|
|
|
|
|
|
|
|
|
|
|
|
 
    OF365携其品牌家具与您一起打造美好办公环境!Better OF365,Better Life!品牌家族成员:芬兰AVARTE; 美国KI; 意大利ORA; 瑞士USM; 英国NEO; 墨西哥mobelsys; 意大利FARAM; 马来西亚Merryfair; 新西兰Actiforce;德国Interstuhl.....
  
 20世纪著名设计师
Anglepoise
Archigram
Alvar Aalto

Aluminium

Assa Ashuach
Andrew Blauvelt
Art and Craft Movement
Achille Castiglion

Alan Fletcher

Abram Games
Alec Issigonis
Arne Jacobsen
Alexander McQueen

Aston Martin

Amit Pitaru
Alison+Peter Smithson
Barber Osgerby
Berthold Lubetkin
Ben Wilson
Committee
Concorde
Christian Dior
Christopher Dresser
Charles+Ray Eames
Craig Johnston
Charlotte Perriand
Chris O'Shea
Cedric Price
Charles Rennie Mackintosh
Cameron Sinclair
Constance Spry
Derek Birdsall
Daniel Brown
Doshi Levien
Droog

David Mellor

Dieter Rams
Experimental Jetset
Established and Sons
Ern Goldfinger
Eileen Gray
Enzo Mari
Edward McKnight Kauffer
Eelko Moorer
Ernest Race
Ettore Sottsass
Ed Swan

Flaminio Bertoni

FUEL
Fernando+Humberto Campana
Future Systems
Finn Magee
Foreign Office Architects
Frank Pick
Frank Lloyd Wright
Georg Baldele
Gio Ponti
Giles Gilbert Scott
Graphic Thought Facility
Hilary Cottam
Hella Jongerius
Hiroko Shiratori
Isambard Kingdom Brunel
Irma Boom
Industrial Facility
Isamu Noguchi
Jonathan Barnbrook
Joe Colombo
Jasper Morrison
Joshua Davis
John Galliano
Jamie Hewlett
James Irvine
Jonathan Ive
James Jarvis
Julia Lohmann
Jean Prouvé
J. Mays
James Paterson
Jock Kinneir + Margaret Calvert
Jerszy Seymour
Jop van Bennekom
Konstantin Grcic
Kerr Noble
Khashayar Naimanan
Luis Barragán
Leopold + Rudolf Blaschka
Luigi Colani
Luis Eslava
Louis Kahn
London Transport
Made
Manolo Blahnik
Maarten Baas
Marcel Breuer
Matthew Carter
Michael Cross + Julie Mathias
Max Lamb
M/M
Michael Young
Michael Marriott
Müller+Hess
Marc Newson
Memphis
Matthias Megyeri
Mevis en Van Deursen
Maureen Mooren + Daniel van der Velden
Norman Foster
Nadine Jarvis
Norm
Onkar Singh Kular
Paul Cocksedge
Penguin Books
Pascal Anson
Peter Marigold
Phyllis Pearsall
Plywood
Peter Saville
Percy Shaw
Paul Cocksedge
Paul Smith
Philip Treacy
Philip Worthington
Ron Arad
R. Buckminster Fuller
Ronan + Erwan Bouroullec
Robert Brownjohn
Robin + Lucienne Day
Ross Lovegrove
Reginald Mitchell
Rockstar Games
Richard Rogers
Robert Wilson
Richard Sweeney
Solange Azagury - Partridge
Saul Bass
Sebastian Bergne
Sam Buxton
Superstudio
Simon Heijdens
Stefan Sagmeister
Sarah van Gameren
Tim Berners-Lee
Tord Boontje
Tomás Alonso
Tom Dixon
The Guardian
Thomas Heatherwick
The MARS Group
Tim Simpson
Timorous Beasties
Verner Panton
Viable
Vivienne Westwood
Wells Coates
Yugo Nakamura
Zaha Hadid
20世纪著名设计师  
Peter Marigold
Product Designer (1974-)
Design Mart - Design Museum exhibition
20 September 2006 – 7 January 2007

When more of us are living nomadic lifestyles – moving between homes, cities or countries with increasing regularity – Peter Marigold (1974-), a recent design graduate from the Royal College of Art, has developed a series of transportable and modular shelving solutions that adapt to the quirks of temporary accommodation.

Having first trained as a sculptor then following a career into theatre scenography, Marigold is well versed in designing for both sensitivity and practicality. His Prop design – a guileless but carefully calibrated pole support – elevates objects above floor level offering raised storage to tenants unable to attach anything to walls. The simplicity of Prop’s purpose belies its unique and captivating qualities. The luxurious surface texture and decorative detailing elevates Prop above soulless and ubiquitous off-the-shelf storage solutions. It is, according to Marigold, a bespoke item somewhere between ‘product, furniture and architectural intervention’.

Designing and making beautiful objects simply and inexpensively – often through DIY solutions and improvisation – is a major impetus for Marigold. In Make/Shift – a shelving system that expands and contracts to fill awkward gaps – the starting point was the humble wooden crate. The units can be used as boxes to move house and simply wedged into place when unpacked, with no screws or drilling required. Having worked through Make/Shift in wood, the design is now in production in expanded plastic foam, or polypropylene, through the manufacturer JSP.

Marigold’s formally elegant objects reflect an emerging austerity in design and a celebration of the basic qualities of materials. Their rejection of ostentatious and wasteful ornamentation reveals a new direction that is refreshingly free of pretence.

Design Museum

Q. When did you first become aware of – and interested in – design?

A. At the age of three I declared that my favourite things about a holiday in Italy were ‘the taps’. As a child I was obsessed with finding interesting man-made things in the street – and collected these various bits of metal and plastic in containers labelled ‘bits and bobs’. I became concerned that I might miss ‘something’ and subsequently developed a scouring stoop that I was laughed at for in school… though I did have a prize collection. In my twenties, Michael Marriot’s banana box shelving system was an inspiration. I saw that I was not alone in my dark fetish for fruit boxes.

Q. Why did you decide to study design and what was the influence of your design education on your work?

A. I always intended to study design, but I was persuaded to follow a path into sculpture. Returning to a design education has been a long overdue step.

Studying at the Royal College of Art taught me to explore ideas rather than ‘come up’ with ideas. During this time I have learned to think more with my head than with doodles in my sketchbook. If anything, I have come to realise that coming up with ideas is not the problem, but rather deciding which ones to develop.

Q. How have your objectives evolved since leaving the RCA?

A. The decision to find a workshop/studio space is an acceptance that I do, unfortunately, like making things and cannot exist solely in virtual space. I honestly feel that the world is already over-populated with stuff, and I feel tinged with guilt that I should be creating more of it. But I think that’s what they mean by following your calling.

Q. Which of your early projects was most important in defining your approach to your work?

A. Christmas 2005 we were given a brief to design a table leg of a specific height. My planned leg ‘fell through’ at the last minute and so, in desperation I removed a leg from my table at home and chopped it diagonally in two, fixing it at the required height with cable ties. Unexpectedly, it looked quite nice.

I think that my best work has evolved out of some sort of desperation.

Q. How did the design of the Make/Shift project develop?

A. The Make/Shift shelving system followed directly from the table leg project. Originally I wanted to abandon it as a concept, thinking it just a throwaway idea, but gradually learned to accept that the desperate makeshift qualities of the table leg actually reflected real interests in my life.

The world that I live in is chaotic and densely populated by junk, both collected things and simple rubbish. It’s not a perfect place but it is consistent. Like wise, English homes are usually consistent in their shared irregularities – pokey architectural spaces, weird under-hangs, and unusable corners. I was interested in how a piece of furniture might adapt to and therefore reflect our acceptance of living with these innate problems.

I began chopping up the geometry of simple fruit boxes, learning how the ratios between top, bottom and sliced side worked best in terms of versatility of the overall dimensions and physical behaviour. I then progressed to larger units that also incorporated crate making materials and elements – such as cheap shuttering plywood and cut out handles. I was interested in how the dual identities of the units – as shelves, and as boxes – could suggest a feeling of temporary existence (as well as adapting to the different spaces, the units can be used as packing crates when moving house).

I also developed a smaller variation that can be wedged into window frames – useful for people who can’t fit shelving into walls. Again, it explores notions of ad-libbing with architecture that fits our modern lives.

Q. Does Make/Shift have commercial or mass-manufactured potential?

A. I started to explore the possibility of the units being made in other lightweight materials, and made contact with a manufacturer of expanded polypropylene – which is often used as a packaging material. The original designs that I sent them were basically interpretations of the wooden versions in EPP. They were interested in working with me but insisted that I develop the design beginning with their material in mind. The subsequent evolutions of the design are easily mouldable and the corrugations mean that no additional connecting elements are needed, making it a single material product.

Q. How would you describe your working methodology or approach to design?

A. I have a perverse view on this. On the one hand, I hope that my designs have an impact on people’s lives – through altering behavioural patterns, or slight environmental adjustments that make them feel differently. On the other hand I hope that the objects also involve a degree of hardship or effort on behalf of the user. Perhaps due to an upbringing touched by a Protestant work ethic, to simply enjoy a design seems frivolous. I would like the experience of my objects to feel something like putting up a badly designed tent – both a painful and rewarding exercise. (Have you read the directions on how to install Ron Arad’s ‘Book Worm!…). I think such an approach might help the user feel like the well dressed cave man – primitive but triumphant.

I believe that such small physical ‘trials’ may go some way to explaining the popularity of IKEA or flat-pack furniture, whereby the consumer (normally the male) is made to feel positive about the end product through physical exertion and problem solving.

Q. How important is the balance between commercial and conceptual in your work?

A. The opportunity to work directly with an industrial manufacturer (JSP) has been enlightening on a personal level. I am not too precious about the forms of my ideas, and I was happy to develop the design for the Make/Shift shelves to fit their understanding of how the product would work best commercially. If anything, it was an opportunity to let the product evolve out of necessity rather than due to my conceptual direction.

Whilst living in Rio de Janeiro, I made a few sculptures. The coconut radio, built from a discarded coconut and a salvaged radio was a direct response to my personal feeling of being far from home, yet still maintaining contact with another place. It turned out quite nice, so I redesigned it as a product to sell on Ipanema beach. I don’t think the concept was lost, even though it had been ‘commercialised’, if anything, the idea could be enjoyed by more people.

Q. What do you see as the role of design today?

A. I am interested in objects, and the vast bulk of objects that we experience have been, at least in part, mass-produced. In this respect, as with my impulse to become a ‘proper designer’, I feel a real impulse to ‘fit’ with the aesthetics surrounding me. However I am also conscious that most of the products that I see today, idealise a world that I doubt I will ever experience, unless through the media. I’m probably doing something wrong, but my house never looks like that, and I think there are probably parallels here with how the fashion industry actively encourages anorexia in women. It might look innocent, but, intentionally or not, a beautiful surface with perfectly rounded corners is a good way to convince a human that he is little more than a contaminant in the product process.

As someone who makes things, I find it a bit weird that we (designers) seem to try as hard as possible to emulate things that have popped out of a machine. On the one hand I can appreciate the seductive qualities of mass production, but why should we (people who make things) be attempting to imitate such processes at the initial stages of product development?

There are universal truths in beauty, but I don’t think our current obsessions healthily address them. There is simplicity, and then there is boring fetishism.

FURTHER READING
Visit Peter Marigold’s website at petermarigold.com

 
  相关图片

Peter Marigold, 2006

 
 
 

Prop, 2006
Peter Marigold

 
 
 

Prop (detail), 2006
Peter Marigold

 
 
 

Make/Shift (plastic), 2006
Peter Marigold

 
 
 

Make/Shift (wood), 2006
Peter Marigold

 
 
 

Make/Shift, 2006
Peter Marigold













OF365 Furniture Group 旗下行业家具站点:
国际学校家具网幼儿园家具网医院家具网实验室家具网苏州防静电产品图书馆家具品牌办公家具银行家具法院家具设计院家具商业空间家具
OF365 Furniture Group 旗下办公家具站点:
标准化办公家具网办公家具工程网钢制办公家具网品牌办公椅网、上海办公家具网北京办公家具网Office Furniture上海培训椅网
OF365 Furniture Group 全国服务商:
上海北京广州苏州深圳天津重庆杭州无锡成都青岛宁波大连武汉南京沈阳哈尔滨佛山烟台石家庄济南唐山泉州福州长春温州郑州绍兴潍坊大庆淄博南通台州东莞长沙保定济宁常州徐州西安嘉兴临沂威海鞍山、香港澳门台湾
OF365 Furniture Group 推荐著名家具公司站点:
www.walterknoll.de www.vitra.com www.interstuhl.de www.wilkhahn.com www.samas.nl www.artifort.com www.vs-furniture.com
www.steelcase.com www.fantoni.it www.kloeber.com www.fritzhansen.com www.bene.com www.bisley.com www.hermanmiller.com
www.silver-chair.net www.faram.com www.wilkhahn.com www.girsberger.com
www.knoll.com www.sedus.com www.haworth-asia.com
还有2000个世界著名品牌办公家具网址等着您......

OF365(中国)投资  上海纵横家具有限公司
中国·上海市闵行区莘庄开发区申南路59号泰弘研发园1号行政大楼506室

电话:(86)021-34635339 传真:(86)021-34635118  
联系人:曾小姐   手机:15201860004 
E-mail:zenghuagen@of365.org

WWW.OF365.COM
版权所有 2009-2013 copyright ©