咖视界 | 卢志荣：不为诗意而寻找诗意，设计是无止境的心灵触探
瑞丽Rayli2021-03-18 14:58
2021家博会设计之春尚未对公众启幕，卢志荣在展会上的装置艺术《Longing憧憬》已经提前出圈，让大家开始不禁神往。
装置艺术Longing 《设计之春》展2021
装置艺术Longing 《设计之春》展2021
装置艺术Longing 《设计之春》展2021
卢志荣关于卢志荣
2015“世界杰出华人设计师”得奖人，卢志荣的丰富创作涵盖了建筑、雕塑、室内与家具设计等领域，他一直以对理念的净化、诗意的诠释、细节的关注，备受意大利及国际设计界推崇。DIMENSIONE CHI WING LO Italia 及“一方”品牌创始人，卢志荣曾生活、工作并受教育于亚洲、美洲及欧洲。CHI WING LO LONGING 卢志荣《憧憬》是世界疫情暴发后，他的首项艺术装置作品。
Cliff House 2019
Cloud Residence 2018
瑞丽wedesign：您所有的作品都充满诗意，无论建筑、家具还是装置艺术，您这种自然天成的东方意境来自见微知著的自然观察、东西方交汇之地的设计思考，还是其他什么？
A：Any creation, to my mind, is a form of writing, a frame of painting, a piece of music… The work of our hands has no meaning, if it does not inspire, if it does not evoke, if it does not share a deeper emotion. History is cruel and righteous, it continues to erase the trivial, the irrelevant, the vulgar, the offensive…
Poetry does not seem to be a requirement in design. Yet, lacking it, we merely achieve an utilitarian object, a functional space, an efficient city.
Paradoxically, I do not turn to poetry to find poetry. An open mind, a sensitive observation, or very often, a genuine confrontation to a technical problem, almost always generates a fresh look into our conventional approach. Around us, there are so many soulless forms, loud colors, aggressive textures. They are the perfect background against which poetry glows and radiates to warm our hearts.
Like music, poetry has a universal dimension; it touches every race and culture. I see design as a humanistic discipline, design too must be able to bridge cultures and all people, through a common language like music, like poetry.
在我看来，任何创作都是一种书写，一幅绘画，一段音乐……如果我们的作品不能启发他人，唤醒心灵，分享更深刻的情感，那么它就毫无意义。历史是残酷而正义的，它不断地抹去琐碎的，无关紧要的，庸俗的，令人反感的……
诗意似乎并不是设计所需求的。但如果没有它，我们只能实现一个功利的物件，一个实用的空间，一个有效率的城市。
似是而非的是，我并没有通过诗歌寻找诗意。在设计的过程中，开放的心态，敏感的观察，直面技术上的问题，总能让我对常规方法产生焕然一新的认识。在我们周围，充斥着多少毫无灵魂的造型、喧闹的色彩、咄咄逼人的物料。可以说它们是衬托诗意的完美背景，让诗意散发的光芒温暖着我们的心灵。
像音乐一样，诗歌也具有普世性。它能触及每一个民族和文化。我认为设计是一门人文学科，它如同音乐、诗歌，是一种共通的语言，架起不同文化及人与人之间的桥梁。
瑞丽wedesign：每隔一段时间，您总是能带来震撼业界的作品，2009年的塔之家、2012年的圆柜、2017年的方舟、雾之桥，2021年的设计之春您带来了一件装置，可否分享一下创作理念?以及什么样的项目和情境会激发您的创作欲？
塔之家 2009
塔之家 2009
圆柜 2012
方舟 2017
方舟 2017
枫之塔私人餐厅 2019A：Perhaps I do not create for creation sake, nor do I insist that I must create something astonishing. Everything has its right moment, in place and in time. One must not force, nor must one be obliged. Let your mind lead you, let your impulse follow the rhythm. Many of you might have created something in a rush, and you know well that your dissatisfaction always comes back to haunt you. Look inside to fine outside, seek tranquility in disquietude, catch a moment of optimism from the mundanity of our being…
也许我不是为了创造而创造，也永不会坚持做出令人惊叹的创作。一切都有合适的时机，恰当的环境，恰当的一刻。无必要去强求，也不必视为任务。多让思想引领你，让冲劲跟随节奏……你们可能在匆忙中创造，但不满总是回来困扰着你们。我们需要的是：能从内心找到外境，能从不安中寻求安宁，能在这世俗的存在中捕捉到瞬间的乐观……
瑞丽wedesign：你的设计结果呈现得总是非常自由的，在创意、设计过程中是否会遇到所谓的“边界”？您怎么看待“边界”？
A：If a designer could select to situate where he or she would want, many may select the center. Center here, conceptually, I meant the center of everything that has taken on a recognizable norm, an established tendency, a place where it is shinned with spotlights. Every move is watched and transmitted, “creativity” is news and to be consumed daily. It is where “famous” design and designers are mass produced.
The periphery, however, is a piece of virgin futile land. It is where one could cultivate one’s own vision; the horizon is widely open to liberate all possibilities and imaginations. Most interestedly, the periphery is never a defined territory, it continue to expand to encompass as far as one could define, it continues to contract to embrace as close as one could aspire.Whether it is at the center or periphery, it is the mind, not the location, that determines the full extent of infinity or limitation. True creativity is a form of exile to the periphery!
如果一个设计师可以选择他想要的位置，或许不少人会选择中心。从概念上来说，我所指的中心，是一切事物的中心，一种公认的规范，一种既定的趋势，一个被聚光灯照耀的地方。在这里，“创意”是每天被消费的新闻，知名的设计和设计师们在这里诞生，它们的一举一动都被注视并传播着。
然而，这中心的边缘却是一片从未开垦过的原始空地，一个可以培养视野的地方，无限的远方足以释放所有的可能性和想象力。最吸引人的是，这边缘地带是从未被定义的领域，它不断扩展以涵盖人们所能定义的极限，也可以不断收缩去拥抱人们内心的向往。
无论在中心还是在边缘，决定什么是无限或有限的，是心态而非位置。创造力的熏陶或许是能否在边缘放逐自己。
中国设计博物馆2019家具与绘画展——卢志荣个展
瑞丽wedesign：您的作品特别洗练，线条及色彩大道至简，有种永恒之美，前段时间我们平台在讨论timeless，对于这个话题我们想听听您的想法？
A : Durability is one tiny prerequisite of timelessness; being just durable is not timeless. Timelessness is a domain in which past, present and future are infused seamlessly together. There is no clear formula as how to enter timelessness, but we can approach it with a sensibility which we can cultivate over a long period of research, observation and to accept that design is never meant to be just different or colorful. I look back to designs that I have done over two decades ago and the fact that they are still very much today, very much in demand, as though they will continue to belong to our life and time, and most likely will outlive me, that may be a promising beginning to approach the domain of timelessness.
耐用性是永恒性的一个微小前提，但仅是耐用并不能永恒。永恒是将过去、现在和未来无缝地融合在一起，通向永恒的道路并没有一个明确的公式。但我们可以用感性来接近它，通过长期的研究、观察去接受设计并不意味着与众不同或多姿多彩的。回顾我二十多年前的设计，它们在今天仍然拥抱着大家的需求，继续存在于我们的生活和时代中，并且会比我活得更长久。这或许是通往永恒的充满希望的开始。
YFOS Buffet 2018
「一叠无际」屏风 2016年
瑞丽wedesign：几十年的设计生涯，您认为设计的本质是什么？
A: One may say that design is to help people to live better, to project a sense of being, to be closer to who they are. If I were to add to these social expectations, I think design involves a much more personal vocation. It is an endless search for an enlightenment, to satisfy the never unsatisfied , to fill the never filled, to look into the invisible, to approach to the unapproachable…
有人说设计是为了帮助人们更好地生活，投射出一种存在感，与自己更接近。如果让我追加这些大众的期望，我认为设计有着非常个人化的维度。它是一个无休止地寻找启示的过程，满足那些未曾满足的，填补那些未曾填补的，看见那些看不到的，接近那些难以接近的……
瑞丽wedesign：相信很多年轻的设计师都很好奇，大师都怎么工作生活的，能否简单勾勒一下您的一天？
A: Basically, my daily schedule has nothing to do with where the Sun or the Moon is. I sleep very little when I do not need to, or I sleep a lot because I craved for it. Same for work, I do not really has a schedule or routine, I may work all day, or cook a lot, wonder a lot. Every moment of the day is enriched by a sense of up-to-you. I make a lot of time for doing nothing, yet I am rather calculating for every second to ensure that I have spent it happily…
基本上，我的作息并不受日月星辰所限。当我不需要休息时，我睡得很少；如果我很累，就会睡很长。工作也一样，我并没有固定的日程安排，可以工作一天，可以做几顿饭，或静思放空。每一刻都希望能自己主宰，或许花很多时间无所事事，但我依然斤斤计较每一刻是否快乐地度过......
瑞丽wedesign：为什么会选择住在希腊生活？您心中最理想的完美生活方式是什么？
A :Locality is not as important as the state of mind. Many can live perfectly just anywhere. For me, I guess it is that particular contrast between Asia and Europe, between humidity and dryness, between engagement and disengagement… that constant shuttling between these continents has given me a fuller spectrum of life and the possibilities it liberates.
住在哪里并没有比心态更重要，许多人可以在任何地方完美地生活。对我来说，这只是亚洲与欧洲，潮湿与干燥，投入与摆脱之间的独特对比。在两个大陆之间不断穿梭，让我对生活有了更全面的认知，也释放了更多对生活的联想。
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编 后
以为有时差，和卢先生的沟通已是夜幕之后（其实卢先生果如采访所述，作息不受星辰日月所限），本想第二天给到的采访提纲在凌晨1点钟已乘兴而出。可能是夜半感性，提的问题有那么点形而上（凡尔赛？），但卢先生的回答略为意外，答案里的许多话我读了很多遍，想起文学理论里久违的一个词：“兴味”。这次的采访没有聚焦在作品解读上，更多提到了设计的思维方式，以及身在设计场域之下、被现实裹挟内卷时的独立思考与独立精神。当然，一切的皈依还是人。专访不长，却一定会读之泛起波澜。也许于设计从业者与年轻设计师来说， 反倒是最为珍贵的。愿我们在设计的这场盛宴里，也能内心安定，不乏智慧。
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编辑 | Iris
文 | 阿远
来源 | CWL、设计之春
设计 | JJ
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