此文章来自2022奥马设计期刊第7篇。

German designer Ingo Maurer (1932 - 2019) is known the world- over for his unique, poetic approach to light. Though considered an industrial designer, Maurer’s artistic personality was a hard one to pin down to a single definition. He always made a point of introducing a strong element of craftsmanship, and poetry, into all of his creations, not only in the one-off pieces he’d occasionally make for private collectors, but in his entire production.
德国设计师Ingo Maurer（1932-2019年）因其对光线独特而诗意的处理方式闻名于世。虽然Maurer被视为一名工业设计师，但我们很难简单定义他的艺术人格。Maurer的作品大多非常强调手工艺和诗意元素，这不仅体现在他偶尔为私人收藏家制作的孤品中，更是体现在他的其他所有作品中。

Throughout his life, he remained a child at heart, and a dreamer. The son of a fisherman on Lake Constance’s Reichenau Island, young Ingo used to spend long hours watching the light dancing on the waves in a perpetual game of infinite reflections. He would never grow tired of this contemplation. He also loved to watch the birds, the sky and the nature surrounding him, and would later take inspiration from these memories. For instance, the wind playing through the leaves of the poplars lining the scenic road connecting Reichenau to the mainland, inspired his work for the “Silver Cloud” light installation at Munich’s Residenztheater.
纵观其一生，Maurer始终保持着一颗天马行空的童心。他出生于康斯坦斯湖上的赖谢瑙岛，父亲是一名渔夫。年少时，Maurer总是望着湖面上的粼粼波光陷入沉思，仿佛不知疲倦。他还喜欢观察鸟儿、天空和大自然，后来，这些记忆都成为了他的灵感源泉。例如，赖谢瑙岛和陆地由一条风景秀美的道路相连，而微风拂过道路两旁杨树林的场景，正是Maurer在慕尼黑王宫剧院展出的灯光作品“Silver Cloud”的原型。

“Reality only reveals itself when it is illuminated by a ray of poetry”
“现实只有经过诗意才能显现出来”
– Georges Braque

It all started in Venice
一切都始于威尼斯

After his design studies in Munich, Ingo Maurer worked as a graphic designer in the US, but soon realised that what really interested him was light. Back in Germany, he created his own design company in 1963. The breakthrough came in 1966 with his first international hit: “Bulb”. Maurer loved to recall that the inspiration for its design came one night in Venice, after he had a hefty meal which he washed down with an entire bottle of red wine. That night, he was haunted by the vision of the rounded shapes of that empty bottle, which gave him the idea of the bulb. The next morning he went to Murano and had the glass part hand-blown under his eyes to the exact shape of what he remembered from his inspired yet agitated night. He later added a basis to the lamp.
在慕尼黑学习完设计后，Ingo Maurer前往美国从事平面设计工作，但随后不久，他发现自己真正的兴趣在于灯光。回到德国后，他于1963年创立了自己的设计公司。1966年，Maurer取得了突破性进展，作品“Bulb”在国际上引起热烈反响。Maurer常说，该作品的灵感源自于威尼斯的一个夜晚，当时他饱餐一顿并喝下了一整瓶红酒解腻。那天晚上，他的脑海中不断浮现出那个圆身的空酒瓶，这便是“Bulb”的原型。第二天早上，他前往穆拉诺岛，亲自监督玻璃吹制，完美还原了那个奇妙夜晚的酒瓶形状。后来，他为这盏灯加上了底座。

Light as a connection to our emotions
光与情感的联系

The playful yet minimalist lines of “Bulb” were a powerful example of Maurer’s idea that what was really important was light itself, not the form, so the shape of the lamp was a representation of the very bulb contained, and visible, in the glass shell. A theme that became recurrent in his work, and a new paradigm in the industry, a true revolution of functionalism over form yet with the added, unique element of Maurer’s poetic and emotional touch.
“Bulb”俏皮而简约的线条印证了Maurer的理念，即真正重要的是光本身，而非其外在形式。所以“Bulb”采用灯泡形玻璃外壳，以强调并呈现内部的灯泡。Maurer的理念及其独特的诗意与情感元素在作品中反复出现，成为了行业的新范式，掀起了一场重功能、轻形式的革命。

All his subsequent production would convey this concept, and at the same time carry Maurer’s inimitable elegance and lightness. He also experimented with other materials such as feathers, metal and paper. Humble, everyday materials which would introduce, in an often humorous way, that typical element of craftsmanship that characterises his creations, once again upsetting the accepted boundaries separating mass production from custom pieces.
Maurer后续设计的所有作品不仅表达了对光本身的重视，更诉说着Maurer式的优雅与简洁。他尝试将羽毛、金属、纸张等不起眼的日常材料和传统手工艺元素引入作品，并且以活泼的手法呈现。他的这种作品特点再次打破了大规模生产与定制化作品之间的既定界限。

“Lucellino”, declined in numerous versions in the “Birds” series, was also themed around the light bulb as the embodiment of both function and form. It featured a low-voltage, specially made light bulb to which goose-feather wings were attached.A masterpiece of poetry and simplicity.
“Lucellino”，即构成无数版本“鸟儿”系列的基本元素，同样意在打造功能和形式兼备的灯具。这种低电压的特制灯泡，饰有鹅毛制成的翅膀，堪称诗意与简约的典范。

Reminiscent, at times quite deliberately, of Japanese history and culture, numerous pieces use paper and origami techniques. “Samurai”, “Poul Poul”, “Yoruba Rose”, “Wo-Tum- Bu” and “Kokoro” are among these.
有时，为强调日本历史与文化，Maurer的作品会以纸为原料并采用折纸技艺，例如“Samurai”、“Poul Poul”、“Yoruba Rose”、“Wo-Tum-Bu”和“Kokoro”。

Confirming the difficulty to box his style into a single movement, Maurer’s repeated flirts with Pop are a clear expression of his ability to play with shapes and materials while remaining absolutely true to himself in privileging both the beauty and the functionality of light. The “Licht.Enstein” series cheekily hints at Pop Art icon Roy Lichtenstein, while “Canned light” makes direct reference to Warhol’s Campbell Soup cans. “Comic Explosion” and the “Campari” series also offer strong, colourful references to popular and mass culture imagery.
除了风格上的多变，Maurer还熟练运用波普主义，在对光线的美学及功能表达上带有鲜明的个人色彩，展现出对形状和材料的娴熟驾驭能力。“Licht.Enstein”系列大胆暗示了波普艺术大师Roy Lichtenstein，而“Canned light”则直接参考了Warhol的金宝汤罐头。“Comic Explosion”和“Campari”系列也为流行大众文化提供了风格强烈、色彩鲜明的图像参考。

“Form is important, but light itself is more important. I believe light is something very much connected to our emotions”
“形式很重要，但光本身更重要。我认为光与人类情感息息相关”

“I like design that is understood and not pretentious, which leaves a lot of space for people to use it”

“设计应不言自明，而非浮夸做作，只有这样才能为人们提供丰富的使用场景”

Maurer’s intent was to make people feel good, and looked after, in a space lit by his creations. This applies indifferently to production, custom lamps and to the large public installations, of which Maurer did a consistent number in every corner of our planet.

Maurer意在用作品点亮人们所处的空间，使他们感到舒适和关怀。他将这种理念带到世界各地，广泛应用于普通商品、定制灯具和大型公共设施。

In that, his perspective is more that of a director of photography than that of a designer, as he would focus on the emotions he can create more than on the aesthetic impact of the physical object. What people feel when using his products is really important to him. This concern translates quite clearly in the “Zettel’z” series, among Maurer’s best known lamps, with a series of blank sheets of paper being supplied for users to express their creativity with their own messages and sketches.
从这个角度来说，Maurer的角色更像是一名摄影导演，而非设计师，因为他更关注情感的创造，而不是实物的美学冲击力。Maurer极重视产品的使用体验，这在“Zettel'z”系列中体现得淋漓尽致。作为Maurer最知名的灯具系列之一，“Zettel'z”采用空白纸张打造，鼓励用户以自己的方式去记录、去描绘、去创造。

The Maurer production is vast, and keeps expanding to the present day. It includes many other inspirations and references, yet maintaining the same spirit.
Maurer的作品数量众多，并且直至今日还在不断增加。虽然不同作品的灵感源泉不同，但其精神内核是统一的。

The importance of the emotional part, though, does not imply disinterest for technology, far from it. Maurer is among the first designers who experimented with LED and OLED, and the quality of light and its effectiveness at “doing its job” are paramount throughout his entire production. This only comes with thorough and rigorous R&D work.
然而，对情感的重视绝不意味着对技术的漠视。Maurer是首批尝试LED和OLED的设计师之一，在他的作品中，光线的质量及效率至关重要，而这必须通过缜密严格的研发工作来实现。

Like a renaissance master
宛若文艺复兴大师

“We can do the work we do only because we have a super team”
“我们的一切成就都离不开这个卓越团队”
Ingo Maurer passed in 2019, yet his legacy survives in the continued work of his successors. He used to refer to his collaborators as “the team”. From the moment he became an established designer, some forty years ago, he created a veritable renaissance workshop. A school of thought, of art and craft, that grew with him, perpetuating his special attitude to light and life. Today, the “spirit of Ingo” lives on in the 60-strong company he created and that bears his name.
Ingo Maurer于2019年逝世，但他的继任者仍在持续践行其设计理念。Maurer习惯于将合作者称为“团队”。约四十年前，当时已是知名设计师的Maurer创立了一间名副其实的文艺复兴工作室。工作室的思想、艺术及工艺跟随他一同成长，并延续了他对光线和生命的独特态度。如今，这间与Ingo Maurer同名的工作室员工规模已达60人，而“Ingo精神”在工作室生生不息。
→ingo-maurer.com

图片来源：Artcurial

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