Arik Levy 的非传统家具设计

　　Arik Levy是巴黎的一个工业设计师，最近几年他的工业设计作品一直受Vitra, Ligne Roset, L'Oréal, 和Renault等公司的青睐。他运用非传统的理念及灵巧的工艺流程，打破了原有的模型，并将艺术运用到日常生活用具的改造上，他设计的一些用具，改变了家庭生活。

　　“如果我不是一个设计师，我将会是个很棒的科学家”Arik Levy说，“我的工作就像一个实验室里的研究员，一直在不断的寻找公司或原料，然后将我的一些想法实现到不同的地方，而且我总是尝试将这些原料运用到与以往不同的用途上。因为我一直认为只有不断的改变创新，才是真正的利用材料。”

　　下面就是他的一些工业设计作品：

Molding

Manufactured and distributed by Materialise, this bowl is made of epoxy resin using stereolithographic 3-D printing. "The final form is a contrast between hard and soft," says Levy, who made the honeycomb pattern slightly irregular to give the sensation of a living biological material. "If you put an orange in the bowl, you have the feeling the bowl is going to eat it."

Molding

Levy had trouble producing a mock-up by hand. He worked with glass model-making specialists in France and Germany, but the results were unsatisfactory, so he turned to 3-D software used in automobile design. "Rather than the traditional way of making and casting from a model, we made a mold for the crystal directly from a 3-D model," he says. The designer paid particular attention to the way the mold would open. "Glass molds have very sophisticated opening abilities." Ultimately he created a trace that conformed to the highly complex form so the mold could be split. The result is a piece with soft edges and virtually no cut lines, making the glass look as if it's melting.

3-D Printing

Levy's idea for this earthenware fruit bowl for Gaia & Gino was to create a piece of voids and volumes inspired by the constellations in the sky. The bowl is produced from a mold, with the holes created by hand according to a predefined pattern. "I wanted it to have an architectural dimension," he says, "so you can imagine that if it's blown up 1,500 times it would look like a fantastic concert hall or conference center." Levy worked with a French company that traditionally makes ceramic vases to produce a single seamless piece of earthenware.

Weaving

Levy has created dozens of electrical objects, but he still finds electric cables a real challenge. "They're ugly," he says. "They spill out over the table and floor." He studied the basic typology of lighting--bulbs, plugs, and sockets--and decided to transform the ubiquitous cable into the aesthetic focus of an object. The designer worked with a supplier of electric cords to create a cord stiff enough to become sculptural. Produced by Levy's studio, the resulting lights use knotted cords as their aesthetic motif. "It's called Umbilical because it's about the connection between the infrastructure--the network of pipes and wires that we are basically living within--and the lightbulb itself."

Machine Bending

The bracelets and rings in this collection--named after Ottoman sultans and their wives: Osman, Soraya, Esma, and Aisha--are made of mirror-polished or sandblasted matte-finish stainless steel and titanium. Levy partnered with a French nuclear and aerospace parts company to use a special machine capable of bending and shaping flat wire precisely. "It was a long process to educate them on how to transform a mechanical piece through finishing and proportion into a piece of jewelry," Levy says. The titanium adds shine and color tint to the jewelry but also strengthens it, allowing pieces to bend back into shape without breaking.

Rapid Prototyping

The lamp, inspired by a hand muff, was first produced in a limited edition using stereolithography. Levy wanted to create a more affordable piece using the same basic form, so he studied the manufacturing process and realized that a smaller version produced economies of scale as well as the potential for a new object.

Rapid Prototyping

The resulting Shaman jewelry collection is made of translucent resin--hard on the outside and hollow on the inside.

Heat-Gluing

The T-shirt, vest (right), and shirt (left, recently on display in the exhibition Safe: Design Takes On Risk at the Museum of Modern Art) were created in partnership with fashion designer Maurizio Galante and journalist Tal Lancman. The conceptual prototypes focus on what they call the "killing zones"--the most vulnerable areas of the body, such as the chest and stomach. The layered system incorporates materials like polycarbonate, metal foil, and swan feathers for ballistic protection and reinforcement. The more layers there are, the greater the protection.

Laser-Cutting

When an industrial company specializing in elevator interiors showed Levy a thick metal sample, he asked them to make it thinner and more reflective. The result is a set of mirrors made not of glass but from a sheet of .8mm laser-cut "supermirror" stainless steel. "When you put it on the wall you have this Alice in Wonderland feeling that you're looking through a hole in the wall and seeing people on the other side," Levy says. If you stand close to it, the stainless steel reflects perfectly; it distorts shapes slightly from a distance, giving the object a more dynamic character. Originally produced in a limited edition, the mirror is now available from the Italian manufacturer Desalto.

Mouth-Blown

"If you line them up next to one another, they seem to be pushing into each other, just the way hipsters do at openings," says Levy of the soda-lime glasses in this collection for Gaia & Gino. "The top of the wine glass seems to push the carafe and make a dent into it, and the little water glass will push the carafe at the bottom and make a dent into it." The glasses, made in Poland, were mouth-blown. "It's a rather traditional process, but technically speaking it's about the tension in the curves, not necessarily the precise forms."