米兰理工大学软装系列课程：国际流行新材料在室内设计中的应用（上）
MATERIALS FOR INTERIOR DESIGN
THE ORNAMENTAL DIMENTION OF CONTEMPORARY SURFACES
“国际流行新材料
在室内设计中的应用”
Abstact（摘要）
The lecture focuses on the role of surfaces in interior decoration in terms of aesthetic performances and innovation. New technologies redefine the traditional dichotomy between natural and artificial surfaces.（讲座的重点是表面在室内装饰的审美表现和创新方面的作用。新技术重新定义了自然表面和人工表面之间的传统二分法。）
In the past nature inspired decoration by the artistic interpretation; today natural surfaces – original or imitative – are themselves an important driver of contemporary languages of interior design that express a new global sensitiveness for environment.
（在过去，自然启发装饰通过艺术的诠释;而现在，自然表面——无论是原始的还是模仿的——本身就是当代室内设计语言的重要驱动力，表达了一种新的全球环境敏感性。）
Key words: natu al/artificial, “new” natural surfaces, decorating with images, narrative surfaces. （关键词:自然/人工，“新”自然表面，图像装饰，叙事表面。）
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01. INVESTIGATING SURFACES
FROM A DIFFERENT ANGLE（从不同的角度调查表面）
Multidisciplinary approach：Research as a synthesis of theory and practice 综合学科研究法：研究是理论与实践的综合
Interpretation vs. classification 解释和分类：
This study describes surfaces for interiors according to a design mind and orientation.
本研究根据设计思维和方向来描述室内表面。
_ past researches on materials were generally conducted according to traditional categories based on nature or on production processes:
·过去对材料的研究，一般是根据性质或生产过程，按传统分类进行的；
wood, glass, steal, metal, ceramics, stone, plastic…
如：木材，玻璃，偷窃，金属，陶瓷，石头，塑料等...
_ today it’s impossible and somehow useless to have a precise classification of materials because of their countless and different qualities, finishing, color and texture.
·今天，对材料进行精确分类是不可能的，而且某种程度上也是无用的，因为它们有无数不同的品质、整理、色和纹理。
_ new technologies make seem any definitive classification suddenly old.
·新技术的产生使任何确定的分类突然变得过时
Yesterday（过去）
_ natural materials _ innovative materials （·天然材料 ·新型材料）
Today（现在）
_ “natural look” materials and eco-compatible materials.
·“自然外观”材料和生态兼容材料
_ innovative processes for traditional materials.
· 传统材料的创新工艺
Sensorial approach 感觉的方法
All materials in this study are seen from the sensorial “effect” and from the feeling they produce in the observant.
本研究中的所有材料都是从感官的“效果”和它 在观察者中产生的感觉来看的。
Its a transversal point of view for all materials, related to:
这是所有材料的横截面观点 :
_ contest, environment, light …
_ treatment and processing of surfaces
·竞赛，环境，光线… ·表面处理和加工
Its an approach which deals with（这是一种处理）:
_ sensorial experience （知觉的经验）
_ poetical aim（诗的目的）
_ expressive will（表达将会）
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02. TRADITION AND INNOVATION
AESTHETIC DRIVERS （传统和创新：审美的领航者）
experience and habits VS experimentation and risk (经验和习惯 vs 实验和风险)
Tradition:
Tradition teaches that to know the deep nature of the material and all its peculiar feature is indispensable for the perfect application in the construction. (传统：传统教导我们，要想在建筑中完美地运用材料，就必须了解材料的深层本质及其所有的特点；）
Experience：
From habit we learn to avoid mistakes and we obtain information about the behavior of material through time, once it is applied. （经验：从习惯中，我们学会了避免错误，一旦它被应用时我们通过时间获取材料的行为信息；）
However, this observation should not constrain research and experimentation. （然而，这种观察不应该限制研究和实验；）
Is there a correct way of working with materials?
（这是材料打交道有正确的方法吗?）
Essence（本质）：The search of the most congenial process to the essence of each material is summarized in the concept of “honesty” of the material, dear to the architectural culture of the last century, and widely shared by some contemporary designtrends（对每一种材料本质的最契合的过程的探索概括为材料的“诚实”概念，这是上世纪建筑文化所推崇的，也被一些当代设计趋势所广泛分享）：
_ minimalism, which prefers high-quality materials and enhances the most intimate and evocative nature through surface processing;（_极简主义，偏爱高品质的材料，并通过表面处理增强最亲密和令人回味的自然;）
_bio-architecture, which places the choice of natural and “sincere” materials as a condition for building healthier buildings.（_生物建筑，将选择天然和“真诚”的材料作为建造更健康建筑的条件。）
Semantic qualities （语义的品质）
Processes（流程）：
Also the processing and treatment of surfaces are often associated uniquely to the materials, as if to emphasize the implicit semantics of color and tactile qualities that ultimately are believed to be already present in the material.（此外，表面的处理和处理往往与材料有独特的联系，似乎是为了强调颜色和触感的隐含语义，这些最终被认为已经存在于材料中。）
Natural materials = beautiful materials (天然材料=漂亮的材料) ：
More often, however, we see that the widespread preference for the so-called natural materials is mainly based on their aesthetic superiority（然而，更多的时候，我们看到人们对所谓天然材料的普遍偏，好主要是基于它们的审美优势。
Aesthetic vs. performances （审美与表现）
Layer and substrate （层和衬底）
Today, all attention is paid to the characteristics of the surface layer, which is given the task to enable a satisfactory sensory and cerebral interaction, while the substrate support is appreciated for a mere technical performance.（今天，所有的注意力都集中在表层的特性上，它的任务是实现令人满意的感官和大脑交互，而基质支持仅仅是技术性能。）
Origin of a thought （思想的起源）
From the Golden Age of the Secession to Modernism in architecture（从独立的黄金时代到现代主义建筑）
From the Golden Age of the Secessionto Modernism in architecture. （从独立的黄金时代到现代主义建筑—）
Ornament and crime? （装饰和罪恶?）
Current thinking （当代思维）
Four different areas, corresponding to the four natural elements: （四个不同的区域，对应着四大自然元素）
Spa/water 温泉/水 gym/fire健身房/火 yoga/air瑜伽/空气 organic bar/earth有机酒吧/地球
Materials: 材料
carrara marble in hamam and private hamam solid hemlock with dome ceiling in Finish sauna stainless steel jacuzzi and private jacuzzis from s lid marble in the treatment rooms. （卡拉拉大理石和私人）
实心铁杉与穹顶天花板桑拿不锈钢按摩浴缸和私人按摩浴缸固体大理石治疗室；
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03. "NEW"NATURAL SURFACES “新”自然表面
Semantic surfaces
_ imitative materials: a booming business
_ digital tecnologies and «imperfections»
（语义的表面 ·仿制材料:生意兴隆 ·数字技术和«不完美»）
Imitative materials 模拟材料
The visual and tactile qualities of surfaces has become so important that manufacturers have focused all efforts in the development of increasingly sophisticated finishes, very often faithful imitations of "natural“ features.
（表面的视觉和触觉质量已经变得如此重要，以至于制造商将所有的努力都集中在日益复杂的表面处理上，经常忠实地模仿“自然”特征）
Examples are ceramics that replicate brick, stone and now - oddly enough - even concrete, metal or resin. Not to mention the melamine laminate that, at a glance, it is difficult to distinguish from natural veneer.（例如陶瓷可以复制砖、石头，现在甚至是混凝土、金属或树脂。更不用说三聚氰胺层压板，一眼望去，它很难与天然单板区分。）
It often happens that the aesthetic quality of industrial products are more precisely delineated than those seen in the original natural material. （通常情况下，工业产品的审美品质比原始自然材料中所看到的更加精确。）
“New” natural materials 新”的天然材料
Imitative materials don’t overshadow interest for natural ones, that obviously have limited availability. 模仿材料不会掩盖人们对天然材料的兴趣，自然材料显然是有限的。
On the contrary many of them have been rediscovered in the last few years, like natural stones, a booming business, with new processes that allow greater versatility to match a more “natural” aesthetic effect. 相反，在过去的几年里，它们中的许多被重新发现了，就像天然石头一样，这是一个蓬勃发展的行业，有新的加工方法
Natural as a new “category “ of the senses 自然作为一种新的感官“范畴”
_ surfaces that are uneven,
_ slightly rough or perfectly glossy
_ with muted colors and tones inspired by the landscape
Natural / artificial 天然/人工
We are witnessing the reformulation – maybe the cancellation - of the already tenuous distinction between natural and artificial materials, which now refers to the expressive characteristics, rather than the substance of the materials. （我们正在见证自然材料和人工材料之间本已脆弱的区别的重新形成——也许是取消，它现在指的是表达特征，而不是材料的实质 。）
To be and to appear 生存和出现
The play between indoor and outdoor space 室内外空间的互动.
To be and to appear 生存和出现
Inedited and limitless possibilities of interpretation 编辑和无限可能的解释.
fossil wood 化石木
Eminent Wood porcelain stoneware surfaces are inspired by an extraordinary natural phenomen n; trees become stone, maintaining their original ligneous structure and turning into fossilized jewels. An allegory of evolutionary metamorphosis. The firm appearance typical of tree trunks blends with the mineral vigor resulting from thousands of years of petrification.
（杰出的木瓷炻器表面的灵感来自一个非凡的自然现象;树木变成了石头，保持了原来的木质结构，变成了宝石化石。一个进化变形的寓言。树干特有的坚固外观与数千年的石化所产生的矿物活力交织在一起。）
The Kauri (Agathis Australis) is a kind of conifer living in only the sub-tropical c mates of New Zealand. The first of them appeared during the Jurassic period (190/135 million years ago). They are the world's biggest trees (up to 70 meters). 贝壳杉(Agathis Australis)是一种只生活在新西兰亚热带气候的针叶树。它们中的第一个出现在侏罗纪时期(1.9亿至1.35亿年前)。
About 50,000 years ago, at the end of the last ice age, a series of unexplained cataclysms submerged whole forests of kauris in water and mud. The specific qualities of the mud and the absolute lack of oxygen exempted these plants, trapped in the swamps for 30-50 thousand years, from the chemical processes of decomposition and petrification, letting them linger intact to the present day. 大约5万年前，上一个冰河时代的末期，一系列无法解释的大灾难将考里斯的整个森林淹没在水和泥浆中。这些被困在沼泽中3 -5万年的植物，由于泥浆的特殊性质和氧气的绝对缺乏，免于分解和石化的化学过程，使它们完好无损地留存至今。
To be and to appear 生存和出现
New concepts (i.e. sense of time/ageing) 新概念：即时间感/衰老感
To be and to appear 生存和出现
Sustainable luxury / rare materials 可持续奢华/稀有材料
Designers’ research 设计师的调研
Designers’ research 设计师的调研
Clear acrylic is cast in a wooden form with a strong grain andassembled the resulting pieces to create a table made of‘transparent wood‘. 透明的亚克力被浇铸成具有强烈纹理的木制形式，并组装成一个由“透明木材”制成的桌子。
We reproduced the butt ends faithfully and beveled the edgeslike floorboards, and matched the grains ends and dimensions of the wood used for the table legs to the ‘transparent wood’ to create a unified piece. 我们忠实地复制了对接末端，并像地板一样倾斜边缘，并将用于桌腿的木纹末端和尺寸与“透明木材”相匹配，以创建一个统一的作品。
The two tables have specific and different optical effects: at first glance the black table is wood, but a closer look reveals its transparency, while the clear table is the transparent at first glance, and only later reveals i s wooden form. 这两张桌子有着独特而不同的光学效果:黑色的桌子乍一看是木头的，但仔细看就会发现它是透明的，而干净的桌子乍一看是透明的，之后才发现它是木制的。
Alcantara of various colours have been layered and rolled up to create a kind of ‘log’, and then cut into slices of lumber to create the effect of ‘Alcantara tree-rings’. This material can be used for flooring or furniture finishes, bringing out a whole new expressive dimension to Alcantara.
各种颜色的阿尔坎塔拉被分层和卷起来，创造出一种“原木”，然后切成薄片，创造出“阿尔坎塔拉树年轮”的效果。这种材料可用于地板或家具饰面，给阿尔坎塔拉带来了一个全新的表达维度。
Pieces on display at project exhibition held at the PalazzoReale adjacent to Duomo di Milano, in conjunction with theEXPO Milano 2015.项目展览在与米兰大教堂相邻的Palazzo Reale举行，与2015年米兰世博会相呼应。
Presided over by Italian material manufacturer Alcantara, the pieces have been selected for their resistance ‘to fraying around the edges even when cut apart from the whole’. 由意大利材料制造商Alcantara主导，这些碎片的选择是为了“即使从整体上切割，也能抵抗边缘的磨损”。
The material is natural crystals, which contain some kind of mineral. and soft fiber structure is used as a base of the chair. 这种物质是天然晶体，含有某种矿物质。柔软的纤维结构用作椅子的底座
“We put a block of soft polyester fiber in a huge aquarium with a solution, where special mineral is melted in. On the polyester fiber, natural crystal begins to form its structure and continues a gradual grow until “VENUS – Natural crystal chair” is completed. It takes approximately 1 month to complete the chair.“ 我们把一块柔软的聚酯纤维放在一个有溶液的巨大水族馆中，在那里融化特殊的矿物。在涤纶纤维上，天然水晶开始形成其结构，并继续逐渐生长，直到“维纳斯-天然水晶椅”完成。大约需要1个月的时间来完成这个椅子。
The “Venus” chair is neither about creating visual resemblances to nature, about presenting works that use natural materials, nor imitating the surface of principles. It looks at the mysterious beauty of nature and seeks to investigate designs, which appeal to human heart. “维纳斯”椅既不是为了创造与自然的视觉相似性，也不是为了展示使用自然材料的作品，更不是为了模仿原理的表面。它着眼于大自然的神秘之美，寻求研究吸引人心的设计。
Technical innovation 技术创新
The prominence of the sensorium over the cultural and symbolic is the result of a rapidly evolving technique that has freed many materials from the traditional constraints of application. 感官在文化和象征之上的突出是一种快速发展的技术的结果，它将许多材料从传统的应用限制中解放出来。
Technological innovation proceeds by removal of constraints and designers are responsible for guiding evolution, by suggesting precisely what constraints they wanted more urgent release. 技术创新是通过消除限制条件而进行的，而设计者则负责指导进化，通过精确地提出他们想要更迫切地释放的限制条件。
This idea makes us wonder what is the "minimum level" of technical expertise needed to design and produce innovative solutions, but also effective to propose an improvement of the aesthetic and functional quality of the materials. 这个想法引发我们去思考，什么是“最低水平”的技术专长，需要设计和生产创新的解决方案，但也有效地提出了提高材料的审美和功能质量。
