From Piao to Piao: Transformation of a Chinese Design / Atelier fcjz

非常感谢 非常建筑 将以下内容授权gooood发行。更多关于他们，请至：Atelier FCJZ on gooood 。
Appreciation towards Atelier FCJZ  for providing the following description，More: Atelier FCJZ on gooood.

作为建筑师，我们认为仅仅把建筑形式语言直接带入产品设计是不够的，恐怕也不恰当。那建筑师又将如何进行产品设计？我们在接受了这个餐具设计项目后，尝试了从三个方面把建筑设计的思想和工作方法带入产品设计：

For architects, it is neither enough nor appropriate to directly apply the language of architectural form to industrial design. How then should an architect participate in the product design? On accepting the Chinese dinner set design project for Jia Inc., FCJZ developed three approaches that use our understanding of architectural design for the design of products.

 

态度：观察生活
Attitude: Observing Life

尽管建筑形式相对抽象，建筑设计的基础是对生活的理解。于是在餐具设计开始时，我们也是对生活中的器皿进行观察。我本人在北京出生长大，对北方的锅碗瓢盆尤为熟悉。其中瓢最为特殊。葫芦一劈两半掏空就是瓢。概念清晰，操作简单，非常智慧。瓢是从自然转化为人工的，形式上当然不是抽象的。瓢来源于民间，也可以说没有经过设计，具有强烈的地方性。 这是瓢另一个使我们感兴趣的原因。

Though architectural form is relatively abstract, the foundation of architectural design is rooted in the understanding of everyday life. Our observations of common serving and eating utensils provide the starting point for our dinnerware design. As a native of Beijing, I am familiar with the dishes, bowls, and pots of Northern China. Among them, the piao is especially unique. It is a ladle created by cutting a gourd in half. There is wisdom to be found in its clear expression of an idea corresponding with its function. The concept of the piao originates as natural form appropriated by man. Its figure remains fundamentally not abstract. Found amongst the common objects of everyday life in Northern China, the piao perhaps is not considered a “designed” object. It therefore contains a strong sense of local character, another reason we are interested in the piao.

 

方法：概念思维
Method: Conceptual Thinking

瓢的材料是植物的果实，是手工业时代的产物。瓢是无法在当代的设计文化，工业生产方式以及进餐习俗的语境中复制的。我们引入餐具设计的，是切葫芦的概念。设想对若干个单球和双球的葫芦进行角度不同的切割，便产生了一系列大大小小形状各异的碗碟。我们为餐具设计了存放架：餐具不用时，又可恢复葫芦原来的形状。因此，切葫芦的概念是看得到的。概念一定要在场，这也是我们在作建筑设计时的宗旨。

The piao is born of an era of vernacular handicraft, and is made from the material of dried fruit shell. It cannot be directly inserted into the context of modern industrial production, contemporary design culture or dining customs. We’ve embraced the concept of a cut gourd for our dinnerware design, imagining a gourd sliced at different angles to create utensils of various shapes and sizes. We’ve also designed stainless steel stands to display the dinner set in a way that the dishes, bowls, and plates can be held together to form the shape of entire gourds. Thus the concept of a cut gourd is visible whether dishes are in use or displayed. A central tenet of our design methodology – on the scale of a building or a product -is to provide a clearly expressed concept.

 

材料：感性判断
Material: Perceptual Judgment

建筑师职业性的对材料敏感对产品最终的质量也起了重要作用，尽管我们选择材料的起点仍是理性的。我们选定了精细的骨瓷，是想完成从手工到工业，从农村到城市，从传统到当代，从粗犷到细致的一系列转化。瓷器从瓢演化过来，但已不是瓢，瓷器的变化是规律的，形状是准确的，因此具有可重复性。骨瓷的细腻使设计并不停留在概念上，而构成物质的现实，需要通过观看，触摸，使用去认识它。

In the profession of architecture, sensitivity to material is essential to the final quality of a product, even though the selection of a material may begin from a rational point of view. Our choice of fine bone china for the dinner set expresses a series of transformations from handicraft to industrial production, rural to urban, traditional to modern, from rough to delicate. A piao made of fine bone china is no longer a “piao.” Its shape is definite. Its tolerances controllable. Therefore it can be mechanically reproduced. The quality of fine bone china liberates our design from concept to a new physical reality, understood only through observation, touch and use.

和建筑设计一样，经过反复修改，上述的三“着”促成了瓢碗瓢盆。

Like the process of architectural design only through many stages of development and refinement do these three aspects of observing life, conceptual thinking, and perceptual judgment, result in the Piao dinner set.

MORE: 非常建筑  FCJZ  更多关于他们，请至： Atelier FCJZ on gooood 。