The theme for this year’s annual Danish Cabinetmakers’ autumn exhibition — held at the Oregaard Museum in Copenhagen in September and due to travel to Paris’s Maison du Danemark in January — was “petite”, the designs being a maximum size of 60cm by 60cm. But looking at the furniture by the 30 exhibitors, the brief could have been something else entirely.

今年九月在首都哥本哈根的奥雷加德博物馆(Oregaard Museum)举行的丹麦家具匠师作品展(Danish Cabinetmakers’ autumn exhibition)，主题确定为“小”，它规定最大的参展品尺寸不能超过60厘米ⅹ60厘米。但走马观花30位展商推出的家具后，着实让人叹为观止。

From TAF’s metal champagne tray table to Norm Architects’ three-legged folding chair, the designs resemble a line drawing turned into furniture. “We decided to make this year’s theme ‘petite’ purely because our exhibition space was very small,” says Mia Lagerman, chairwoman of the cabinetmakers’ exhibition association. “The designers don’t discuss the work before it’s shown, so there must have been something in the air that caused many of the pieces to have such fragile lines.”

从TAF的金属材质香槟酒桌到Norm Architects的三条腿折叠椅，这些设计如同线条画摇身一变而成了家具。“我们之所以确定今年的展会主题为‘小’，就是因为展区面积实在太小。”家具匠师作品展览协会主席米亚拉格曼(Mia Lagerman)说。“设计师们在参展前，都对自己的展品只字不提，因此很多参展作品不约而同具有如此纤巧美丽的线条，冥冥之中有时尚之风在起作用。”

It is not only Danish designers whose work resembles precise pen strokes. French-Polish designer Marta Bakowski launched her collection of Rays lights at Paris’s Maison & Objet fair this autumn. Each is made of a circular acrylic panel with a mirror LED bulb at the centre surrounded by hand-woven, two-tone threads that represent rays of light.

不仅丹麦设计师的作品酷似精细的钢笔线条，在今年金秋的巴黎家居装饰博览会(Maison & Objet)上，波裔法籍设计师马尔塔巴科夫斯基(Marta Bakowski)也推出了类似风格的Rays系列灯具。每盏灯的材质均为圆形丙烯塑料板，正中央是LED镜像灯泡(mirror bulb)，周围则代表灯光束、手工缠绕的双色线。

“I started by experimenting with weaving techniques and basket-making, then gradually developed the idea into a disc shape,” she says. “I was asking, ‘how can I make a lamp that talks about light even when it’s not lit up?’ Previously I have woven with reflective materials, but here I wanted to use pointillism [the style using tiny dots of colour developed in the 19th century by Georges Seurat]. I approached it as a painter would, looking at how colours interact and weaving different shades together.”

“我一开始先是试验编织手法及竹篮编织，而后脑海中慢慢形成了圆盘形设计概念。”她说。“我当初就自问，‘如何能设计出一盏断电时依然有灯光效果的灯具？’在这之前，我尝试过用反射型材料编织，但我想用点彩法（就是使用19世纪画家乔治修拉(Georges Seurat)独创的彩色小细点画法）。我尝试用画家的方式进行设计，观察各种颜色如何相互作用，并把不同色调组合在一起。”

Also displayed at Maison & Objet was Cuban designer René Barba’s tennis racket-shaped paper lamp for Ligne Roset. It comprises a double-sided fabric envelope with a pattern of black lines, which is slipped over an LED bulb and supported by a black lacquered steel base. “This graphic effect is very fashionable and echoes the trend for textured motifs on flat surfaces,” says Barba.

在巴黎家居装饰博览会上展出的还有古巴设计师雷内巴尔巴(René Barba)为Ligne Roset设计的网球拍外形的纸灯。它用双面布打造而成，上面画有黑色条纹，布罩就随意套在LED灯泡上，整个灯由黑色喷漆钢质基座支撑。“这种图形效果非常时尚，它与平面的纹路图案时尚风格有异曲同工之妙。”巴尔巴说。

Interior designer Annick Petersen, whose cage-like lights are made from thin copper wire strips, believes line-based designs are part of a trend for furniture made from industrial materials. “This raw look is a very popular design statement at the moment,” she says.

室内设计师安妮克簠靟森(Annick Petersen)设计了由细铜丝制作的鸟笼形灯具，她认为线条形设计是工业材料打造家具流行时尚的组成部分。“这种粗犷外形是当前非常流行的设计风格。”她说。

This view is borne out by the growing number of designers using powder-coated aluminium and steel in tables and chairs. One example is Made in Ratio’s Supernova trestle table, launched two years ago. It is topped with toughened glass and features two sets of star-shaped legs made from sand-cast recycled aluminium, which can be rotated to make a lower-height coffee table. “The six points touching the floor and glass create a structure no matter which way they are oriented. I wanted to meld those points in the form of a supernova, so it looks like a stellar explosion,” says Made in Ratio founder Brodie Neill. “Transparency of form and being very pared back is something I pursue in my work and the Supernova has both those qualities. The weight of the glass complements the geometrical, sculptural legs.”

这种理念被越来越多使用铝合金设计桌椅的设计师（品牌）所证明。其中之一就是英国品牌Made in Ratio两年前推出的Supernova搁板桌。它桌面为钢化玻璃，两组星形桌腿用沙铸再生铝材做成，再度旋转后还可搭成低矮的咖啡桌。“各自与地面及玻璃接触的六个支撑点不管什么朝向，都是固定的结构。我希望把这些接触点组合成超新星的模样，酷似恒星爆炸。” Made in Ratio品牌创建者布罗迪尼尔(Brodie Neill)。“透明外形以及极简主义风格是我孜孜以求的设计风格，Supernova支架搁板桌就是两者兼而有之。玻璃重量与几何形雕塑状桌腿实现了很好的互补。”

Mirka Grohn and Jo Wilton, the co-founders of furniture brand &New, also achieve elegant lines and minimal forms using powder-coated steel. Their colourful Robot Too sideboard and Robot side table both have angular, zigzag legs. “We used steel because we wanted to create something delicate-looking,” says Grohn. “With steel, the furniture is very strong, but you can achieve really fine lines. Also, the legs are playful, just a bit of fun.”

家具品牌&New联合创始人米尔卡格罗恩(Mirka Grohn)与乔威尔顿(Jo Wilton)也用烤漆钢板实现了优美线条与极简主义风格完美结合。他们推出的Robot Too餐具柜与Robot茶几采用了带角度的锯齿形桌腿。“我们使用钢质材料的原因是希望营造出纤巧的外观。”格罗恩说，“用钢质打造的家具非常结实耐用，而且能打造出优美的线条。此外，桌腿趣味十足，带点戏谑味。”

John Liston uses powder-coated steel for his Ribbon chairs. They look at first glance like a messy scribble in red crayon. “It wasn’t intentional, but it works well for this design,” says Liston, who was inspired by the way shadows from buildings take whatever form they fall on. “A shadow can transform the shape of a park bench with the graphic lines of the balusters and handrails and the angle of the light.” For him, the beauty of the material lies in its unexpectedness. “I love the idea of a chair looking like it might not be able to sustain weight, yet at the same time the steel gives it a huge structural integrity. Making furniture with a very thin structure creates negative space, so the piece looks lighter than it is.”

约翰利斯顿(John Liston)用烤漆钢板设计出了Ribbon椅子，乍一看酷似红色蜡笔的杂乱无章涂鸦画。“这并非有意为之，但设计效果非常好。”利斯顿说。他的灵感来自于建筑物变幻无穷的投影图案。“栏杆与扶手的线条以及斜照光线能彻底改变公园椅子的形状。”他认为材料的美感就在于其不可预测性。“我特别喜欢把椅子设计成无法承重的模样，但与此同时，钢架结构又赋予其整体结构。结构纤巧的家具能更加突出周围空间，使家具本身更显轻盈。”

Of course, these delicate structural forms aren’t new. In the 1950s, both Harry Bertoia and Charles and Ray Eames launched wire furniture. More recently, in 2013, the South Korean designer Jinil Park launched his Drawing Series of chairs, lamps and a table, each with intersecting lines that exactly replicate his preliminary sketches.

当然，纤巧形家具早已有之。早在上世纪50年代，哈里伯托埃(Harry Bertoia)与夫妻档设计师查尔斯及蕾伊默斯(Charles and Ray Eames)就已推出线条形家具。2013年，韩国设计师Jinil Park创作了Drawing Series椅子、灯具以及桌子，每一款都采用了交错型钢丝，它们完全是他草图的“复制品”。

German graphic designer Verena Hennig’s powder-coated aluminium Roll seating is an extension of her two-dimensional art. “My graphics are minimalist and reduced, so I wanted to create furniture that also only uses minimal lines,” she says.

德国平面设计师维丽娜眠腭(Verena Hennig)创作的Roll铝合金座椅是其二维空间艺术观的延伸。“我的图形注重极简主义与简约型风格，因此我希望也能设计出使用最少线条的家具。”她说。

Arihiro Miyake is another designer whose work displays this angular aesthetic. He designed the ballerina-inspired Coppélia suspended lamp for Moooi, with a crossed wire structure that acts as a base for dozens of LED lights.

三宅有洋(Arihiro Miyake)是另一位展示角度设计风格的设计师。他为荷兰家具品牌Moooi设计的Coppélia吊灯的灵感来自于芭蕾舞女，吊灯使用了交叉线条结构，几十个线条的交叉点就是LED灯泡的安放位置。

Other examples of the trend include Swedish interior stylist Annaleena Leino’s minimalist geometric clothes rails that hang from the ceiling, and Portuguese brand Galula’s Pendura coat stand, a simple triangle designed to be propped against a wall.

紧随上述潮流的还包括瑞典室内设计师Annaleena Leino与葡萄牙家具品牌Galula。前者创作了极简主义风格、从天花板悬垂的几何图案挂衣杆；后者则推出了简洁三角形状、倚墙而靠的Pendura衣帽架。

“Triangles create almost a frame against the wall. We wanted something with lines that looked just as beautiful without coats hanging from it,” says co-designer Filipa Mendes.

“三角形衣帽架靠墙而放后，酷似一个框架。我们希望用线条打造出的东西外观与没挂衣帽时一样美不胜收。”联合设计师菲利帕门德斯(Filipa Mendes)说。