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伦敦设计节陶瓷门道 · 传统工艺的新生
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发布时间:2019-06-09
设计亮点
古老土耳其陶瓷工艺与现代数字技术的完美融合,打造出充满互动性的公共空间装置,展现了陶瓷的悠久历史和现代可能性。
Four 4*4 metre ceramic gateways in Granary Square, King's Cross, as the entrance feature for Design Junction, London Design Festival 2017. A collaboration with Turkish Ceramics. "Gateways was intended to promote Turkish ceramics, but it far exceeded its brief, becoming the visual focus for the whole festival." Will Wiles, Port Magazine, September 29th 2017. Winner of the Blueprint Award for Small Project 2018
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Four 4*4 metre ceramic gateways in Granary Square, King's Cross, as the entrance feature for Design Junction, London Design Festival 2017. There is no other architectural treatment that has remained as fresh, relevant and cool as ceramics has from a thousand years BC, right through into the twenty-first century. Gateways celebrates this incredible legacy, and its 21st century possibilities, uniting ancient Turkish manufacturing techniques, with the latest digital printing and manufacturing technology, in a joyful, super-interactive, public realm installation. Following an invited design competition, Gateways was commissioned by Turkish Ceramics for Design Junction, London Design Festival 2017. The brief called for a design that echoed the tradition of ceramic production in Turkey, as well as the diversity of its contemporary ceramics industry, whilst responding to the pavilion’s prominent location in the centre of Granary Square, and engaging with the broad range of visitors such a location would see during an event like LDF.
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The location in the central strip between the square’s popular fountains was treated as a catwalk down which visitors could saunter theatrically. The design response was four gateways along the length of the strip, all of the same external profile, which gave a clear unity to the sequence, whilst allowing for each elevation to be treated individually with ceramics that told a different story. The openings were changed sequentially, made smaller and given different shapes towards the rear, so that on the one hand each surface treatment was visible from the front, but also so that a strong perspectival effect was generated that pulled people through to the end, and made them feel front and centre of a little dramatic urban moment.
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