重生之花瓶 | 煤油灯的现代演绎

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Giuseppe Bessero Belti

Appreciation towards

Giuseppe Bessero Belti

for providing the following description:

花朵替代火焰，清水替代燃油—煤油灯的重生之作。

Experimenta花瓶系列对传统煤油灯赋予了新的含义。该系列包含一个盛水圆柱、来自旧煤油灯的玻璃体、一个圆环及固定玻璃体和圆柱的若干零件。

THE FLAM BECOMES A FLOWER, THE FUEL BECOMES WATER. THE TRANSFORMATION OF A KEROSENE LAMP.

The Experimenta vase explores and reinterprets the classic kerosene lamp. Experimenta is composed of a cylindrical container for the water, glass collected from old lamps, a ring and a series of adapters to fix the glass to the vase and make it more stable.

煤油灯的使用已经有几百年的历史；十八世纪末到十九世纪下半叶，人们开始采用天然燃油作为燃料，极富时代特征的煤油灯经历了重大的科技变革。在此期间，科技的进步及石油和煤油等新能源的出现激发了煤油灯设计师们的新灵感，出现了新的专利，如Pigeon(Charles Pigeon, 1884年6月)的一款灯具创新地运用简洁的典型圆柱体线条，并提高了安全性能。美观的外形和安全使用性加上当时的高效宣传让这款煤油灯的销量高达几百万。领先潮流的设计外观、结构线型和尺寸一度成为当时的设计标杆。

With a history hundreds of years long and initially fuelled by natural combustibles in the period between the late eighteenth century and the second half of the nineteenth century, this type of lamp has seen profound technological innovation. The scientific progress made during those years, together with the introduction of new fuels such as oil and kerosene, allowed designers to experiment with new solutions. New patents were born, including the one for Pigeon lamps (Charles Pigeon, June 1884), innovative in the simplicity of their typically cylindrical shape but especially for their great attention to safety, a feature that allowed the sale of millions of these items thanks to the clever use of a very effective advertising campaign for its era. The shapes and dimensions of the components were standardized with an outlook on design that was ahead of its time.

油灯的结构可以简化为：“烟囱”—不同形状的玻璃体；“灯芯”—浸入燃油的熔丝；“燃烧嘴”—冒出火焰的管口；“颈圈”—固定玻璃体的圆环；“器皿”—盛装燃油的容器。

燃烧嘴和烟囱的形状十分重要，会直接影响灯具的使用效果。当时设计的第一盏油灯旨在适应新兴产业的发展需求，最大程度地面向消费市场，在工业生产和手工制作之间产生了越发清晰而明显的界限。然而，历史的车轮来到新的世纪，我们身处在一个完全不同的社会文化环境中，此时，设计的目标则转变为创造微观市场，满足追求独特的新消费者的需求。对于具有高质和高艺术价值的手工工艺的重新发掘以及高效3D打印技术的出现向当今作品的设计性和功能性提出了更高的要求。

Experimenta花瓶煤油灯的玻璃体拥有了二次生命。经典的灯具变成了独特的花瓶艺术品—火焰变成了鲜花；燃油变成了水；金属材质变成了尼龙材质。

The structure of an oil lamp can be simplified as: “the chimney” glass in various shapes (Kosmos, Matador, Pigeon, Rochester, Bombé viennoise, Globe etc.), “the wick” the fuse which dips into the fuel, “the burner” the nozzle from which the flame emerges, “the collar” the ring for fastening the glass and “the fount” the container for the fuel.

The shape of the burner and the chimney are important as they affect the efficiency of the lamp. During the era in which the first oil lamps were conceived, the design was aimed at adapting to the emerging industry, oriented as much as possible toward the mass market and creating an increasingly sharp distinction between industrial production and craftmanship. Today, on the other hand, we find ourselves in a different socio-cultural context and the aim is increasingly to create micro-markets to accommodate the need for uniqueness and the niches of new consumers. The rediscovery of craftmanship as an example of work of high quality and high artistic value, and the emerging “maker”spirit fuelled by the rapid evolution of 3D printing technology require that current design evolves continually both in terms of design and content.

With a ready-made operation, old glass from fuel lamps thus acquires a second life, putting the“standard” at the service of the unique piece where the flame turns into a flower, the fuel into water and the metal into nylon.

YEAR / 2014

MATERIALS/ Mockup made with PA220, Elasto Plastic,Glass

MODELS AND SIZE / Kosmos model 37,7 x 8,3 cm, Matador model 38,4 x 8,3 cm, Pigeon Model 20,2 x 8,3 cm, Rochester model 30,4 x 8,3 cm, Bombé Viennoise 28,8 x8,3 cm, Globe model 21,5 x 8,3 cm

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