红人 | Stine Aas：来自挪威海岸的创意之风

Who is Stine Aas？

Stine Aas

来自挪威的独立设计师，2015年获得卑尔根艺术与设计学院的空间和家具设计硕士学位，她的作品灵感来自于人与周围物体之间的日常互动，设计通常结合了视觉、触觉和功能，极具个性与简洁。

Stine具有丰富的参展经验，曾在斯德哥尔摩、赫尔辛基、伦敦、米兰、纽约和洛杉矶举办国际展览，目前Stine正与美国新兴品牌Dims展开合作。

Q&A

设计巨蛋DDx × Stine Aas

You started Stine Aas Design in 2015. What made you decide to go solo, and how has the journey been so far?

我们了解到您在2015年创立了Stine Aas Design，请问是什么原因让您决定成立自己的工作室呢？

When studying I always knew I wanted to start my own studio. In Bergen, we have an incubator program that you can apply after graduation where you get a studio space for free for two years. This was where I started out and funded my own practice.

当我还是一名学生的时候我就有成立自己工作室的想法。在挪威卑尔根有一个孵化项目他们为毕业后的学生提供一个为期两年的免费工作室场地。我便从这里开始了我的个人创作。

Stine Aas 与她的工作室

Someone told me it takes about 3-5 years when starting your own studio to make it economically sustainable, and I was very aware that it was going to be hard in the beginning. I decided to exhibit in Milan the first three years which was very important for me to find good collaboration partners and get some pieces in to production.

有人告诉我，当你成立了自己的工作室后大约需要3-5年的时间才能获得一些经济上的收入，所以我非常清楚的知道创业初期的艰难。三年前我决定在米兰参加展览会，这对我寻找优质合作伙伴并让一些作品投入生产非常重要。

The portraits in my studio (with striped sweater)

is by Robert Hamacher

What challenges do you face in running a personal brand?

你在经营个人品牌时会面临哪些挑战？

When working solo you have a do everything yourself. From designing, making models and technical drawings, organizing, planning, meetings, social media and so on. Sometimes I have interns helping me, but I basically do everything. It means that I also work a lot, but I also love what I do.

从设计、制作模型、技术图纸到组织、规划、会议、社交媒体等等所有的事情都需要自己去完成。虽然有时会有实习生协助我，但基本上我会去完成所有的事情。这意味着我有非常多的工作，同时我也热爱我的工作。

Alter Lamp

Photography by Trine Hisdal

I love the variation in my work, it never gets boring. In every project there are new things that must be researched, tested and learned. I love the process and he thrill when I see something finished. It gives me the feeling that anything is possible.

在过往的项目中，都我有可以去调研、测试和学习的内容。我喜欢这个过程，并每完成一些内容我就会感到很兴奋。这让我感觉一切皆有可能。

Kile Table

photography by Johanne Karlsrud

Your designs—the Oaki chairs, Frame, and Grab, among others—are simple yet cleverly and memorably distinctive. Could you share a bit about your process toward finding your signature style?

你的设计简单而巧妙--Oaki椅、Frame和Grab等，让人印象深刻。你能分享一下你找到自己标志性风格的过程吗？

Thank you!

All my projects are different for me. I am starting a new project with an idea that I develop in different ways. I am thinking about my projects as independent with its own personalities and distinctiveness. I don’t necessarily see my work as continuations of myself, my style or my heritage. With that said, of course I have a way of thinking and a design language that is naturally shining through.

谢谢设计巨蛋的肯定！

我所有的项目对我来说都是不同的。我的每一个项目都是有着不同的想法和发展的方式。它们拥有独立性、个性和独特性。我不一定会把我的作品看作是我自己、我的风格或先前创造的延续。虽然说了这么多，当然我也有能在不经意间思考的思考方式与使用的设计语言。

Oaki Lounge Chair Photography by Northern

Frame Chair photography by Lasse Fløde and Torjus Berglid

Grab Watering Can photography by Northern

I always start with an idea, and I try to solve it in the simplest way possible, which for me creates the most interesting products. I think a lot about the difference between simple and anonymous; There must be something that gives the product a distinctive character. It can be a joint, a curve or a material composition.

我总是拥有一个想法，试图以最简单的方式去解决，这对我来说是创造最有趣的产品。我一直在思考关于极简和无个性之间的区别；我认为必须要有一些物件使产品具备独一无二的特征。它可以是一处接缝，产品边缘的弧线亦或是不用材料的组合。

You have worked with various clients, for commercial products and exhibitions, over the years. Which one of your projects feels the most important to you, and why?

多年来，你与不同的客户合作，为商业产品和展览合作。哪一个项目对你来说感觉最重要，为什么？

The Oaki Chair is a very important project for me because it was the first thing I designed after graduation. It was picked up by the Norwegian brand Northern and launched two years later. I have continued working with Northern ever since. It has also been included in the National Museum of Norway´s permanent collection.

Oaki椅对我来说是一个非常重要的项目，因为它是我毕业后设计的第一个项目。它被挪威品牌Northern收购并在两年后推出。这之后我也一直与Northern进行着商业上的合作。同时Oaki椅还被挪威国家博物馆纳入永久收藏。

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查看更多Oaki椅

Photography by Northern

Tell us a bit about co-founding Kiosken Studio. What's the story behind it? How would you describe your works for Kiosken, and what sets them apart from your personal brand?

请跟我们聊聊共同创立的Kiosken工作室。它背后的故事是什么？您会如何去描述您为Kiosken创作的作品，以及它们与您的个人品牌有何不同？

Kiosken Studio is an interdisciplinary space in Bergen that I run together with fashion designer Siv Støldal, curator Daniela Ramos Arias, designers Ann Kristin Stølan and Christa Mako Teigen. It’s an exhibition space and a shop that also have guest artists coming to produce works in the space throughout the year. So, in this project I function more as a facilitator and curator rather than a designer. It’s a very inspiring space to work from and be a part of.

Kiosken Studio是我和时装设计师Siv Støldal、策展人Daniela Ramos Arias、设计师Ann Kristin Stølan和Christa Mako Teigen共同经营的位于挪威卑尔根的跨学科空间。这是一个集展览和商店的空间，同时每年也有客座艺术家在这里创作作品。在这样一个项目中，我更多地是作为一个促进者和策展人，而不是一个设计师。在这个空间进行创作并成为其中一份子我非常乐在其中。

Ingrid chair

Photography by Studio Perphery / Khoo Guo Jie for Tolv

Cleo Chair

Colors by Ellen Van Dusen

Is there a kind of design project that you haven't done but really want to? If so, how would you describe your dream project?

有没有设计项目是你没有做过但又很想做的？如果有，你会如何描述你的梦想项目？

For me a dream project is often characterized by the people/company I work with rather than on what. I love to work with people that understand my vision, has a lot of knowledge, are focused on quality and sustainability and are passionate about design.

对我来说，一个项目是否为梦想项目是根据合作者或者公司来判断的，而不是我要做什么。我喜欢与那些理解我的愿景、拥有大量学识、关注质量和可持续性，并对设计充满热情的人合作。

Cosmos Lamp

Collaboration with Shaun Kasperbauer

Photography: Charlie Schuck

You're going to be part of DesigNew 2022 here in Shenzhen. Could you give us a little teaser of what you're preparing for the event?

你将参加在深圳举行的2022年DesigNew的活动。你能给我们介绍一下你为这次活动准备的东西吗？

With crisis, change and uncertainty we tend to look back in time to what is familiar and feel safe. For this project I started looking at traditional peasant objects from Norway. Norway´s traditions of design is quite new in comparison to our neighboring countries. Norway´s design heritage is strongly based on these simple objects that for a long time have been looked down upon. They are incorrect based on later design standards where form follows function and simplicity is the norm. These objects have simple construction, but a lot of decoration and ornamentation and often multiple uses. There is often no correct way of using them. I have used these objects as my inspiration and interpreted them to fit in this century – keeping hints of shape, use and ornamentation. The main shape is inspired by the “kubbestol", a chair shaped by a single log of wood.

面对着危机、变化和不确定性，人们倾向于通过回溯自己熟悉的东西，寻找安全感。在这个项目中，我将目光投向挪威的传统农家物品。与我们的邻国丹麦和瑞典相比，挪威的设计历史相对来说没有那么悠久。挪威的设计遗产在很大程度上都以简单物品为基础，但是这些物品到生活中一直被人们所轻视。如果用比较现代的设计标准去衡量，这些物品可能不符合“形式服从于功能”和“简约”的原则，因为它们结构简单，还带有许多装饰图案和装饰品，而且往往有多种用途，不存在唯一正确的使用方法。我从这些物品中汲取了设计灵感，并用更符合这个世纪的方式进行了演绎，同时保留了其形状、用途和装饰方面的痕迹。形状设计的灵感来源于一种由一整块木头做成的椅子，名字叫 “kubbestol”。