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卢志荣专访诗人般的设计师

|知停。而行||朴素而绚烂，平淡却动人。当你走来，似是听见它絮絮低语，娓娓道来；想要靠近，却又识它从容克制，缄默不语。

Simple and gorgeous, plain but moving. When you come, you hear it whisper, Want to close, but know it calm restraint, silence.

不远处，一位身着白衣的长者，他低头，专注而忘我；他抬头与你相视一笑，温敦暖善。在这里感受古老过去的厚重，亦能随他沉醉在未来时空的奥义中。它们二者合一，矛盾却和谐，浑然天成。你好，这里是卢志荣《无华》之境。

——引言

Not far away, an elderly man dressed in white, he bowed his head, focused and selfless; He looked up at you with a smile, warm and kind. Here feel the ancient past of the thick, but also with his intoxicated in the future time and space of the upanishads. They are one, contradictory but harmonious, natural. Hello, this is the scene of wu hua by lu zhirong.

- the introduction

这是人间最美四月天，这里是沉浸在温柔春风里的人间苏杭，大自然的直接，总能让人感受到生命的纯粹与美好。2019 年 4 月 2 日，中国国际设计博物馆迎来了开馆以来首个华人设计师作品展——《无华》卢志荣作品展。

This is the world’s most beautiful April day, here is immersed in the gentle spring breeze in the world of suzhou and hangzhou, nature’s direct, always can let a person feel the purity and beauty of life. On April 2, 2019, the China museum of international design welcomed the first exhibition of Chinese designers’ works since its opening -- "without China" by lu zhirong.

他说：“这是我人生中难忘的一刻，我人生中能和此刻同等重要的瞬间，我想只有我结婚的时刻、我的孩子诞生的时刻。”《无华》展览以实物、影像、实景空间和手稿文献为呈现方式，以卢志荣在建筑、室内、家具、生活器物、雕塑五个方向近 30 年的个人作品为核心内容。在中国美术学院的学术大背景下，本次展览作为当代生活设计理念与百年包豪斯现代主义的一次跨越时空的对话。

He said: ’this is the moment of my life. This is the moment of my life. This is the moment of my life.

"Wuhua" is presented in the form of real objects, images, real space and manuscripts, with lu zhirong’s personal works in the five directions of architecture, interior, furniture, living utensils and sculpture for nearly 30 years as the core content. Under the academic background of China academy of fine arts, this exhibition serves as a dialogue between contemporary life design concept and century-old Bauhaus modernism across time and space.

雕塑：At CUGAN（ 012） 号展厅

雕塑：By IOH（ 012）9 号展厅

雕塑：To JUI ( 2012 ) 9 号展厅

8 号展厅

ONAR 圆柜—8 号展厅

卢志荣以他整体创作的哲学和实践，反映了一位当代华人设计师的精神世界与文化追求。

“我们已经走到了一个关键的时间点，在这个特殊的时间点上，我们应该感到自信，能够自信地接受一些所谓空的东西，要有自信不做任何的修饰。要有一种自信去诚实地面对自己，我们需要创造出一个自己能够真诚以待的世界。”

Lu zhirong reflects the spiritual world and cultural pursuit of a contemporary Chinese designer with his overall creation philosophy and practice.

"We have come to a critical point in time, at this particular point in time, we should feel confident, can be confident to accept some so-called empty things, to have confidence without any modification. To have the confidence to be honest with ourselves, we need to create a world we can be honest with.

卢志荣布展中

在这个由著名建筑师西萨（Siza）设计的庞然大物里，《无华》巧妙的利用空间，三部分空间，充分的将所有的展览作品融入整个建筑当中，使得建筑能够成为这个展览本身的一个部分，我们跟着卢志荣走进他的雕塑世界里，他行走在大家之中，却似乎是独自而行，絮絮低语却也振聋发聩。

In the west, by the famous architect (Siza) in the design of the colossus, the flatness of the clever use of space, space, three parts fully will show all of the work in the whole building, enables the building to be a part of the show itself, we followed chi wing lo went into his sculpture in the world, he walks among the people, but seems to be alone, pour whispers but also impact.

雕塑：所有过去，皆是未来——卢志荣|| 无我之境

“我不希望大家来到博物馆，就会说这件雕塑作品长得像一只狗，那件雕塑作品长得像一条鱼。我希望大家看到这些作品，首先是感到困惑。”——卢志荣

"I don’t want people to come to the museum and say this sculpture looks like a dog and that sculpture looks like a fish. I want you to look at these works and be confused first.

- chi wing lo

9 号展厅

当所有人围墙而坐，才发现这个展厅中的每一件雕塑作品，这些跨越了三十年时间洗练的作品，设计者从一个刚毕业的天赋设计少年，到如今在设计界有着众多“信徒”的设计大师，这些雕塑作品隔着悠远的岁月呈现在我们眼前。在时间的长河中，人与物总是转瞬即逝，但其背后的观念与精神却得以持之以恒。

When all the fence to sit, only to find that each piece of sculpture in the exhibition hall, the spanning 30 years washs practice, designers from a graduate design young talent, now has many "believers" design in design masters, the sculpture through the long time appear in front of our eyes. In the long river of time, people and things are always fleeting, but the concept and spirit behind them are persistent.

雕塑：To BYDON（ 011）

它们似乎拥有自己的生命和性格，仿佛现在正安静地坐在这里，坐在和大家一样的高度上，被所有人观察，也在观察所有人。

They seemed to have lives and personalities of their own, as if they were now sitting quietly here, on the same level as everybody else, being observed by everybody, and by everybody else.

雕塑：Beyond SEI（ 012）

雕塑：To KEO（ 012）

雕塑：Ta TANEOKI（2011）

雕塑：To KARDIZU（2014）

雕塑：To JUI（2012）

9 号展厅

在这种意义上，这些物件似乎在表达自己的孤独、内在必要的事与物，来呈现它们是从俗世脱胎而出的。这使得他的每个雕塑都成为与未知的相遇，形成一种自身的独特经验。这种与世无争的观点，使得人们认为卢志荣的雕塑创作与许多过去和现代的作品有着各式各样的共鸣。

In this sense, these objects seem to express their own loneliness, the inner necessity of things and things, to show that they are born out of the world. This makes each of his sculptures an encounter with the unknown, forming a unique experience of its own. This view of standing aloof from worldly strife leads people to believe that lu zhirong’s sculptures have various resonances with many past and modern works.

家具：一位恰好成为了设计师的诗人——卢志荣 | 诗情之境

“当下时代，科技、技术的力量让我们认为，或许所有的一切都是可以被做出来的。但当一切都显得似乎是有可能的时候，那么一定是有什么遗憾被我们忘却了。比如，我一直所说的诗意。”——卢志荣

"In this day and age, technology, the power of technology, makes us think that maybe everything can be done. But when everything seems possible, then there must be something we forget. For example, I’ve always said poetry."

- chi wing lo

「一方」水族之光地灯 2019

— 8 号展厅

步入《无华》的家居世界，独立又统一的整体空间氛围，和谐的家居舒适感催生心底的一份诗意。

Step into "without China" household world, independent and unified integral space atmosphere, harmonious household comfort expedite a poetic feeling of bottom of the heart.

ONAR 圆柜—8 号展厅

8 号展厅

《一扇含蓄》屏风 — 8 号展厅

书房— 8 号展厅

梳妆台 — 8 号展厅

身处于卢先生为我们营造的一方诗意空间，一边听他讲解自己的诗意设计理念，并不刻意追求完美，不迎合市场也不排斥市场，才是他一直不断寻找新的自我的意义。

Being in the poetic space Mr. Lu created for us, listening to him explain his poetic design concept, not deliberately pursuing perfection, not catering to the market and not rejecting the market, is the meaning of his constant search for a new self.

OVAL 办公桌

— 8 号展厅

ONAR 圆柜 — 8 号展厅

在二十多年的旅欧创作生涯中，卢志荣针对流行设计思潮以及消费社会提出了质疑和修正，主张远离商业社会的通俗文化，重返生活与文脉，在其中寻找那些失去的意义。处在东西方文化交汇点的他，通过栖息空间及器物造设的持久创作，清晰地找到了全新的自我：一方面，来自于“生活”成为一种逻辑和构成的原则——美即简约实用；另一方面，来源于其独有的东方情境——宋代生活艺术的诗性缄默。他称之为“以诗为用，以用为诗。”

In his more than 20 years of creative career in Europe, lu zhirong questioned and revised the popular design trend and consumer society, and proposed to stay away from the popular culture of commercial society, return to life and context, and find the lost meaning in it. At the intersection of eastern and western cultures, he clearly found a new self through his persistent creation of habitat space and utensils. On the other hand, from its unique Oriental situation - song dynasty life art poetic silence. He called it "poetry for use, poetry for use."

书房 — 8 号展厅

器物：方寸之间，滋味怡然

——卢志荣 | 幻虚之境

“这些器物，正如在古代城市的废墟中仍然可见到的建筑空间的印记，我们可以目睹过去在此生活的痕迹......”——卢志荣

"These artifacts, like the mark of the architectural space still visible in the ruins of the ancient city, we can witness the traces of past life here... "

- chi wing lo

[一方] 器物 — 7 号展厅

卢志荣的器物设计作品中，他的《不拘一格》木盒系列 ( Wooden Box Series 2015 ) 或《文房新语》( Scholarly Implements 2016 ) 都对平面的概念有更令人惊讶的运用方式。

Among lu zhirong’s artifacts, his "Wooden Box Series 2015" or "Scholarly Implements 2016" both have a more surprising use of the concept of plane.

[一方] 器物 银装素裹 — 7 号展厅

[一方] 器物 — 7 号展厅

不同“隔间”的并列产生了“屋舍”的效果——“屋舍”群产生了微型“城市”的缩影。一切源自平面的理念。正如在古代城市的废墟中仍然可见到的建筑空间的印记，我们可以目睹过去在此生活的痕迹......

The juxtaposition of different "compartments" produces the effect of "house" -- the house group produces the miniature miniature of "city". Everything comes from the idea of plane. As in the ruins of the ancient city can still be seen in the imprint of the architectural space, we can witness the traces of the past life here...

卢志荣布展中

他的作品语言简洁而特别，方圆、分寸中间的寓意意味深长。作品中少而又少的色彩，必须与环境和行动其间的人互动结合，才算最终圆满。

The language of his works is concise and special, and the meaning between the square and measured is significant. Few and few colors in the work, must interact with the environment and action of the people between the combination of the final satisfactory.

卢志荣导览讲解中

卢志荣专访中

从《无华》的世界里走出来，天空下起了沾衣不湿的细雨，远处象山的层峦多了一层迷幻的雾气，回望中国国际设计博物馆的红楼，我仿佛看见那位被人推上神坛的长者，他温润依旧，平和坚定的说：“我希望你们都能拥有逆流而上的勇气，坚定自己的心，想你所想，成为你想成为的人。”

Walked out of the world of "pure" and flying in the sky to touch the clothes don’t wet rain, the distance of xiangshan, more than a layer of acid fog, looking back to the China international design museum of the red chamber, I seem to see the person on the elders of the shrines, his warm, gentle and firm said: "I hope you can have the courage to upstream, determined his heart, want you to think, be you want to be."

知停。而行

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