Is­raeli-Bri­tish de­sign sa­vant Ron Arad on how he thrives on de­sign­ing for chal­leng­ingly dis­parate creative dis­ci­plines設計大師Ron Arad細談看似截然不同的創作界別如何和諧連繫


In­stantly recog­nis­able for his trade­mark wide-brimmed head­wear and quick wit, Is­raeli-born, Lon­don-based ar­chi­tect, prod­uct de­signer and artist Ron Arad has more than made his mark in those dis­parate creative fields since he launched his ca­reer in 1981 by creating the Franken­stein-es­que Rover Chair. Since then, his work, which com­bines a tongue-in-cheek sen­si­bil­ity with im­pro­vi­sa­tion and gor­geous sim­plic­ity, has been fea­tured in ded­i­cated ret­ro­spec­tives from New York's MoMA and Lon­don's Bar­bican Cen­tre to the Cen­tre Pom­pi­dou in Paris. Dur­ing a re­cent stopover in Hong Kong, we spoke to the "Bruce Wil­lis of de­sign"– as a col­lab­o­ra­tor once called him – on the tri­als and tribu­la­tions of bridg­ing op­po­site ends of the creative spec­trum.生於以色列的駐倫敦建築師、產品設計師兼藝術家Ron Arad素以闊邊帽和急才著稱,但除此之外,在1981年打造Rover Chair而加入創作行列的他也涉足多個迥然不同的設計行列。自此,他那帶諷刺意味又具即興和簡約美學的作品常見於紐約現代藝術博物館、倫敦巴比肯中心和巴黎龐比度藝術中心。這位曾獲合作人讚譽為「設計界布斯韋利士」的創作人最近到臨香港,細談把相對元素連繫起來的試驗和當中難處。

Art is a di­a­logue be­tween your will and what the ma­te­rial agrees to do for you. Some­times the ma­te­rial will surprise you, some­times you can in­tu­itively un­der­stand. When you squash repli­cas of a sin­gle de­sign, they end up be­ing so dif­fer­ent from each other, like peo­ple. The great thing is the same­ness, and the dif­fer­ence.藝術是你的意念與物料同意為你做到些甚麼之間的對話。有時候,物料會教你喜出望外,但有時只能憑直覺行事和了解。擠壓一件設計的複製品時,看來立時擁有各自獨特的模樣,跟人類一樣。最出色的地方既是相通之處,也是相異之地。


02 01 The Rover Chair as ex­hib­ited at Lon­don's the Bar­bican 02 The Flat Mates ex­hi­bi­tion at Over the In­flu­ence 03 Ron Arad


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