“晒上海八”景泰蓝展将开幕 教你如何“吃得更美”

盖聚物之夭美，以养吾之老饕。

                                     ——苏轼·《老饕赋》

老饕 徐公伟 Xu Gongwei

曲水流觞 茶器 

Tea set for drinking from floating cup

曲水流觞，群贤毕至，一觞一咏，畅叙幽情。曲水流觞茶器借鉴枯山水的手法，以景泰蓝工艺模拟曲水环山的场景。效古时文人雅事，以茶代酒，闲情雅意，亦老饕所好也！

The wise men would gather when one drink form floating cup in the river. There would be a song for each cup of wine so that everyone could tell his very fundamental feelings. The dry landscape provides reference to the tea set which stimulates the bending rivers and the surrounding mountains with the technique of enamel. Imitating the ancient behaviors, drinking tea instead of wine, and the leisure from it are what the eaters most like!

老饕 颜呈勋 Bill Yen

夜 灯 Night lamp

杯子，一种专门盛水的器皿。而我们取其意，用它来盛放光。造型上，以几何形态与珐琅的传统形成对比，使其更具现代感。使用方式：通过倾斜杯子使灯光扩散，从而体现与用户的互动性。

The cup is a vessel of water. And we take this point to make it a container of light. Its figure gives more sense of modernity while the geometric shape and the traditional enamel provide a contrast. Method of use: Tip the cup so that the light would spread. This makes it more interactive for users.

老饕 杨威杰 Yang Weijie

套莲瓶 茶器 Tier Lotus Vase tea set

我相信对传统的最好继承就是打破传统，把新技术新手段的活力融入到浓厚的历史积淀种产生新的生命，整个设计也是秉承着这一设计方法，从传统设计演变出具有全新功能而又富现代美感的新设计。

I believe that the best way to carry on the tradition is to break it, blending new techniques and new means to the deep historical accumulation, so that the new life could be born. The whole design adheres this method too. The new design which has whole new functions and modern beauty evolves from traditional designs.

老饕 杨文庆 Yang Wenqing

寸光 Cun Guang

“寸光”取于“尊”“觥”二字，其形态也由原青铜器形态转化而来，但保留了盛酒和温酒的功能。以铜为材料，表面以珐琅工艺饰以抽象化几何形态图案，与青铜器上的华丽浮雕纹饰相呼应。“寸光”是对传统器物的现代演绎，也是对现代“食酒”方式的新尝试。

The name of ‘Cun Guang’ is taken from character ‘Zun’ and ‘Gong’. Its shape translates from the shape of ancient bronze ware and reserves the function of containing and heating wines. It’s made of copper whose cover is decorated with abstracting geometric graphics made with enamel technique, corresponding the marvelous carvings on the bronze ware. ‘Cun Gunag’ is a modern deduction of traditional wares, and also is a new attempt for modern ways of drinking.

老饕 胡文杰 Hu Wenkit

大雾 电子烟 ZFOG electronic cigarette

苏先生的《老饕赋》把中国烹饪与饮食表现得无比精妙，烹饪美食的精要分寸，也被投射成政治名言“治大国如烹小鲜”，老饕即曰“舌尖界的老炮儿”。“饭后一根烟，赛过活神仙”。这可能是众多老烟枪的肺腑之言，直指人心。然，吸烟有害，饭后香烟更不健康。既要解决饕瘾，又要更健康，国际组织认可电子烟是目前最佳的替代品。本设计《知雾ZFOG》从吞云吐雾的细腻绵长感受出发，以更健康的方式来体验蒸汽文化。两款设计一为杆式，一为盒式，易用便携；工艺上结合传统的景泰蓝工序，其手做的掐丝和釉料的凹凸触感，滑而不腻；丰富多元的题材纹样图案，炫酷悦目；饕餮之后，先生小姐一笑而起，小嗞知雾一口，顿觉烟雾缭绕，渺海阔而天高。

Mr so said Laotao Fu of Chinese cooking and diet have shown immense subtlety, cooking the essence of propriety, has been cast into political saying "governing a large country is like cooking a small fish" connoisseurs as "tongue of old guns." "A cigarette after a meal, racing for a living fairy". This may be many smoking straight talk, directed at people. So, smoking cigarette after meals less healthy. Solution considering the addiction, but also healthier, international organizations recognize the electronic cigarette is the best alternative. ZFOG is from the smoke of the fine based on the long experience in a more healthy way to experience the culture of steam. Designs a-rod, cartridge, easy to use portable technology combines traditional cloisonne process, its filigree hand do bump texture and glaze, slip and not greasy; rich and diverse pattern themes, cool eye; After the feast, Ladys & Gentlemen laugh it up, Light absorption the ZFOG, disregarding the broadsky high.

老饕 王卓然 Zhuoran Wang

食.自然 珐琅装饰餐垫 Shi·Nature 

（Leaf-Shaped Enamel Decorating Place Mat）

《食. 自然》是仿叶状自然形态而设计的系列掐丝珐琅装饰高级餐垫。餐垫形似叶状，整片大小五寸见方，看似轻薄，实则质重。中间的叶脉和边缘处由铜丝掐制而成，叶片间隙中用翠绿色珐琅釉料装饰，温润碧绿。该系列物件除作餐垫使用外，也可作为装饰摆件和镇纸使用。

Shi·Nature is a series of enamel placemats imitating natural images. The shapes of the placemats are like leaves, whose sizes are five inches. They look like light, but they are in fact heavy. The veins and the edges are made of copper wires. The gaps of leaves are filled with green enamel glazes, which are smooth. Besides placemats, they could be used for decoration and paperweight.

老饕 林琮然 C.R.LIN

粒粒 Grains

碗的设计概念来自于李绅的唐诗: 锄禾日当午，汗滴禾下土。谁知盘中餐，粒粒皆辛苦。器物上以米尖形为基础，单手持拿时四指能触碰碗底，微微有粒粒的手感，用意是希望让人用食间也能体会到劳动者的艰辛，碗上部为靛青色的景泰蓝渐变到碗底部，下部分为粒粒秃起的银米粒，最终堆积碗底构成中空的银色碗托，在碗内面有两颗米粒如同在浮在水面上，泛起一圈圈的涟漪，多了点自然的惊喜；配合粒粒设计的银筷，由顶部渐变到中间浮现出米粒形成了筷架的作用，把米粒转换成餐具，更把传统善食的美意重新演绎。

The design of the bowl came from the poet of Li Shen: Hoeing the grass under the noonday sun, His sweat drips on the ground beneath. Who knows that on the dining plate, Every single grain means hardship. The foundation of the ware is the shape of grain. Four fingers would touch the bottom while holding the bowl, like touching grains, hoping people realize the hardship of farmers. The color changes from indigo enamel on top to silver grains in bottom, forming the hollow bowl base. There are also two grains in the bowl like floating on the water with ripples revealing the surprise of nature. With the silver chopsticks, the emerged grains are used for holding them up. The grains that used for tableware express the goodwill of traditional food.

老饕 丁伟 David

角色 Role

我们总在扮演各种各样的角色：在父母面前扮演个好儿子，在儿子面前扮演个好父亲，在甲方面前做好好的设计师，在设计师面前当好好的领导，在老师面前是好学生，在学生面前是好老师...今天，随着城市化的进程，我们在快节奏的城市当中逐渐变得麻木而遗失了最纯真的自己。这件作品试图在诉说一个美好的愿景：告别麻木的表情和角色，回归本真和自然的自己。

We are always playing different roles. In front of parents we are good sons. In front of sons we are good fathers. In front of clients we are good designers. In front of designers we are good leaders. In front of teachers we are good students. In front of students we are good teachers, etc. Nowadays, we became numb and lost our pure self along the process of urbanization. This work tries to tell a beautiful vision that we could say farewell to the numb expression and roles, and return to the pure and natural selves.

老饕 张周捷 Zhang Zhoujie

刀线框珐琅 花瓶 Line frame enamel vase

我们采用了网格面建立的一个简单的盒子，通过布尔运算，剪出一个曲度缺口，用来放置植物花卉，每一个面的都是平面几何，因此比较容易进行珐琅处理，颜色和形态都做到一定的简化，可以单独或三两个一起摆放，也算是一次当代化的尝试。

We built a simple box of mesh, then cut a curvature gap through Boolean calculation to place plants and flowers. Each surface is of plane geometry which is easy to decorate with enamel. Its color and shape are simplified in some ways so that it could be placed singly or in groups, which is an attempt of modernization.

老饕 莫娇 Mo Jiao

贰两半 Two liangs and a half

早餐要吃得饱。因为三餐中唯一能吃饱的一顿，所以有道理重视。中式早餐从口味，营养，容貌和健康程度都甩开西点几条街。贰两半是以中式早点油条糍饭锅贴等为灵感，把“捏”、”揉”、”拉”、”绞”等手势形象成为器皿的图案肌理，还为中式早餐而服务的景泰蓝餐具器皿。

One should have enough at breakfast. Because breakfast is the only meal one could be full, so people should pay attention to it. Chinese breakfast is far better than western breakfast in tastes, looks, nutrition and health. The inspiration came from Chinese breakfast like Youtiao, Glutinous rice and fried dumpling, making the gestures of hands like pinching, rubbing, dragging and twisting the texture and picture of the wares. And the wares are for Chinese breakfast.

老饕 刘传凯 Carl Liu

金饭碗 Golden bowl

中国古时以铜为钱, 所以除了皇宫贵族, 在民间几乎看不到纯铜制品. 用铜制造的碗因为贵重稀少所以被称为金饭碗. 民间传说若能得到金饭碗, 寓意一生无忧前程似锦. 用铜做的碗虽然不再是高不可攀的食器，但相对于瓷碗和木碗，铜碗更有分量和仪式感。一碗一碟轻食重器，学习尊重学习感激。

The money was made of copper in the ancient times of China. One could hardly find products of pure copper, except for the nobilities. The bowl made of copper was called golden bowl because it’s valuable and rare. Popular legend had it that if one got a golden bowl, he would have no troubles in his whole life and would have a bright future. The bowl of copper is no more unattainable today, but still has its weight and a sense of ritual. The bowls and plates have their own meanings while the food in them is not much. We should learn some respect and to be grateful from that.

老饕 杨继栋 Yang Jidong

乐府 音箱 Yuefu speaker

古人饕餮必定余音绕梁，今人共餐岂能悄然无声。 鼓点响，将进酒，天籁音，众乐乐！

The tune lingered in the room when the ancients ate and drank. There must be sound when modern people dine. One should drink when the drum sounds. Everybody’s enjoying the heavenly music.

老饕 陈建纶 Alain Chan

刀叉碟勺 Knife, fork, plate & spoon

餐具的真实意义并不是一个方便进食的工具，而是，它能让使用者进食仪态更好看，姿势更吸引人。“刀叉碟勺”是一套有代表性的餐具；餐刀，餐叉和勺子外形重新定义了常规餐具的形象，它们肥短的手柄增加了手感更带来灵活的操作，因此改变了用餐者的体验。纯紫铜材料的质感配合了珐琅的细腻工艺，再结合了时尚简约的设计图案，“刀叉碟勺”更能让餐桌添上华丽的摆设。

The true meaning of tableware is not for eating conveniently, but for eating gracefully. ‘Knife, fork, plate & spoon’ is a set of representative tablewares. The shapes of knife, fork and spoon redefined the images of conventional tablewares. The fat and short handles of them changes the experiences of diners which provide flexible operating. It combines the texture of pure red copper, the delicate technique of enamel and the design style of simplicity and fashion, making table more marvelous.

老饕 王杨 Wang Yang

珐琅 饭盒 Enamel Lunchbox

饭盒古为“食盒”，文人士大夫出门踏青或访友盛放肴食果品之用，用料考究、制作精美，而今天这些饭盒却多已成了古玩藏品。食盒的优雅与美感在今天已被功能性与工业化彻底取代了，变成了那些千篇一律的玻璃盒、塑料盒，这个珐琅饭盒就是希望重新唤起我们对生活的仪式感，对食物的敬重之意。

The ancient name of lunchbox was ‘Shihe’, which was used by scholars for containing food and fruit when they went out for visiting and travelling. The beauty and elegance of lunchbox are placed by function and industrialization. They changed into the same glass and plastic boxes. We hope this enamel lunchbox would awaken our senses of ritual for life, and the respect for food.

老饕 施君 Shi Jun

三足金馋 点心架 Three-legged golden snack rack

灵感来源三足金蟾的典故，古人认为金蟾是吉祥之物，口吐财富。三足金馋借此寓意，摆甜品点心，望食客们甜蜜入嘴。

The inspiration came from the story of three-legged golden toad. The ancients thought that the golden toad was a lucky sign, spitting treasures from the mouth. The snack rack means that when the ‘eaters’ take the snacks from the rack, the taste would be sweet.

老饕 侯正光 Lao Hou

春 茶海 Spring —Tea utensil

万条垂下绿丝绦⋯⋯二月春风似剪刀。每每此时，便也是大多新茶萌芽的时分。一年之计在于春，这个季节总是让人无畏。

Million dropped green silk sash…… the winds of February spring are like scissors. At this time in every year, it’s time to sprout for the new tea. A year's plan starts with spring, and this season always makes people fearless.

不老 茶海 Ageless —Tea utensil

黄山迎客松，南山不老松。看来好客之人不易老。

There is Guest-Greeting Pine in Mount Huang, and there is Evergreen Pine in South Hill. It seems that the hospitable people would not grow old easily.

晒上海八 Shine Shanghai 8

展览地点：外滩五号二层

开幕时间：2016.12.23, 15:00

主题讲座： 2017.1.7, 14:00

展览日期：2016.12.23——2017.1.13

策展人：侯正光

主办：上海工业设计协会

指导单位：上海市文化创意产业推进办 

                   上海设计之都活动周

支持：上海传世珐琅 

           上海外滩五号

           简一大理石 

           首家家居用品购物平台

           新岱（中国）有限公司 

           上海渡影传播 

           上海一起发展

           建投书局

摄影：胡文杰

承办：上海大慧广告

Venue: Bund 5,2F

Opening: 2016.12.23, 15:00

Lecture： 2017.1.7, 14:00

Duration: 2016.12.23——2017.1.13

Curator：Lao Hou

Organizer：Shanghai Industrial Design Association

Supervisor：Promotion of Cultural and Creative

                      Industries in Shanghai City

                      Shanghai Week UNESCO City of Design

Supporter：Enamel Shi

                     Bund 5

                     GANI Marble Tiles

                     01Home

                     New Time

                     Pdoing vision

                     Each Corporation

                     JIC Books

Photograph：Hu Wenkit

Co-organizer：Shanghai Dawise Branding

晒上海八 主题 Theme

讲“老饕”之前先说另一个故事，纣王的叔叔看见纣王在使用象牙筷子，便联想到这个侄子一定是败家子，因为跟象牙筷子相配的必是犀牛角餐具，饮食当然也要琼浆珍馐，再类推到衣着宫殿必然更加穷奢极欲。这便是“见微知著”的来历，可见一个小小的“箸”能够映射的是巨大的行为系统。“晒上海”八的产品方向定义为饮食相关器物，并未深究餐具的历史沿革，而是沿袭一贯的“个人主义”，从个人经验出发，提出一个个独立的问题和解决方案。苏东坡在“老饕赋”里对食物和烹饪之美的描述，充满画面感，纯粹而美妙。“盖聚物之夭美，以养吾之老饕。”此处的“物”，我们更愿意理解为食物和器物，本次“晒上海”指定工艺又是“景泰蓝”，可谓“夭美”，因此，我们选用“老饕”作为本次设计的主题，意在每个人都有自己的吃法，也有吃的更美的方法。

Let`s tell a story before talking about ‘The Eater’. Once King Zhou`s uncle saw him using ivory chopsticks, considering that he`s a black sheep. Because there must be Rhino horn tableware to match ivory chopsticks, and the food and drink must be luxurious too, so must the clothing and the palace. So from the first small beginnings one can see how things will develop. The small chopsticks could reflect the whole huge system of behaving. The definition of product direction of ‘Shine Shanghai 8’ is artifacts for eating and drinking, not digging into the evolution of tableware, but continuing being individualism, from personal experience, raising independent questions and solutions. In ‘Gourmet Fu’ of Su Shi, the description of food and the beauty of cooking is full of vividness,  pure and wonderful. ‘Gathering all the marvelous materials to keep my glutton.’ We prefer to comprehend ‘Materials’ as food and tableware. This time, the specified technique is cloisonné, which would be marvelous. So we choose ‘The eater’ as the theme of design, meaning everyone has his/her own way to eat, and also to eat more marvelously.

晒上海八 工艺 Technique

珐琅又称佛郎、发蓝。以矿物质的硅、铅丹、硼砂、长石、石英等原料按照适当的比例混和，分别加入各种呈色的金属氧化物，经焙烧磨碎制成粉末状的彩料后，再依其珐琅工艺的不同做法，填嵌或绘制于以金属做胎（一般是紫铜，金，银等贵金属）的器体上，经烘烧而成为珐琅制品。依据在制作过程中具体加工工艺的不同，珐琅可分为掐丝珐琅器、鏨胎珐琅器、画珐琅器和透明珐琅器等几个品种。掐丝珐琅，自公元13世纪珐琅传入中国后，由中国手工匠人自己创新成为中国皇室珐琅工艺。其主要工艺是通过纯手工掐制与图稿上相同纹样的金属丝（铜丝，银丝与金丝），经过与胎体黏接与多次点珐琅釉料后烧制、打磨而成的珐琅作品，故名“掐丝珐琅”，又称“景泰蓝”。

Enamel is mixed by silicon, minium, borax, feldspar, quartz and other minerals, each with coloring metallic oxide, made to powder of pigment after burning and grinding, along the different techniques, caulked or painted on the metallic wares such as red copper, gold or silver, then burned again. As for the different techniques, enamel is divided into cloisonné enamel, inlay enamel, painted enamel and basse-taille.After enamel was introduced into China in the thirteenth century, the cloisonné enamel is created by Chinese artisans as royal enamel technique. The main technique is to pinch metal wires such as copper, silver and gold manually following the blueprint, burned and grinded after adhesion and coloring. It’s also named as cloisonné enamel or cloisonné.

晒上海 缘起 Origin

“设计师最核心的价值就是他的独立性”，这是“晒上海”的发起精神。每年集合上海不同领域的一线设计师，做完全主观的独立的设计实践，最终以“实物”的形式呈现，我们会称这个“实物”为“产品”，但是“产品”的定义因人而异。当然其意义并不是在个人渲泄和表达上，而是有期许的实验设计集体行为。期望这群微小个体发出的合音能够产生一些共振。因此，我们用“晒shine”为名，意在“闪亮，照亮”。让我们一如晒太阳一般自由的晒设计吧。

“The core value of a designer lies in his/her independence”, which is the originating spirit of “Shine Shanghai”. Every year, top-ranked designers from various fields at Shanghai are gathered together to conduct completely subjective and independent design researches with specified materials and theme, and finally present their results in the form of “entity”, which will be named as “product”. However, the definition of “product” varies with each individual. It is without doubt that the meaning is not confined to personal catharsis and expression at all, but an experimental design collective behavior with expectations. We look forward to see some resonances generated from chord of these tiny individuals. Therefore, we adopt the name of “Shine” with an eye to “glisten and illuminate”.Let’s shine our designs freely just like basking in the sun.

晒上海 意义 Sense

2009 年至今已经八届， “晒上海” 作为一项公益设计行为，以创意推动新兴或者传统的材料和工艺在设计中的应用， 为需求做前瞻性研究，不断吸纳业界更多有情怀的设计师参与其中， 从行业内引发外界对产品设计的更多思考；从而探寻上海创意产业发展的新路径。

As a public welfare design behavior, “Shine Shanghai” has been held for six sessions since 2009. It drives the application of new and traditional materials and processes in the design with originality, conduct prospective studies on demand, continuously attract more designers with feelings in the industry to be involved and trigger more reflections on product design from outsiders, thereby to explore new ways of developing Shanghai creative industry.

传世珐琅 Enamel Shi

掐丝珐琅，自公元13 世纪珐琅传入中国后，由中国手工匠人自己创新的中国皇室珐琅工艺，也是珐琅艺术制作主要技法之一，又称“景泰蓝”。此技法的优点在于将珐琅的色彩艳丽与金属的质感完美的融合，无限拓展了珐琅艺术的创作空间。

由于其在当时昂贵的制作成本及工艺繁复，从未走出宫门，始终是一门皇室工艺。也正由于这门工艺从未走出过宫门，在时代变革和创新下，这门技法渐渐失去了其以往的风光。直到2012 年，传世珐琅以复兴中国珐琅艺术为大任，将这门几乎要被遗忘的工艺，重新延续。

传世珐琅的每件珐琅艺术品需遵循传统掐丝珐琅制作的苛刻标准，8 大步骤、超过64 道工序、选用最为上乘的材料、100% 纯手工打造。

Ever since enamel techniques been brought into China during the Yuan Dynasty, this technique had reserved in the Palace. During the Ming Dynasty, by incorporating them with some of the traditional techniques for metal inlaying and porcelain making, craftsmen in the Palace create a new kind of enamel called Jing Tai Lan. The advantages of this craftsmanship are bright the color of enamel and present the perfect texture of metal. Also, this technique broadens the enamel art.

The making of Jing Tai Lan requires rather expensive and complicated processes. Therefore, back then, only members of royal could afford it. However, the craftsmanship gradually lost its past scenery due to the change and innovation of era. 

Established in Shanghai at 2010 by artist Shi Jun, ENAMEL SHI has combined of both traditional techniques and contemporary aesthetics. Our vision is to bring this craftsmanship back to public and renew the art of enamel.

晒八设计师合影