亭（5月30日至11月11日） 由家琨建筑设计事务所设计，通过一系列艺术 文化创意活动和实验性生活体验来连接受众、 构筑社群，同时开展丰富的文化及社交活动。

Chiasmus Partners, Inc

2018年9月20日至9月25日，首届“设计中国北京” 在北京农业展览馆盛大开幕。作为久负盛名的“设 计上海”活动的北上拓展之举，“设计中国北京” 吸引了80多家设计品牌和艺廊参加，更邀请40余位 来自全球设计界的知名人士前来举办主题论坛。本 次展会分为当代设计、精典设计和限量设计三大板 块，以独特的全球视角解构东方美学，演绎设计之 美。通过新品发布、定制互动装置、互动活动等全 方位展示极富创意的设计理念。 “设计中国北京在某种意义上可以说是，北京真正 的国际设计展，” Media 10中国总经理、“设计 中国北京”及“设计上海”展会总监谭卓说：“虽 然北京设计周已经举办了将近十年，但是北京还 没有成功举办过真正高端的设计展。在北京有超过 250,000位国内外建筑师和室内设计公司，而‘设 计中国北京’将努力为这些设计师们提供一个全球 性的平台，他们可以扩大视野，接触国际顶级设计 品牌，寻找更多的机遇。” “设计中国北京”通过展出精美的艺术作品和优秀 的室内设计，为现代室内设计和家居装饰带来了更 前沿、更具启发的设计理念。除了展出之外，“设 计中国北京”还与多个展览和装饰艺术合作，包括 在三里屯太古里由嘿黑有馅公司创意的“十坛”、 以及设计师杨明洁在瑜舍酒店的空间装置羊舍“ 虚山水”茶室。此次展会上还有来自国内外的设 计师参与首届“设计中国北京”论坛，以“灵感、 自然、工艺与科技”为主题，倾情呈献32场风格鲜 明、内容深入的主题论坛。这一切吸引了来自国内 外的参观者前来感受这一设计界的最新体验。

SERPENTINE PAVILION The Serpentine Galleries of London and WF Central (a retail centre owned by Hongkong Land) have teamed up to create the Serpentine Pavilion Beijing, the first pavilion to be cocommissioned and built outside of the UK by the Serpentine. The temporary structure (30 May to 11 November) was built by JIAKUN Architects and stands right next to WF Central, with the space destined to host a packed array of events, cultural activities and talks.

© Serpentine Pavilion Beijing 2018

BEIJING DESIGN WEEK

BLUE NOTE JAZZ CLUB 纽约著名的Blue Note爵士俱乐部的第一家分店开在了中国北京，空间的室内设计由韩国 Chiamus工作室担纲，他们所要面对的挑战是如何将炫酷的爵士音律与选址的历史底蕴融合 一起。项目位置处于美国领事馆旧址的地下，通过东侧的一组大台阶作为入口，连通地上与 地下部分。Chiamus这种布局方式的灵感既来源于音乐的节奏感，又来源于北京老城百转千 回的胡同肌理。其中设置的长长的走道，蜿蜒扭转，在不同的体量之间形成互动关系。 The New York brand’s first branch in China has opened in the city. The design of the space is the work of Korean studio Chiasmus, which had to deal with the challenge of combining cool jazz vibes with the historic nature of the location. From a courtyard, a broad staircase leads you down to the underground club. Chiasmus drew inspiration both from the music itself and indeed the complex hutong – narrow alleys – of the old city, with long corridors and a focus on using different volumes.

IFDM 64 November 2018

MUJI HOTEL BEIJING 今年年中开业的北京MUJI酒店，以中式元素展现了对北京历 史的尊重，在建筑灰色的砖墙外立面、随处可见的竹子和融合 了中式元素的餐食设计上都有体现。酒店地处前门北京坊，尚 存的烟火气息使现代文艺风格更为突出。房间内部采用了硅藻 土、麻、棉、石等传统自然素材，将一贯的简约渗透到酒店的 每一个细节。 MUJI Hotel Beijing, opened in June 2018, shows respect for the traditional Beijing culture with Chinese elements, including grey brick wall façade, bamboos and dining experience with Chinese touch. Located at Beijing Fun, the historic heart of the city, MUJI Hotel occupies a modern low-rise structure, featuring just 42 rooms and facilities across four floors, captured by natural materials, such as diatomite, linen, cotton, and natural stone.

REGENCY WANGJING 新近开业的北京望京凯悦酒店，由日本建筑 大师隈研吾亲自操刀，以传统中式住宅“三 合院”为设计灵感，展现了“回归自然” 的设计理念。酒店遵循东方禅意美学，以清 雅的色调和利落的线条，将复杂纷扰置于 门外。天然材质和自然光线的使用，演绎着 全新层次的精美与舒适，让人在光影虚实之 间，感受“大隐隐于市”的美好体验。

The newly opened Hyatt Regency Wangjing features Chinese “Sanhe Yuan,” a three-sided courtyard architecture embracing a green garden, designed by award-winning architect Kengo Kuma. It features an abundance of natural materials and light, to create an “Urban Forest” with restorative views of surrounding greenery to refresh you through a journey close to nature.

CLOUD BONE 来自“素生”设计的云骨系列采用竹丝 编制而成，利用竹子天然的柔韧性，创 造出一种有机的结构。“素生”品牌创 始人设计师章俊杰首先用在计算机上模 仿出浮云的三维运动，然后使用纤细的 竹条，手工编织出这一特别的结构。素 生喜欢传达亲手造物的感受，不断尝试 利用颠覆性的设计观念，体悟中国根本 文化的精华，将此精神注入现代生活 创作中。

Cloud Bone is a collection of works made from bamboo filament and making use of the natural bamboo’s own elasticity to create an organic structure by Zhang Junjie, the founder of Sozen. The designer first digitally emulated the 3D movement of the floating cloud before recreating these forms in lightweight sculptural structures, handcrafted with thin strips of bamboo. It showcases the full flexibility of the bamboo. Sozen has tried to promote a design concept that beautifully combines traditional craft with contemporary products.

BULGARI HOTEL BEIJING

MAISON&OBJET DESIGN PAVILION 这一特别的快闪店为中国的首都北京增添几分特别的巴黎魅力。在与王府中環的合作中，M&O 带来了以“热爱设计”为主题的特别展亭。五位M&O“年度设计师”（Philippe Nigro, Eugeni Quitllet, Tom Dixon, Nendo, André Fu）参与其中，展品则来自Alessi, Bleu Nature, Ethnicraft, Ibride, Magis, Mr & Mrs Fragrance, Seletti等品牌。 This special pop-up store has brought a little bit of Parisian charm into the capital. In collaboration with the exclusive WC Central mall, M&O has created a special pavilion around the theme “Love Design”. The installation features the five M&O Designers of the Year (Philippe Nigro, Eugeni Quitllet, Tom Dixon, Nendo and André Fu) and a selection of products from brands such as Alessi, Bleu Nature, Ethnicraft, Ibride, Magis, Mr & Mrs Fragrance and Seletti.

北京宝格丽酒店是建筑大师 Antonio Citterio和Patricia Viel的 建筑杰作，带有鲜明的大师印 记。酒店临近三里屯，坐落于北 京的使馆区，与周围绿荫、自然 景观无缝连接。酒店拥有119间 客房和套房，此外还拥有宝格丽 套房、占地面积1500平方米的宝 格丽水疗、25米长的泳池、私人 花园、餐厅、酒吧、宝格丽宴会 厅，既富有意大利风情，也与当 地文化紧密联系。

IFDM 65 November 2018

The Bulgari Hotel Beijing bears the unmistakeable mark of the renowned Antonio Citterio and Patricia Viel architectural practice.

Located near to the exclusive Sanlitun neighbourhood, in the heart of the city’s embassy district, the hotel blends seamlessly into its lush, natural surroundings. The hotel boasts 119 rooms and suits, in addition to the Bulgari Suite, a 1500m2 Bulgari Spa, a 25m swimming pool, private park, restaurant, bar and the Bulgari Ballroom. It’s all finished with a touch of Italian flair and influences from local culture.

report

BEIJING DESIGN WEEK

BOLON MUMOON

Founded in 2010 by the Belgium designer Robin Delaere, Mumoon creates products with a unique and original design. Closely linked to an international outlook and Nordic design, from the very outset Mumoon has welcomed partnerships with designers all over the world, developing ideas in step with contemporary design while turning emotions into projects. Themed as Mumoon home, Mumoon showroom provide a perfect stage for the Mumoon collections with the latest trendy elements and colors of the nature. Light and lighting are the Mumoon’s lifeblood, from the simplest table lamp to spectacular lighting installations. It shows Mumoon’s DNA in terms of research, craftsmanship, design and technological development.

由比利时设计师Robin Delaere于2010年创立的时尚家居设计 品牌Mumoon，通过传承北欧设计精神内核、聚集欧洲原 创设计力量、联动国际知名设计大师，精选全球范围内前 沿、尖端、流行的北欧家居饰品与灯具系列设计作品。本 次的展位设计亦继承了Mumoon一贯以来的品牌基因，自 然、简约、 时尚新颖。设计师通过Mumoon Home这个主 题进行新的创作，将自然的形与色融入其中，并运用了当 下最新的设计潮流元素来设计整个展位的大背景，犹如一 个舞台般烘托出Mumoon品牌产品。展位中的每一件作品， 既互相衬托，相得益彰，又各自玲珑，与众不同。

瑞典Bolon所提出的以建筑师为主导的地板装饰设计理念直接表达了建筑师 在地板铺设和具体执行上的关注，色彩格的设置使得在室内装饰中可以完 全控制地板装饰的灵活性。它所带来的纺织地板扩大了室内的几何空间， 使得设计师可以对室内空间的布置和自然流通进行反复尝试。1949年在斯 德哥尔摩创立的Bolon在环境保护和设计上始终秉承创新精神。 Bolon’s first ever architect-driven flooring concept directly addresses the concerns of architects in its concept and execution. Color panes make it possible to have complete control within the interior. The flooring amplifies the interior geometry, making it possible to experiment with the layout and the natural circulation within an interior space. Founded in 1949, Stockholm, Bolon has kept its innovated spirit in environment and design.

THE NEW ORDER

© Hufton+Crow

“转 · 变”由伍兹贝格北京团队设计完成，以一系 列通透变换的旋转装置，展现北京的建筑标志以及快 速发展变化的城市环境。设计的灵感源于中国传统建 筑元素中的拱门、青砖和瓦片，通过图案、材质、颜 色的不同组合构成八种艺术旋转装置。其中半透明的 色彩提取自紫禁城内的故宫红、石黄、霁青；材质上 辅以金属、亚克力、玻璃以及反射镜面天花。

INK LANDSCAPE 它像是一副展开的山水画卷，又像是一组盆景，极具 未来感的外形向城市自然地延伸和渗透，运用中国古 典园林建筑中“借景”的办法，突破了朝阳公园与城 市的界线。多座小尺度的低层商业办公建筑，如被山 涧长期冲刷的山石，错落有致、相互退让，围合成一 个隐秘又开放的城市花园。自然和人造景观交相辉 映，使人融情于景。

Located on the southern edge of Beijing Chaoyang Park, Ink Landscape Chaoyang Park Plaza includes 10 buildings which unfold as a classic ink (Shanshui) painting on an urban scale, as an expansion of nature. It is also an extension of the park into the city, naturalizing the CBD’s strong artificial skyline, borrowing scenery from a distant landscape - a classical approach to Chinese garden architecture, where nature and architecture blend into one another.

IFDM 66 November 2018

Designed and installed by Woods Bagot’s Beijing studio, The New Order adaptive pavilion is inspired by Beijing’s architectural landmarks and rapidly changing urban context.

The edifice consists of a series of translucent screens that display the city’s various typologies which can be rotated for different experiences. Sheer screens are covered in colors inspired by the Forbidden City, including red, yellow, and turquoise. These are juxtaposed by black metal, acrylic, glass, and reflective mirror ceilings.

HOUSE OF TAI PING CARPET House of Tai Ping旗下的子品牌Edward Fields新近与艺术家Fernando Mastrangelo携手，联合推出Reverence系列。Mastrangelo常以雕塑、家具、大型墙体作 品见长，此次首次推出以纤维为材质的作品，这也是他12个全新地毯概念与 Edward Fields精湛工匠技艺的完美融合。 Edward Fields, of the House of Tai Ping brands, takes a bold step in the design world with the launch of Reverence, a new collection designed in collaboration with Fernando Mastrangelo. Known for his sculptures, furniture and large-scale wall works, Mastrangelo has worked with an eclectic array of materials – from coffee to cement – this reportedly marks his first foray into the world of fibers. The result is showcased in Beijing, in the form of 12 new carpet concepts that fuse the artist’s abstract aesthetics with high quality carpet craftsmanship.

STYLISH DEBUT Just ahead of Beijing Design Week, Design China Beijing, as the sister event of Design Shanghai, has been held in China National Agricultural Exhibition Center from September 22 to September 25, 2018. Showcasing work from over 80 exhibitors including a number of important global design brands as well as a strong roster of local Chinese design talents, the fair highlighted the latest products and innovations in design across three halls: Contemporary, Classic & Luxury and Collectibles.

“Design China Beijing is the first truly international design trade event in Beijing,’ explains event director Zhuo Tan of Design China Beijing and Design Shanghai. ‘Although Beijing Design Week has been established for nearly ten years, there is no high-end design trade fair established successfully in Beijing. There are more than 250,000 registered international and local architect and interior design firms based in Beijing. Design China Beijing provides a global platform where all those designers can source products for their projects locally and allow top design brands to meet them and establish business relationship.”

The show brings more forward-looking and inspiring design content for modern interior design and home décor ideas, through exposed fine art pieces and the best interior designs in the world. Alongside the main exhibitor program, Design China Beijing has also collaborated on a number of satellite exhibitions and installations across Beijing including Ten Altar in Taikoo Li Sanlitun by Chinese studio Black Drama and an interactive installation

by Jamy Yang at the Opposite House Hotel. The fair also hosted a series of talks from some of the world’s best known international and local designers at the first Design China Beijing Forum. Turning the event into a Beijing-wide celebration of design and creativity, Design China Beijing offers both the local community and international visitors the opportunity to experience the city in a new light. Here are some highlights from the event.

RUYI

YANG HOUSE “VIRTUAL LANDSCAPE” 杨明洁带来的《羊舍“虚山水”茶室 》 源自2018年度德国红点奖作品“虚山 水”庭院。“虚山水”之“虚” 所指的是“Y”支架所代表的数字文明特征： 人工的、虚拟的、高效与精确，细胞化单元体可不断解构、重组，呈现网络化结 构。从而建构了一幅超现实主义“虚山水”立体画卷。 Designed by Jamy Yang, the space device YANG HOUSE “Virtual Landscape” Teahouse, is the winner of the German Red Dot Award 2018. The “Virtual Landscape” showcases what the Y folder symbolize, which matches to the characteristics of digital civilization: artificial, virtual, efficient and accurate. And the cell unit can be deconstructed and reorganized continuously, presenting a networked structure.

由获得国内外多项大奖的设计 师&艺术家袁媛创立的如翌以一 种轻松自由的当代的设计语言来 诠释中国文化，包含了关于“明 日”的畅想和愉悦。这扇屏风“ 轻扇“采用中国传统的团扇为主 要元素，以其柔和优雅的形态成 为了集中体现中国古代诗意审美 的文化符号，设计灵感来源于典 雅的传统美学。该设计作为空间 中的隔断，利用了团扇半透明的 遮光特性，在若隐若现中传达出 东方的含蓄之美。

IFDM 67 November 2018

RUYI, a home brand created by Yuan Yuan, a designer and artist, translates directly as “As Tomorrow”, representing the brand’s design philosophy of using art to change and enrich life.

The designer’s understanding of China and the country’s culture is heavily incorporated into these contemporary furniture designs. The screen “Light Fan”, artistically appealing the moon-shaped fans symbolizes union and happiness in ancient Chinese poetry and calligraphy. The design of Light Fan is precisely based on the traditional esthetics of moonshaped fans. The spatial partitioning and the semi-transparency of the moon-shaped fans convey, in a faintly discernible way, the emphasis of Oriental cultures on implicit beauty.

Showroom

NEW OPENINGS 意大利品牌入驻中国

设计之都 被联合国教科文组织评为“设计之都”的深圳， 即将引进专门呈现意大利制造的盛大展览；近 期，众多来自意大利的设计名门也将在中国境地 依次揭幕。在意大利木业和家具工业联合会装饰 展览公司（Federlegno Arredo Eventi）的支持下， 深圳即将在 iADC 国际艺展中心推出全新的意大 利设计地标。然而，深圳并非国内唯一一座向意 大利家居敞开大门的城市：多地将引入意大利家 居，这证实了中国市场的巨大潜力和人们对优质 意大利家具的深度认可。

THE CITIES OF DESIGN

iADC project

SHENZHEN

11 月 25 日，超过 50 间意大利制造展厅将齐齐亮相 位于 iADC（iADC 国际艺展中心）的意大利概念 馆，iADC 国际艺展中心总建面超过 150 万平方米， 地处珠三角地区的黄金地带，它有望成为华南地区的行 业标杆。由旗下拥有超过 20 家公司和 3,000 名员工的 深圳满京华集团（MJH）斥资打造，继“艺展中心” 、“艺象 iD Town”等 MJH 的成功之作后，这座大型 综合体继续践行着该集团地产+文化的战略方向。全新 的 iADC 国际艺展中心集展贸中心、商业区域、艺术 小镇、教育培训、总部办公和酒店于一体。这座多元 的生活美学综合体由香港许李严建筑师事务有限公司操 刀，室内设计则由全球知名设计公司伍兹贝格（Woods Bagot）担纲，12 层楼的空间致力打造设计和艺术的沉 浸式体验，其中意大利家具展馆尤为醒目：30,000 平 方米的广大空间纵贯一二层，“La Galleria”荟聚了超 过 50 个意大利品牌及其各自的展示橱窗。与意大利木 业和家具工业联合会装饰展览公司的战略合作协议取得 了非凡的成果：国际推广办公室主管 Roberto Cuneo 先 生表示，“FLA Eventi 一直致力于促成合作伙伴与我 们意大利本土公司的联系，力争让尽可能多的品牌能够 在这座独一无二的展馆亮相；除了展览中心外，同时开 幕的设计博物馆，还有规划中与样板公寓签约合作的空 间，都让意大利的公司有机会向中国展示他们在这个领 域的出色能力和丰富经验。”

iADC Mall

IFDM 68 November 2018

Shenzen, declared “City of Design” by UNESCO, will be the place that inaugurates the exhibition dedicated to the brand new openings of exposition spaces dedicated to Made in Italy; inaugurations that in recent times have been increasingly concentrated throughout China. Shenzen is ready to inaugurate the new hub of Italian design - within the International Art Design Center - created under the patronage of FederlegnoArredo Eventi. But it is not the only city to open its doors to the furnishings of Italy: many other openings will follow, confirming the potential of the Chinese market and its deep appreciation for quality Italian furniture.

The city’s new Italian design pole will be inaugurated on 25 November with over 50 Made in Italy showrooms, within the exclusive iADC (International Art Design Center): an exposition centre of over 1.5 million square metres that lends itself to becoming the benchmark for the industry throughout Southern China, located in the heart of the Pearl River Delta Economic Corridor.

The complex – owned by the Shenzhen ManJingHua (MJH) Investments Group, which already has a portfolio of over 20 companies and 3,000 employees – has implemented a programme that combines Real Estate and Culture, already tested with the Art Design Center and iD Town, also owned by MJH. The same is true for the new iADC, which combines exposition and commercial areas, artistic districts and educational spaces, as well as business headquarters and hotels.

It is in this extended setting – designed by the Hong Kong studio Rocco Design Architects with interior design by Woods Bagot – that the iADC Mall rises, 12 floors dedicated to an immersive experience in design and art, and specifically in Italian furniture: in 30,000 square metres, divided into the first two floors, ‘La Galleria’ houses over 50 Italian brands and their respective display windows.

An extraordinary result obtained thanks to the collaboration agreement signed with FederlegnoArredo Eventi: “FLA Eventi has given its patronage to facilitate the contact between this partner and the Italian companies, operating so that the greatest number of brands could have a space in this exclusive context – declared Roberto Cuneo, Head of the International Promotion Office – In addition to the exposition centre, the opening of a Design Museum and spaces dedicated to the contract with mock up apartments is planned, where companies can show their competence and experience in this sector”.

27-28 NOV. 2018

GRAND HYATT

HONG KONG

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NEW OPENINGS HONG KONG

一场开幕典礼见证了 POLIFORM与合作伙伴 ViA十年间令人赞叹的合 作。他们共同打造的新 展厅最近在香港驰名的 湾仔街区落成。 两层楼 1,400平米的面积，专用 于Poliform生活方式的体 验过程，通过优雅的明暗 色调对比效果设置，重现 起居、夜晚和厨房空间， 配有最新系列精品。

An opening that celebrates ten years of esteemed collaboration between POLIFORM and the partner ViA. This is the premise of the recent inauguration of the new showroom in Wan Chai, renowned district of Hong Kong. 1,400 square metres on two floors dedicated to an experiential journey of the Poliform lifestyle, through settings played out on elegant chiaroscuro tones, which recreate living, night and kitchen spaces with the most recent additions to the collection.

HONG KONG

远东地区与 ARREDO3 更近一步，这个著名意 大利家具品牌近期携手 灝祥公司，在香港开设 了一家新店。新店坐落

于跑马地——香港高档 住宅集中地，主要陈列 品牌的最新设计，250 平米的空间中，将呈现 来自 Moderna 系列的 众多作品：漆面板材的

Time、运用各种饰面的 Kalì，还有 Asia、Frida， 以及 Factory 等款式。由 此，Arredo3 的品牌版图 遍布中国各地，现已有 15 家品牌专卖店。

YANTAI

烟台专卖店是 VISIONNAIRE 在中国的第 13 家品牌专卖店，也是山 东省的首家专卖店：该 专卖店设有两层，总面 积约 300 平方米，位于

The Far East continues to get nearer for ARREDO3, which recently inaugurated a new store in Hong Kong, in partnership with the Firmstone agency. Located in Happy Valley – an area with a strong residential vocation – the new store presents the company’s latest proposals, taken mainly from the Moderna collection: the lacquered model Time, the Kalì model in various finishes, in addition to the models Asia and Frida are exhibited in the 250 sqm of space, also enhanced by the Factory bookcase with Blackboard finish. The network and the presence of Arredo3 therefore is extended over the Chinese territory, which now has 15 single-brand stores.

烟台市芝罘区通洋路 39 号。专卖店空间巧妙解 读了品牌最新系列中出 现的语言密码、几何主 题、不同材质和颜色之 间的对比，以及对自然 的呼应。室内样板间采

用框架布局，提花图案 的壁纸上，点缀着香槟 色金属嵌条、青铜色玻 璃、大理石墙面和现代 十足的壁板。完美呈现 出 Visionnaire 的生活 意趣。

It represents the 13th opening in China for VISIONNAIRE and at the same time, its first mono-brand in the province of Shandong: the new showcase – about 300 square metres distributed over two floors – rises at no. 39 Tongyand Road, Zhifu District.

The space communicates the linguistic codes present in the latest collections, geometric themes, contrasts between different materials and colours, references to nature.

The interior design proposals move in a frame embellished with jacquard-like wallpaper, interspersed with inserts in champagne-coloured metal, bronze-coloured glass, marble walls, boiserie with a contemporary design. For a perfect Visionnaire lifestyle.

IFDM 70 November 2018

工程与酒店 珍藏版 2019 春/夏

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events

&APPOINTMENTS

ICFF重回南佛罗里达

第三届ICFF South Florida（纽约国际家具展-南佛罗里 达展）是每年5月份在纽约举办的这一最具历史意义的 活动的双子展。 12月4日至6日，ICFF South Florida将 在佛罗里达州劳德代尔堡会展中心举办，该处地理位置 优越，位于该地区最便利的地点之一，并与迈阿密巴塞 尔艺术博览会和迈阿密设计周保持战略性一致。展会将 有200多家参展商，包括来自南佛罗里达、加勒比海和 拉丁美洲的知名设计师和制造商，参观者名流云集，包 括来自世界各地的建筑师、室内设计师、开发商和零售 商。ICFF Talk programme、HD Collection 展馆和 Luxe Interiors + Design展馆值得特别关注。

Liu Ye, Scale, 1995

ICFF RETURNS TO FLORIDA It will be the third edition for ICFF South Florida, the twin event of the historic trade show that animates New York annually in the month of May. Perfectly positioned in one of the most easily accessible locations in the region and strategically aligned with Art Basel Miami and Miami Design Week, ICFF South Florida will be held within the Ft. Lauderdale Convention

Center (Florida), from 4 to 6 December. Over 200 exhibitors will be present, among which the most important designers and producers from South Florida, the Caribbean, and Latin America, for an exclusive parterre of visitors that will include architects, interior designers, developers, and retailers from around the world. Worthy of note are the ICFF Talk Programme, the HD Collection pavilion, and the Luxe Interiors + Design pavilion.

来自新加坡的新闻 IFFS（新加坡国际家具展）正在准备新一届展览。今年3月的展会凭借数量众多参展 商（来自26个国家的374家）以及丰富的类别和产品展示，已取得积极的成果。与此 主展一起，还同期举行了亚细亚家具展和NOOK亚洲家居装饰展，有大量的专业人 士参加了此次活动，总计19,196名，来自89个国家。这成为了明年展会（3月9日至12 日）的先决条件，展会明年将迁至金沙会展中心（滨海湾金沙）的新场地，并以“ 城市亚洲 - 城市生活的未来”作为独家主题，将会充满惊喜。

PRADA带来“寓言叙事”

刘野隐秘而感性的想象力将在上海呈现。Prada将举办这 位中国画家的个人画展“寓言叙事”(Storytelling)，展 览得到了Prada基金会的支持，由Udo Kittelmann策展。 画展将于2018年11月10日至2019年1月20日在上海荣宅 举行，这座1918年的历史宅邸由Prada修缮，并于2017 年10月重新开放。展览将通过刘野自1992年至今的20幅 精选画作展现其创作历程，这些作品受到东西方文学、 艺术史和流行文化的启发，童话风格与谐谑色彩并存。

‘STORYTELLING’ WITH PRADA The sensual and intimate imagery of Liu Ye on display in Shanghai. Prada presents “Storytelling”, a personal exhibit of the Chinese painter, curated by Udo Kittelmann, with the support of the Prada Foundation. Open to the public from 10 November 2018 to 20 January 2019 at the Rong Zhai of Shanghai, a historic 1918 residence renovated by Prada and re-opened in October 2017, the exhibit explores the works of Liu Ye through a selection of 20 paintings completed between 1992 and the present day, inspired by literature, art history, and pop culture (both eastern and western) and varying between fairytale and irony.

NEWS FROM SINGAPORE IFFS prepares for its next edition, bolstered by the positive results registered this past March, thanks to a high number of exhibitors (374, from 26 countries) and a wide variety of categories and products on display. ASEAN Furniture Show and Nook were also held alongside the primary trade show and attracted a great deal professionals: 19,196 from 89 countries, to be precise. This is the premise for next year’s show (scheduled to take place from 9 to 12 March) which will be full of surprises, starting with the new venue at the Sands Expo and Convention Centre (Marina Bay Sands) and the exclusive theme: “UrbanAsia – The Future of Urban Living”.

IFDM 72 November 2018

IMM-COLOGNE.COM

co-located with:

THE INTERIOR BUSINESS EVENT

14. – 20. 01. 2019

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Koelnmesse GmbH, Messeplatz 1, 50679 Köln, Germany, Tel. +49 1806 913 131, imm@visitor.koelnmesse.de

MisuraEmmeÂŽ studio

ph. Michele Poli

misuraemme.it