法国设计师Ronan和Erwan这两位合作已有20年的拍档在策展人Meira Yagid-Haimovici的协助下推出了他们的展览“17 Screens”。展出时间从2015年10月31日持续到2016年3月26日，地点Paul Amir大厦。
Ronan和Erwan的作品往往不拘泥于美学与技术的限制而更具有概念性。他们打破常规，深究居住空间和工作空间的社会性，就此创作出的设计型家具作品不仅仅是活动隔断或者是划分空间的界限，更是激发空间新体验和促进共享空间亲密性的催化剂。
17屏是一个经历一年时长开发期，结合传统工艺与先进技术的展览。展览设计也为展览空间量身定做，采用了陶瓷，铝，玻璃，木棍，织物等材料，采用独特的连结关节和悬挂系统将以上材料组成的模块化元件有序的组织起来，形成一个色彩与光线都顺应环境而不断变化的系列产品。
Ronan and Erwan Bouroullec: 17 Screens
Curator: Meira Yagid-Haimovici
31.10.2015 – 26.03.2016
The Agnes and Beny Steinmetz Wing for Architecture and Design Gallery 3 Herta and Paul Amir Building.
French designers Ronan (b. 1971) and Erwan (b. 1976) Bouroullec have been working together for over 20 years now. Their interpretive approach to design channels the discussion away from notions of aesthetics or technology towards a more conceptual setting. Drawing primarily on organic phenomena, they produce furniture and design elements that converge in intricate formations, like a sophisticated second nature that undermines the commonplace hierarchies of objects and space through units that are essentially moveable. Away from the succession of trends in the field, their project is based on an ongoing macro-sociological research of living environments – habitations and work spaces – as informed by societal relations. Ronan & Erwan Bouroullec pieces often double as moveable partitions, which allow, while delimiting the space, for a new and more flexible spatial typology to emerge, as well as an intimacy in shared spaces.
An animated film by the Ronan & Erwan Bouroullec, “Growing a Chair,” documents the developmental stages of their Vegetal chair, also used at the entrance space of the museum’s new building. The process brings to mind tree branches as they shoot up and morphs into a series of structures, from a lattice to a basket-like weave and finally to a chair. Ronan & Erwan Bouroullec, who draw and paint, think in line and drawing. Raised in Bretagne, on the shores of the Atlantic, they are accustomed to wide-open horizons, often returning there to observe natural shapes and formations – trees swaying, the spread of mildew on barks, plant joints, color gradations and lighting modifications. It is in Bretagne, across the blue-green infinity of forestry and sea, that 17 Screens was born.
17 Screens was realized across a year of research and development, and combines traditional crafts with advanced technologies. Unlike most previous projects they conceived, 17 Screens was developed independently of a pre-commissioned end-product, having been realized as a museum installation from the start. Aquarelle drawings were translated into a set of interrelated units made of glass, aluminum, ceramics and textile mesh, with surfaces creating an interplay of light and color corresponding to changing ambient conditions, like seemingly generic “partitions” that project an individual touch.
The installation “17 Screens”, conceived specifically for the gallery space, incorporates interweaving sequences of modular elements made of ceramics, aluminium, glass, wooden sticks and textile, held together by unique developed joints and hanging systems.
责任编辑：水晶 作者：佚名
