Matali Crasset，聽說你是Philippe Starck的接班人？－出發，旅行，然後回憶

Matali Crasset
Product Designer

這個馬桶蓋是一個女生喔~我乍看以為他是個男的。

Matali Crasset 生於1965年的法國，畢業於E.N.S.C.I. I (ecole nationale supérieure de création industrielle)，曾經跟Philippe Starck一起工作５年，所以有人說他是Philippe Starck的接班人，他的東西配色很大膽，很自然，很童趣，也很舒服，我很喜歡。她在97年獲得巴黎市設計大獎，2005年再贏得巴黎國際家具展大獎。在1998的時候開始自己的設計事業，現在住巴黎。

她覺得設計就是要給人自由及驚喜

這是Matali Crasset 的網站，超多很酷的設計，光網站就還蠻酷的 matalicrasset.com Matali Crasset 's blog http://blog.matalicrasset.com/ 在這邊也可以照找到她的作品 http://www.dornbracht.com http://www.domodinamica.com http://www.samlaik.com http://www.gandy-gallery.com http://www.domeauperes.com http://www.edra.com 這邊有一些他的專訪我是不太了解知道這些名設計師的想法對自己的設計有什麼大的啟發因為我一直覺得，只要一個人成名之後，放的屁都會是香的，講的話也都會變聖旨。這樣說並不是很不屑，是很羨慕，哈哈哈。 do you listen to the radio? I listen to the radio a lot, I don't have a tv, I prefer the radio because it makes you use your imagination, and you can also go into greater depth as opposed to tv which is much more superficial. （很多藝術家設計師都沒在看電視，那我這種膚淺粗俗之人還看大話可以做好設計嗎？糟糕） do you read design magazines? I look rather than read.（我也是ㄟ因為太多字看不懂） where do you work on your designs and projects? there is no fixed rule, everywhere, （每個設計師馬都這樣講） it is easy for me to get wrapped up in my own world. who would you like to design something for? I don't know, I like it when a design is a give and take, a moving ahead together. when you were a child, what did you want to be? I had no idea what I wanted to be when I was a child, it was something completely unknown. I wanted to do something which I liked, to experience my work every day, in order to get a 'savoir faire' and perhaps change, to help the work to evolve and I think design gives you this chance. do you discuss your work with architects and designers? my office is small, there are 4 people in total, we are always exchanging ideas on the development of projects. describe your style, like a good friend of yours would describe it. my job isn't about shape. I am most interested in working on the typology of things, on the relationship between the various components of an object while paying attention to the whole, afterwards the form comes, following the tension which I put into all of my designs. do you think that design is an autonomous cultural expression? do you think it's a form of art? I think that it is not interesting to understand whether it is art or design, it is important to understand the approach, there are many different ways of doing things, it can be more industrial, more artistic, it depends on who you're working for, whether it's a museum, or a company or another specific context. which of your work has given you the most satisfaction? I'm finishing a hotel in nice which may be the most important project for me, because its global, a real hotel with music, images, art, a lively platform, for me it is interesting because it is like making a never-ending object, which you use and then see how it can be changed from day to day. （就是有名的hi hotel） and those still active, are there any particular ones you appreciate? I like the approach of the two young designers from berlin vogt + weizenegger, I also like the work of the bouroullec brothers whose work is more formal than mine, but done very well and a pleasure to look at. Q. 什麼時候開始對設計有興趣？ A. 非常晚，學生時期主修marketing ，但我並不是非常的有熱情，但是當我在上廣告學的時候我發現我對設計非常的有興趣，所以我決定把設計當成我以後的職業。但是我認為我非設計的背景其實對我幫助很大，因為我並沒有被"教育"怎麼樣才是好的設計，也沒有被人們所謂的"高級法國品味"影響我太多。這讓我可以好好的發展自我的特色。 Q. 和Philippe Starck共事的這段經驗影響了你什麼？ A.我非常幸運能跟Philippe Starck一起工作，給我機會可以跟很多大客戶合作（Thomson Multimedia）也給了我非常大的自由可以獨立設計專案，這對我來說是成為一個設計師非常關鍵的一段時間。讓我學會如何在同一時間同時處理多個很大型又很複雜的案子。我很享受面對挑戰，試著用相似的方法處理不同的案子，不管是設計一間hotel，或只是一條毛巾上的花紋。 Q. 哪一個設計專案是讓你成為一個設計師最重要最關鍵的設計？ A. 我認為是bed-lamp-clock installation ＂When Jim Came to Paris＂ When I work on an object, I’m already thinking of the space around it. I try not to work object by object; I prefer to make networks of things, because I like to conceive of an object as a life scenario. One of the first pieces of furniture I did is called “When Jim Comes to Paris” [1998]; it consists of a simple column you can unfold when friends come to your home—say, if you don’t have a guest room. So when “Jim” is not around, it’s very compact, just thirty-five centimeters by thirty-five centimeters and two meters high [fourteen inches by fourteen inches and seventy-nine inches high], and when “Jim” arrives, you just have to open this column and it becomes a bed with a lamp and an alarm clock. The idea of the space and the situation is already embedded in the object. Q. 在開了自己的工作室之後，你的設計有什麼不同的發展嗎？ A. 我的設計領域更寬了，更多不同的設計案找了我，就像是給了我一個機會去設計一整間旅館。 Q. 描述你對於設計的方法及態度？ A.我的方式是持續的追求新的特質特色。人們對於自由的需求，了解人們最基本的動機，讓大家可以用自己的方式使用我設計的東西及我創造的空間。 Q. 有哪一個設計師啟發了你? A. Denis Santachiara是我非常尊敬的設計師 Q. 設計界到現在仍然是男設計師為主的世界，做為一個女性設計師，你認為女性這個角色如何影響著你的設計？ A.在設計界，對於我的性別我從來不覺得有什麼不自在的地方，事實上也從來不覺得有被貶低或什麼的。 Q. 你會怎麼描述形容＂HI Hotel ＂這個設計案？這個設計的目標是什麼？ A. HI Hotel提供人們一個當代感的居住環境，他是一個很完美的空間讓大家可以感受到到不同的文化，在短短的住宿期間遠離自己的家，給自己一個全新的體驗，好像是一個愉快的航行，去發現鮮的事物。我的概念完全不是要去‘design‘一個空間，任何設計都是有什麼目的的。不過任何在HI Hotel的設計仍然是很自然並且有功能性的，只是多了一些暗示性，留給旅人去想像。 HI Hotel想要給客人一個生活的刺激感及有趣的經驗，比如要設計不同的房間，並不是要設計不同漂亮的主題，而是不同的空間系統。不同的房間有不同居住的方式。 Matali Crasset 鼓勵大家要對日常生活的所有事物充滿好奇心並且提出疑問	matali crasset © designboom matali crasset is adjusting her pop-up installation at mu.dac , 2002 'sunic', a perfume created by matali crasset in collaboration with dragoco, installation at gandy gallery, prague, february 2002 and galleria luisa delle piane, milan, october 2002 'tapis-pouf' - metafloor a collection of furniture carpets by matali crasset for sam laik, 2002 'living soft' - metafloor a collection of furniture carpets by matali crasset for sam laik, 2002 'phytolab' installation by matali crasset for dornbracht, 2001

Recently I collaborated on a show with the artist Peter Halley; I like his use of color, the way he creates different mental spaces using simple geometric shapes. I think that there are fewer and fewer differences between art and design. Before, we would talk about the artist as the one who does the unique piece, while the designer was the one who did mass production. But today I’m doing small series and some artists are doing bigger series. What is more interesting now is what you do in which context; what I try to do is, say, when I’m working on a piece with an art gallery, I try to make a piece that makes sense for that gallery, in the context of the gallery’s history and with regard to the people who will come. I’ve spent a lot of energy over the past ten years developing my own personal approach, but now I’m more interested in collaborating with other artists and craftsmen. Sure, designers are always working with people in the studio, but I’m learning to enjoy collaborating in the creative part, stretching my thinking in a different way. BIOGRAPHY 1965 Born near Châlons-en-Champagne, France. 1991 After graduating from École Nationale Supérieure de Création Industrielle in Paris, she moves to Milan to work with the designer Denis Santachiara. 1993 Returns to Paris to work for Philippe Starck first in his studio and then at the Thomson Multimedia consumer electronics group where she runs a design studio for Starck. 1997 Wins the Grand Prix du Design in Paris for her own work. 1998 Opens her own design studio and exhibits the bed-clock-lamp installation When Jim Comes to Paris at the Satellite exhibition during the Milan Furniture Fair. Presents the first of the Digestion collection of poufs. 2000 Creates Les Ordinateurs, a series of free-standing spaces in the form of giant iMac computers, for the Première Vision textiles fair in Paris. Designs a series of visionary kitchen appliances for Tefal and the be box jewellery box for Die Imaginäre Manufaktur. 2001 Completes her first residential project La Maison du Lac by converting an hotel into a family home. 2002 Develops the UPDATE/Three Spaces in one triptych of visionary bathing spaces for Dornbracht. First retrospective exhibition at mu.dac in Lausanne, then the Victoria & Albert Museum, London and Le Grand Hornu, Belgium. 2003 Completes the design of HI Hotel with 38 rooms on Avenue des Fleurs in Nice and the pigeon house at Caudry. 2004 Designs Friche domestique, a visionary apartment for the 1st Architectural Biennial Beijing. Launches Evolute lighting collection for Danese Milano and designs L’annexe du BHV, department store in Thiais, France. 2005 Creates identity, website, interior and exterior design for SM's - Stedelijk Museum in s’Hertogenbosch, The Netherlands. Other projects include, Restaurant Végétable with Alain Passard at Printemps de la maison; shop Lieu commun in Paris with F communications, Veja and Misericordia; Tout’ouvert, pet grooming shop in Nice; Brunch collection for Guy Degrenne; D.fuse, animation with dj Jori Hullkonen for art-netart. 2006 Presents solo exhibition Soundscapes at Cooper Hewitt National Design Museum, New York and Springtherapy exhibition at SM’s, s’Hertogenbosch. Designs Cuisine Fraich Attitude, workshop kitchen for Aprifel in Paris, desert knife and cake slice for Pierre Hermé manufactured by Forges de Laguiole and tray for restaurant Le Boudoir d’Hélène Darroze. 2007 Selector for 25/25 - Celebrating 25 Years of Design exhibition at the Design Museum 29 March - 22 June.

看了很生氣
一個人怎麼可以設計這麼多的東西～

以上圖文來自這些網站

http://www.designboom.com/eng/interview/crasset.html
http://epaper.pchome.com.tw/archive/last.htm?s_date=old&s_dir=20060711&s_code=0564&s_cat=
http://www.books.com.tw/books/series/series9789867009272-3.php
http://www.designmuseum.org/design/matali-crasset
http://blog.matalicrasset.com/
matalicrasset.com

只是分享介紹一下不錯的設計師
不要告我