droog開山始祖Gijs Bakker 用故事賣設計
The Bard of Fashion – Gijs Bakker


Adam Necklace是droog design的重量級元老Gijs Bakker在飾品設計生涯中的重要作品之一。

Adam Necklace是droog design的重量級元老Gijs Bakker在飾品設計生涯中的重要作品之一。

»»私底下,我很愛用冷面笑匠來形容荷蘭的設計團體droog design。就在那個「工業設計」還不太被台灣理解的年代,droog design背書的作品在滿滿一派談造形(from)是否要追隨function(功能)的學院派,與科技崇拜派之中,讓人眼睛一亮。不管是鬆緊帶圈起一個個箱子或抽屜而造成的五斗櫃,一邊椅腳太短所以必須用書本疊著撐高的椅子、打不破的花瓶等,從尋常生活物品中找到可讓人輕笑帶過,卻有所本地討論嘻笑背後的高深哲理,這是黑色幽默高手才出得了的招。

正當droog從1993年走來,一路上主導方向的開國元老Gijs Bakker卻在日前宣布離開,緊接著今年7月還宣布卸下在 Design Academy Eindhoven擔任25年的教職工作,不禁啟人疑竇,是否未來的設計潮流有所變動?答案「是」,卻也「不是」。

droog design用書本墊高椅腳的單椅。

droog design用書本墊高椅腳的單椅。

「不是」的原因在於,當年由他跟 Renny Ramakers一起創立的droog,造就出作品輕質且不帶包袱的表象,但戲謔玩笑原本就不是初衷,只是想在荷蘭漸漸產業外移的環境裡,打破荷蘭設計總給人枯燥乏味之感的印象,然後試圖找出可以著力的態度。真要舉出輕設計成型原因,也許只能歸咎荷蘭人天生不囉嗦的性格。所以,Gijs Bakker的去留,並不表示未來設計不再吹著「玩笑風」。

年屆70的Gijs Bakker,總戴著兒子Aldo所設計圓眼鏡,堪稱是他的金字招牌造型。

年屆70的Gijs Bakker,總戴著兒子Aldo所設計圓眼鏡,堪稱是他的金字招牌造型。

會說「是」的原因,在於Gijs Bakker從當年對荷蘭文化的討論,拉高廣度成為對普遍「人味」的關注。Gijs Bakker用「humanism」來說明他的觀點,他認為故事性式設計的重要成分,淺顯地讓創作在大型競技場如米蘭家具展等,獲得立馬關注,同時在現今過度豐盛與物慾的時代中,讓消費者找到購買動機。這點讓我想起,很多人心目中的設計之神Phillipe Starck,他總替作品們取名字,擬人化的情節不也是出自類似想法。

HAN gallery與Gijs Bakker合作的當代圓滿巡迴展。

HAN gallery與Gijs Bakker合作的當代圓滿巡迴展。

同樣就在Gijs Bakker親自來台說明,他今年與HAN gallery合作展出於米蘭跟台北的當代圓滿巡迴展時,簡短約訪中,他先是淡然提到,離開droog的決定,有很大的原因在於表達對droog到紐約設點的反對立場。Gijs Bakker認為這件事情會造成龐大的花費,間接導致設計勢必會往經濟導向傾斜,所製造出來的產品,成了巨大且昂貴的產品食物鏈下的產物,那,不是他的本意。

droog在2009年於紐約成立分店之際, Gijs Bakker以理念不同為由,宣布辭去在droog的職位。

droog在2009年於紐約成立分店之際, Gijs Bakker以理念不同為由,宣布辭去在droog的職位。

卸下教職與droog的首腦之後,Gijs說,接下來他將要忙的會是另一個由他領銜的「chi ha paura…?」,有點類似droog,但邀請的設計師以飾品設計為主;天曉得他老人家最初在設計上發聲的,正是飾品,也讓人對其燃起高度期待。««

由Gijs Bakker在1983年提出的飾品Dewdrop Collar,希望引起大家討論飾品的功能除了美觀或象徵財富之外,還有其他可能。

由Gijs Bakker在1983年提出的飾品Dewdrop Collar,希望引起大家討論飾品的功能除了美觀或象徵財富之外,還有其他可能。

 


Yeh Ying(葉穎)最近在做什麼
一面追憶春天紐約之旅的情境,一面想著怎麼抓緊夏天渡假海灘,又一面糾結著是否應要求自己是時候上緊發條如螞蟻而不是螽斯的心情;,強力推薦「實構築」展覽,因為為它是讓你我撇開房價單一觀點之外,可以近身體會住居容器的好途徑。


»»There always are stories behind any designs: a story that must reveal on the product and talks to people in order to attract its audiences or costumers. droog design, the famous Dutch design group, has perfectly demonstrate such idea in design with their senior designer, Gijs Bakker, being the leading industrial designer who embedded such idea in all his creations.

I always like to describe droog design as the masters of dry wits because droog design’s works contains avant-garde ideas in both form and functions in all their creations. For example, the cabinet formed by drawers, the unbreakable vases, and the short-legged chair that must use books to even the leg in order to balance on the ground are all amusing by how real-life it they are on both their forms and functions. This is why they are so important in the field of design – only master designers can achieve wits, design, and functions and combine them to one piece of great work.

As Gijis Bakker announced his retirement from droog design, everybody was shocked and started to wonder, is fashion reaching its turning point will affect the future designing styles? Well, the answer is neither yes nor no. The reason of no effects is due to Bakker’s partner, Renny Ramakers, is also a genius in designing witty works because droog design was slightly forced to the role of “wit design” to break the tradition of seriousness in Holland since Dutch designers are always been a little serious in everything. But this does not mean the retirement of Gijis Bakker is not important. Gijis Bakker’s rule of design – humanism was the main “story telling” part of his design. Personification relates designers and customers, which attracts buyers and stimulate stories and imaginations within Bakker’s customers.

Although leaving droog design due to some disagreement to the new marketing strategies of his company, Bakker will still be working on chi cha paura, a similar design group that invite designers to share their ideas on accessories, in the future and maybe more humanism will spread under his magic of design stories. ««

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