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2019 年11 月 - 年份 Year XIII - www.ifdm.design

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34 ARCH&INTERIOR 关于韵律

Photo © Edmond Leong

THE MIDDLE HOUSE

PEOPLE&PROJECTS

专访 Paola Navone

24HOURS IN SHANGHAI

得天独厚的多元文化

CLOSE UP

透过零售设计

iADC

保持联系 Let’s keep in touch!

features

16 PEOPLE&OPINIONS

     ifdmdesign

专访 Maria Porro

年份 YEAR XIII

05 中国 CHINA ISSUE

TREND 6 材料浪潮

N. 5 | 中国

2019 年11 月 - 年份 Year XIII - www.ifdm.design

chinese

ECONOMY &MARKETS 8 中国纪录

and

English

texts

34 ARCH&INTERIOR

SIX NEWS from IFDM.design

关于韵律

THE MIDDLE HOUSE

PEOPLE &PROJECTS

ARCH &INTERIOR

19 专访 Paola Navone

44 维港边的希腊女神

24 HOURS IN SHANGHAI

CLOSE UP

22 得天独厚的多元文化

46 IADC 成功的合作伙伴关系

ARCH &INTERIOR

MONITOR COMFORT LIVING

34 关于韵律

49 舒适的轮廓

PEOPLE &OPINIONS

REPORT BEIJING DESIGN WEEK

36 POLIFORM 专访 Marco Longoni

56 可持续发展足迹

Photo © Edmond Leong

专访 Paola Navone

得天独厚的多元文化

透过零售设计 iADC

On cover: The Middle House Photo © Edmond Leong

总编辑 Managing Editor Veronica Orsi | orsi@ifdm.it 编辑 Editors Alessandra Bergamini, Alessandro Bignami, Manuela Di Mari, Cristina Ferrari, Rachele Frigerio, Paola Leone 撰稿人

International Contributors 纽约 New York Anna Casotti | nyc@ifdm.it

Giammarco Bellotti redazione@ifdm.it

12 数字身份认证 46 CLOSE UP

Matteo De Bartolomeis matteo@ifdm.it

网页编辑 Web Editor

GOOD LIKES 22 24HOURS IN SHANGHAI

出版协调

Publishing Coordinator

洛杉矶 Los Angeles Jessica Ritz | lax@ifdm.it

10 网站新闻

19 PEOPLE&PROJECTS

主编 Editor-in-chief Paolo Bleve | bleve@ifdm.it

数字部门 Digital Department Enrico Turato | web@ifdm.it

PEOPLE &OPINIONS

公关经理&市场经理

PR & Marketing Manager

16 PORRO 专访 Maria Porro

Marta Ballabio | marketing@ifdm.it

49 MONITOR

COMFORT LIVING CLOSE UP

38 DI’OME 透过零售设计 SPOTLIGHT SALONESATELLITE 40 传统成就创意

SHOWROOM NEW OPENINGS 60 跨越中国各地 EVENTS &APPOINTMENTS 62 行业动态

品牌公关 Brand Relations Annalisa Invernizzi annalisa@ifdm.it 设计部 Graphic Department Sara Battistutta, Marco Parisi grafica@ifdm.it

翻译 Translations

Stephen Piccolo, Cesanamedia

由编辑团队于11月7日完成

Closed by the editorial staff 7th November 2019

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维港边的希腊女神

印刷者 Printed by

IFDM 2 November 2019

editorial

PAOLO BLEVE | 主编 Editor-in-chief

几

出口美味

天前传来了有关欧盟与中国签署一项双边协议的消息，该协议的宗旨是在中国市场对一百种欧洲区域性产品（同样在欧洲市场保护中国产品）予以保护。更令人惊喜的是在这一百种受保护的欧洲地理标志产品中就有26 种意大利产品；意大利在这份受保护的产品名单中是最有代表性的产区，其次是法国。这一事实，除了显示出从“美丽国度”（意大利）进口食品的高价值性及远东国家格外崇尚意大利品味外，也促进了对质量和原创性价值的关注。这也是家具领域在设计出口过程中，尤其是向中国的出口中一直应面对的话题。毫无疑问，意大利制造的产品是受欢迎的，但能同时讲述产品背后蕴藏的历史和激情，传递其内在的价值并让人从不同层面感受其价值则是另外一回事。这是一种应从智慧和文化的角度予以应对的，伴随着纯商业竞争提出的挑战。最近，这一挑战似乎正带来越来越积极的结果，欧盟和中国签署的协议就是一个有效的例子，尽管涉及的是另一个行业，但新售点在境内呈指数增长也是一种见证，因为这些新店的存续依赖于持久和互利的合作伙伴关系及共享的价值交换。对业内的重要玩家，如 Poliform 或 Porro进行的采访（可在随后的页面中找到）可以使我们肯定当地合作伙伴对意大利制造的极大信任和严肃态度，他们已成为意大利制造在一个陌生国度的真正代言人。当然这还要归功于新一代的年轻人，他们向国际化和意大利特有的“专业知识和技能”持开放态度：这种尊重正成为一种更大的保护。

Exporting good taste A few days ago a bilateral agreement was announced between the European Union and China for protection of the registered names of 100 regional European products in China (and, vice versa, 100 Chinese products in Europe). The reaction of surprise increases if we consider the fact that of the 100 Protected Geographical Indications of Europe, as many as 26 are Italian; Italy is therefore the leading country of the list, followed by France. This fact, besides underlining the high value of food imports from our country and therefore the widespread appeal of Italian taste in the Far East, shifts the focus to the value of quality and originality. A topic with which the furniture industry has always had to come to grips in the process of exporting design, especially in China. Products Made in Italy are appealing, it is undeniable, but being able to communicate the history and passion behind them, to transmit their intrinsic value and make it be perceived in all its facets, is something else again. It is a challenge to be met more on the intellectual and cultural plane, alongside the strictly commercial parameters. In recent times this effort seems to be leading to positive results. The EU-China pact is a valid example, though in another sector, but we can also point to the exponential increase of openings of new points of sale in the territory, which have to be based on long-term, prolific partnerships, and on a shared exchange of values. The interviews with representatives of big players in the sector like Poliform or Porro (on the following pages) confirm the outstanding reliability of local partners, who become true reference points for Made in Italy in a foreign country. Credit is clearly due here to the new generations, open to internationalism, and to knowledge of Italian ‘savoir-faire’: this respect, in the end, becomes the best form of protection.

IFDM 5 November 2019

trend

The echo of nature Iosa Ghini 基于植物界赋予的灵感设计了Kalos 系列，这是完全用复合材料 White Tec 制成的 Devon&Devon 盥洗盆。其曲线设计让人马上联想到花瓣的线条，而且自然地延伸到沿着水池宽度悬挂的大圆镜子上。

设计形式

材料浪潮 MATERIAL WAVES 和谐而流畅的线条勾勒出意大利制造集锦所涵盖的众多方案，无意间不仅创立了一条主题线索，而且还营造了一种可通过触觉和视觉尝试的缠绵的效果。

Iosa Ghini looks to the botanical world to design Kalos, the washstand by Devon&Devon made entirely in White Tec. The sinuous form that directly references flower petals continues in a natural way in the large circular mirror suspended over the width of the basin.

Marlene by GLAS ITALIA

Void by DESALTO

t is hard to discern unified trends in the variegated and multi-faceted world of design. But it is certainly possible to find common denominators between different brands and creations, generating thematic pathways from which to draw inspiration for updated interior solutions. Browsing through the year’s new proposals from the leading companies of Made in Italy, we can see a

在

Onda by ARMANI/CASA

多元化和多面性的设计世界中，很难勾画明确的趋势，但肯定可以找出那些确立主题线索的不同品牌和创意的共同点，从中得到启发并吸取经验，以提出新的室内设计解决方案。在浏览本年度来自大型的意大利制造企业的新设计方案时，可留意到蜿蜒的浪潮席卷了，或更确切地说，覆盖了不同类别的设计形式：轻柔的曲线变成了主题线索。材料通过一种曲线表达方式被塑造和处理后，无论从触觉还是视觉上，都散发出简单的家具产品应具有的那种舒适感和温馨感。这种形式的代表设计要数阿玛尼（Armani/Casa）家居的Onda （浪潮）系列：纯粹和本质的线条赋予这款休闲椅一种独特的感觉，它特殊的弯曲形状让人联想到海浪。沿着同一思路，Francesca Lanzavecchia 为 DeCastelli 设计的Scribble （涂鸦）系列则蕴

wave of sinuous lines that sweeps through and envelops new projects in a wide range of categories: like a light, soft, curvy fil rouge. Material lets itself be shaped by rounded expressive contours, which to the touch and the gaze emanate the comfort and welcome we now demand from a simple piece of furniture. An emblem of this accent on form is Onda by Armani/Casa: a pure, essential line provides the unique touch for this chaise longue whose particular curvature suggests the waves of the sea. In the same direction but with a different intention, there is the Scribble collection designed by Francesca Lanzavecchia for DeCastelli: the elegance of metal is softened by gentle curves and clear lines, adding a more feminine character, color and appeal; the essential signs become tables and counters ready to outline a new domestic alphabet. While Minotti makes organic and fluid forms the concept to accompany the entire collection 2019, its presentation and display (at the Salone del Mobile in Milan and its counterpart in Shanghai), Desalto investigates form in relation to architectural concepts of mass and space, in research conducted with the designer Guglielmo Poletti: the result is the Void series, which stands out for the curvature of the metal base that defines a space that alIFDM 6 November 2019

含着不同的意境：优雅的金属经过柔和的曲线和清晰的线条处理后则更显温柔，彰显出个性、色彩和更大的女性魅力；这些基本的语言符号变成了小桌子和桌面，并准备好绘制出一个新的家居符号。如果说伴随 Minotti 整个2019 年系列及其展览活动（米兰国际家具展及其上海展览会）的概念是有机和流体的形状，Desalto 则与设计师Guglielmo Poletti 共同探讨了有关实体与空无建筑概念的形式：于是诞生了Void （虚空）系列，其特点是弯曲的金属基座，它定义了一个能够改变物体视觉感知的空间。同样，在 Philippe Starck 和 Sergio Schito 为Glas Italia 设计的名为“Marlene” 的镜子中，经过加工处理后的材料也带来了意想不到的效果：精密的成型技术和手工镀银技术为一面镜子赋予了生机，其侧向曲面还会产生一种令人分外惊诧的失真图像。

ters our visual perception of objects. Material lets itself get manipulated with equally unexpected effects in the Marlene mirror designed by Philippe Starck with Sergio Schito for Glas Italia: precise techniques of shaping and silver-plating by hand give rise to a mirror that thanks to its curved lateral surfaces sends back a distorted and surprising image. Scribble by DECASTELLI

Photo © Alberto Parise

大自然的回声

ECONOMY

&MARKETS

房地产行业推动装饰行业

中国纪录 CHINESE RECORD

Photo © Ronnie Chua

中国生产全球39%的家具，总值约为1800亿美元。中国不仅是一个出口大国，也是一个进口大国。意大利是高质量装饰品的主要供应国之一。

在上海的子公司 FOSCARINI

Foscarini, an affiliate in Shanghai 继Foscarini Japan KK于2018年在东京开业后，Foscarini集团再次加强其在亚洲市场的业务，在上海开设了一家直销子公司，充分利用当地的仓库和员工。这家由 Carlo Urbinati创立和领导的公司证实其正努力提升其在欧洲以外市场上的销售增长，并在亚洲消费者中发展品牌忠诚度，并将提供带有CCC（中国强制认证）认证的产品。该品牌已连续四年参加米兰国际家具（上海）展览会。

根

据所有指标（生产、消费和出口）显示，全球最大的家具行业在中国。该行业内，在过去十年多时间，恒定在每年约17%的增长率，几乎全部为房地产市场所驱动。房地产市场为中国经济的支柱产业，也是中国现象级扩张的主角。中国生产全球 39%的家具，总值约为1800亿美元（来源：CSIL），约占世界出口份额的35%40%。超过70%的家具工厂位于中国东南区域的大湾区——涵盖香港、澳门和广东省——注定会成为亚洲和全球创新

Victoria Harbor, Hong Kong

推动中心。该行业的多数技术优势在大需求，这些人群更有可能购买房产，随湾区中心城市——深圳精准发展。事实之，也会购买装饰品。城市化发展趋势上，家具行业从南部和东部沿岸扩展至也发挥其了决定性的作用，贡献了1.17% 中国中部区域。大湾区和北京市内的很的增长率，总值高达58.52%。中国也是多家具厂在其他省份开设一个进口大国：中国装饰生产基地，比如：河北、进口增长了15.65%，总值河南、江苏、山东和安约305.2亿美元。意大利米徽，这符合中国大部分生兰家具研究中心报告：意产流向中小城市而将总部中国占全球 39% 家具制造量大利贡献了最高的优质进和研发部门留在大城市的口家具份额，约占30%。发展趋势。中国家具记录背后隐藏着多重原因。除了中产阶级的增长外，年龄在25-35岁之间人口的激增助力家具增长 Alessandro Bignami

he world’s biggest furniture industry is in China, according to all the indicators: production, consumption and exports. Growth of about 17% per year has been constant for over a decade in this sector, driven above all by the real estate market, the pillar of the Chinese economy and protagonist of phenomenal expansion in its own right. China produces 39% of the world’s furniture, for a value of about 180 billion dollars (source: CSIL), with a world export share between 35 and 40%. Over 70% of the furniture factories are in the GBA, Great Bay Area, the southeastern zone of the country – which includes Hong Kong, Ma-

39%

cao and the province of Guangdong – destined to become the driving center of Asian and worldwide innovation. Most of the technological advances in the sector are developed precisely in the capital of GBA, Shenzhen. Actually, from the southern and eastern coasts the furniture industry is spreading into the central part of China. Many furniture factories of the GBA and Beijing, in fact, are opening production sites in other provinces like Hebei, Henan, Jiangsu, Shandong and Anhui, in line with the Chinese trend towards movement of a large part of production into small-medium cities, leaving the headquarters and R&D divisions in the big cities. IFDM 8 November 2019

Foscarini strengthens its presence in Asia with the official opening of a direct sales affiliate in Shanghai, relying on local warehousing and staff, in the wake of the opening in 2018 of Foscarini Japan KK in Tokyo – the second foreign commercial branch of the group, after the United States. The company founded and helmed by Carlo Urbinati confirms its aim of boosting sales on extra-European markets and developing brand loyalty among Asian consumers, also thanks to the offering of products with the CCC (China Compulsory Certificate). The brand’s participation for the fourth consecutive year at the Salone del Mobile.Milano Shanghai is also a part of this overall project.

There are various reasons behind the Chinese furniture record. Besides the growth of the middle class, the demand is boosted by the expansion of the population between 25 and 35 years of age, the group most likely to buy a home and therefore also to buy its furnishings. The trend towards urbanization is also decisive, increasing again by 1.17% in, to reach a level of 58.52%. But China is also a big importer: the entry of furnishings in the country has increased by 15.65%, for an overall value of 30.52 billion dollars. Centro Studi Industria Leggera reports that with 30%, the highest quota of premium imported furniture is made in Italy.

six news

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from IFDM.design

live on IFDM.design CALVI BRAMBILLA担任FLOS新设计策展人住宅和专业领域的高端设计师照明行业的领先制造商FLOS宣布任命米兰建筑师二人组Fabio Calvi和Paolo Brambilla为品牌的设计策展人。

FLOS, CALVI BRAMBILLA NEW DESIGN CURATORS Photo © Emilio Tini

FLOS, a leading manufacturer of top-end designer lighting for both residential and professional sectors, announce the appointment of Milanese architect duo Fabio Calvi and Paolo Brambilla as its Design Curators.

酒店：一种使命

LG电子选择在意大利向欧洲市场推出其全新高端家电品牌。

DEBUT OF SIGNATURE KITCHEN SUITE

LG Electronics chooses Italy for the European launch of its new premium appliance brand.

Photo © Nicolas Matheus

标志性厨房套房首次亮相

里昂洲际酒店设计庄严而华丽，与这幢大楼热情待客与对比鲜明的设计风格的传统一脉相承。装修和室内设计由Jean-Philippe Nuel建筑与设计所负责。

HOSPITALITY: A MISSION

Photo © Zach Lipp

Monastic and precious, the InterContinental Lyon - Hotel Dieu inherits a legacy of welcome and contrasting styles. Renovation and interior design by Jean-Philippe Nuel Architecture & Design.

MINOTTI与中国：一如既往的合作关系

该公司在中国西安开设了全新旗舰店，由Minotti工作室与Jacci Mayee和大明宫建材实业集团合作设计。

MINOTTI-CHINA: AN ONGOING RELATIONSHIP

ARMANI在美国

Jacci Mayee and Daminggong Industrial Group.

Armani/Casa重要新进展：在北美开设了两个新展厅，分别位于洛杉矶和温哥华。

The company opens another flagship store in China, at Xi’an. The design has been done by Minotti Studio in collaboration with

“A” AS ARMANI AND AMERICA

Important new developments for Armani/Casa: two new showrooms in North America, in Los Angeles and Vancouver.

VENINI推出TONINO LAMBORGHINI系列此合作包括了一系列花瓶、吊灯和台灯作品，完美结合了两个品牌的特点。

VENINI PRESENTS THE TONINO LAMBORGHINI COLLECTION

The collaboration has led to a collection composed of vases, chandeliers and lamps, combining the characteristics of the two brands. IFDM.DESIGN

IFDM 10 November 2019

good

LIKES

STOSACUCINE.COM

融汇55年行业历史，Stosa Cucine的更新网站强调一种品牌数字身份，并以虚拟方式展示公司的有形增长。新布局介绍了各项艺术创新因素和相关内容的重组，并对其进行修订，使其更具消费者导向性：产品为每页的主角。

Summing up 55 years of industrial history, the updated website of Stosa Cucine sets out to assert the digital identity of the brand and to virtually demonstrate the company’s tangible growth. The new layout introduces elements of aesthetic innovation and reorganization of content, and has been revised to make it more consumer-oriented: products are the protagonists of every page.

BAXTERSRL.CN/ZH-HANS

数字身份认证新型布局、新用户互动模式、新内容和共享工具。网站就如一张名片，就如娓娓动听的故事，传达着企业身份，助推企业创新。这就是公司为什么进行不断改版和更新的原因，从而支持和密切监测品牌发展路线。如下列出了一系列最新重新设计的网站。请记下这些网站！

公司填补与中国之间的空白，与微信联合推出其全中文版网站。相同的主页（垂直组织结构，高强度影像冲击）、相同的布局（轻快、明亮）、相同的内容（章节性开发，包括显著的基调和材料）。

The company closes the gap with China, and alongside the WeChat channel launches a version of its website completely in Chinese. The same homepage (organized vertically, for high photographic impact), the same layout (airy and light), the same contents (explored in subsections, including the noteworthy coverage on Moods and Materials).

COTTODESTE.IT

在获得年度产品互动及服务最佳网站奖（Interactive Key Award）后，Cotto d’Este网站亦荣膺2019年年度最佳网站奖（网络营销协会组织的年度竞争奖），并获得“建筑” 类卓越标准奖。该奖项表彰优秀设计、内容深度性和使用简易性；一个着重Cotto d’Este 价值、企业文化和收集内容的项目。

WUTOPIALAB.COM

全屏图像集，沉浸式缩放效果。欢迎访客访问建筑公司——上海尖叫实验室的更新网站。主页简练含蓄，但是效果力强（简单介绍之后，随附一个较长的获奖和荣誉名单），“作品”和“档案”各项提供深度信息和精品照片，让项目为自己代言。

STUDIOPARISOTTOEFORMENTON.IT

项目优先！公司Parisotto + Formenton Architetti新网站通过其最新作品确保建筑师的身份。融合各学科的图片集：从建筑到内饰、产品设计到游艇装饰。图像全面更新，适用于新内容和新导航系统。

Projects first! The new website of the firm Parisotto + Formenton Architetti wagers immediately on the identity of the architects through their latest works. A gallery of images across all disciplines: from architecture to interiors, product design to yacht decor. Completely updated graphics, for new contents and a new system of navigation. After having received the Interactive Key Award, the Cotto d’Este website also triumphs at the WebAwards 2019 (the annual competition organized by the Web Marketing Association), taking the Standard of Excellence award for the “Architecture” category. The award honors good design, depth of content and simplicity of use; a project that puts the accent on the value, corporate culture and collections of Cotto d’Este. IFDM 12 November 2019

A gallery of full-screen images, with immersive zoom effects, welcomes visitors to the updated site of the architecture firm Wutopia Lab of Shanghai. The homepage is pithy but effective (after a brief introduction comes a long list of prizes and honors received), while the sections on “works” and “archives” offer in-depth info and fine photography, allowing the projects to speak for themselves.

MADIA C-WOOD SPECCHIO PANDORA LAMPADE MERIDIAN POLTRONCINE CARMEN TAVOLINO LUMIERE TAVOLO TREBLE SEDIE ANGY

STORE: MILANO PIAZZA VELASCA 6 ROMA VIA PO 1H NAPOLI VIALE KENNEDY 415/419 BARI P.ZZA GARIBALDI 75/A BERGAMO VIA SUARDI 7 REGGIO CALABRIA C.SO GARIBALDI 545

people

Salone del Mobile.Milano Shanghai

&OPINIONS

Eastern Hall - Second floor - Booth ES38

Shanghai Fuyi Building Materials

Maria Porro

Monobrand Cimen Intern.brand Center Rm 3037 Cimen No.407 Yishan Rd.

HEAD OF MARKETING DEPARMENT of PORRO 作者 Veronica Orsi

“我们倡导严谨以及对产品本质特征的呈现，这也是我们生产过程秉承的原则。”这是家族企业第四代掌舵人 MARIA PORRO所总结的品牌创作思维和方式，这也是这个家族品牌在90多年来（2015 年为品牌90 周年）脱颖而出的原因所在。上世纪80 年代，品牌迎来第一次革命，由第三代掌舵人 PIERO LISSONI 担任艺术总监，随后是千禧年时期取得的各种成就（扩大生产设施、与CHRISTOPHE PILLET、MARIE MASSAUD、FRONT、ALESSANDRO MENDINI、WERNER AISSLINGER、 GAMFRATESI 等外部设计师展开全新的合作）。秉承面向未来的视野，品牌不断开拓新市场，日益重视可持续性的发展。这就是PORRO，一家成功地将全方位经验与不断增长的扎实专业知识相结合，并以建筑理念打造家具的公司。征的品牌：设计、质量、灵活性、环保。我们现在面对的客户是知识渊博的新世代，他们曾出国留学，他们能理解各种场合意义中的“美的文化”，家就是这种观念的起点。所以，他们会想了解所选择的设计公司，与公司的管理层直接沟通。我们也喜欢这种严谨的态度，因为这意味着我们会有共同的语言。

Porro品牌理念的背后是否有着不可或缺的价值观？我们听过很多关于质量的讨论，质量是我们作出每一个选择的依据。材料、生产过程、设计、装配的质量，以及客户和建筑师的关系质量。毫无疑问，质量是 Porro 的重要追求之一，我们相信，这是我们品牌能获得尊重的价值。接下来是美学方面：我们希望打造可以融入各种不同家庭的产品，因此必须将美观和设计与灵活性相结合。最后，是以建筑理念打造家具：家具不应该只是放入空间中的一件设计作品，而应该是一个系统的概念，一个有助于提升设计空间的装饰。

你们在零售端有怎样的定位？我们在中国的主要城市开设了两家品牌专卖店：第一家三年前在上海开业，很快会进行彻底翻新；第二家去年于北京开业。在常州、杭州或西安等其他城市，我们按照 Porro 的理念，以店中店的形式（约400平方米）进行品牌专卖。我们运营方式是与当地经销商合作，通过合作，在这个市场里建立强大且统一的形象。除了中国，你们还有哪些参考市场？你认为在哪里会有新的机遇？ Porro的产品出口比例很大，占了约 75%，其余的产品则供应意大利市场。在销量和增长前景方面，美国、加拿大和亚洲国家是最有趣的市场。美国人是一个集中、成长中的市场，但步伐与中国不同：我们认为这是一个有潜力的市场，在这里我们还有很多工作需

贵品牌在合同工程和项目方面的业务如何？我们看到在这个行业发生的一个总体的变化：单品销售趋于减少，人们越来越注重整体的概念，经销商也是如此。现在，人们希望我们提供一个家的完整设计。个性化更加凸显重要，尤其是在近几年来发展迅速的中国市场：最终的客户（我们品牌面向的是要求很高的目标客户）想要获得设计优秀、质量高，又独具个性、能代表其身份的产品。即使是大项目和大批量的案例中，也是如此。对我们而言，合同工程占总营业额的10%，无论是大型项目（最新的项目是深圳的两栋住宅楼，供应了500 多个 Porro 衣柜），还是较小规模的项目，个性化都更趋重要：我们为南京的一个项目生产了 200 个衣柜，根据客户的要求，我们在密胺树脂上打造出木纹的效果。

要和应该做。而在其他亚洲国家和地区，我们也取得了不错的成绩：譬如我们开展业务已有 20 多年的香港、日本、新加坡，以及泰国、印度尼西亚、菲律宾和越南等新兴市场。对于后面这些国家，我们是第一批进入该市场的品牌，两年前在河内开设了专卖店和展厅，现在我们又在胡志明市开了新店。此外，当我们进入新市场时，我们的目标是确定合作伙伴，并建立长期合作关系。贵公司目前筹备的工作是……？可持续发展的计划。新的生产投资注重灵活性和更大的可持续性，因此，未来的投资和研究计划都会朝着这个方向发展，这也一直是我们公司品牌精髓的一部分（Porro 在 30 年前就已采用 E1 标准，而在当时这一标准还未被定为强制标准，在 2000 年，公司作出在自然光线下进行生产的决定也是出于这一理念）。这些努力与创新设计双管齐下：新材料研发（即新型涂料、新型面板和新饰面）仍是我们的主要重点：譬如今年推出的白色密胺树脂樱桃木，这是第一种能够重现闭孔木纹效果的同类材料。灵活的生产令我们得以开辟出新的创意设计。我们已经在和 Piero Lissoni 一起着手准备下一届的米兰国际家具展，并朝着越来越有建筑理念和自由精神的方向发展。 STORAGE Dressing Room by Piero Lissoni

贵公司在中国开展业务已长达 15 年：品牌与这一市场的关系发生了怎样的演变？当我们第一次进入中国市场时，在很多年的时间里，我们都很难成功往中国市场灌输质量和意大利设计的概念。直到最近三至四年，我们才看到中国客户在意识上有了真正的突破，他们现在会想找具有特定特 IFDM 16 November 2019

Is there one indispensable value behind the entire Porro philosophy? We hear lots of talk about quality, and for use it is a dictate that guides every choice. The quality of materials, of the production process, the design, the assembly, the relationship with clients and architects. Undoubtedly quality is one of our main obsessions, across the entire Porro system, and we think this is the value of our brand that gains the most respect. Then comes the work on aesthetics: we try to make products that can enter very different homes, so beauty and design have to be combined with great flexibility. Finally, an architectural approach to furniture: not just a design piece inserted in a space, but the idea of a system, a decor that contributes to design that space.

OFFSHORE series of containers by Piero Lissoni

terms of volume and growth prospects are the United States, Canada and the Orient in general. American is a consolidated, growing market, but not at the same pace as China: we consider it a potential market where much can and should still be done. There are other oriental countries that are bringing good results: from Hong Kong, where we have been operating for over 20 years, to Japan and Singapore, all the way to newer markets like Thailand, Indonesia, the Philippines and Vietnam. In the latter, we were among the first to enter the scene, opening a monobrand showroom two years ago in Hanoi, and we are now opening another in Ho Chi Minh City. Also when we are making a debut on new markets, our goal is to identify a partner and to establish a long-term relationship.

MATERIC table by Piero Lissoni

What is your involvement with the world of contract and projects? We are seeing an overall change in this sector: the sale of individual pieces is gradually diminishing in favor of total concepts, also for dealers. The approach is now to supply the complete design of a home. Personalization has become essential, especially on the Chinese market which has evolved greatly in recent years: the final counterpart (which means a very high client target, in our case), wants a product that is well designed, of high quality, but also unique and representative of their identity. Even in big projects and big quantities. For us contract accounts for 10% of total turnover, both with projects on a very large scale (the latest is for two residential towers in Shenzhen, with the supply of over 500 Porro wardrobes) and with smaller ones, where personalization becomes even more important: we have produced 200 wardrobes for a project in Nanjing, where by the client’s request we had to create a wood grain effect on melamine. You have been operating in China for over 15 years: how has your relationship to that market evolved? When we began our adventure in China and for many years afterwards it was very hard to transmit the concept of quality and of Italian design. Only in the last 3 or 4 years we have seen a true breakthrough of awareness on

the part of Chinese clients, who now look for brands with precise characteristics: design, quality, flexibility, environmental sustainability. We are now dealing with informed counterparts, with the new generations who have studied abroad, who understand the ‘culture of beauty’ in all situations, starting with the home. This is why they want to know about the company, to establish direct relations with its management. And we like this serious approach, because it means we are speaking the same language. How are you positioned on the retail side? We have two fully launched monobrand stores in the main Chinese cities: the first is in Shanghai, opened three years ago, and it will soon be completely refurbished; the second was opened last year in Beijing. In other cities like Changzhou, Hangzhou or Xi’an, we are operating with shop-inshop facilities (about 400 square meters) entirely for our brand, in line with the Porro concept. Our approach is to work with local dealers, in a process of cooperation that leads to a very strong, consistent presence. Apart from China, what are your markets of reference and where do you see new opportunities? Porro has a very high export quota, about 75%, while the remaining product is for Italy. The most interesting markets in IFDM 17 November 2019

The company is gearing up for…? A program of sustainability. The new production investment focuses on flexibility and greater sustainability, so all the investments planned for the future and the research move in this direction, which has always been part of our corporate DNA (Porro was using E1 standard panels already 30 years ago, when they were not yet obligatory, and even the choice of working in natural light, in 2000, was based on this approach). These efforts happen alongside the creative work: research on new materials – meaning new types of coatings, new types of panels and new finishes – is still our primary focus: one example is the white melamine cherry presented this year, the first such material that is able to reproduced a closed-pore wood effect. The productive flexibility we have achieved has opened up new creative paths, so with Piero Lissoni we are already working on the next Salone del Mobile in Milan, moving in an increasingly architectural and free direction. MODERN containers system with LOAD-IT book shelving system

Photo © Giovanni Gastel

people&PROJECTS

专访

P A O L A N A V O N E 作者 Matteo De Bartolomeis

Paola Navone是一位特立独行的设计师：仅在绝对必要之时才借助于数字化，却以类似方法体验和看待这个职业。这是一个允许她的员工和客户享受摇滚乐式生活方式的邻家女孩，她正好是苛刻设计的对立面，总是确保有趣元素存在。而其余的都很无聊。 Paola Navone is a designer that marches to her own drum: digital only when absolutely necessary, yet analogue in her way of experiencing and viewing the profession. A girl next door who allows her staff and her clients to enjoy a rock-n-roll lifestyle, she is the antithesis of exacting design, always making sure that there is an element of fun. All the rest is boring.

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people

&PROJECTS 你曾经是Alchemy团队的一员，它也许是目前设计界见过的最先进的工作坊。现在还有进步空间吗？这个词的意思变了吗？我极其幸运地能在精力旺盛的年纪开始我的职业生涯，那时有很多真正的交流。如今一切变得都不同了。经济形势可能也影响了人们，产生他们甚至可能没有意识到的不确定性。冒险意识无迹可寻。我的工作室里满是25到35岁的年轻人，他们有时会把我看成是来自另一个星球的人。他们更加聪明。当我还是他们这个年纪的时候，我则在思考自由，从事自己喜欢的事情。当我和Sottsass & Co合作的时候，我们不得不想法设法来过日子。我们付出了很多，但我们在真正对结果有用的事件上却付出了非常少的时间。剩下的时间则用在我们自己的发明上，用在我们喜欢的事 Photo © Nicholas James, courtesy by Virgin Hotel

RAFAEL daybed for ETHIMO

CERISE Rooftop bar at VIRGIN HOTEL, Chicago

你是个狂热的旅行者。你究竟在寻找什么？旅行是我生命中的一部分。我不会逃避任何事情，也不会追逐任何东西。我只需要见识，触摸，体验一些地方和认识一些人。我发现这是一个激发想法非常优秀和实用的方法，也是我知道的唯一一个方法。不管你能走多远都没关系。对我来说，即使去超市也是一段旅程：我离开了，我过去了，我看见了，我理解

设计界似乎对大型合同很感兴趣，但你并不是那么感兴趣。是这样的吗？我非常喜欢设计酒店！我的办公室是这样工作的：分为两个团队，一组负责产品的设计，另一组负责布置和室内的设计。一切都从第一次与客户的会面开始。如果起了精神上的化学反应，那么我就会承担符合他的世界对他期望的责任。我们每一个室内设计都像是一部建立于客户现实之上的电影，同时也是我的两个工作团队融合的结果：一个是设计物品的严谨而又有纪律的小组，另一个是摆脱限制创造室内的小组。交流和互助是持续性的。一个提供行为准则，另一个将其转化为视野。设计师的产品似乎越来越像是我们已经见过的东西的复制品。对此你怎么看？如今，市场营销在创造力上占据了上风，其结果可以在这些产品中看到，它们几乎总是重复曾经（或许）风靡过的东西。对改变方向的恐惧使战略部署瘫痪。当我与Mendini和Sottsass合作时，我们努力想在公司高管的头脑中潜移默化地灌输创新理念：色彩（当所有事物都是黑色皮革和抛光钢时）、不对称性（所有东西都是对称的）和趣味性（在20世纪60年代，“学设计必须通过教学”的灰色概念非常流行……不置可否）。你明白差别了吗？ JOYCE Boutique, Hong Kong

Photo © Lusher Photography

物以及基本上花我们在带薪时间挣的（很少的）钱所买的东西之上。所有这一切之所以成为可能，是因为 Alessandro Guerriero（Alchemy的创始人）。他是一位真正的天才，引发了真正的创造力爆炸，知道如何将它保持下去并加以引导。我们在Guerriero和几家给我们提供材料的公司的帮助下，在米兰国际家居展展示了自制收藏品。即使是现在，我仍在提倡设计之中的乐趣。我经常告诉那些和我一起工作的人，我们一定要在我们所做的每件事中都融入一小部分的乐趣。如果你自己尽兴，那么你工作的成果将反映出这种活力；如果你在设计的时候感觉备受煎熬，那么你工作的成果将带有这种消极性而且那些看到你作品的人也会以某种方式感知到它。我们还需要消除这样一个神话，即设计师在某种程度上属于上层阶级。我们如他人一样工作，但是我们是如此幸运能够发展我们的创造力，能够将工艺和商业结合起来，基本上能够吸引其他的活力并利用这些推动我们的设计。

了，然后我创造我的东西，物品和情境。这样我们的工作室就变成了一个巨大的熔炉，你可以在里面找到一切。当一份新工作到来时——不管是一把椅子还是一座酒店——正确的事务都会浮出水面。我们没有在整合上花太多时间。因为剩下的时间（旅程）都是纯粹的分析，所以我们很快就可以做出决定，这现在对我们来说是自然而然的事情。

似乎数字世界对你没有什么吸引力。如果是的话，为什么？这个世界在进化。数字媒体是一种帮助我更好地完成工作、减少压力的工具。仅此而已。我不明白的是，彼此间都是陌生人，为什么有人在Instagram看到我的一个产品就会被吸引。今天的数字通讯是肤浅的缩影。我认为，我们仍然有办法来避免助长肤浅的东西，并转而去追寻超越表象的东西。

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know of. It doesn’t matter how far you go. For me, even going to the supermarket is a journey: I leave, I go, I see, I assimilate, and I create my things, objects, and situations. In this way our studio has transformed into an enormous melting pot in which you can find everything. And when a new job arrives – it doesn’t matter if it’s a chair or a hotel – the right things bubble to the surface. We don’t dedicate much time to the synthesis. Decisions are made very quickly because the rest of the time (the journey) is pure analysis, which now comes naturally to us.

AN IMAGINARY CITY @ Triennale di Milano for ABET LAMINATI Fuorisalone 2017

Photo © A. Arcidiacono

You were a part of the Alchemy group, perhaps the most progressive studio that the world of design has ever seen. Is there still room to be progressive? Has the meaning of this word changed? I was incredibly lucky to begin my career at a time of great energy, when there was an enormous amount of true exchange. Today everything is different. The economic situation probably affects people as well, creating uncertainties that they may even be unaware of. There’s little sense of adventure. My studio is full of 25 to 35 year-olds who sometimes look at me as though I’m from another planet. They’re wiser. When I was their age I was thinking about freedom and doing what I liked. When I worked with Sottsass & Co we were forced to come up with ways to get by. We worked a lot, but very little of our time was dedicated to what actually paid us. The rest was for our own inventions, for the things that we liked and that

The world of design seems to be very attracted to large-scale contracts, but you less so. Is that accurate? I absolutely love designing hotels! My office works like this: it’s divided into two groups, one designs the products and the other designs the arrangements and interiors. It all begins with the first meeting with the client. If there’s mental chemistry then I assume the responsibility of fitting in with what his world expects from him. Every interior that we design is like a film built upon the client’s reality and is the result of the fusion between my two working groups: the rigorous and disciplined one that designs objects, and the other one that’s free from limitations and that creates the interiors. Exchange and reciprocal assistance are continuous. One delivers discipline and the other transforms it into a vision. Designer products seem more and more to be copies of something we’ve already seen. What do you think about this? These days marketing has gotten the upper hand on creativity and the result can be seen in products which are almost always a repetition of something else that (maybe) worked. The fear of changing direction paralyses strategies. When I worked with Mendini and Sottsass we tried to insinuate innovative ideas into the minds of company executives: colour (at the time everything was black leather and polished steel), asymmetry (everything was symmetrical),

TAIPEI sofa for BAXTER

we basically paid for with the (little) money that we earned during our paid hours. All of this was made possible because of Alessandro Guerriero (the founder of Alchemy), a genius who set off a true explosion of creativity and who then knew how to keep it together and guide it. We presented our selfmade collections at the Salone del Mobile with the help of Guerriero and of several companies that gave us the materials. Even now I continue to encourage joy in design. I often tell those who work with me that we must always be sure to incorporate a small percentage of fun in everything that we do. If you enjoy yourself, then the output of your work will reflect that energy; if you suffer while you design, then the result of your work will carry that negativity and those who look at it will somehow perceive it. We also need to dispel with the myth that designers are somehow of a higher caste. We work like everyone else, but we have the great fortune of being able to develop our creativity, of being able to bring together craftsmanship and business, basically of being able to attract other energies and use these to fuel our design. It seems that the digital world holds little appeal for you. If so, why is that? The world evolves. The digital medium is a tool that helps me to do my job better and with less strain. Period. I don’t understand how someone – from stranger to stranger – can be attracted to one of my products by seeing it on Instagram. Today’s digital communication is the epitome of superficiality. I think that there are still ways for us to avoid fuelling the superficial and to seek instead to move a bit beyond appearances.

MOON table, GRAY and GHOST chairs, BRASS lamps for GERVASONI

You’re an avid traveller. What is it that you’re looking for exactly? Travel is one of my elements. I don’t run from anything and I don’t chase anything. I simply need to see and touch, experience places and meet people. I find it to be an excellent and practical way to scout ideas, the only one that I IFDM 21 November 2019

playfulness (in the 1960s the grey concept in which “design must teach” was very popular… no comment). Do you understand the difference?

全中国最高的书店 Wutopialab应上海世纪出版集团的委托在中国最高建筑上海中心52层设计了水墨设色的（ink and wash）朵云书院旗舰店。朵云书院旗舰店是个小型的空中文化综合体，它由七个功能区组成，涵盖书店，演讲，展览，咖啡，甜品和简餐等不同功能，总共2200平米，共有60000册书籍和2000种文创用品。

24 HOURS IN

上海24小时

SHANGHAI 得天独厚的多元文化 MULTICULTURAL FLAIR 米兰国际家具（上海）展览会的绝佳之地，见证意大利精工之作。本地才思与国际创意，将在这座城市激情碰撞。作者 Cristina Ferrari

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Photo © CreatAR Images

元文化中心，各种建筑风格的万花筒，通向西方世界的理想之桥。上海，这座千面之城，带着上世纪 30 年代的辉煌印迹和细腻入微的古老传统，不着痕迹地融入当代创意华丽的景致。漫步于城市各区意味着接受不同的情感体验，合并而形成新的设计符号。例如我们偶遇了上海尖叫设计实验室的创意无限，他们在忙于“城市微空间复兴计划”。计划着手于城市文化和品味生活，由俞挺和 Min Erni 联手打造的新作云上书店，位于上海第一高楼上海中心大厦 52 层。穿过外滩金融中心时，可以邂逅精致传统和大国际范儿的文化交相辉映。这是一个由福斯特建筑事务所和赫斯维克工作室联合设计的 42 万平方米项目，终点是文化艺术中心，其灵感来自中国传统的舞台剧场。“老上海”的迷人风情被荷兰事务所 UNStudio 尽情演绎在购物中心的正面，钻石形镶嵌板排成队列，熠熠生辉。近年来的装饰项目中，从建筑到内饰设计，创意都层出不穷，创意圈没有最广阔，只有更广阔。例如：未来主义的上海泰禾影城（设计者：Scale Art Design + CROX 赖建安和林琮然）；细腻入微的莲花酒吧（设计者：Office AIO）；都市宠物店动物背脊（设计者：I.F.S.E.）SPACE CREATIVE LAB 入围了像世界室内设计节奖、Dezeen 设计奖这样的所有国际奖项的候选名单。这也是主要的本地和国际盛会之一，以设计为主要资产，确切的说旨在打造本年度的‘创意天才’概念。本篇主旨是米兰国际家具（上海）展览会（与意大利木业和家具工业联合会装饰展览公司和意大利对外贸易委员会联合主办）。此届展会已是第五次在上海招开（11 月 20-22 日），将继续担当意中两国文化和商业的桥梁。展会期间将有 128 个意国优质品牌在上海展览中心展出，分为设计和奢侈品；同时在母国米兰展区有列奥纳多艺术展。“纪念达芬奇逝世500周年”活动列奥纳多·达芬奇时代前后的意大利设计艺术展：以引人深思的叙述方式追溯文化交流的重要性，这是达芬奇时代的一个重要主题，在今天更是尤为重要。

multicultural hub, a kaleidoscope of different architectural styles, an ideal bridge to the western world. Shanghai is a city of a thousand faces and facets, mixing the traces of the glorious 1930s with the hints of an ancient tradition, all seasoned by touches of creative brilliance of the contemporary scene. Strolling through its districts means getting influenced by different sensibilities, which combine to formulate a new expression of design. We run into the boundless creativity of Wutopia Lab, for example, busy with an “urban humble space regeneration plan” starting with the culture and lifestyle of the city: the latest masterpiece by the duo Yu Ting & Min Erni is the Books above Clouds bookstore on the 52nd floor of the Shanghai Tower, the tallest building in the metropolis. Crossing the Bund Finance Centre we can see the encounter between pure tradition and wide-ranging internationalism, thanks to a project of 420,000 square meters by Foster + Partners and Heatherwick Studio, culminating in the arts and cultural center inspired by traditional Chinese theaters. All the charm of ‘old Shanghai’ has been captured by UNStudio in the facade of the shopping center, in a sparkling array of diamondshaped panels. From architecture to interior design, creativity is also displayed in the recent decor projects that

WHERE WE ARE November 20nd-22th: Salone del Mobile.Milano Shanghai | Balcony | Booth P02

IFDM 23 November 2019

enhanced the widest range of locations: the futuristic Shattered Holiness movie theater designed by Scale Art Design + CROX with Botta Lai and C.R.LIN; the refined and purist Bar Lotus by Office AIO or the metropolitan pet store The Animal Backbone by I.F.S.E. SPACE CREATIVE LAB – all candidates for international honors like the INSIDE World Festival and the Dezeen Awards. This is also the setting for one of the major local and international events that makes design its main asset, devoting this year’s edition precisely to the notion of ‘creative genius.’ We’re talking about the Salone del Mobile. Milano Shanghai (organized in collaboration with FederlegnoArredo Eventi and ICE Agenzia), which arrives in town for its 5th appearance (20-22 November): continuing with its mission as a cultural and business bridge between Italy and China, the fair brings as many as 128 of the finest brands of Made in Italy to the Shanghai Exhibition Center, split into the categories Design and xLux; while from the ‘mother’ fair in Milan, it borrows the installation DE-SIGNO. The art of Italian design before and after Leonardo, commemorating the 500th anniversary of the death of Leonardo da Vinci: an evocative narrative the retraces the importance of cultural exchanges, an important theme in Leonardo’s time, and one that is even more crucial today.

24hours in

ELLEDUE

SHANGHAI

Western Hall Second Floor Booth WS03

在米兰国际家具展上海展览会上展出的新品是名为 Latino （拉丁）的扶手椅，它的诞生丰富了同名系列的产品。在中国展出的新品有一个闪亮的镀金底，靠背用印花的珍珠灰绒面革包裹，座椅则用明度不同的同色天鹅绒包覆。简约的风格和金属终饰（如金、铜和枪管）是产品的精髓所在。 The new entry presented at the Salone in Shanghai is Latino, a chair that joins a collection of the same name. It arrives in China in the version with a base in shiny galvanic gold coating, with a cover that combines pearl gray stamped nubuck on the back with ton-sur-ton velvet for the seat. A minimal style, with metal finishes like gold, bronze and gunmetal.

LIVING DIVANI

Eastern Hall Second Floor Booth ES03

主角是名为 Greene 的沙发，由 David Lopez Quincoces 设计。这款沙发的纤细椅脚采用钢条制成，带有灰色炮铜饰面，搭配丰盈的靠垫，以cuoietto皮革或皮革制成的外罩包裹，既柔软又具有结构感，弯曲度很小。

The protagonist is the Greene sofa designed by David Lopez Quincoces. Raised on a slender foot in steel rod with a gray gunmetal finish, it has ample cushions wrapped by an external shell in cuoietto or leather, simultaneously soft and structured, with a very slight curvature.

NATUZZI

Western Hall W34/W36/W39

由Bernhardt & Vella设计的Amalia 座椅系列将建筑几何与柔软的实体空间相结合，营造出舒适而温馨的休闲绿洲，在经典与现代风格之间达到一种完美的平衡。表面宽大而舒适的沙发床是一个可以放松和寻求呵护的温馨的雀巢，高高的靠背和柔软、精美的靠枕向你敞开温暖的怀抱。

The Amalia seating collection by Bernhardt & Vella comes from the combination of architectural geometry and full, soft lines to create a comfortable, enveloping oasis of relaxation, in a perfect balance of classic and contemporary style. The daybed with its ample, welcoming surfaces is a nest-like refuge, with a high back enhanced by soft cushions.

OPERA CONTEMPORARY

Western Hall Ground Floor - Booth WG01

Castello Lagravinese工作室采用枫木饰面奠定 Oliver圆形餐桌的风格基调，并通过镀金金属嵌件和顶部大理石旋转餐盘来增添活力。底座由精致的木柱组成，并配有抛光的黄铜嵌件，作为独特的设计细节。 The studio Castello Lagravinese has used a frisé maple finish to set the tone of the round Oliver table, enlivened by inserts in gilded metal and a Lazy Susan in marble set into the top. The base is composed of refined wooden pillars enhanced by polished brass inserts, as a distinctive detail.

VISIONNAIRE

Central Hall Ground Floor - Booth CH10

Leonardo体现着Alessandro La Spada久负盛名的设计

风格，其名字取自来自托斯卡纳的天才艺术家达芬奇。这个餐具柜采用规则的椭圆形设计，结合木材和钢材制成。在 3D 工艺的柜门上体现了对细节的严谨追求，柜门以皮革、织物包裹，或是采用亮面漆处理。适用于精致的布置，例如Kylo餐厅项目。

IFDM 24 November 2019

Leonardo bears the prestigious signature of Alessandro La Spada, and the name of a genius from Tuscany. The sideboard combines wood and steel in a regular oval form. Painstaking attention to detail can be seen in the 3D workmanship of the doors, covered in leather or fabric, or with a lacquer finish. For refined settings, like the Kylo dining room project.

GIORGETTI

Eastern Hall Ground Floor - Booth EG18 EG20

Roberto Lazzeroni 设计的优雅和音乐特色在Amadeus中得到淋漓体现。长方形桌子采用自然原色、灰色或深色饰面，以蜂窝状铝制台面设计引人注目，实心边框，而采用Canaletto胡桃木制成的曲形桌脚则搭配大理石嵌件。

The elegance and musical character of the designs of Roberto Lazzeroni find maximum expression in Amadeus. The rectangular table, in natural, gray or dark finishes, stands out for its fascinating top in honeycomb aluminium, with solid borders and sinuous legs in canaletto walnut, featuring marble inserts.

FLOU

Central Hall Ground Floor - Booth CH30

Myplace的多功能性在座椅的三个不同深度以及底座、扶手和

靠背部件的自由组合中得到体现，能实现无限的个性化。组合式沙发的织物或皮革外罩均可拆卸；方形或圆柱形椅脚采用黑色镍或哑光抛光表面处理。由 Emanuela Garbin 设计。

The versatility of Myplace is evident in the three different depths of the seat and the compositional freedom of bases, armrests and backs, permitting extensive personalization. The modular sofa is covered in completely removable fabric or leather; the square or cylindrical feet have a black nickel or matte burnished finish. Design by Emanuela Garbin.

PORADA

CALLIGARIS

Western Hall Second Floor Booth WS26

Eastern Hall Second Floor Booth ES56

动态和线性：这是最能描述Aria书柜的两个形容词。该书柜由David Dolcini设计，具有模块化结构，采用白蜡木制成的承重柱，连接到天花板或墙壁。烟玻璃或白蜡木架子、带铰链或折回门的柜子和抽屉可完全自由搭配使用。

对于寻求构图自由的人，Le Marais 座椅系列是理想的选择。简约的线条和和谐的轮廓为这个由 Stefano Spessotto 打造的系列增添北欧风格，系列包括一张多座位的固定沙发，不同大小的中心元素、贵妃椅、褥榻和开放式单元组成。金属底座采用两种饰面处理，分别为哑光黑色和黄铜色。 Those in search of compositional freedom can find it in the Le Marais seating collection. Essential lines and harmonious forms bring a Nordic tone to the series created by Stefano Spessotto, composed of a fixed sofa with multiple seats, central elements of different sizes, a chaise longue, ottoman and open-end unit. The metal base comes in two finishes: matte black and brass.

Dynamic and linear: these are the two adjectives that best describe the Aria bookcase. Designed by David Dolcini, it has a modular structure with load-bearing columns in ash, attached to the ceiling or the wall. Shelves in smoked glass or ash wood, cabinets with hinged or fold-back doors, or with drawers for total compositional freedom.

MINOTTI

Eastern Hall Second Floor Booth ES25 ES31 Minotti by Domus Tiandi: No.151 Jianguo West Road, Huangpu District

米洛提 (Minotti) 将在上海展览中心展出 2019 新款系列。五个客厅解决方案包括 West、Lawson 和 Daniels 座椅系统，以及两个餐厅方案 Wedge 和 Oliver Lounge 餐桌，以精选系列饰品和配件烘托，营造各种气氛。此 2019 系列在上海旗舰店有专柜展示，旗舰店与家·天地 (Domus Tiandi) 合开，占地 1300 平方米。 At the Shanghai Exhibition Center, the company presents the new 2019 Collection. Five living solutions including the West, Lawson and Daniels seating systems as well as two proposals for the dining room, the Wedge and Oliver Lounge tables, create atmospheres enhanced by a curated selection of complements and accessories. The 2019 Collection also finds an exclusive showcase within the Shanghai flagship store opened in partnership with Domus Tiandi, which spreads over 1300 square meters. IFDM 25 November 2019

24hours in

SHANGHAI

PENTA

Western Hall Second Floor Booth WS31

Umberto Asnago希望在Mamì台灯中将艺术与设计结合起来。这位设计师将这个椭圆形照耀模块重新演绎成四个版本：现代主义风格的悬吊灯、流线形桌灯、落地灯和壁灯。 Umberto Asnago wanted to combine art and design in the Mamì lamp. The designer has reinterpreted the oval module of the luminous volume in four versions: with a modernist tone in the suspension lamps, and a more linear design for the table, floor and applique models.

FLEXFORM

Eastern Hall Ground Floor - Booth EG09 EG11

该品牌的生活方式跨越室内空间的界限，进入户外环境。相同的风格，对细节的关注，一如继往的优雅和浓郁的氛围：该公司的红线元素被精妙地转移到全新2019 Outdoor系列中，该系列运用许多编织元素。 The brand’s lifestyle crosses the boundaries of indoor space to enter the outdoor context. The same style, the same attention to detail, the same elegant, enveloping atmosphere: the red thread of the company’s collections has been painstakingly shifted into the new 2019 Outdoor Collection, featuring many woven portions.

MISURAEMME

Western Hall Ground Floor Booth WG29 510 Beijing Xi Road, Jing’an

Virgin座椅系列具有均衡、舒适的比

例，和谐的形式对比重新诠释了1950年代的柔和线条。Mauro Lipparini打造的这一对比风格设计十分抢眼：模糊的轮廓与严谨、纤细的金属前脚相互呼应。

Harmonious formal contrasts reinterpret the soft lines of the 1950s in the making of Virgin, a seating system with balanced, comfortable proportions. The gaze is captured by the game of contrasts created by Mauro Lipparini: a muffled silhouette interacts with the rigorous, slim metal front feet.

俞挺建筑设计工作室（Wutopia Lab）将思南公馆25号楼改建成一家新书店。思南书局建筑面积 460平方米，共四层，每个楼层分别代表潜意识、心灵、视听、思想，空间的组织就像人类获取知识、认识自我和世界的体系。颜色与情绪和感觉密切相关。书店里，颜色的感知会根据白天的光线情况以及人在特定时间的情绪状态而变化。

LEMA

Eastern Hall Second Floor - Booth ES10

David Lopez Quincoces 为 Alamo 桌子融入装饰性精神和迷人的个性。这位设计师以他严谨的方法重新诠释了 1940 年代的典型装饰风格元素。他以优雅、简洁的结构和台面设计，追求轻盈感，在不影响其出色耐用性的前提下，实现了极简主义的设计。 Deco spirit and magnetic character for the Alamo table by David Lopez Quincoces. The designer uses his rigorous approach to reinterpret the typical decorative codes of the 1940s. He also pursues a sensation of lightness through the elegant, terse structure and top, reduced to minimum terms without compromising enviable durability.

SINAN BOOKS

517 Fuxing Zhong Lu

Wutopia Lab has transformed Sinan Mansion’s Building 25 into a new bookstore: Sinan Books. Inspired by the body and mind of an individual, the space measuring 460 square metres - distributed on four levels that ideally correspond with the subconscious, the heart, the eyes and ears and higher than that, with the brain - is articulated like a human’s system of acquisition of knowledge while discovering the self and the world. Colour, closely related to emotions and feelings, will be perceived and experienced depending on the light of the day and the mental state of the user at a given time. IFDM 26 November 2019

CAPITAL ® is a brand of Atmosphera srl - T. +39 049 8657045 - www.capitalcollection.it - info@capitalcollection.it China Agency ARKTEK WORLD keyaccount@arktekworld.com | +86 134 7256 8514 Rm 806, No. 757, Xikang road, Jing’an District, 200040 Shanghai, China 上海市静安区西康路757号806室微信: keyaccountarktek

24hours in

SHANGHAI

ARAN CUCINE

Western Hall Second Floor - Booth WS37

The ‘green’ Oasi kitchen is the result of collaboration with Stefano Boeri, who has investigated the deep values of the family gathered around a table. In this case, it is a technological table in the shade of a fruit tree that absorbs toxins and produces oxygen. A multifunctional block covers all the phases of food preparation.

CAPITAL

Western Hall Second Floor - Booth WS15

Boatto Martino Studio 为 Capital Collection 品牌设计了一款包裹式轮廓和线条的沙发。Bon Ton 采用木质结构，以可变密度泡沫填充，从外观到体验均充满柔软气息。底座和细节采用金属饰面处理，形成对比风格。

For the Capital Collection brand, Boatto Martino Studio has designed a sofa with enveloping lines and forms. Bon Ton has a wooden structure, padded with variable-density foam to make it soft in both image and performance. The base and the details have a metal finish, creating a play of contrasts.

DADA

Eastern Hall Ground Floor Booth EG33 EG35 EG36

VVD 厨房在 Vincent Van Duysen 打

造的对比风格设计中脱颖而出：工作台的纤细侧面和有力的线性轮廓，与石槽的厚实形成对比。从天然石材到黑色铝材，材料的变化也很吸引人，为整个项目奠定风格基调。

Photo © Marco Menghi

“绿色”Oasi厨房是品牌与 Stefano Boeri 的合作结晶，后者深入探讨了家人围在桌子旁聚会代表的深层价值。在这种情况下，这件采用先进技术打造的果树形桌子，可以吸收各种毒素，并产生氧气。多功能设计涵盖食物制备的所有阶段。

The VVD kitchen stands out for a game of contrasts invented by Vincent Van Duysen: the slim sides and the forceful linear contours of the worktop are interrupted by the thickness of stone sinks. The alternation of materials is also intriguing, from natural stone to black aluminium, setting the stylistic tone of the project.

IDD SHANGHAI

800 ShowJingan, Qu, Shanghai Shi

继去年的成功后，这家德国设计品牌重回上海。Koelnmesse 公司的总裁兼首席执行官 Gerald Böse解释道: “这个德国品牌在多元化的中国市场很受欢迎。我们希望为德国、奥地利和瑞士的家具业好好地利用这一机会。”该项目除了提高品牌及其产品的知名度外，也是一次汇聚行业专业人员的机会。 After last year’s success, German-speaking design returns to Shanghai. Gerald Böse, president and CEO of Koelnmesse, explains: “The Made in Germany label is extremely popular on the dynamic Chinese market. We want to exploit this opportunity for the German, Austrian and Swiss furniture industry.” The initiative, besides granting visibility to companies and their products, is also a gathering point for sector professionals.

SCAVOLINI

Central Hall Ground Floor - Booth CH01 Jimo Road N. 7_1, Harbour City, Lujiazui

“我们很荣幸地宣布在上海开设全新展厅，这反映了我们品牌的成功以及在国际范围内的知名度日益增长，越来越受欢迎。”这家总部位于马尔什的公司首席执行官Fabiana Scavolini说道。新展厅位于陆家嘴金融区一栋独立建筑内的两层楼，属于日本建筑师隈研吾对老造船厂改造项目的一部分。

IFDM 28 November 2019

“We are proud to announce the opening of the showroom in Shanghai, which reflects the success of our brand and its increasing popularity and recognition on the part of an international audience,” says Fabiana Scavolini, CEO of the Marches-based company. The new space is organized on two levels inside an independent building in the Lujiazui financial district, part of a major project of regeneration of a shipyard coordinated by Kengo Kuma.

GALLOTTI&RADICE

Eastern Hall Ground Floor Booth EG32

建筑师 Massimo Castagna 设计了 Audrey 转椅，提供织物和皮鞋两种外罩材质，其灵感来自同名沙发。该系列产品采用弯曲的加长轮廓，为空间增添个性。这款木质结构的椅子还采用聚酯纤维制成的靠垫。 The architect Massimo Castagna has designed the Audrey swivel chair, available with covering in fabric or leather, taking its cue from the sofa of the same name. The distinctive feature of the line is the use of curved, lengthened forms that add personality to the host space. With a back cushion in polyester fiber, the chair has a wooden structure.

SWIMMING FITNESS CLUB | VONDOM  BFC 5/F, BFC Annex Building Block S1, 600 Zhongshan Dong Er Lu 复星集团委托连自成在繁华的上海外滩金融中心内打造一个占地 3000平方米的健身俱乐部。集团选择西班牙品牌的家具，将毗邻的黄浦江的韵律感带入游泳池区。Ramon Esteve的Faz椅子以底座的几何线条脱颖而出，像是在提醒人们天然矿物质的轮廓。其他产品包括A-Cero打造的结合直线和曲线的Wing桌子和凳子。 The Fosun group has commissioned Zeng Zicheng for the construction of a fitness club of 3000 square meters inside the fascinating Bund Financial Center of Shanghai. Furnishings by the Spanish brand have been selected to bring the rhythmical presence of the adjacent Huangpu River into the swimming pool area. The Faz chairs by Ramon Esteve stand out for the geometric lines of the base, like reminders of the natural forms of minerals. Other items include the Wing tables and stools by A-Cero, with a combination of straight and curved lines.

TURRI

Western Hall Second Floor Booth WS12

在Vine系列中，Frank Jiang通过设计体现现代建筑风格的家具来打造就餐空间。整个空间的主角是餐桌，它以拉丝金色金属外表面制成，搭配大理石嵌件，十分抢眼。由于底座有细微的倾斜角度，因此整个结构十分轻巧。

ARTEMIDE

LONGHI

Eastern Hall Second Floor - Booth ES52

Western Hall Second Floor - Booth WS09

Come Together是由 Carlotta de Bevilacqua 设

计的一盏由便携式台灯，采用甲基丙烯酸酯和铝制成。其设计理念是使人们在自己的空间中自由自在，让光线的传输光线成为可能。台灯的轮廓形状依据光学和人体工程学因素设计，而台灯主体透明，通过渐变分散光线。 Come Together is a portable table lamp made in methacrylate and aluminium, designed by Carlotta de Bevilacqua. The idea is to make people feel free in their own space, granting the possible of transporting light. The profile is shaped for optical and ergonomic factors, while the body is transparent, with gradients to spread the light.

In the Vine collection Frank Jiang interprets the dining zone by designing furnishings that embody the stylistic signature of modern architecture. The protagonist of the space is the table, which stands out for a brushed gold metal sheath and marble inserts. The structure is supple and light, thanks to the slightly inclined angles of the base.

“几个世纪以来，音乐一直是为东西方文化的一部分。优雅的音乐节奏是对生活的热情。”Ben Wu 这样来解释在Rhythm系列的Mi沙发充满韵律感的线条。其设计特色是绕着沙发外背的包裹式金属带。 “Over the centuries the rhythm of music has become part of both eastern and western cultures. The elegance of sounds is enthusiasm for life.” Ben Wu uses these words to explain the rhythmical lines of the Mi sofa from the Rhythm collection. The characteristic feature is an enveloping metal band that embraces the outer back. IFDM 29 November 2019

24hours in

MOROSO

SHANGHAI

Eastern Hall Ground Floor Booth EG22

Patricia Urquiola在设计Lilo Wing扶手椅时，希望通过其形象和参考引用，致敬斯堪的纳维亚设计，1950年代的现代主义以及像Achille Castiglioni这样的大师。这款优雅的作品具备足够个性，是公共场所和家庭环境中醒目的主角。 Designing the Lilo Wing armchair, Patricia Urquiola wanted to pay homage to Scandinavian design through impressions and citations, to the modernist ideas of the 1950s and the great masters like Achille Castiglioni. An elegant piece with enough personality to become the protagonist of public spaces and domestic settings.

FLORIM

Eastern Hall Ground Floor Booth EG03 EG05

Federico Pepe为 CEDIT（Ceramiche d’Italia）设计的Araldica系列通过迷人的编织元素、几何线条和鲜艳的色彩，将空间转变为一个充满迷幻风格的房间。在新系列中，这名设计师探索了装饰陶瓷与个人之间的认知互动所带来的新颖组合。

The Araldica collection designed by Federico Pepe for CEDIT–Ceramiche d’Italia transforms spaces into psychedelic rooms, through hypnotic and fascinating weaves, geometric lines and vivid colors. In the new series, the designer explores novel formulas of perceptive interaction between decorated ceramics and the individual.

CLAN MILANO

Western Hall Second Floor Booth WS01

总部位于布里安扎的品牌邀请 Alessandro La Spada 在一个卧室家具系列中同时体现功能性同、优雅和审美的折衷主义。这位设计师打造了Einstein——带大床头板的床，搭配Bubble台灯和柜台，成为空间内的主角。

The Brianza-based brand asked Alessandro La Spada to sum up functionality, elegance and aesthetic eclecticism in a collection for the bedroom zone. The designer has come up with Einstein, in which the bed with a large headboard composed of lateral panels with Bubble lamps and counters plays the leading role.

RICHARD GINORI

Eastern Hall second floor booth ES31

Il viaggio di Nettuno 是这个佛

罗伦萨工作室与伦敦多才多艺的艺术家Luke Edward Hall合作的全新系列。创意的概念源于设计师对希腊罗马神话的热爱。该系列包括色彩鲜艳的盘子、放置标记、杯子和花瓶。

WALL&DECÒ

Eastern Hall Ground Floor - Booth EG26

Raw工作室的Paolo Badesco和Costantino Affuso设计了创新Cabinet de Curiosité壁纸。该产品使用Wet System技术涂料制成，非常适合浴室、健康中心、水疗中心和健身室等潮湿区域，以确保防水表面。

Il viaggio di Nettuno is the new collection based on collaboration between the Florentine atelier and the versatile London-based artist Luke Edward Hall. The creative concept takes its cue from the designer’s passion for Greek-Roman mythology. The collection is composed of plates, place markers, cups and vases in intense colors.

Paolo Badesco and Costantino Affuso of the studio Raw have designed the innovative Cabinet de Curiosité wallpaper. The product is made using the Wet System technical coating, making it ideal for wet zones like bathrooms, wellness centers, spas and fitness rooms, to guarantee waterproof surfaces. IFDM 30 November 2019

art+works: altrodesign - photo: lorenzo pennati

415_TUBE / design: gianluigi landoni

contact@vibieffe.com www.vibieffe.com

24hours in

FOSCARINI

SHANGHAI

Eastern Hall Ground Floor Booth EG08 EG12

“它是一种对光的反思的到达点：即光的角色和本质”，Andrea Anastasio 如此定义他的台灯“Madre”（母亲）。明亮的灯体置于一个缎面硼硅玻璃花瓶中，宽宽的臀部让人联想到保护肥沃土地的母亲女神。 Designed by Andrea Anastasio, Madre is an object with poetic content. The upper hollow of the large luminous body contains a vase in frosted borosilicate glass, in which to place branches to create an elegant composition. The opening creates depth, making light reflect even when the lamp is off. The opening is a point of boundary and exchange between internal and external light, joined in a single image.

NEMO

Eastern Hall Ground Floor - Booth Eg30

Ellisse是采用挤制铝材制成

PAOLO CASTELLI

Western Hall Second Floor Booth WS32

Nettuno桌还提供圆形版本，可打造更

具个性化的精致布置。桌子采用哑光缎金饰面的金属结构制成，底座则镀上闪亮的Carnico灰色大理石。台面采用桉木材质，搭配金属边框。

For refined settings of great personality, the Nettuno table also comes in a round version. The structure is in metal with a matte satin gold finish, while the base is clad in shiny Carnico gray marble. Top in eucalyptus wood with metal border.

Photo © Nikolas Koenig

的LED悬吊灯系列，提供多种版本：小号、大号、双灯和全新大号版本、超大号和超大号双灯，用于直接或间接照明。大号版本也可作为落地灯或壁灯使用。由 Federico Palazzari 设计。

Ellisse is a collection of LED suspension lamps in extruded aluminium, produced in various versions: minor, major, double and the new oversized triple, mega and double mega, for direct or indirect lighting. The Major version is also available as a floor or wall lamp. Design by Federico Palazzari.

SHANGHAI EDITION

199 Nanjing Road East, Huangpu

酒店这栋楼原建于1929年，当时是拥有装饰艺术风格的原上海电力公司总部大楼，位于林荫大道，面朝黄浦江，是上海最美建筑之一。主厅连接米其林名厨 Jason Atherton 的西餐厅 Shanghai Tavern、SPA、夜间俱乐部“酒廊电场” 和屋顶花园。旁边后现代风格的摩天大楼可提供 145 个普通房间和套房，Jason Atherton 的新日本餐厅“日矢”位于 27层， Punch Room 酒吧的顶层可俯瞰全城美景。如恩设计的项目完美连接 Ian Schrager 过道，走在其间是一次穿越上海历史的旅行，能看到上海过去、现在和未来的各种元素。

The location on the tree-lined avenue facing the Huang Pu River is an Art Deco building from 1929, one of the most beautiful in the city, formerly the headquarters of the Shanghai Power Company. The main lobby leads to the Shanghai Tavern of chef Jason Atherton, a spa, the Electric Circus nightclub and a roof garden. A nearby postmodern tower offers 145 rooms and suites, the new HIYA Japanese restaurant of Jason Atherton on the 27th floor, and the Punch Room with a rooftop for a fine view of the whole city. The project by Neri & Hu, in perfect tune with Ian Schrager’s approach (he has created the EDITION brand in partnership with Marriott International), provides a trip through the history of Shanghai, with elements that embody the past, present and future.

IFDM 32 November 2019

Photo © courtesy of Office AIO

BAR LOTUS

No. 758 Julu Road, Jing’an

Office AIO 为莲花酒吧设计了精致的空间体验，选材、环境照明及定制的细节部分，调色手法高明，色彩丰富。极简主义的混凝土外立面下，隐藏着一个更加封闭的矩形洞，最终形成 U 形空间：拱形的内部隧道直通鸡尾酒吧，既突出空间感，又有利于社交活动。 Office AIO has designed a refined spatial experience for the Bar Lotus, adopting a rich palette of materials, ambient lighting and bespoke details. The minimalism of the concrete facade conceals a more enveloping and intimate context, defined by rectangular volumes, culminating in a U-shaped space: inside, an arched structure connected directly to the cocktail bar accentuates the rhythm of the space while encouraging socialization.

PRECIOSA

Tiamantti - Shanghai Home Expo, No. 1265 Wuzhong Road, Minhang

该品牌宣布与经销商Tiamantti合作在中国上海开设了首家展厅。新展厅坐落在上海家具博览会中心，占地90平方米，其中摆放了8盏枝形吊灯和6颗独粒钻石，这些钻石是在公司所在地波西米亚水晶谷制造而成的。“我们确信: 中国设计师和客户会喜欢我们兼具古典与现代风格的作品。”公司的首席执行官Marek Hlavenka说道。

The brand announces the opening of its first showroom in China, at Shanghai, in collaboration with the dealer Tiamantti. Located at the Shanghai Home Expo, the space of 90 m2 presents eight chandeliers and six solitaires made in the Crystal Valley of Bohemia, the home of the company. “We are certain: Chinese designers and clients will find something to love in our classical and contemporary styles,” says the CEO of the company, Marek Hlavenka.

AGRESTI

DAYTONA

Western Hall Ground Floor - Booth WG10

Western Hall Second Floor Booth WS18

通过 Arco 可以清楚地出这个托斯卡纳品牌对细节的一丝不苟：从外观开始，特制手柄沿门的边界弯曲，也是该产品名称的灵感之源。坚固的珠宝柜结合天鹅绒外罩和 24k 镀金黄铜配饰。

这款设计显然受到了装饰艺术的启发，其名字暗示着小亚细亚地区的一个遥远国度。Misia由Leonardo Dainelli设计，是一个充满折衷主义的台桌，采用皮革衬里的黄铜台面，搭配管状的黄铜结构。Misia 可以为入口、走廊和家居办公工作室增添优雅魅力。

The attention to detail of the Tuscanybased brand can be clearly seen in Arco starting with its external image, where the particular of the handle – curved along the border of the doors – even provides the inspiration for the name. The armored jewelry chest combines velvet covering with 24k gold-plated brass for the accessories.

Design clearly inspired by Art Deco, and a name that suggests a faraway location in Asia Minor. Misia, designed by Leonardo Dainelli, is an eclectic console formed by a leather lining placed on a brass top, with a tubular brass structure. Misia adds elegance to entrances, corridors and home offices.

IFDM 33 November 2019

arch art

&INTERIOR

关于韵律作者 Manuela Di Mari 国内环境，拾得艺术品，融汇历史性和现代性。这是皮埃尔·里梭尼和里梭尼建筑事务所为上海太古酒店镛舍所设计的风格性标志。融居住和酒店于一体，舒适如家

皮

埃尔·里梭尼崇尚一种对立平衡，与他服务的里梭尼建筑事务所，在与建筑师Wong和Ouyang合作的项目基础上，创建了上海镛舍——太古酒店获奖屋舍系列的第四间居舍。该项目位于上海时尚区静安区的心脏位置，毗邻繁华的南京路，将其精髓一分为二。两座建筑包含不同的功能。第一座用作为酒店，配备111间客房、一家餐厅、一家酒吧、平台、活动场地和总统套间。第二座包含102间公寓，用作工作室、2-3厅房间，以及两家餐厅。里梭尼结构，亦包括配备垂直铝制日光屏（具有一个圆截面），在内饰中融合不同的语言和表述形式，其目标为创建考究且高雅的空间，让您体验让人受欢迎的私人设置空间。中式工艺、中国文化和历史元素——比如，带有手工陶瓷的墙壁，以一种抽象方式对竹子进行重新诠释——与现代基准融合，在空间内部创建一种技术先进的平衡性。木质凹部内放置的很多艺术品提供了一种独特的原始韵律，俨然博物馆的一部分。强烈对比，轻灵起舞，里梭尼自己解释说，作为两个相反元素的协调程序：款待结构的收集和城市开放功能，以及住宅单位的隐私需求。“整个项目——酒店和居住部分——应具有国内风格，尽管其‘目光’面向外部世界。除了响应客户的明确请求外，这方面完美调和了我个人的风格方式：亦能为酒店创建一种密切，几乎非正式的氛围。我们希望客人有一种受欢迎感，就如同他们进入朋友家的生活区域一样。在该情形中，我们借鉴传统的中国家庭，其中，阴影部分胜过光亮部分，搭配光亮和哑光材料，营造一种正式品味氛围。”这对于建筑师及其团队而言并不是一项简单的任务，因为他们必须经由建筑师Wong和Ouyang来参与项目。“起初，我们于建筑师合作，共同确定结构和实际装置系统，然后，我们自行设计立面、内部布局和内饰。其中一个难点就是必须适应我们从各个房间沿袭而来的放射形布局。”可以从当地工艺的历史和文化的典型部分与当代因素的配对中，看到两对面的另一个因素。“ 在我的项目中，从不同文化中插入项目和参考基准，是我表达的一部分，同时，还兼顾现代和当代设计元素。装饰和古董、瓷器、花瓶、民族物品……我称之为拾得艺术品。几乎在旅行中发现的看起来像拾得艺术的所有原型，都会让您感觉到有一种家的感觉。我们就此进行辛苦的检索，从而让我们发现高质量的中国工匠。我们利用当地专家经验来发展和提升每 IFDM 34 November 2019

一个项目：从大型内部隔间内瓷器的使用，到控制台和床头板的制作；从楼梯间内墙面涂料到定制化室外灯笼；从走道特定砖块到大型屏风用竹子的制作。” 多数装饰都是定制化测量制作，但也有例外，比如：Extrasoft沙发（由Living Divani制作）、内置装饰性照明灯具（由Flos制作），以及浴室装饰和水龙头（由 Cotto制作）。“根据客户选择——皮埃尔·里梭尼延续——所有家具在中国制造。这就是为什么所面临的较大挑战是在意大利创造和设计相关项目的原因，然后，进行现场开发，其中，将采用当地工艺资源。我们与一名在中国从业的威尼斯吹玻璃工合作，其乐融融。在其协助下，我们在入口处制作了一个大型枝形吊灯，当然，也是出于我们的设计，作为其中一部分，其中，也融入了马可波罗在700多年前在中国的旅行。”甚至，所利用的材料也是这种历史关系的一部分。“在酒店和公寓中，主要装饰陶瓷和赤土陶器，加强与中国文化的关联，同时，还配有木和竹制装饰、地板和隔墙。”酒店和居住区域到达点的连接部分，设计了一个巨大的健身区域，面积达2400平方米，位于半地下室内，被设定为一个独立单一空间，通过各个建筑部分，产生巨大的配景：天窗、背亮有机体量、水上项目，以及全高垂直陶瓷屏风。

A matter of rhythm

Piero Lissoni wagers on a balance between opposites, and together with Lissoni Architettura he works on the basis of a project by the architects Wong and Ouyang to create “The Middle House,” the fourth structure of the prize-winning House Collective of Swire Hotels. Located in the heart of Jing’an, the trendy district of Shanghai, in the immediate vicinity of elegant Nanjing Road, the project makes dichotomy part of its essence. Two towers contain two different functions. The first is for the hotel, with 111 rooms, a restaurant, bar, terraces, event space and presidential suite; the second contains 102 apartments subdivided into studios, two and three-room units, also with two restaurants. Lissoni’s contribution, which also includes the facade with vertical aluminium sunscreens having a circular section, mixes different languages and expressive forms in the interiors, with the aim of creating refined, elegant spaces in which to experience the welcoming atmosphere of a private setting. Elements of Chinese crafts, history and culture – like

the walls with handmade ceramics that reinterpret bamboo in an abstract way – are put into relation with contemporary references to generate a sophisticated balance inside the spaces. A unique, original rhythm is also provided by the many works of art placed in wooden niches, like museum pieces. An astute dance of contrasts that Lissoni explains himself, as a process of reconciliation of two antithetical elements: the function of

gathering and openness to the city of a hospitality structure, and the need for privacy in the residential units. “The whole project – the hotel and the residential part – has been formulated to have a domestic flavor, although its ‘gaze’ is towards the outside world. This aspect, besides responding to an explicit request of the client, jibes perfectly with my stylistic approach: to also create intimate, almost informal atmospheres for hotels. We want guests to feel welcomed, as if they were entering the living area in the home of friends. In this case we took our cue from traditional Chinese homes, where shadow prevails over light, with a mixture of glossy and matte materials to bring out the formal qualities.” Far from an easy operation for the architect and his team, since they had to intervene on a project by the architects Wong and Ouyang. “At first we collaborated with the architects for the definition of the structures and the physical plant systems, and then we designed the facades, the internal layout and interiors on our own. One of the difficulties IFDM 35 November 2019

was to have to adapt to the radial plans we inherited for the rooms.” Another game of opposites can be seen in the pairing of typical components of the history and culture of local crafts with contemporary elements. “It has always been a part of my language to insert objects and references from different cultures in my projects, together with modern and contemporary design pieces. Furnishings and antiques, porcelain, vases, ethnic items… what I call found objects. Almost archetypes that seem like things found during travels, that make you feel a bit like you are at home. We conducted a painstaking search for these things, which allowed us to discover Chinese craftsmen of great quality. Every project has developed and been enhanced with local forms of expertise: from the use of ceramics for the large internal partitions, to the crafting of the consoles and headboards; from the wallcoverings in the stairwells, to the custom outdoor lanterns; from the specific bricks for the pavements to the crafting of the bamboo used for the large screens.” Most of the furnishings have been created to measure, with the exception of a few pieces, such as the Extrasoft sofa by Living Divani, the built-in and decorative lighting fixtures by Flos, the bath furnishings and faucets by Cotto. “By the client’s choice – Piero Lissoni continues – all the furniture was made in China. This is why the big challenge was to invent and design everything in Italy, and then to develop it on site, drawing on local crafts resources. We had the pleasure of working with a Venetian glassblower who also produces in China. With him, we made the large chandelier at the entrance, also of our design, as in a sort of game of parts and references to the journey the Venetian Marco Polo made in China over 700 years ago.” Even

the materials utilized are a part of this relationship with history. “In both the hotel and the apartments the main presences are ceramics and terracotta, materials that have strong ties with Chinese culture, and at the same time wood and bamboo, for the creation of furnishings, floors and partitions.” The connector, between the arrival points of the hotel and the residence, is the vast wellness area of 2400 m², located in the semi-basement and conceived as a single space shaped to generate big perspectives through the architectural parts: skylights, backlit organic volumes, water games, and full-height vertical ceramic screens.

Team: Piero Lissoni with Tania Zaneboni, Mattia Susani, Roberto Berticelli, Rodrigo Tellez Acosta, Sara Orrù, Sara Cerboneschi, David Pouliot, Pino Caliandro, Lorenza Marenco, Giorgio Pappas Furniture Designer: Roberto Berticelli, Rodrigo Tellez, Pino Caliandro, Marco Gottardi Rendering: Alberto Massi Mauri, Alessandro Massi Mauri, Matteo Sponza Photo credits: Edmond Leong

people

&OPINIONS

Marco Longoni

EXPORT DIVISION MANAGER of POLIFORM 作者 Veronica Orsi

拥有800多个销售点和旗舰店，分布于超过76个国家/地区。这是POLIFORM在全球范围内的业务网络，该品牌在所有分布地区均具有较高的知名度：它具有强烈而统一的品牌特色，风格和价值观始终如一，并通过去年对厨房系列的品牌重塑，进一步强化其品牌意识。在公司的发展规划中，中国无疑是一个特别的市场。近年来，公司通过明确的布局获得了丰富的项目活动成果。我们采访了品牌出口部经理 MARCO LONGONI。

Poliform 与亚洲市场：长期关系还是近期发展？其实是两者兼之。Poliform 进军亚洲市场已有近25 年，包括亚洲周边、中东和远东地区，但我们直到 20世纪90年代才在当时的亚洲四虎国家运营，即五座城市：香港、新加坡、首尔、东京和台北。从20082009年开始，随着美国次贷危机，在过去十年中，这个市场开始以连续、强劲的方式爆发。自那时以来，我们已经在亚洲国家和地区开设大约40家专卖店。其中，中国在2010年左右成为一个重要的参照点，虽然比其他市场开始得略晚，但却创造了全球范围内最大、最快的增长：就销售额而言，它是Poliform仅次于美国的第二大市场（如果算上意大利，则是第三大市场。意大利仍然是我们最大的市场）。提到中国，你们目前在这个市场运营得如何？未来有什么展望？如今，Poliform已在中国16个城市开设16家专卖店，我们计划在今年年底或2020年中期之前开设20家专卖店。通过我们的独家展厅，我们希望保持鲜明的品牌标识和明理念：这对我们当然是必不可少的要求，但也是当地客户的要求。经销商本身对单一品牌计划很感兴趣，因为大多数中国经销商都是新经销商。因此，他们在市场上还没有足够的知名度，更喜欢使用公司和品牌名称，这与欧洲或美国的情况不同，那里的分销商具有一定知名度，他们本身就是一个品牌。此外，相对于过去在欧美发展的情况，进入中国市场并寻找合作伙伴要简单得多。在道德和专业方面，以及技术和财务方面来说，与欧洲的合作伙伴相比，这里的合作伙伴同样值得信赖，甚至更优秀。如果有人说着相反的情况，那他很可能是在散播谣言。在中国市场上，你们的展厅配置如何？在中国，我们专注于500至1000平方米的空间，而亚洲其他地区的空间则是从300至700平方米不等。我们不会展示特定系列、类型或进行风格调整，因为目

SHAPE kitchen

前高端市场是全球性的：无论是在米兰、洛杉矶或上海，Poliform要展现的理念都是一致的。市场的近期增长与从经典到当代的风格转变是相符合的。现在，中国消费者对现代风格的产品更感兴趣，平均的消费者年龄较年轻，通常在40岁以下，因此他们不会像前几代人那样被经典风格所吸引。这对于Poliform的产品系列来说也是一种优势。 Varenna的品牌重塑是否符合需求? 当然，这是一个水到渠成的解决方案。另外，由于在世界各地的所有经销店中，厨房用具和生活用品都是放在一起，因此它们的商业结构并没有差异。这样，Poliform品牌就能够加强其品牌标识。对于中国消费者和经销商而言，这一特别因素（即公司的产品可以覆盖房屋的所有空间）正是一大优势：拥有一个保证如此广泛产品范围的品牌很有帮助。这样自然而然就会想到工程项目，在这一领域，你们现在有参与哪些项目呢？在亚洲，我们30%的销售额来自工程项目，而其余 IFDM 36 November 2019

70%则来自零售（这一组合大致与美国的情况差不多）。很难列出我们在中国做的所有项目，确实有很多，尤其是在衣柜和厨房用具的供应方面。但其中最著名的可能是深圳湾一号，这是一个大型住宅区，我们负责为这个项目提供厨房家具和衣柜。上海和深圳是我们在工程项目部门中增长最快的两个城市。你们在中国市场接下来有什么计划？迄今为止，我们的策略都是通过合作伙伴客户将品牌在中国前20个城市成功布局，而在其他亚洲国家，如韩国、菲律宾和日本，我们则会在每个国家/地区找一个进口商，保持长期的合作关系。虽然目前还有增加中国销售点数量的需求，但我们暂时不会再继续扩张，而是要巩固目前已完成的工作，并加强我们提供的服务。因此，我们在北京开设了Poliform中国分公司，以在技术和商业层面为中国的20家经销商提供支持。

Salone del Mobile.Milano Shanghai Eastern hall - Second floor - Booth ES23 ES32

More than 76 countries, for a total of over 800 points of sale and flagship stores. This is the network of Poliform in the world, a brand that needs no introduction in any of these locations: it has a strong, solid identity, consistent in its style and values, reinforced by the rebranding of the kitchen collection last year. In the company’s growth plans, China is undoubtedly a special destination, where in recent years a clear distribution has brought results in fertile project activity. We talked about it with Marco Longoni, Export Division Manager of the firm. Poliform and Asia: a long-term relationship or a recent development? Actually both. Poliform has been on the Asian market – Near, Middle and Far East – for as many as 25 years, but we were only operating in the places that were known as the Asian Tigers in the 1990s, namely the five capitals of Hong Kong, Singapore, Seoul, Tokyo and Taipei. The market began to explode in a continuous, strong way over roughly the last decade, starting in 2008-09, in parallel to the American subprime crisis. Since then we have organized about 40 monobrand stores scattered in all the nations of Asia. China, specifically, has become a strong point of reference in about 2010, a bit later than the other markets, but paradoxically it has produced the world’s biggest and fastest growth: in terms of sales it is the second nation after the USA for Poliform (the third is we count Italy, which is still in first place). Speaking of China, how are you operating there and what are the future prospects? Today Poliform has 16 monobrand stores in 16 cities, and we plan to have 20 by the end of this year or the middle of 2020. Through our exclusive showrooms we intend to maintain a strong identity and a well-defined concept: it is certainly a necessity for us, but at the same time it is also a request on the part of local clientele. It is the dealer himself who is interested in the monobrand initiative, since most Chinese dealers are new, so they do not have a name well known on the market and prefer to use the name of the company – unlike what happens in Europe or America

BELLPORT sofa, design by Jean-Marie Massaud

where the distributors already have a certain level of importance, acting as a brand in their own right. Furthermore, in China – with respect to what has happened in the past in Europe and America – the possibility of entering the market and finding a partner is much simpler; partners who are just as reliable, if not more so, than those in Europe, in ethical and professional terms, as well as technical and financial terms. Those who say otherwise are spreading a false myth. How are your showrooms configured on the Chinese territory? We focus on spaces from 500 to 1000 m2 in China, while for the rest of Asia the size ranges from 300 to 700. We do not display specific collections, typologies or stylistic adaptations, because at this point the high end of the market is global: what represents Poliform in Milan is identical to what represents it in Los Angeles or Shanghai. The recent speed of growth of the market has corresponded to a rapid SENZAFINE wardrobe

stylistic turnaround, from classic to contemporary. Chinese consumers are more interested in the modern now, the average customers are younger, usually under 40, so they are not lured by the classic style that was the focus of previous generations. That makes this a good moment for the collections of Poliform. Did the rebranding of Varenna also meet with interest? Definitely, it was perceived as a natural solution. Also because in all the dealerships around the world the kitchen and living collections were not separated, so they did not have a different commercial structure. In this way, the Poliform trademark has reinforced its unique identity. Precisely this particular factor – namely that the company can cover all the spaces of the home – becomes a big plus in relation to Chinese consumers and dealers: to have a single brand that can guarantee such a vast range of products is very helpful. It is inevitable to try to link all this up with the contract sector: what projects are you working on right now? In Asia 30% of our sales come from projects, while the remaining 70% come from retail (a combination that roughly replicates what is happening in the USA). It is hard to list the projects we have done in China, they are truly numerous, especially for the supply of wardrobes and kitchens; but we can mention, among the most famous, One Shenzhen Bay, an enormous residential complex where we supplied the kitchens and the wardrobes. Shanghai and Shenzhen are the two cities where we are generating the most growth in the contract sector. What are the next steps on the market? The strategy so far has been to position ourselves in the top 20 cities of China, through a partner client (while in the other Asian nations, as in Korea, the Philippines and Japan, we have one importer per nation with whom we have established a long-term relationship). The demand to increase the number of points of sale in China is there, but we prefer to stop here, for the moment: to consolidate what has been done and to reinforce the services we can make available. For this reason we have opened an office in Beijing, the Poliform China branch, to support the 20 dealers operating in the territory on a technical and commercial level.

IFDM 37 November 2019

close up

透过零售设计

请

介绍一下 Di’ome 和 Poliform 之间的合作关系（合作初期及发展

Disamobili Nonhyeon Flagship Store

Poliform 与韩国顶级内饰设计零售商 Disamobili 有着长期的

合作伙伴关系，后者在韩国各地共拥有 14 家门店。去年十月，在双方富有成效的合作推动下， Disamobili附属品牌全新旗舰店 Poliform by Di’ome 在首尔开幕。我们采访了 Di’ome 总经理 Young Choi，讨论了意大利高档家具品牌与这个活力多元的韩国品牌之间的协同效应和合作项目。

历程）？最开始是在 2013 年，Disamobili 找到 Poliform 开始合作。当时，我们正在寻找可以与其建立合作关系的知名品牌以扩大我们的高端市场份额，希望能制定出一个关于“家”的完整设计方案。幸运的是，我们发现 Poliform 刚刚结束了和之前零售商的合作。通过与 Poliform 建立合作，能够进一步扩大我们的产品范围。最初，厨房和衣柜等家具系列面临巨大挑战。但现在，它已成为我们的核心业务之一。正因如此，我们现在已能够提供全面的家居用品解决方案。如今，我们

在首尔开设了 2 间 Poliform 门店。一间是 Poliform 旗舰店，由 Di’ome 运营。另一间是Disamobili主展厅，占据Poliform共 11层空间中的其中两层。 Poliform 是一个高端的室内设计品牌：它在韩国市场的品牌识别度和优势是什么？ Poliform 是全球家具及室内行业最主要的品牌之一。当然，在韩国也一样。Poliform 是许多追求精致风格和高标准质量客户选中的品牌，特别是对于豪宅、别墅和酒店领域的客户。新展厅怎么样？有特别为这个市场挑选产品或系列吗？我们在 Poliform 和 Disamobili 展厅均陈列了各种产品系列。Poliform 专卖店主要面向

Di’ome Showroom, Seoul

室内设计师和建筑师。这个展厅主要以厨房家具和衣柜系列为主。而 Disamobili 展厅则更主要面向私人客户，产品主要为单独的家具（沙发、桌子、床等）。基本上，他们都会有一个整体的家居理念。两间店的主要区别在于他们面向的客户和销售的主要产品类型不同。

房、衣柜和家具）的设计，同时这里也是举办 LPGA Legend 比赛的地方。我们还参与了位于江南富人区Le Garden Hannam&Bangbae 豪华公寓的装修项目，负责提供所有公寓的厨房家具。但是，我们并不只涉足住宅项目，我们还负责提供 PWC Samil 办公楼公共区域的家具（由Poliform设计）。

你们最近有进行什么项目吗？我们为首尔君悦酒店套房提供衣橱和步入式衣帽间的家具，但更值得关注的是我们在 Yang Yang 的 Seolhaeone 高尔夫度假村的项目。在这个项目中，我们负责整个家具（例如厨

你有打算在其他城市开设 Poliform 新店吗？是的，我们正在考虑在釜山、大邱等大城市开设 Poliform 门店，或是在百货商店里开设门店。现在只是在等待合适的时机和好的门店位置。

Designing through retail

oliform has a long-term partnership with Disamobili, one of the leading interior design retailers in South Korea with a national presence of 14 stores. Last October this prolific collaboration led to the inauguration of the new flagship store Poliform by Di’ome, affiliated company of Disamobili, in Seoul. We interviewed Young Choi, General Manager Di’ome, to discuss the synergies and projects that link the Italian brand of high-end furniture to this dynamic reality Made in Korea. Could you tell us about the relationship between Di’ome and Poliform (the beginning of the partnership and the developing)? It was 2013 when Disamobili started to collaborate with Poliform. In that moment we were looking for a renowned brand for high-end market, also capable of offering a total look for the home. Luckily, we found out that Poliform had just discontinued their relationship with its former retailer. Being partners with Poliform, we are able to expand our product range. Furniture systems such as kitchens and wardrobes were a big challenge at the beginning. However now it is the one of our core businesses and because of this we now have a full range of home items. Nowadays we have two Poliform stores in Seoul. One is Poliform Flagship store, run by Di’ome. Another is Disamobili main showroom which have two Poliform floors among 11 floors. Poliform is a really high-level brand of interior design: what is its recognition and prestige in South Korean market? Poliform is one of the most important brands in furniture and interior industry worldwide. Of course, it is the same also in South Korea. Poliform is the brand requested from many clients who seek sophisticated style and high standard quality especially for luxury houses, villas and hotels. Di’ome Showroom, Seoul

Di’ome Showroom, Seoul

What about the new showroom? Have products or collections been selected especially for this market? We have a variety of collections in Poliform and Disamobili showroom. Poliform mono-brand store is more oriented to interior designers and architects. This showroom is strong for kitchen and wardrobes. Whereas Disamobili works more often with private customers where loose furniture pieces (sofa, table, bed, etc) are the main items. Basically, they have a total home concept. The main difference between the stores is who they deal with and what type of products are the most important for each of them. What kind of projects did you recently realize? We provided the wardrobes and walk-in-closest for the Suite-rooms of the Grand Hyatt Seoul, but even more remarkable is the project of the Seolhaeone Golf Resort in Yang Yang; for this project we took care of the entire furniture: kitchens, wardrobes and complements (here also took place the LPGA Legend match). We were involved in the furnishing of the Luxury Apartment Le Garden Hannam&Bangbae, in the richest area of Gangnam, for the supply of the kitchens of all units. But we have not only dealt with residential, for the PWC Samil Office, we provided the furnishings (by Poliform) for the public area. Do you plan to inaugurate any other Poliform store in other cities? Yes, we are considering opening another Poliform store in a big city such as Busan or Daegu, also in a department store. We are just waiting for the right timing and looking for a good location.

IFDM 38 November 2019

spotlight

SALONESATELLITE

传统成就创意 TRADITION FORMS CREATIVITY

文

化、传统、人性化设计。这些词出现在一次又一次的采访中，在上海卫星沙龙展（SaloneSatellite）的年轻设计师中形成一条贯穿始终又让人意外的主题线。这一面向 35 岁以下的设计人才(包括中国设计师和设计学校学生）的活动携手米兰世界家具展一起回归，展示一种借鉴当地传统、再以自

由精神重新演绎的设计方法。在这些新锐设计人才的创作过程中，必不可缺的是对材料、可持续性设计和使用的关注。由行业专家组成的评审团从这些作品中挑选出三位上海卫星沙龙展奖获奖项目：获奖设计师将获邀参加 2020 年在米兰举办的卫星沙龙展。

Chen Yalan

Weijian Zhou

“我提交的项目也是我的设计论文项目。它是对研究结构设计的尝试，因为我觉得这种简单但有价值的结构设计值得去探讨。我相信，未来的设计项目将更会更贴合当代人游牧式的生活方式。不管居住的空间如何改变或转换，整个空间具有适应性和灵活性。”

“我选择风扇台灯作为我的展览项目，因为它很好地诠释了卫星沙龙展的精神。通过风扇台灯的设计，我希望向世界展示中国的传统文化，以及如何将其与现代设计相结合。我更关注的是如何将我们设计者的想法融入主要的产品设计中，而不只是关注产品的实用性。也许我们想要表达的东西太多了，毕竟我们所设计的产品要能够为人所用。在开始进行创作时，我会先想明白为什么我决定选择这一主题。每个项目都有其个性。在一般情况下，我会把实用性和产品给人们的心理暗示作为最基本的设计要素。”

Wenxuan Qian

«The project I submitted is also my design thesis project. It is an attempt to study structural design, because I think the simple but valuable structural design is worth exploring. I believe that future design projects will be more adaptable to the nomadic lifestyle of contemporary people. No matter how the residence changes or transforms, it will be very adaptable and flexible».

“我认为设计应该是有温度的。它需要关注人内心的感受，他们真正的心理需求和表达。设计具有公平性，需要关注老人和病弱者的需求。设计具有永久性，它需要我们珍惜和保护地球和自然。设计应能够使人们目前的生活更加美好，尽情享受生活。所以我决定在卫星沙龙展上展示 Stay 这款落地灯。这是一件有温度的产品（所有组件都可拆卸和循环利用）。当你结束一天的工作回到家中，Stay 可以让您停下来，享受自己的休闲时间，释放压力。” «I think design is warm. It needs to pay attention to people’s different inner feelings, their real psychological needs and expressions. Design is fair, it needs to pay attention to the old and the sick as well. Design is permanent, it needs to value and protect the earth and nature. Through design, people can live better in the present and enjoy life. That’s why I decided to show Stay - the floor lamp - in SaloneSatellite because Stay is a product with warmth (and all the components are detachable and recycled). When you come home after a hard day at work, Stay allows you to stop and enjoy your own relaxing time to release stress».

«I choose Fan Lamp as my exhibition project because its spirit fits the Salone Satellite well. Through Fan Lamp, I’m willing to show to the world our Chinese traditional culture and how can it be combined with modern design. I’m more concerned about how to make the ideas of us designers not the main part of our products but the practicability. Maybe what we try to express is too much, after all, the products we design should be things to be used by people. Before I start my work, I try to understand why I decide to choose a topic. Every project has its own personality. In general, I consider the practicability and the mental suggestion it can give people as the fundamental elements».

IFDM 40 November 2019

Roy Jia “当我在构思设计项目时，脑海中会现有一个打动我的想法，并且对需求者具有一定的意义和价值。在我看来，未来的设计需更加注重情感需求，因为城市发展使人们的生活节奏变得非常快，人与人之间也变得更为冷漠。我想设计一个让大家放松并能拉近彼此之间距离的产品。我在卫星沙龙展的作品是《A Living Pet Litter》。这是一张专为猫设计的沙发床，但抬起它时，它的腿会自然晃动，令人忍俊不禁。这是一件有灵魂的设计。” «When I think about a design project, there is an idea that moves me, and then, it must bring meaning or value to those who need it. In my opinion, future design needs to pay more attention to emotional needs, because the development of cities has made people’s pace of life become very fast, and people have become very indifferent. I want to design a product that allows everyone to see and laugh and to communicate with each other. My work for the Salone Satellite is A Living Pet Litter. This is a bed/sofa dedicated to cats which can make people laugh when they lift it for its natural shaking legs. This is a design with soul».

RAMPOLDI CREATIONS and RAMPOLDI CASA are registred trade mark of RC INTERIORS srl MILANO | ITALY - +39 02 87178372 - info@rampoldicreations.com - www.rampoldicreations.com

spotlight

SALONESATELLITE

ulture, tradition, human-centered design. These are recurring terms from one interview to the next, creating an unexpected, surprising red thread through the young protagonists of SaloneSatellite Shanghai. The new edition of the group event for talents under 35, including Chinese designers and students of the country’s design schools, is back – parallel to the Salone del Mobile.Milano Shanghai – displaying a design approach that draws on the local tradition and then interprets it in a spirit of freedom of expression. A focus on materials, sustainability and use is an inseparable aspect of the creative process of these up-and-coming talents, selected by a jury of sector professionals that will also have the job of indicating the three winning projects for the SaloneSatellite Shanghai Awards: their designers will be invited to take part in the 2020 edition of the SaloneSatellite in Milan.

Chenyu Wang

Yue Chen

“随着生产能力的提高，我认为未来的设计应该更多地关注人们的感受、用户体验和技术突破。我决定展示我的作品《Seeing Sitting》，因为我想让观众用不同的角度来看待事物。我觉得在卫星沙龙展上有很多有趣的作品和设计师，在这里，我不仅可以结识更多的人，还可以与他们分享我的想法。”

“我在卫星沙龙展要展示的家具设计项目是《莲花》。这把椅子是以中国传统民间传说达摩冥想为灵感设计的。达摩是一种追求信念的冥想技巧，是值得现代人学习的精神和心态。这款椅子的设计结合佛教莲花座的形状。通过椅子下面的光影变化，形成不同的效果，反映时间的流逝。整体结构拼接而成，制造简易，外观也很简约。这款椅子让人感到内心镇静和稳定，寻求内心的安宁。”

Jiaxin Hong “我认为，未来的设计在注重审美的同时应纳入绿色环保材料。所以，我决定在卫星沙龙展上展示我的毕业设计《Cloud dot》。在这个项目中，我探索和研究了一些新的材料，并将变温材料和纸相结合，设计出可以感知人和天气温度的座椅，同时采用独特的弯曲形状设计。我希望它可以给人们带来新的体验。” «The production capacity is becoming greater and greater so I think in the future design should focus more on people’s feelings, user experience and technology breakthroughs. I decided to showcase my work named Seeing Sitting because I want to show the audience a different angle to look at things. I think there are lots of interesting works and designers here in SaloneSatellite, where I can not only get to know more people but also share my thoughts with them».

«I think that future design should incorporate green materials into the equation while focusing on the aesthetics. So I decided to show my graduation project Cloud dot at SaloneSatellite. In this project, I explored and researched some new materials, and combined temperature-change materials with paper to design a seat that can sense the temperature of people and weather, it also has a unique curved shape. I hope it can bring new experiences to people».

«I am going to show my furniture design project Lotus at SaloneSatellite. This chair is inspired by the traditional Chinese folklore Dharma meditation. Dharma is a meditation technique to pursue faith, the spirit and mentality that are worth to be learned by modern people. Combined with the shape of the lotus seat in Buddhism, this lotus meditation chair was created. Through the change of light, the shadow below the chair has a different effect, reflecting the passage of time. The overall structure is spliced, simple to make and simple in appearance. It gives people a feeling of calm and stability, which makes people find peace of mind”.

IFDM 42 November 2019

Shiyu Xu “我将在卫星沙龙展上展出我的作品《Crutch Chair》（拐杖椅），这是一件充满中国风的现代家具。在我看来，这种家具会在未来的家居空间中占有相当大的面积。首先，我认为设计应更加注重文化的重要性；好的设计产品应该有自己的灵魂，我认为文化就是设计的灵魂。其次，我认为我们应多关注人性化的设计：设计的界限正在逐渐消失，设计行业中的设计者和设计方法都在快速发生变化。但亘古不变的是设计应以人为中心，提供立足于“ 人”的系统设计。 «I will showcase my Crutch Chair at the SaloneSatellite, a modern furniture in Chinese style that, in my opinion, will occupy a large area in household in the future. First of all, I think the design should pay more attention to the importance of culture; a well-designed product should have its own soul and, in my opinion, culture is its soul. Secondly, I think we should pay more attention to the humanized design: the boundaries of design are gradually disappearing, people in the design industry and the methods of design are rapidly evolving. But what design never changes is that it is human-centered, a system design based on “people”.

adv D+ studio / ph Lorenzo Pennati

WET SYSTEM

design Christian Benini

CONTEMPORARY WALLPAPER design Giovanni Pesce

ESSENTIAL WALLPAPER design Studiopepe

new expressions for interior decoration

wallanddeco.com NOV 20th-22nd | Hall EAST Booth EG26 Shanghai Exhibition Center

arch

&INTERIOR

维港边的希腊女神作者 Alessandra Bergamini 位于香港维多利亚港海滨的 K11 Musea 以维港边的希腊女神为构想，展现与众不同的艺术馆零售概念，以混合形式重新思考传统购物中心的体验。处于实体与数字之间，购物、娱乐、艺术于一体，建筑本身就是一件伟大的艺术作品。

“K

11 Musea 的位置、规模和概念都是独一无二的 - 这个项目邀请了世界顶尖的建筑师以及超过 100 名本地和国际设计师和艺术家参与。K11 Musea 也会以丰富的文化内容回馈所在的香港尖沙咀。这一地区自上世纪90 年代后期逐渐失去其原来的传奇魅力。K11 Musea 将成为香港及亚洲地区的全新文化目的地，全球千禧一代可以齐聚于此，探索发现自己的灵感缪斯。” 担任新世界发展有限公司执行副主席的郑志刚对他们的客户目标（分析师称之为“超级消费者”）具有清晰的想法，应与他们共享由2019 年 8 月开业的 Victoria Dockside 购物中心带来的创新购物和文化体验。K11 Musea 历时 10 年、投资 26 亿美元，落成后将成城市振兴项目的中心。该项目旨在将原来的物流区域、后来的

IFDM 44 November 2019

住宅商业区改造成为大型多功能综合体，由 James Corner Field Operations、Kohn Pedersen Fox 和Ronald Lu and Partners 建筑事务所负责设计和建造。新区占地 28 公顷，其中的塔楼包括香港瑰丽酒店（室内装饰由 Tony Chi 设计）、K11 Artus 公寓（室内装饰由 André Fu 设计）、Joyce Wang Studio、Fiona Barratt Interiors 和 Nemaworkshop 以及 K11 Atelier 办公室（室内装饰由 Simplicity 设计）。另一方面，较低的建筑楼通过长 100 米、宽 40 米的“发光走廊”直接连通至海滨，旨在打造全新的 K11 Musea艺术馆零售概念。这里既是国际和本土品牌奢侈品零售的“实体数字化”目的地，也是一个集艺术、文化和创意于一体的私营机构。K11 Musea 是对传统购物中心的一种颠覆性设计，在外立面活动墙中使用绿植设计，在内部空间中种满植物，特别是将室内屋顶打造成一座提供零公里食材的城市花园。由于这里具有各种本地和外来植物，因此，还设立了香港首个生物多样性的城市自然博物馆和可持续发展教育园区“Nature Discovery Park”，以向更多的人推广可持续发展的理念。此外，里面设有一座展示了各种本地和外来植物，一个养着各种海洋动物的水族馆，馆内有各种没有被圈养的蝴蝶。园区内还配备有用于灌溉的雨水收集系统以及使用海水的冷却系统。该项目已获得 LEED 金奖和香港 BEAM Plus （金奖）绿色建筑预认证。一踏入大楼内，各种令人震撼的设计映入眼帘。游客穿过被称为歌剧院的宏伟大厅进入33 米高的穹顶中庭，这个错综复杂的设计由 LAAB 建筑事务所打造，似是对历史悠久的大教堂建筑的重新诠释。由 Oculus 点亮的 Escalating Climbers 有机雕塑由两个直径为 7 米的天窗组成。这一长形雕塑通过类似于 DNA 的代码数字化生成，如同一个巨型根茎一样延伸出 500 个各不相同的分支，这些分支则是由钢和玻璃纤维增强的聚合物复合材料手工制成。这些分支由数百个可编程的小灯点缀形成不同的设置，充满活力，该装置由Speirs + Major负责设计。这种震撼体验延伸至室外举办各种现场活动的下沉广场。这个充满光和水设计元素的圆形剧场配有弧形玻璃面板墙，一个多媒体墙以及轮流展示的现场艺术品收藏，包括Elmgreen&Dragset的《梵高之耳》、Samson Young 的《Big Big Big Company》（迷你高尔夫）、Erwin Wurm 的《Hot Dog Bus （热狗巴士）》，张恩利的《Parrots of Five Colours（五色鹦鹉）》以及 Katharina Grosse 的无题作品。

Amuse/A Muse by the Sea

On the Hong Kong waterfront, K11 Musea presents itself as a ‘museum retail concept’ with which to rethink the experience of the traditional mall in a hybrid manner. Between physical and digital, shopping, entertainment and art, in a work of architecture that is a spectacle in its own right. “K11 Musea location, scale and concept are unique - the project involves leading architects as well as over 100 local and international designers and artists. K11 Musea will also bring great cultural content back to Hong Kong’s Tsim Sha Tsui waterfront, which has lost its legendary charm since the late 1990s. K11 Musea will be Hong Kong and Asia’s new cultural destination, where global millennials can come together and discover their muse.” Adrian Cheng, executive vice-chairman di New World Development, has clear ideas about the clientele target, people known as ‘super-consumers’ by analysts, with whom to share an innovative shopping and culture experience offered by the mall opened in August 2019 at Victoria Dockside. The completion of the K11 Musea makes it the epicenter of a project of urban regeneration that has taken 10 years, with investment of 2.6 billion USD, transforming what was once a logistics area, and then a residential-commercial zone, into a large multifunctional complex designed and built by James Corner Field Operations,

Kohn Pedersen Fox and Ronald Lu and Partners. The towers of the new district, in an area of 28 hectares, contain the Rosewood Hong Kong with interiors by Tony Chi, the K11 Artus Residences with interiors by André Fu, Joyce Wang Studio, Fiona Barratt Interiors and Nemaworkshop, and the K11 Atelier offices with interiors by Simplicity. The lower building, on the other hand, directly connected to the waterfront by a ‘luminous corridor’ with a length of 100 meters and a width of 40, is for the K11 Musea, conceived as a hybrid between a ‘phygital’ destination for luxury retail, with international and local brands, and a private institution for art, culture and creativity. ‘Subversive’ with respect to a traditional mall, the facility makes use of greenery in the living walls of the outer facades, plants inserted in the internal spaces and, in particular, on the roof, with an urban garden for zero-km cuisine and a Nature Discovery Park, the first urban museum of biodiversity in Hong Kong, for education on sustainability thanks to the presence of a variety of local and exotic plants, an aquarium for marine species, and butterflies not in captivity. The structure is also equipped with system for the collection of rainwater for irrigation, and a cooling system that uses seawater. The project has already obtained LEED Gold and Hong Kong BEAM Plus (Gold) pre-certification. The spectacular features appear as soon as one enters. The grandeur of a lobby known as the Opera Theatre welcomes visitors into

a striking dome 33 meters high, an intricate creation of LAAB resembling a reinterpretation of a historic cathedral, with the organic, sculptural forms of the Escalating Climbers, lit by the Oculus, composed of two skylights with a diameter of seven meters. Digitally generated by code similar to that of DNA, the sculpture extends like a gigantic rhizome in 500 branches, each different from the others, and was made by hand in a composite of steel and polymers reinforced with fiberglass. The branches are enlivened by hundreds of programmable light points to create different settings, designed by Speirs + Major. The spectacle continues outside with live events in the Sunken Plaza, an amphitheater with games of light and water, a wall of panels in curved glass, a media wall, and a collection of site-specific artworks displayed in rotation, including Van Gogh’s Ear by Elmgreen & Dragset, Big Big Big Company (Mini Golf ) by Samson Young, Hot Dog Bus by Erwin Wurm, Parrots of Five Colours by Zhang Enli, and an untitled work by Katharina Grosse. IFDM 45 November 2019

PROJECT CREDITS Victoria Dockside Masterplan: Adrian Cheng in collaboration with Kohn Pedersen Fox Lead architect: Kohn Pedersen Fox Executive architect: Ronald Lu and Partners Sustainability consultant: Arup Lead architect: James Corner Field Operations Landscape executive architect: Urbis K11 MUSEA Overall lead architect: Kohn Pedersen Fox Executive architect: Ronald Lu and Partners Façade design, sunken plaza, atrium, Gold Ball, Doughnut Playhouse: Kohn Pedersen Fox Entrance, Nature Discovery Park: PLandscape Schematic design of Opera Theatre: AB Concepts Escalating Climbers, Oculus, Bohemian Pavilion, Arches, Hexagons + Ovals, Nature Discovery Park Conservatory: LAAB Architects Krescent Planter, The Bohemian Garden: James Corner Field Operations Peacock Playground: Monstrum Visual Corridor: Leigh + Orange Lighting: Speirs + Major KUBE: OMA Victoria (chandelier): Lasvit Photo credits: courtesy of K11 Musea

close up

成功的合作伙伴关系的家具展，我们计划寻找处于第二梯队和第三梯队的新品牌，以扩大展示空间。更重要的是，锁定更多专业品牌，即使是规模较小的品牌，目的是扩展从装饰到配件的特定产品类别的产品范围。毫无疑问，中国市场有这样的新需求。在上个月，我们与中国设计师和建筑师协会签署了一些重要合同，他们在iADC上可以找到完整的室内设计解决方案。

Robin Fang, iADC Art Director

iADC（国际艺展中心）庆祝成

立一周年。该中心由深圳市满京华投资集团有限公司创立，位于深圳珠江三角洲经济走廊，占地面积超过150万平方米。凭借与 FederlegnoArredo Eventi的合作，吸引50个意大利品牌展厅在这个融合设计、艺术和文化的空间里展示，可提供全方位创意体验。新iADC艺术馆的落成与开业（11月23日），以及随之而来的新合作，均旨在使该中心成为中国华南地区设计中心。我们与iADC的艺术总监Robin Fang 畅谈关于当下、过去与未来的话题。

ADC能为意大利和国际品牌提供哪些机会? 家具行业的佼佼者在中国拥有许多销售点。我们与FederlegnoArredo Eventi一起进行了调查研究，联系更多拥有卓越品质和设计的品牌，这些品牌往往需要获得在中国有关分销渠道的支持。在米兰国际家具(上海)展览会和即将于4月在米兰举行

的中产阶级，他们并不满足于购买房屋，还想创造一种生活方式，以及意大利制造依然代表着最好的品质，这其中包括设计热情和严谨的细节要求。第三类是房地产客户。由于城市化进程，中国正在经历翻

天覆地的变化：新移民正在从乡村转移到城市，他们首先需要一个家。政府还发布了新法规，以敦促大型房地产公司出售装修好的公寓和房屋。对我们来说，这是与承包商合作的绝佳机会。

继续谈谈与FederlegnoArredo Eventi的合作：这一合作是如何开始的？我们有幸认识该协会和FederlegnoArredo Eventi，并有幸在两年前的米兰国际家具展期间认识Roberto Cuneo。从那时起，我们就开始一起研究合作的项目：这并不容易，双方都付出了巨大的努力。最终，一年前，我们签署了一项合作协议，并在一个宽敞的空间（在中心前两层占地面积30,000平方米）为意大利品提供平台在意大利境外获得更多知名度。中心的目标客户有哪些? 首先是设计师、建筑师，特别是室内设计师：我们专注于使用意大利家具的特定工作室，大部分都是高端项目。其次，目标客户还包括中国中产阶级：在过去的30-40年中，中国的经济增长催生出日益壮大

Winning partnership

he iADC (International Art Design Center) celebrates one year of activity. The facility with an area of over 1.5 million square meters, owned by Shenzhen ManJingHua (MJH) Investments Group, stands in the Pearl River Delta Economic Corridor in Shenzhen. Thanks to a partnership with FederlegnoArredo Eventi, 50 showrooms of Italian brands have found an exclusive showcase here, in a setting where design, art and culture combine to offer a complete experience of creativity. Additions, nezw collaborations and the opening (on 23 November) of the new iADC Museum are part of a process of development aimed at making the center a reference point for design in southern China. We talked about present, past and future with the artistic director of the center, Robin Fang. What are the opportunities iADC offers to Italian and international companies? The top players in furniture already have many points of sale in China; together with FederlegnoArredo Eventi we have conducted research in order to make contact with other brands renowned for their quality and their design, but requiring support to find a channel of distribution in the territory. During the Salone del Mobile in Shanghai and the upcoming Salone in Milan in April, we plan to look for new companies on the second and third levels, to increase the showroom spaces IFDM 46 November 2019

and to above all intercept more specialized brands, even if they are smaller, in order to widen the offerings of specific product categories, from decoration to accessories. This is undoubtedly a new demand arriving from the Chinese market. Over the last month we have signed some important contracts with associations of Chinese designers and architects, who at iADC can find a point of reference for complete interior design solutions. So the cooperation with FederlegnoArredo Eventi continues: how did this project begin? We had the good fortune of getting to know the federation and FederlegnoArredo Eventi, and of meeting Roberto Cuneo during the Salone in Milan two years ago. Since then we have begun to study the project together: it was not easy, and there has been great effort on both sides. Finally, one year ago we signed a partnership pact and created a large space (30,000 square meters on the first two levels of the Center) where the brands of Made in Italy have the possibility of gaining maximum visibility, outside the confines of Italy. What is the visitor target of the Center? First of all designers, architects, and above all interior designers: we are focusing on specific studios that use Italian furnishings, for the most part, in high-level projects. Second, the target includes the Chinese middle class: over the last 30-40 years economic growth in

这里有哪些展示空间？展厅共11层，面积从100平方米到 500平方米不等，具体取决于品牌和展品大小。譬如，Armani/Casa占地550 m2，这也是该品牌在亚洲最大的展

厅。而一楼和二楼的“La Galleria”则专用于展示意大利品牌（总共约50个品牌），但我们也在考虑将其扩展到三楼，现在三楼用于展示美国和北欧品牌。

iADC Shenzhen

除设计之外，这个中心还着重于文化和艺术的展示。如何推广这些方面的内容？每个月，我们都会举办一次有关设计主题的重要活动，并为全国性设计协会提供场地，让他们在这里进行集会。今年的新进展是在我们中心附近开幕的iADC艺术馆，这家艺术馆将于11月23日正式开放。第一次展览主题是Kartell成立70周年纪念；由于这个品牌在意大利和国际设计史中均有着非常重要的影响，所以我们觉得选择

China has led to the creation of a middle class that is not satisfied just to buy a house, but wants to create a lifestyle, and Made in Italy still has the best quality, which also means passion and attention to detail. The third category is the world of real estate. China is going through a major transformation, through the phenomenon of urbanization: new immigrants are moving from the country to the city, and the first necessity is to find a home; the government has even launched new regulations to urge large real estate companies to sell already furnished apartments and houses. For us, this is a great opportunity to come into contact with contractors. What type of display spaces are involved? The showrooms, on 11 floors, range from 100 to 500 m2, depending on the brands and the size of the collections on view. Armani/Casa, for example, has a space of 550 m2, the brand’s largest store in Asia. “La Galleria” is for Italian brands (about 50 in all), on the first and second floors, but we are considering expanding to the third floor as well, now occupied by American and northern European brands. Besides design, the mall focuses on art and culture. How are these aspects promoted? Every month we organize an important event on the theme of design, and we make space available to design associations on a national level, who come here for their assemblies. The new development this year is the opening of the iADC Museum, close to our mall, which officially opens its doors on 23 November. The first exhibition is on the 70 years of Kartell; given the importance of the brand in the history of Italian and international design, it seemed like an ideal way to open the museum, and to celebrate the first year of activity of iADC.

这个主题作为艺术馆开幕并庆祝iADC成立一周年很有意义。为什么选择深圳? 因为深圳是30年前首个中国经济特区城市，这一政策大大促进了经济发展；现在深圳已成为仅次于北京和上海的中国第三大城市。这个城市坐落于海边，地理位置优越，毗邻香港也带来了积极影响。这是一座年轻的城市，人口的平均年龄为37岁，占人口的80%：30年前这里只有30,000名居民……

现在，这里的人口已经达到 1700万人! 另一个重要方面是，深圳在2008年被联合国教科文组织授予“设计之都”的称号：这里生活着超过500,000 名设计师和创意专业人士，并且当地大量生产家具。正因如此，三年前，我参与合作的 Istituto Marangoni在深圳开设了新校区。因此，在过去的30 年中，这座城市在设计、时尚和高科技领域积累了卓越的经验。实际上，这里被视为新硅谷。

Why wager on Shenzhen? Because it was the first city to be part of the Special Economic Zone in China, which facilitated economic development, 30 years ago; and now it has become the third metropolis in China, after Beijing and Shanghai. It has an advantageous geographical position, on the sea, with positive influence from nearby Hong Kong. It is a young city, with an average age of 37, corresponding to 80% of the population: 30 years ago it had 30,000 inhabitants… now it has 17 million! Another significant aspect is that Shenzhen was designated as a Creative City by UNESCO in 2008: over 500,000 designers and creative professionals are at work here, and there is extensive local production of furniture. This is the context of the opening, three years ago, of a new facility of Istituto Marangoni here in Shenzhen, on which I collaborated. In the last 30 years the city has thus gained remarkable experience in design, but also in fashion and high technology; in fact, it is considered the new Silicon Valley.

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COMFORT LIVING

舒适的轮廓 New proposals for upholstered furnishings

COMFORT TAKES FORM 彰显五十年代和六十年代的风格，兼具20世纪初风格，理性主义建筑的大师们精心打造出第一批洋溢国际化风格的设计作品。这是软垫家具领域中高端品牌的全新产品或经典产品重新演绎的时代背景，其中包括极致优雅的单壳扶手椅（以细长钢支架的轻型结构）、长沙发椅和兼作桌子和储物格的组合件以及采用包围式设计的舒适沙发。光滑饰面和独家面料，以高端制造的精湛工艺结合起来。

Echoes of the Fifties and Sixties, but also of the early years of the 20th century, when the great masters of rationalist architecture created the first design pieces that wrote the history of international style. This is the background of the new or reissued offerings of premium brands in the upholstered furniture sector, including solutions of great elegance, single-shell armchairs with light forms on slender steel supports, divans and modular pieces that incorporate tables and storage compartments, super-comfortable sofas with enveloping forms. Sleek finishes and exclusive fabrics are combined in a context of craftsmanship typical of high-end manufacturing.

Minotti 由Christophe Delcourt设计的Daniels座椅系统以椭圆和曲线呈现多元化组合方式。这一沙发组合系列可与低矮的Amber橱柜和带轮子的脚凳一起使用，可通过磁铁设计放置在沙发边上，也可用作额外的座位或桌子空间。该沙发组合提供织物版本、皮革版本或两种材质组合的版本。 The Daniels seating system designed by Christophe Delcourt gives rise to dynamic compositions with ellipses and curves. It goes together with the low Amber cabinets and the ottomans on wheels, which can be placed by the sofa thanks to magnets or used as added seating or table space. The system comes in fabric or leather, or in a combination of the two.

IFDM 49 November 2019

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COMFORT LIVING

CASSINA 著名的LC4是贵妃椅的标志性设计，由勒·柯布西耶（Le Corbusier）、皮埃尔·让纳雷（Pierre Jeanneret）和夏洛特·佩里安（Charlotte Perriand）于1928 年合作设计。LC4隶属“I Maestri”系列，还提供黑色版本，其中结构、摇椅支架和外罩均为黑色。底座横梁上的橡胶管可有效确保摇椅支架的稳定性。

BAXTER

A universal icon of the chaise longue, the famous LC4 was designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 1928. LC4, from the I Maestri collection, also comes in a black version with the structure, cradle and covering in black. The stability of the cradle is ensured by the rubber tubes on the crossbars of the pedestal.

Armrests with squared lines supported by feet in shiny or gunmetal brass, and covered with quilted leather, featuring typical workmanship of the world of Trussardi fashions. The Deven sofa designed by Carlo Colombo, for three or four persons, comes in leather or fabric. The Deven program also includes an armchair, a sideboard and a tall cabinet.

此新款沙发取名Leon，拥有宽敞轮廓，圆润和有机的线条设计，由Draga & Aure设计。这款沙发以柔软皮革覆盖，由不对称靠背围绕单一长座椅组成，靠背从沙发一端开始，至另一端时突然中断，从而展现出圆润的廓形。 Leon is the name of the new sofa with ample forms and rounded, organic lines, designed by Draga & Aurel. It is covered in soft leather and composed of a single long seat surrounded by an asymmetrical back, which starts from one of the ends and leaves the other exposed, revealing the rounded shape.

TRUSSARDI

LEMA

这款扶手椅采用方形线条设计，椅脚以闪亮或青铜色的黄铜制成，搭配绗缝皮革外罩，采用 Trussardi 品牌的经典工艺制成。Deven沙发由 Carlo Colombo设计，可容纳三到四个人，采用皮革或织物材质设计。Deven系列还包括一张扶手椅、一个餐具柜和一个高橱柜。

莱昂纳多·戴内利（Leonardo Dainelli）打造的Alma采用专业工艺制成，是一款具有宽敞轮廓的扶手椅，其包裹式廓形、柔软座椅和靠垫淋漓演绎着1940年代的风格元素。椅脚采用黄铜饰板制成。Alma提供丰富的织物和色彩选择。 An armchair with ample forms created thanks to expert craftsmanship, Alma by Leonardo Dainelli interprets the stylistic codes of the 1940s, with enveloping forms and soft seat and back cushions; the feet are enhanced by brass plaques. Alma comes in a wide range of fabrics and colors.

ZANOTTA 由Gatti、Paolini和Teodoro于1968年打造的传奇作品Sacco，在其诞生50周年之际推出绿色限量版。内部填充物为生物塑料颗粒，搭配ECONYL®材质外罩，这是一种以回收渔网制成的尼龙线，最后以 Pierre Charpin创作的图案点缀设计。 The legendary Sacco model designed in 1968 by Gatti, Paolini & Teodoro is now being produced in a green numbered edition for its 50th birthday. The internal filler is in bioplastic pellets, while the covering is in ECONYL® - a nylon thread also recovered from salvaged fishing nets – decorated with a pattern created by Pierre Charpin. IFDM 50 November 2019

FLEXFORM Romeo分段长沙发椅由安东

Designed by Antonio Citterio, the Romeo sectional sofa has tapered feet in die-cast aluminium that raise it off the floor, and slim grosgrain piping that emphasizes all the stitching. The seats and backs are filled in goose down and covered in all the fabrics and leathers of the collection.

尼奥·奇特里奥（Antonio Citterio）设计，其压铸铝制锥形椅脚将其抬离地面，搭配纤薄的罗缎纹滚边，突显缝线设计。座椅和靠背采用鹅绒填充，采用同系列的面料和皮革作为外罩。

PEDRALI

ARFLEX

由Busetti Garuti Redaelli设计的Buddy Sofa沙发拥有简约经典的风格和圆润的线条设计，共有两种尺寸，带或不带扶手，搭配织物、皮革或环保皮革外罩。通过组合四种密度的泡沫打造弹性带和衬垫，带来卓越的舒适性。

Elettra扶手椅是一款经典设

计，由米兰建筑公司BBPR 于1954年打造。这家建筑公司在意大利建筑历史和文化中有着重要影响。采用金属制结构和底座、长方形椅垫和椅背，除皮革版本外，所有版本均带有可拆卸外罩。还提供皮草材质版本。 A design classic, the Elettra armchair was designed in 1954 by BBPR, the fisrt Milanese architecture firm that was a protagonist of Italian architectural history and culture. Structure and base in metal, a rectangular cushion and a back, all with removable covers except in the leather version. Also available in fur.

MINIFORMS

Essential style and rounded lines for the Buddy Sofa designed by Busetti Garuti Redaelli, in two sizes, with or without armrests, covered in fabric, leather or eco-leather. The remarkable comfort is the result of elastic belting and padding obtained by combining foams of four different densities.

Botera椅（由e-egg设计）的灵感源自著名画家

Botero的作品，采用柔软、圆润的廓形设计。全软垫设计，以椅背的“柔和”角度为设计特色。该产品提供两种高度版本，可用两张椅子或多张椅子进行创意组合。

MUUTO Echo Pouf可用于各种空间，提供

柔软的座椅体验。其名字寓意重复的概念：复制其低调的外观，同时营造抢眼的视觉效果，其轻盈的廓形设计也功不可没，即由椅脚支撑的简单结构。共有三种尺寸规格，可根据订制要求使用 Kvadrat织物外罩。

Echo Pouf can be used in any space, offering a soft place to sit. The name refers to the idea of repetition: replicating its discreet presence, it creates striking visual echoes, also thanks to the light form, that of a simple volume placed on feet. Available in three sizes, with Kvadrat fabric covering by order.

Inspired by the figures of the famous painter Botero, the Botera seat (designed by e-egg) has a soft, rounded form. Completely upholstered, it stands out for its back at a ‘soft’ angle; the product comes in two heights, for creative compositions in groupings of two pieces or more. IFDM 51 November 2019

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VIBIEFFE

COMFORT LIVING

抽屉与沙发二合为一：Re-Set是一款采用方形设计的金属椅脚沙发，设有橡木贴面抽屉，两端采用鸽子灰或暗灰色饰面设计，并配有牛皮嵌片。另一端设有舒适的扶手，可通过内部机械装置进行调节。

TACCHINI Reversível椅子由马丁·艾斯勒（Mar-

tin Eisler）在1955年设计，在仅存100 件的Reversível Millennium限量系列中得到重新演绎，搭配蓝色精致金属底座。该座椅可设置成两种角度，从而提供双重的舒适感：椅背可以设成笔直或半躺的角度。

Designed by Martin Eisler in 1955, the Reversível chair has been reissued in the Reversível Millennium Limited Edition of just 100 pieces, with a metal base in a refined shade of blue. The model offers double comfort thanks to a seat that can be placed in two positions: for sitting with the back straight, or for a semireclining posture.

A sofa and a drawer, combined: Re-Set is a sofa on metal feet with a squared design, featuring a drawer in oak veneer with dove gray or shadow gray finish at one of the two ends, enhanced by a cowhide insert. On the opposite end there is a comfortable armrests adjusted by means of an internal mechanism.

VERY WOOD Rodeo系列是由Matteo Ragni和Chiara Moreschi设计的凳子

和长椅系列，其轮廓引人入胜，灵感源自马鞍。由于把手设计，长椅可轻松移动；组合并置时，可用作于临时家具配置。它们也可以配备 USB 充电装置，采用隐形接线设计。 Stools and benches with an evocative form, designed by Matteo Ragni and Chiara Moreschi: the Rodeo series takes its cue from saddles. The benches are easy to move thanks to handles; juxtaposed, they can be used for temporary configurations. They can also be outfitted with a USB charging unit with vanishing wiring.

DÉSIRÉE Avì椅子以其弧形曲线

为特色，属于同名沙发系列。包裹式椅子外壳采用衬里设计，很好地围绕着座垫和靠背，并搭配镀磨砂青铜的金属旋转圆盘底座。该圆盘也可搭配光泽感的镀铬金属环。可拆卸外罩采用织物或皮革材质。

The Avì chair stands out for its curved lines, completing the series of sofas of the same name. The enveloping lined shell embraces the seat and back cushions and is supported on a swivel base with a disk in matte bronze coated metal, which can also be fitted with a ring in shiny chromiumplated metal. Removable cover in fabric or leather.

ARPER Designed by Lina Bo Bardi in 1951, the Bowl Chair comes in a limited and numbered edition of 500 pieces. The metal ring structure with four legs supports a semi-spherical seat that can be adjusted in various positions, covered in black leather or in seven color variations for different combinations, as well as patterns based on the drawings of Lina Bo Bardi.

这款碗形椅(Bowl Chair)由Lina Bo Bardi在 1951年设计打造，限量推出500件。四条椅脚形成的金属环结构支撑着一个半球形座椅，该座椅可调节成不同的位置，采用黑色皮革外套或提供七种颜色外套设计，以打造不同的色彩组合。此外，还提供以 Lina Bo Bardi画作为素材的外罩图案。

IFDM 52 November 2019

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COMFORT LIVING

RIFLESSI York是一款精致的软垫座椅，采

用包裹式外壳设计，以织物覆盖表面，营造出座位和靠背的廓形。亮点是经过电镀表面处理的金属结构，搭配交叉的细长椅脚，以确保最大的稳定性。 A refined upholstered chair, York is composed of an enveloping shell covered in fabric that gives form to the seat and back. The particular feature is the structure in metal coated with a galvanic treatment, with slender legs that cross to guarantee maximum stability.

LACIVIDINA Nap是一个充满柔软分段式沙

发的家具系列，采用吸睛的缝线设计，旨在提高“枕头” 座垫的柔软度。隐形拉链的后下部靠垫可提供额外的舒适体验。该系列沙发椅由Andrea Steidl设计。

Nap is a collection of soft, sectional divans that stands out for its striking stitching, developed to enhance the softness of the ‘pillow’ upholstery. Extra comfort is provided by the lower back cushion attached to the back with an invisible zipper. The series is designed by Andrea Steidl.

GIANFRANCO FERRÈ HOME Loop的经典廓形设计，这款充满五十年代风格的软垫扶手椅搭配时

尚色彩和几何图案的织物外罩。其装饰和结构元素为一条黑绳，单线形状同时勾勒出椅腿和扶手。Loop推出丰富的织物和皮革质地版本。 Essential forms for Loop, the upholstered Fifties-style armchair covered with fabrics in fashion colors and geometric patterns. The decorative and structural element is a black rope, a single line shaped to become both leg and armrest. Loop comes in the various fabrics and leathers offered by the brand.

MOLTENI&C Rodolfo Dordoni设计的Kensington系列采用Bergere版型进行扩展，集成后座系统和侧面头枕的设计，非常适合放松休息。外壳下半部分采用皮革覆盖，由四辐条底座支撑。该系列提供皮革和织物材质版本，可单独使用或组合使用，提供多种个性化选择。

KNOLL

The Kensington series by Rodolfo Dordoni has been expanded with the Bergere model, perfect for relaxing thanks to the integrated back-seat system and lateral headrests. The lower shell covered in leather rests on a four-spoke base. Leathers and fabrics, used individually or in combinations, offer a wide range of personalization options.

A compact volume, the KN05 settee designed by Piero Lissoni belongs to the KN Collection. The small sofa stands out for its shell-shaped body that provides the seat and armrests, made with covering in leather or fabric. Structure in chromiumplated or coated metal.

KN05靠椅拥有紧凑小巧

的体积，由Piero Lissoni 设计，属于KN系列作品。这款精致的沙发以其壳形椅身为特色，可用作座椅和扶手，搭配皮革或织物外罩。椅子结构采用镀铬或镀层金属制成。

IFDM 54 November 2019

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BEIJING DESIGN WEEK

可持续发展足迹北京放眼未来，提倡可持续发展和工艺概念。这是今年 9 月 12 日至 16 日举办的北京国际设计周和相关活动设计中国北京提出的两个主题。尽管这项国际性活动才举办第二届，但在为期五天的活动中却吸引 30,000 多名专业人士，以及来自中国和世界各地的 200 多个品牌；在这个非凡的舞台上，展示多达 1000 件产品（家具、厨具、电子产品、照明、家庭装饰和办公家具），以及 13 个主题装置，举办了 50 场演讲。这些都是这次活动的数据，正如展览总监谭卓所说，展会旨在“彰显我们行业对环境的责任”。可持续性设计和生产制造是理解本次展会的关键，也体现在展品和对话中：“Opposite House of AntiStatics”（反静电之家）装置、Cao Feng 和收藏家 Wei Wang 的展览“Illuminating Modernism”（照亮现代主义）、Jamy Yang 的交互式装置 [design（设计）] 或是 Min Chen 的作品“Object Tasting”等等。亮点包括设计师 Fabio Novembre、Sebastian Herkner、槃达建筑事务所的孙大勇和 Bethan Gray 的作品。教育部门也发挥了重要作用，应邀让四个中国设计学校（清华大学、中央美术学院城市设计学院、中国美术学院和广州美术学院）的学生就主题发挥创意。“设计中国北京和设计上海的愿景是推动设计产业的创新发展，而可持续设计的问题不会因为这次北京展览的结束而结束。我们将继续促进可持续发展设计，引领设计行业走向可持续发展的未来。”

ILLUMINATING MODERNISM 设计画廊“重返20世纪”的创始人Cao Feng和收藏家Wei Wang精选一系列杰出的艺术家和作品，以法国现代主义的形式，打造身临其境的体验——“诠释现代主义”展览，展出Le Corbusier和Bernard-Albin Gras等人的杰作。

The founder of the design gallery “Back to 20th,” Cao Feng, and the collector Wei Wang have created an immersive itinerary through French modernism, thanks to a refined selection of outstanding names and works: the exhibition Illuminating Modernism featured masterpieces by Le Corbusier and Bernard-Albin Gras, among others.

FRANK CHOU 设计师Frank Chou重回北京设计中国展，推出一系列新品：Combo Series系列的柔软座椅，带大理石台面的Rubato茶几，以及带有强烈东方韵味的Tune台灯。这些设计延续其以简单、优雅的设计语言演绎中国现代生活方式的理念。

NATUZZI 作为与Kuka的合资企业，该品牌当地拥有20多年的发展历史，并已成功扩大其零售网络，包括众多艺术和文化推广活动。通过参加“北京设计中国”，Natuzzi进一步巩固与中国（该公司设计作品的主要市场）的紧密联系。在所展出的客厅和餐厅产品中，Icon沙发（由Michele Menescardi设计）以其柔软手感和圆润轮廓脱颖而出。 A presence for over 20 years in this region, the joint venture with Kuka has exponentially expanded the retail network, including many activities of artistic and cultural promotion. With the participation in Design China Beijing, Natuzzi confirms its solid bond with China, a major market for the firm’s design creations. Among the living and dining collections on view, the Icon sofa (designed by Michele Menescardi) stood out with its soft, rounded forms. IFDM 56 November 2019

A return to Design China Beijing for the designer Frank Chou, with a new selection of products: the soft seats of the Combo Series, the Rubato coffee table with a marble top, the Tune lamp with clear oriental references. This is the continuation of the concept of an interpretation of the Chinese modern lifestyle through a simple, elegant design language.

MEZZALIRA INVESTMENT GROUP 继在伦敦和马德里开设新店之后，拥有 Jesse、Rotaliana、Sinetica和Sitland等品牌的 MIG集团再次实现目标，通过与集团在中国的唯一经销商HWS合作，在北京开设了全新空间。占地1500平方米的新店包含一个“活动展厅”：该空间包括HWS的新办公室，因此是名副其实的办公空间。

After the openings in London and Madrid, MIG group – composed of the brands Jesse, Rotaliana, Sinetica and Sitland – achieves another goal with the very recent opening of a new space in Beijing, in partnership with HWS, which becomes the group’s sole distributor in China. An area of 1500 square meters contains a ‘live showroom’: the space hosts the new HWS offices and is therefore a real work area.

WOVEN GROVE @ THE OPPOSITE HOUSE AntiStatics建筑与设计工作室在合作酒店The Opposite House（由Kengo Kuma设计）按照活动主题创作出Woven Grove装置。在大厅，这个由竹子制成的结构高达7米，充分探索这种材料的可能性，结合编织技术与人工智能算法打造而成。

The AntiStatics studio of architecture and design has created the installation Woven Grove on the guiding theme of the event, inside the partner hotel The Opposite House (designed by Kengo Kuma). In the lobby, a bamboo structure almost seven meters high investigated the possibilities of the material, combining weaving techniques with artificial intelligence algorithms.

ZANOTTA

MANDARIN ORIENTAL WANGFUJING 这是该集团位于北京的首间酒店。王府井文华东方酒店于春季开业，位于香港置地的著名购物中心王府中環的上层，从酒店中可欣赏到故宫内的壮丽景色。王府井地区的多元文化传统淋漓体现在由HBA设计的酒店（大厅里有众多艺术作品装饰点缀，如弗兰克· 盖里（Frank Gehry）的“鱼灯”等）以及 73间客房和套房。另一个非凡的标志性元素是由Adam D. Tihany设计的Mandarin Grill + Bar，与Cafè Zi和MO Bar一样，该餐馆也拥有一个壮观的花园露台。

The group’s first hotel in the Chinese capital. Opened in the spring, Mandarin Oriental Wangfujing is located on the upper levels of WF CENTRAL, the famous shopping center of Hongkong Land, with an extraordinary view of the Forbidden City. The variegated cultural tradition of the Wangfujing area is reflected in the design of the hotel (adorned by many works of art like the Fish Lamp by Frank Gehry in the lobby), and in the 73 rooms and suites designed by HBA. Another exceptional signature is that of Adam D. Tihany for the Mandarin Grill + Bar, which like the Caf è Zi and MO Bar have a spectacular garden terrace.

Zanotta在设计中国北京上展出一个“如家般”的装置，演绎品牌的风格理念。在展示空间中，品牌展示了一些杰出大师的经典作品，例如卡洛·莫利诺（Carlo Mollino）和马可·扎努索（Marco Zanuso），以及畅销产品，例如Damian Williamson 的William沙发和最新系列的家具作品。

IFDM 57 November 2019

An installation with a “home feeling” – symbolizing the identity of the brand – for Zanotta at Design China Beijing. In the display space the company presented some iconic creations of the great masters, like Carlo Mollino and Marco Zanuso, along with bestsellers like the William sofa by Damian Williamson and furnishings from the latest collections.

report

BEIJING DESIGN WEEK

CABANA LEEZA SOHO 漫步于北京丽泽金融商务区，由扎哈哈迪德建筑事务所设计的丽泽SOHO大楼十分抢眼。这幢摩天大楼位于新的地铁隧道之上，该隧道将区域以对角线形式一分为二。虽然表面看似一幢建筑，但实际上由隧道两侧两两座（略微扭曲的）塔楼构成。塔楼由中央大厅（高度为 190 米，为世界最高的中央大厅）连接起来。

Opened in May, the new Cabana multibrand design store at the TaiKoo Li Sanlitun Shopping Centre in Beijing made its first appearance at Design China Beijing in September. The retail brand presented a vast selection of furnishings and accessories, also on view in its showroom, with international names like CC-tapis, Menu, Herman Miller, Thonet, Kvadrat, Louis Poulsen, House of Finn, Frama and many others.

Strolling through the Lize Financial Business District, the gaze is attracted by the (almost finished) project of Leeza SOHO, the skyscraper by the studio Zaha Hadid Architects. The building stands atop the new subway tunnel that divides the area diagonally in two, with the appearance of a single volume though it is actually made with two towers that rise (slightly twisting) at the sides of the tunnel. The towers are connected by a central lobby (the highest in the world, at a height of 190 meters).

位于北京太古里三里屯购物中心的全新Cabana多品牌设计店于5月开业，并于9月在设计中国北京首次亮相。该零售品牌展示各种家具和配饰，包括展厅内的产品，其中所陈列的国际品牌包括CC-tapis、Menu、Herman Miller、Thonet、Kvadrat、Louis Poulsen、House of Finn、Frama等。

PRANDINA

LIVING ITALY Veronafiere再次成为在中国的“意大利制造”的推广大使，继在上海两次成功的活动之后，再次为北京带来许多卓越的意大利设计作品。名为《Living Italy》的群展充分展现不同的意大利地区风情，参展品牌包括Mutaforma、Caccaro、Tonin Casa、Quadrifoglio Group、Itlas、Veneta Cucine 和 Gruppo Tosco Marmi。

Prandina在设计中国北京首次亮相其新产品和畅销产品。这家照明公司通过经典设计（如 Gong、Equilibre、Glam和Paraph）以及Diver和Luisa 等全新系列（如图）展示其品牌个性：由Gauzak设计的Luisa体现了吹制玻璃的工艺历史，搭配不同的颜色设计灯罩和金属灯架。 Veronafiere once again acted as a promoter of Made in Italy in China, and after the success of the twin event in Shanghai, it also brought many excellent exponents of Italian design to Beijing. The group show Living Italy, organized in various settings for different habitat panoramas, including the participation of Mutaforma, Caccaro, Tonin Casa, Quadrifoglio Group, Itlas, Veneta Cucine, Gruppo Tosco Marmi.

IFDM 58 November 2019

Prandina made its debut at Design China Beijing with new items and bestsellers. The lighting company narrated its identity through its own icons, like Gong, Equilibre, Glam and Paraph, along with new collections like Diver and Luisa (in the photo): designed by Gauzak, Luisa embodies the history of blown glass, playing with different colors for the diffusers and the metal structure.

SLAMP 展品：Zaha Hadid设计著名的Aria悬吊灯和Adriano Rachele设计的珍贵吊灯Mida；还有Marc Sadler的新系列Accordéon和Sadler（如图）设计的新颖电池供电台灯Lafleur。这些是 Slamp在北京设计中国上向中国观众展示的部分产品，充分展示其采用独特技术聚合物打造照明设计的理念。

GAGGENAU 在设计中国北京展会上，Gaggenau将展台打造成一个艺术装置。这个德国高端厨房电器品牌展示其400系列烤箱，其中包括宽度为60和76厘米的蒸烤一体机、微波烤箱和食物保暖器，诠释简洁的设计风格：采用触摸屏设计，提供无需要把手即可打开箱门的直观开启体验。

On view: the famous Aria suspension lamp by Zaha Hadid, and Mida, the ceiling gem by Adriano Rachele; there was also Accordéon, the new collection by Marc Sadler, as well as Lafleur, the original battery-powered table lamp, also by Sadler (in the photo). These were some of the offerings Slamp presented to the Chinese audience at Design China Beijing, to narrate its lighting design based on the use of unique technopolymers.

An artistic installation formed the setting of the booth of Gaggenau at Design China Beijing. The German brand – a producer of high-end kitchen appliances – presented the 400 series, a line of ovens, including combi-steam, combi-microwave and food warmer models with widths of 60 and 76 cm, featuring clean design: the doors without handles open with an intuitive gesture, using the touch display.

SUSTAINABLE FOOTPRINT Beijing looks to the future, through the key concepts of sustainability and craft. These are the two themes addressed by Beijing Design Week and its satellite event Design China Beijing, from 12 to 16 September. Though at only its second international iteration, the event attracted over 30,000 professionals in its five-day span, welcoming over 200 brands from China and the world; as many as 1000 products (furniture, kitchenware, electronics, lighting, home decoration and office furnishings) were seen on an exceptional stage, alongside 13 theme installations and 50 talks. These are the numbers of an event that from the fair to the entire city set out to “celebrate our community’s responsibility to the environment,” to use the words of the director Zhuo Tan. Sustainable design and production as keys of interpretation, in exhibits and conversations: the installation at the Opposite House of AntiStatics, the exhibition Illuminating Modernism by Cao Feng and the collector Wei Wang, the interactive installation [design] by Jamy Yang, or the one by Min Chen, Object Tasting, just to mention a few. Among the highlights, there were contributions by the designers Fabio Novembre, Sebastian Herkner, Dayong Sun of Penda, and Bethan Gray. The education sector also had an important role, invited to develop the theme in terms of the creativity of students from four Chinese design schools (Tsinghua University, The School of Urban Design at the Central Academy of Fine Arts, China Academy of Art, Guangzhou Academy of Fine Art). “The vision of Design China Beijing and Design Shanghai is to promote the innovative development of the design industry, and the issue of sustainable design will not end with the end of the Beijing show. We will continue to promote sustainable design and lead the design industry towards a sustainable future.”

THE GEORG 在北京玉河一号院的The Georg是一个生活方式空间，结合艺术、设计和美食。这家餐厅由丹麦品牌Georg Jensen开设于本地旗舰店House of Jensen中，是传统四合院布局和现代工业元素的完美结合。该空间还设有“起居室” ，一个位于开放中庭内的休息区以及位于二楼的画廊，展览着 Georg Jensen的经典作品。

IFDM 59 November 2019

In the center of Beijing at 1 Jade River, The Georg is a lifestyle space that combines art, design and food. Created by the Danish brand Georg Jensen inside the local flagship, House of Jensen, the restaurant is a perfect mixture of traditional Siheyuan layout and modern industrial elements. The venue also hosts the Living Room, a lounge space inside an open atrium, and the Gallery, on the second floor, showing timeless pieces by Georg Jensen.

Showroom

NEW OPENINGS

跨越中国各地意大利公司对地源辽阔的中国十分熟悉。众多意大利公司落地中国各大城市，展示其卓越品质，或者说，展示意大利制造的卓越品质。越来越多与当地合作伙伴一起经营的店铺开张，其陈列概念不仅折射出产品的价值，还呈现品牌的多样化标识。我们对最新开张的品牌店铺进行了一番调查。

MAPPING CHINA

Vast as it is, China is by now familiar territory for Italian companies, which choose the biggest cities to narrate their quality and, more in general, that of Made in Italy. More and more stores are being opened with local partners, with display concepts that bring out the value of products and the variegated identities of the brands. Here we have a survey of the latest openings.

SHENZHEN – XIAMEN

HANGZHOU

Minotti在中国开设两家新店，包括与Casabella六月在厦门推出的新展厅，以及七月与 Domus Tiandi（之前与Minotti 在上海和北京有成功的合作）在深圳的新店。这两间新店面积都非常大（分别为1100平方米以及约1000平方米），占地两层楼。展厅充分体现着品牌的室内设计概念以及品牌一贯的优雅、精致风格，并通过最新产品设计完美地展现出来。此外，新展厅同样沿用Minotti 展厅常见的大型八角形壁炉元素。

Rimadesio在东方的扩展之旅现在已经到达杭州，并再次携手当地合作伙伴Madison集团。继在北京开设一家新展厅并翻新上海分店之后，现在，该公司在中国开设第三家门店：展

示面积达200平方米（位于黄龙体育馆附近的公元大厦19楼），其中展示了一系列精心挑选的 Rimadesio家具，各种起居区和卧室区产品和谐搭配，其中包括各种装饰品、门和滑动隔板，充分演绎品牌特色。

A double opening for Minotti in China, with a new showroom in Xiamen in partnership with Casabella, in June, and another in Shenzhen with the partner Domus Tiandi (based on the success of the same collaboration for Minotti in Shanghai and Beijing), in July. Both facilities are large (respectively 1100 m2 and about 1000 m2) and have two levels. The showrooms also share the interior concept that reflects the elegant, sophisticated character of the company, vividly conveyed by the latest collections on view. Another common feature is the large octagonal fireplace, a recurring element in the Minotti showrooms. XI’AN

占地两层楼，面积达1,000 平方米，由大型拱门组成的14个体验室，每个体验室均设有不同的环境和氛围。这是西安“Fritz Hansen Gallery”的建筑和室内设计理念，是这个北欧品牌在中国的第一家旗舰店，也是 Fritz Hansen 在全球的最大展厅。Fritz Hansen Gallery由品牌携手 Upper Living共同打造，由艺术家和设计师海梅·海翁（Jaime Hayon）操刀设计。从空间内的雕塑风格轮廓、鲜艳活泼的色彩到温暖轻松的氛围，无不体现出这名设计师的地中海情怀。 One thousand square meters on two levels, 14 experience rooms formed by large arches, each with a different setting and mood. This is the architectural and interior design concept of the “Fritz Hansen Gallery” in Xi’an, the first store of the Nordic brand in China, and the largest Fritz Hansen showroom in the world. Opened in collaboration with Upper Living, the Gallery has been created by the artist and designer Jaime Hayon, whose Mediterranean roots can be seen in the sculptural silhouette of the store, the variegated range of lively colors, and the warm, relaxing atmosphere. IFDM 60 November 2019

Rimadesio’s path of expansion in the East has now reached Hangzhou, again with the local partner Madison Group. After opening a showroom in Beijing and updating the space in Shanghai, the company now has a third store in China: a display area of 200 m2 (on the 19th floor of the Gongyuan Building, near the Huanglong stadium) presents a careful selection of the best furnishings by Rimadesio, in coordinated offerings for living and bedroom zones, including complements, doors and sliding partitions that narrate the identity of the brand.

HONG KONG

品牌位于香港的全新旗舰店Molteni&C | Dada见证着品牌与Firmstone长达十年的成功合作，并标志着品牌重振在远东地区分销网络的重要一步。这家旗舰店位于湾仔海港城，占地达400多平方米，其中展示各款经典产品与最新的产品。置身其中，让人沉浸于品牌的生活理念中。该新店是品牌继与 Firmstone合作的位于告士打道的Dada Kitchen展厅之后的又一次合作。 The new flagship store of Molteni&C | Dada in Hong Kong confirms the success of the decade-long partnership with Firmstone, and marks a further step in the path of regeneration of the distribution network in the Far East. The store is located in the Harbour Centre, in the district of Wan Chai, and stands out for its 400-plus square meters, alternating iconic products with the latest new creations. The result is an immersive experience of the brand’s living concept. The opening of the new store follows that of the Dada Kitchen showroom at Gloucester Road, again in partnership with Firmstone. GUANGZHOU

从产品到项目，Giorgetti 和Carlo Colombo的长期合作带来新成果：这名设计师为品牌设计了

位于广州著名卢浮宫家具城内的新展厅空间，以自然为灵感，打造了有机且流畅的廓形和形式。在480平方米的空间中，访客可以看到

Giorgetti的制造和生活方式理念，包括新产品和经典产品。整个空间以Giorgetti Atmosphere系列的装饰品进行点缀设计。

QINGDAO

Flou选择在山东半岛南端的沿海城市青岛来开设其在亚洲的最新展销厅。此专卖店于市北

区的居然之家购物中心内。该专卖店于9月6 日正式开张，由品牌与 Habilus Home Furnishing 合作打造。专卖店面积达350平方米，展示全新

卧室区域产品（床、衣橱和家具），以及有关生活区的最新设计，空间内采用Natevo by Flou 品牌的内置照明家具设计。

Flou chooses Qingdao, a coastal city on the southern tip of the Shandong peninsula, to open its latest showroom in Asia. The monobrand space is inside the Easy Home mall in the Shibei District. Opened on 6 September in partnership with Habilus Home Furnishing, the exclusive space – with an area of 350 m2 – presents the new collections for the bedroom zone (from beds to wardrobes to complements), and the latest proposals for the living area, enhanced by furnishings with built-in lighting from the brand Natevo by Flou.

From product to project, the prolific long-term collaboration between Giorgetti and Carlo Colombo leads to a new achievement: the designer has created the concept for the new showroom space of the company in Guangzhou, inside the prestigious Louvre Furniture Mall, with organic and fluid volumes and forms inspired by nature. In an area of 480 m2, visitors can see the narration of Giorgetti’s manufacturing and lifestyle, including new collections and iconic products. All enhanced by decor objects from the Giorgetti Atmosphere collection.

IFDM 61 November 2019

events

&APPOINTMENTS

科隆展示注重情感的设计一月，由科隆展览公司举办的科隆国际家具展（imm cologne）准时回归，吸引世界各地的装饰行业者纷纷前来。新一届家具展（2020年1月13日至19日）将呈现众多结合商业、潮流趋势和培训的创意想法和方案。主题从最初的“发现室内设计创意”转向了“ 室内设计的时刻”，强调在情感、个人层面的展览体验及其重要性；在展览的新北部区域中划分为“家庭睡眠”、“家庭场景”和“家庭环境”，以及“纯粹” （Pure）区域。不要错过由西班牙工作室MUT Design 设计的全新概念展“Das Haus家舞台”，这个项目通过“A la Fresca”的方式，将建筑与自然、室内与室外，隐私与社交生活融为一体。

The Jacket Chair by Produce X Superstructure

IN COLOGNE, DESIGN GETS EMOTIONAL In January the city of Cologne welcomes the international variety of the world of decor, with the punctual return of imm cologne, the fair organized by Koelnmesse. The new edition (13-19 January 2020) brings many new ideas and proposals capable of combining business, trends and training. After starting from the theme of “Discover interior Ideas” the spotlight shifts to the “Interior moments” to underline the im-

portance of an emotional, personal level of the fair experience, and of the exhibits, divided in the new northern zone between “Home Sleep”, “Home Scenes” and “Home Settings”, alongside the Pure section. Don’t miss the project of Das Haus, assigned for the upcoming edition to the Spanish studio MUT Design, which through “A la Fresca” combines architecture and nature, interior and exterior, privacy and social life.

从巴塞尔到迈阿密，以水为主题在迈阿密设计展（Design Miami/）上，自然的主题继续启发着创意人才和艺术家的感官。继6月举办以 “Elements:Earth”（元素：土）为主题的Design Miami/Basel 展会活动后，此次展览再次回归迈阿密，推出全新主题“Elements:Water”（元素：水）。第15届迈阿密设计展将从12月3日至8日在靠近迈阿密海滩会议中心（从12 月5日至8日还将同期举办巴塞尔迈阿密艺术博览会（Art Basel Miami）举办，此次展览汇集了15个国家和地区的70个展览和14个Curio展示（包括两个首次亮相的画廊——Erik Thomsen画廊和Galerie Scene Ouverte画廊）。和在瑞士举办的同系列展览一样，此展览由Aric Chen担任策展总监。

一把椅子，八种变化。该公司与商业伙伴P5 Studio合作在新加坡组织举办AR_T研讨会。会议期间，由包括本地建筑师和设计师在内的八位创意设计者对由Michele Di Fonzo为 Frag设计的“Ele”座椅进行了重新构思和设计。在延续产品设计和品牌风格不变的基础上，这八位创意设计人员充分发挥天马行空的想象力，对这款经典设计进行装饰设计，呈现出一种全新的表现形式。最终的设计成果于新加坡展会中的 P5 Studio区展出（地址：新加坡汉德森路213号汉德森工业园区＃01-08，S159553）。

FREE INTERPRETATION FOR FRAG One chair, eight variations. The protagonist is the Ele seat designed by Michele Di Fonzo for Frag, which during the workshop AR_T – organized in Singapore by the company in collaboration with the commercial partner P5 Studio – was reinvented and redesigned by eight creative talents, including local architects and designers. Though keeping the product design and the brand’s style intact, the eight protagonists let their imagination run wild to decorate and accessorize, offering new expressive interpretations of the piece. The results are featured in an exhibition inside the P5 Studio space in Singapore (213 Henderson Road #01-08 Henderson Industrial Park S159553).

Aqua Alta Set by Virgil Abloh (2018)

FRAG 的自由演绎

FROM BASEL TO MIAMI, ON THE WATER The theme of nature continues to stimulate the sensibilities of creative talents and artists gravitating around Design Miami/. After the focus “Elements: Earth” seen at the event Design Miami/Basel in June, the fair returns to Miami Beach, developing the theme “Elements: Water.” From 3 to 8 December (near the Miami Beach Convention Center which hosts Art Basel Miami at the same time, from 5 to 8 December), the 15th edition of Design Miami/ brings together 70 exhibitions through 15 countries, and 14 Curio Presentations (including two galleries making their debut, Erik Thomsen Gallery and Galerie Scene Ouverte). Another factor of continuity with the twin initiative in Switzerland is Aric Chen, in the role of Curatorial Director.

IFDM 62 November 2019

上海PRADA荣宅李青个展在 Prada基金会的支持下，Prada推出艺术家李青个展“后窗”（Rear Windows) 。此次展览由Jérôme Sans策划，展会将于2019年11月7日开幕，展至2020年1 月19日。展览将于上海Prada荣宅举行，这幢百年宅邸由Prada于1918年翻新修复，并在2017年10月重新开放。Prada荣宅被改造成特定场域的沉浸式装置的一部分，里面展示着李青的近期作品和全新作品。展览以展示当代生活中的矛盾、真实与模仿之间的分裂为主题。

LI QING FOR PRADA Prada presents “Rear Windows”, the new exhibition by the artist Li Qing, with the support of Fondazione Prada. Curated by Jérôme Sans, the show will be open to the public from 7 November 2019 to 19 January 2020 at Prada Rong Zhai in Shanghai, a historical residence from 1918 restored by Prada and reopened in October 2017. The spaces of Prada Rong Zhai become part of the immersive, site-specific installation, together with recent works by Li Qing and new commissions. The focus is on the contradictions of contemporary life, split between authenticity and imitation.

S AV E D AT E THE

NOVEMBER 8 & 9, 2020 JACOB K. JAVITS CENTER

NEW YORK CITY

A BOUTIQUE DESIGN TRADE FAIR

迈向未来继2018年获得出色成果以及在北京举行的同系列展览后，“设计上海”将以全新面貌于2020年3月12日至15日在上海展览中心盛大举行。大家对这次展览寄予厚望，展览空间比2019年扩大了20%，因此，除了原来的当代设计馆、精典设计馆、限量设计馆、厨卫设计馆以及办公设计馆，还将引入了一个新主题区域，即“新材料&应用”展区。同时，展览上还会举办一系列活动，包括展会期间举办的“设计上海论坛”以及“新天地设计节”，即上海的“米兰会外展”。

INTO THE FUTURE After the excellent results of 2018, and the recent conclusion of the ‘sister’ event in Beijing, Design Shanghai takes its first steps towards a new iteration, programmed for 12 to 15 March 2020 at the Shanghai Exhibition Center. The expectations are high, also due to a 20% expansion of exhibit space in 2019, which led to the introduction of a new theme section, the New Materials and Applications Hall, joining the already vast range of items presented in the areas Contemporary, Classic & Luxury, Collectibles, Kitchen & Bathroom and Workplace Design. Parallel initiatives include the Design Shanghai Forum, at the fair, and the variegated Xintiandi Design Festival, the ‘FuoriSalone’ of Shanghai.

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DECEMBER WORLD ARCHITECTURE FESTIVAL December 4-6, 2019 Amsterdam (Holland) https://www.worldarchitecturefestival.com/

JANUARY IMM COLOGNE January 13-19, 2020 Cologne (Germany) www.imm-cologne.com MAISON&OBJET PARIS January 17-21, 2020 Paris (France) www.maison-objet.com/en/paris

FEBRUARY STOCKHOLM FURNITURE AND LIGHT FAIR February 4-8, 2020 Stockholm (Sweden) www.stockholmfurniturelightfair.se INTERIOR MEBEL February 5-9, 2020 Kiev (Ukraine) www.interior-mebelkiev.com IDF OMAN February 11-13, 2020 Muscat (Sultanate of Oman) www.idfoman.com KIFF March 4-7, 2020 Kiev (Ukraina) www.kiff.kiev.ua

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MAY HD EXPO May 5-7, 2020 Las Vegas (USA) www.hdexpo.com NYCXDESIGN May 12-20, 2020 New York (USA) www.nycxdesign.com AIA CONFERENCE ON ARCHITECTURE May 14-16, 2020 Las Vegas (USA) https://conferenceonarchitecture.com/ WANTEDDESIGN May 14-18, 2020 Brooklyn (USA) May 17-20, 2020 Manhattan (USA) www.wanteddesignnyc.com ICFF May 17-20, 2020 New York (USA) www.icff.com CLERKENWELL DESIGN WEEK May 19-21, 2020 London (United Kingdom) www.clerkenwelldesignweek.com

JUNE NEOCON June 8-10, 2020 Chicago (USA) www.neocon.com LE MIAMI June 8-11, 2020 Miami (USA) www.lemiami.com SAN FRANCISCO DESIGN WEEK June 16-25, 2020 San Francisco (USA) https://sfdesignweek.org/

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