【J】What’s the inspiration behind the INO collection? 【J】您的INO系列背后的灵感是? 【TN】For me the inspiration comes really from the ceramic. You will see in the presentation that for me it’s very important to do a full immersion in the field. I knew already with ceramic factory Laufen used to work with bathroom ceramic. But with SaphirKeramik we have to go beyond to find another step. Everything I was thinking was how we can do something which make sense to do with SaphirKeramik, which will also be difficult to copy with any other material but which make sense. So the inspiration for me was to mix all these things. The washbasin started with the icon of a washbasin, which is still a washbasin it’s not something strange. I wanted to do something really normal, but what we say extraordinary we mean normal but exceptional in the way if you pay attention. So for me the inspiration was from the culture of washbasin to the possibility of SaphirKeramik, try to mix, to give birth to something which was still in our collective memory of the washbasin, but which is something really different, really innovative. 【TN】对我来说灵感完全来自于陶瓷本身。待会你将会在我的演示中看到，对于整个制造过程的实地考察和沉浸，这对我来说是非常重要的。在过去的合作中我已经熟知劳芬的陶瓷生产工厂，但是对于蓝钻陶瓷来说，我们必须要进一步优化升华。我所考虑的所有要点都是如何能用蓝钻陶瓷来做出最适合它的自然的设计，这种设计可能很难用其他材料来复制。于是我的洗脸盆设计始于一个普通的洗脸盆的“感觉”或“印象”，我希望做出最符合这种洗脸盆印象的设计，做出一种“超越平凡”的设计，一种乍眼看上去很平凡，但是如果你留意到它了，会觉得这是一种非常优美而高超的设计。所以我的灵感源自于洗脸盆自身的文化，再加上蓝钻陶瓷，我将这两者巧妙的混合，来得出一个既符合大众印象中的洗脸盆形象，但又有些许不同、创新的设计。 【J】How did you draw from collective unconsciousness to derive such a product? I’m curious because it seems very hard. 【J】您是如何从这种大众潜意识中设计出产品形象的?我很好奇，这看上去是件很困难的事情。 【TN】No it’s not hard because it’s completely subjective. So I’m not collecting information for a benchmark. In this case the approach of the product is trying to… The work of a designer I think is a big digestion of all the picture all the image you can do, no? Creating new from nothing, is something I think is an illusion, we always draw from a culture product or culture process or developing together with the company which has its specificity. For me the ideal condition is also with Laufen because I like working with the company which its strong knowledge about something, a deep specific knowledge. I’m lucky because I can do this with different company and with different process so someone working with wood, and someone working in sofa, someone working in different field. With Laufen for me it’s really focusing on the discussion, the project as a result of a collaboration, I believe in the collaboration to do the project. I’m not believe in trying by myself like “this is the product to design, let’s go this way”. For me the first time I’m like a sponge I try to absorb everything I can get from the company from the factory from all these people who are much better than me with ceramic. 【TN】这不是件很难的事情，因为这是完全主观的。我不是在收集信息调研得出大众的一个统一标准。对于设计师来说他的工作就是要消化这些感觉和形象，不是么?从“无”中创造出“有”，我觉得这就是一个悖论。我们一直在从过去的文化产品中寻找灵感或和拥有自身核心技术的公司一起研发。对我来说和劳芬的合作是一个很理想的状态，因为我喜欢和对某个领域有很深刻认识的公司一起工作。我也很幸运，因为我可以和不同的公司一起尝试不同的流程，也许是木材商，也许是沙发商，也许是完全不同产品领域。和劳芬的项目成果确实是合作的硕果，我坚信只有合作才能做好项目。我不相信那套只靠自己“这是要设计的产品，我们就这么做吧”的方式。从一开始我就像个海绵一样，吸收所有我能从公司、从工厂、从所有比我更懂陶瓷太多的人身上学到的东西。
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