作为侨福文化项目之一的《侨福读库》已经出版到第三辑，我们特别在此平台开设专栏，将最新一期中的精彩部分整理节选并分享给大家。

As one of the key cultural items for Parkview Green FangCaoDi, the Parkview Green Index has already issued its third edition. For this special column, we will introduce some of the highlights in this latest issue.

近来关于北极气候变化引起生态危机、垃圾成海等环境议题受到普遍关注，我们除了从手边每一件小事守护环境之外，还能做些什么呢？侨福读库注意到有一群人，正以设计师的角度思考：我们是否需要这么多 “新” 的东西？如何发挥再利用的最大价值？

Climate changes in the Arctic has led to threats for the ecosystem. And issues of piling waste materials have also become serious. In the face of such challenges to our environment, what can we do apart from everyday mindfulness? Our editors discovered several individuals are rethinking design: do we really need so many “new” things? How can we find more value from reclamation?

我们采访了三组国外先锋设计团队Studio Swine/ BLESS/ Dave Hakkens，他们都在环保领域用自己的设计做出了新注解。

We have interviewed there pioneering design teams - Studio Swine / BLESS/ Dave Hakkens to learn about their new interpretation of their creations through the perspective of environmental protection.

《侨福读库VOL.3》

设计版精选

STUDIO SWINE

颠覆“新与旧”的逻辑

ROLLING “NEW & OLD“

（节选）

text：XY

editor：米一让

interview：XY

images: Studio Swine

六年前，英国年轻人Alexander Groves从伦敦的英国皇家艺术学院（RCA）毕业后，和自己的日本妻子Azusa Murakami一起去了巴西圣保罗，他们每日在街头晃荡十余个小时，希望能从这南美之城捕获不一样的灵感。这对从学生时期相识的年轻设计师夫妇档，即当下炙手可热的年轻设计工作室之一Studio Swine的幕后伉俪。而那场在巴西的毕业旅行，最终演化成一个名为Can City的项目，二人把人们随手摈弃在路边的铝制易拉罐，以自己发明的机器熔炼，转化为一张张不乏艺术品貌的凳子。越来越多年轻设计师关注以垃圾物为主的废弃材料，Studio Swine作为其中之一，也以俨然区别于垃圾“破败感”的时髦与精美之作广受关注。

Six years ago, having just graduated from London's Royal College of Art, the young Alexander Groves traveled to São Paulo, Brazil, with his Japanese wife Azusa Murakami. They would wander the streets for ten hours each day, searching for inspiration from this South American city. These young designers, who first met as students, are the minds behind the hot young design team Studio Swine. And that graduation trip to Brazil eventually evolved into a project known as “Can City,” in which the artists used a machine of their own invention to melt down aluminum cans found on the side of the road and make highly artistic chairs.

“易拉罐城市”项目，以废弃铝罐作为生活用品

Chairs from “Can City" project

Q&A

侨福读库=Q，Studio Swine=A

Q: 废物利用是你们主要的设计语言，如今尝试这一方向的设计师不在少数。你们如何定位自己？

Q: Reclamation is your main design language, and there are quite a few other designers doing this these days. How do you “define” yourselves?

A: 我（Alexander）是看《芝麻街》长大的，这档少儿节目其实充满了环保议题，因此有些“内化”了（笑），十几岁时看到满地垃圾，尽管有些天真，我的内心确实会感到不满与心痛。二十多年过去，兴起于20世纪对环保的呐喊似乎并未对废物利用、生态循环带去多大影响，就像我们在北大西洋航行时见到的大量塑料垃圾一样，我们依旧活在大量不为人知的垃圾堆中。废物再设计已不是新鲜的话题了，我们很高兴越来越多同代人都在这么做，可能我们的特殊之处则在于，当多数人们眼中，回收利用式的设计总会被认为“难登大雅之堂”（哪怕在设计界也是如此）时，我们希望改变人们的这种观念。

A: I (Alexander) grew up watching Sesame Street. This show is full of environmental themes, and I guess I “internalized” them (laughs). I was naive as a teenager, but when I saw litter all over the ground, I would be filled with indignation. More than two decades later, all the calls for environmental protection in the twentieth century don't seem to have had much effect on reclamation or environmental cycles. Like the masses of plastic we found floating in the North Atlantic, we still live in piles of unnoticed garbage. Reclamation design is no longer a new topic, and we are happy to see more and more people our age doing this. Perhaps what makes us special is that for most people, designing for recycling and reuse is seen as this unattainable thing (even in the design world), but we want to change this notion.

"海洋之椅”，以海洋回收塑料垃圾制成

“Sea Chair", Made entirely from recovered ocean plastic

Q: 说说你们怎么定义设计师的责任吧。

Q: Tell me about how you define the designer's responsibility.

A: 就我们自己而言，会把“设计”视作变革的一种工作。其实我们工作室的名字SWINE在英文中带有贬义，但我们也将自身的主张融于每个字母中，这可能也是我们所从事项目的特点吧。设计师受专业训练和本能驱动，创造力是这一职业群体赋予社会的价值，如果加以发挥，就可能改善不少问题和局面。就像我们的“易拉罐城市” 项目结束后，当地很多人继承了我们的方法，让大量的易拉罐废弃物变成了能使用的新物件。设计师可以让纸上的想法变成现实，有时候人们往往不缺想法，却缺乏实际的行动，就这一点而言，设计师能带来的益处很多。

A: As for ourselves, we treat "design” as the work of effecting change. Our name, “swine,” has bad connotations in English, but we infuse our own ideals into every letter, which is also what makes our projects special. Designers have professional training and instinctive drive. Creativity is the value this profession provides to society. If they use it right, they can change a lot of issues and situations. For instance, after we finished the Can City project, many locals continued our methods and turned lots of cans into new, useful objects. Designers can turn ideas on paper into reality. People often have plenty of ideas, but lack action. This is one big benefit designers can bring.

"易拉罐城市”项目

“Can City” project

BLESS

消解材料利用的范式

REDIFINDING MATERIAL USAGE

（节选）

text：怪物

editor：米一让

interview：XY

images: BLESS

饮酒这么一个简单的动作，只需几秒，嘴唇贴上玻璃的边缘，饮入液体。但如果，你手中的杯子非常沉，因为它的底部连着一块不平整的砖头——你只能慢悠悠地双手捧着砖头，小心地喝下杯中酒，此时常规的饮酒感受被打破。高脚杯与砖块，或与一根树干组合，这是BLESS在2015年与家具品牌USM合作时的成果。其中的素材是现成品，听上去好像没什么新鲜的（毕竟“现成品艺术”早在上世纪就轰动了），但回到他们的立意，则是旨在探究在社交场合中，“物品”会如何介入人的关系，一种专注的、带有表演意味的意外行为，会如何影响社交的状态。

BLESS，这个名字源自一家面包店的设计师组合，从早年在《i-D》杂志上刊登了一则利用皮草作为假发的广告开始，逐渐积累了一些大牌客户，也开始带着一定的边缘身份进入主流时尚圈的视野。

The act of drinking only takes a few seconds. The lips touch the rim of the glass, and the liquid is drunk. But, if the glass was very heavy, because the bottom is attached to a rough brick, then you would only be able to slowly lift it with two hands, and carefully drink the contents. At this moment, the conventional sensations of drinking are completely broken. A wine glass attached to a brick or perhaps a tree branch is the result of the 2015 collaboration between BLESS and furniture brand USM. The materials are readymade. This doesn’t sound like anything new (after all, “readymade art” made waves a very long time ago), but let’s look at their intention, which is to probe how “objects” can intervene in human relationships in social settings, and how a focused, somewhat performative unexpected action can influence social interactions. BLESS is a design team named after a bakery. Since first running an ad in design magazine i-D for a wig made of leather, they have gradually accumulated some name brand clients, and moved from the margins to the mainstream of fashion.

BLESS，54号纪念系列--琢石者，2015

BLESS, N°54, Remembrance Subito-Stoner, 2015

Q&A

侨福读库= Q，BLESS= A

Q: 时尚产业因其更新速度会有大量的资源消耗，同时免不了会有浪费。在提高资源利用率的角度，你们觉得设计师能起什么作用？

Q: The rapid refresh rate of the fashion industry consumes a lot of resources, and there is inevitably waste. What do you think designers can do to improve resource efficiency?

A: 其实早在1997年创立BLESS之前，我们就开始思考所面临的消费现状和时装设计师的工作模式。我们最开始设定的目标就是走一条浓缩的设计路子，不像常规品牌那样按季度推出大批量的新品，而是将我们的想法提炼至一件或者最多几件作品，每年四次。从一开始我们就质疑创造“更多”的必要性，因而决定要创造“更少”，提出“再利用”或者只“修改”已经存在的东西。比如在BLESS N°17 Design Relativators系列中，我们尝试隐藏或者是消解设计，而不是通过添加新的内容来生成新的设计特征。

A: Actually, we were thinking about the state of consumption and the designer's working model before we founded BLESS in 1997. Our original goal was to follow a concentrated design path, Instead of releasing lots of products each season like conventional brands, we would refine our ideas into a single work or a series of a few works, releasing them four times a year. At first, we were skeptical of the need to create “more,” and so we decided to create “less,” proposing the “reuse” or “alteration” of existing things. For instance, in the BLESS N°17 Design Relativators series, we try to conceal or dissolve design, rather than adding new content to produce new design characteristics.

BLESS,17号Design Relativators系列--墙，2002

BLESS，N°17 Design Relativators -Wall, 2002

Q: 在现有BLESS系列中，有哪些系列对材料再利用有所涉及？

Q: Which of the BLESS series touch on the reuse of materials?

A: 有很多不同形式、不同意义的再利用，比如，这个系列中我们只是充当策展人一样的角色，没有设计任何东西，而是挖掘了一些很棒的设计（比如棉裤），转手提供给我们的客户。我们觉得这些产品的概念很出色，但因材料没选对而无法打动高端消费人群，其实它们往往只需一点设计思维的融入，就能轻易出现在概念店或者是设计师买手店。还有之前提过的N°17系列，我们在设计的同时又尝试把设计尽可能地隐藏。N°46 Contemporary Remediation，是由客户决定的系列，是一种不同形式的再利用。我们询问客户希望BLESS为他们做出怎样的设计，这些愿望对我们来说如同是为这些产品的存在找到了正当理由，因为在它们存在之前就已有人想要拥有了。另外在N°05 Subscribe BLESS这个系列中，我们试图质疑传统的消费模式，我们邀请人们预定随后的4件新品，但是以并不知道新品会是什么为前提，每个人以1000马克支付订金，这也有利于控制产品的成本。材料控制和再利用是作为项目整体意义的一部分出现的。

A: We do reuse in many forms and different senses of the word. For example, in this series, we are just playing the role of curator. We haven't designed anything ourselves, but have instead uncovered some great designs (like these cotton pants) and presented them to our clients. We feel that these products have great concepts, but because they didn't use the right materials, they didn't catch the attention of high end consumers. With just the lightest touch of design thinking, they could easily appear in a concept store or buyer store. Then there are cases like the N°17 series mentioned earlier, where we are designing but also concealing design as much as we can. N°46 Contemporary Remediation is a series determined by the client, a different form of reuse. We asked the clients what they wanted BLESS to design for them, and we saw these wishes as sufficient reason for these products to exist, because people wanted them before they even existed. Also, in the series N°05 Subscribe BLESS, we try to cast doubt on the traditional consumption model. We invited people to reserve the next four new products, without knowing what they would actually be. Each person paid a deposit of 1,000 marks, which helped control cost. Control and reuse of materials emerge as part of the meaning of the whole project.

BLESS, 31号Ohyescoolgreat系列--有头发的帽衫, 2007

BLESS, N°31 Ohyescoolgreat-Hairhoody, 2007

DAVE HAKKENS

让塑料再造于众人之手

WE THE PEOPLE

CHANGE PLASTIC RECYCLING

（节选）

text：GURU

editor：米一让

interview：XY

images: Dave Hakkens

从一百年前的包豪斯到之后的现代主义运动，再到20世纪中后期Dieter Rams提出的“设计十诫”，我们似乎一直接受“功能决定形式”或是“设计是用来解决问题”等设计箴言的洗礼。但如今信息高度交叉错综的时代，设计师似乎不再只是单纯的“造物者”，对“设计”的定义也变得更加模糊和难以描述。毕业于荷兰埃因霍温设计学院的年轻设计师Dave Hakkens所从事的项目无疑为当今的设计行业提供了关于设计师和设计“身份”的思考实例。

从毕业项目Phoneblocks到如今的Precious Plastic（以下简称PP），“可持续发展”一直是Dave Hakkens的关注点。前者的随意组织和更换功能块的模块化手机概念引起了谷歌的关注，并随之研发了可批量生产的模块化手机。而后者则更是设计师近年持续拓展的全球性发展项目。

From the modernist movement that followed Bauhaus a century ago to Dieter Rams’ ten principles of good design in the late twentieth century, it seems we have been constantly baptized in such maxims as “function determines form” or “design is for solving problems.” But in this age of high information intersection, it seems the designer is no longer just a “creator of things,” and the definition of "design" is becoming less distinct and more difficult to describe. The work of young designer Dave Hakkens, a graduate of Design Academy Eindhoven, has certainly provided much to think about regarding the “identity” of the designer and design.

From his graduate project Phoneblocks to the recent Precious Plastic, sustainable development has always been a focus in his work. The former, a concept for modular phones with interchangeable functions and components, attracted the attention of Google, which went on to create a modular mobile phone that could be mass produced. The latter is a global development project that the designer has been expanding over the years.

"珍贵塑料“项目制作的塑料容器

plastic containers of Precious Plastic

Q&A

侨福读库= Q，Dave Hakkens= A

Q: “珍贵塑料”并不是一件设计产品，而是一个平台或系统，基于此前提，作为设计师你如何定义自己的身份？或者说对于人类和世界，设计扮演了什么样的角色？

Q: Precious Plastic isn't one design product but an entire platform or system. If that's the case, how do you define your identity as designer, or what role does the designer play in the world, or for humanity?

A: 我拥有设计的教育和专业背景，但是我从事的项目却和其他设计师大相径庭，所以我不知道该用什么职业称谓来形容自己。而“设计”的定义在过去几年中也变得更加宽泛，它不再是仅仅关于物品的外形和功能，也关乎系统的运行以及人类的行为等等。事实上你很难去用单一的职业身份去定义当今的设计师，也很难说清楚他们到底在设计什么。总的来说，“设计”本身变得更加灵活，它早已突破了“用来解决问题”的框限。

A: I have a designer's education and professional background, but the projects I’m involved in are quite different from other designers, so I don't know what I should call myself. The definition of the “designer” has grown quite broad in recent years. It's no longer just about the appearance or function of an object, but about the systems and human behavior. It is actually quite hard to define today's designer as one single profession, or to say exactly what they are doing. Overall, “design” itself is becoming quite flexible. It broke out of the framework of “solving problems” a long time ago.

"珍贵塑料“项目的各种塑料制品

Various plastic products of Precious Plastic

Q: 你去过印度和其他很多地方，是否可以描述下世界不同地区垃圾的回收再利用现状？发展中国家确实是呈现弱势吗？

Q: You have been to India and many other places. Could you describe the recycling situation in various parts of the world? Are developing countries really weaker in this area?

A: 垃圾回收和再利用在发展中国家和地区也开始实施，但是影响力较小，因为人们普遍还缺乏这种观念。这也是“珍贵塑料”存在的价值，通过社区的形式去教育周围的人，同时也让他们通过回收再利用废品获得更多的经济利益，因为目前从事垃圾回收行业的人大都为社会底层人士。我们观察到这个项目在印度尼西亚非常受欢迎，因为印尼有非常多的小岛，而靠船把小岛上的塑料废品都集中在一起的成本很高，所以很适合“珍贵塑料”这种在分散地区建立小范围社区方式的发展。

A: Trash recycling and reuse has begun in developing countries as well, but it has had less of an impact, because people don't have this notion. This is the value of the Precious Plastic project. Participants use social means to educate the people around them, and they benefit from recycling and reusing waste, because most people engaged in the recycling trade right now are on the bottom rungs of society. We found that this project was very well-received in Indonesia, because Indonesia has lots of small islands, and it is very expensive to ship all of the plastic waste to one place, so it is very suited to the distributed, community development model of Precious Plastic.

下次我们将为您呈现《侨福读库vol.3》环保版的南极洲冰川系列大片，拍摄者是著名摄影师Joseph Michael 。敬请关注。

For our next issue, we will look into the Environment Edition of the Antarctica rivers inside Parkview Green Index III with images by renowned photographer Joseph Michael. Please stay tuned.

The full content will be published in Parkview Green Index III, co-published by Guang Ming Daily and Parkview Green Index. You can find it at our official website and CITIC Books + Coffee (Parkview Green FangCaoDi).