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»ù ¹Ù·Ð Sam Baron

 

Àü ¼¼°è Àþ°í °¨°¢ÀûÀÎ µðÀÚÀ̳ʵéÀÇ ÁýÇÕ¼ÒÀÌ¸ç º£³×Åë ±×·ìÀÇ Ä¿¹Â´ÏÄÉÀÌ¼Ç ¼¾ÅÍÀÎ ÆÄºê¸®Ä«ÀÇ µðÀÚÀÎÆÀ ¼öÀåÀÎ »ù ¹Ù·Ð. ¶Ù¾î³­ ¸®´õÀÎ µ¿½Ã¿¡ Àç´ÉÀÖ´Â µðÀÚÀ̳ÊÀÎ ±×´Â, ÃÖ±Ù Á¦Ç°µðÀÚÀλӸ¸ ¾Æ´Ï¶ó ÆÐ¼Ç ºê·£µå¿ÍÀÇ Çù¾÷, ¸ÅÀå µð½ºÇ÷¹ÀÌ, ´Ù¾çÇÑ °ø°£µðÀÚÀÎÀÇ ¾ÆÆ®µð·º¼Ç µî Ȱµ¿ ¿µ¿ªÀ» ³ÐÇô°¡¸ç Ä¿¸®¾îÀÇ Á¤Á¡À» ÇâÇØ ´Þ·Á°¡°í ÀÖ´Ù.

Áö±Ý ±×ÀÇ À̸§ µÚ¿¡ µû¸£´Â ¿Â°® È­·ÁÇÑ ¼ö½Ä¾î¸¦ µÚ·ÎÇÏ°í ±×¸¦ ¼³¸íÇÏ´Â °¡Àå ¸í¡ÇÑ ¹®ÀåÀº, ¡®µðÀÚÀÎÀ¸·Î »ç¶÷µé°ú ´ëÈ­ÇÏ´Â °ÍÀ» ÇູÀ¸·Î ¿©±â´Â ¿¹¼ú°¡¡¯¶ó´Â °ÍÀÌ´Ù.

¿¡µðÅÍ. À¯Àΰæ, µðÀÚÀÎ. ³ªÀº¹Î, ¹ø¿ª. ¹ÚÂùÈñ, ÀÚ·áÇùÁ¶. IntNet

 

1976³â ÇÁ¶û½º¿¡¼­ ž »ý Ƽ¿£ ¹Ì¼ú´ëÇаú ±¹¸³°íµîÀå½Ä¹Ì¼úÇб³¿¡¼­ µðÀÚÀÎÀ» Àü°øÇß´Ù. 2001³â ÇÁ¶û½º Á¤ºÎ°¡ ÈÄ¿øÇÏ´Â ¿¹¼ú ÁøÈï ÇÁ·Î±×·¥ ºô¶ó ¸ÞµðÄ¡ÀÇ ¡®¿À¸£ ·¹ ¹¿¸£¡¯ÀÇ µµ¿òÀ» ¹Þ¾Æ Æ÷¸£Åõ°¥ÀÇ µµÀÚ±â ȸ»ç ºñ½ºÅ¸ ¾Ë·¹±×·¹¿Í µµÀÚ±â Ä÷º¼ÇÀ» ÁøÇàÇßÀ¸¸ç, ¸®½ºº»°ú ÆÄ¸®¿¡¼­ ÀÌ µµÀڱ⸦ ¼±º¸ÀÌ¸ç ´Ü¹Ú¿¡ Ã˸Á¹Þ´Â µðÀÚÀ̳ʷΠÀÎÁ¤¹Þ°Ô µÆ´Ù. 2006³âºÎÅÍ ÆÄºê¸®Ä« µðÀÚÀκÎÀÇ ÃѰý µð·ºÅÍ ¿ªÇÒÀ» ¸Ã°í ÀÖ´Ù. 2007³â¿¡´Â

ÆÄ¸®½Ã¿¡¼­ ¸Å³â ¼±Á¤ÇÏ´Â ¡®¿ÃÇØÀÇ µðÀÚÀÌ³Ê »ó¡¯À» ¼ö»óÇßÀ¸¸ç Áö³­ÇØ¿¡´Â ¸ÞÁ¾ & ¿ÀºêÁ¦°¡ ¼±Á¤ÇÑ ¡®2000³â´ëÀÇ µðÀÚÀÌ³Ê 10ÀΡ¯¿¡ À̸§À» ¿Ã·È´Ù. www.sambaron.fr

 

Çѱ¹ÀÇ µ¶ÀÚµéÀ» À§ÇØ ¼Ò°³¸¦ ºÎŹÇÑ´Ù

³ª´Â 2001³âºÎÅÍ ÀÌ ºÐ¾ß¿¡¼­ ÀÏÇØ ¿Â ÇÁ¶û½º Ãâ½Å µðÀÚÀ̳ʴÙ. »ý Ƽ¿£ ¹Ì¼ú´ëÇÐ(Ecole des Beaux Arts de Saint Etienne)°ú ±¹¸³°íµîÀå½Ä¹Ì¼úÇб³(Ecole Nationale Superieure des Arts Decoratifs de Paris)¿¡¼­ µðÀÚÀÎÀ» Àü°øÇß´Ù. 2003³â 4¿ùºÎÅÍ 2004³â 4¿ù±îÁö ÆÄºê¸®Ä«¿¡ ÀþÀº ¾ÆÆ¼½ºÆ®·Î ÃÊ´ëµÇ¾î ÀÖ¾ú´Ù. 2006³âºÎÅÍ ÆÄºê¸®Ä« µðÀÚÀκÎÀÇ Çìµå°¡ µÇ¾ú´Ù. ³ªÀÇ ÀÓ¹«´Â 10¸í~12¸íÀÇ ¿ì¸® ÆÀ µðÀÚÀ̳ʵéÀÌ, ÇÔ²²ÇÏ´Â ÀÛ¾÷ ¼Ó¿¡¼­ ±×µéÀÇ ±â¼úÀ» ¹ßÀü½Ãų ¼ö ÀÖµµ·Ï µ½´Â °ÍÀÌ´Ù.

³ª´Â ¶ÇÇÑ µ¶¸³ÀûÀÎ µðÀÚÀ̳ÊÀÌ´Ù. ³ªÀÇ Å¬¶óÀÌ¾ðÆ®´Â ·çÀ̺ñÅë, µð¿Ã, ºñ½ºÅ¸ ¾Ë·¹±×·¹(Vista Alegre)ó·³ ·°¼Å¸® ºê·£µåµµ ÀÖ°í, º£³×Åë, ·Î·¹¾Ë, ¶óÈåµÎ¶ß(La Redoute)ó·³ ¸Å½º ¸¶ÄÏ ºê·£µåµéµµ ÀÖ´Ù. ±×¸®°í ±î»ç¹Ì¾Æ, ¸Ó½ºÅ¸½¬(Moustache), º¸»ç(Bosa)¿Í °°Àº µðÀÚÀο¡ ¿À¸®¿£Æ®µÈ ±â¾÷µéµµ ÀÖ´Ù.

Could you please introduce yourself for our Korean readers?

I'm a French designer working in this field since 2001. I have done my studies in France at the St. Etienne Fine Art School and in Paris at the Ecole National des Arts Decoratifs. From April 2003 to April 2004 I was at Fabrica as a young artist in residence. Since 2006 I am the Head of Fabrica¡¯s Design Department and my mission is to build and conduct a team of 10/12 designers who develop their skills through the projects that we do together.

I also work as an independent designer. Amongst my clients there are luxury brands(Louis Vuitton, Dior, Vista Alegre), mass market identities(Benetton, L'Oreal, La Redoute) and also design oriented companies(Casamania/Moustache/Bosa).

 

´ç½ÅÀÇ ÀÛǰ Áß¿£ Æò¹üÇÑ °Í°ú Ưº°ÇÑ °ÍÀ» ¼¯¾î³õÀº µíÇÑ ÀÛǰµéÀÌ ¸¹Àº °Í °°´Ù. <TAVOLINO>´Â Æò¹üÇÑ »óÆÇ¿¡ Ưº°ÇÑ ´Ù¸®¸¦ °¡Áö°í ÀÖ°í, <VENI, VEDI, VINCI>´Â Æò¹üÇÏ´Ù°í ¿©°ÜÁú ¼ö ÀÖ´Â µÎ ÇüŰ¡ ¸¸³ª ¼­·Î¸¦ Ưº°ÇÏ°Ô ¸¸µé°í ÀÖ´Â µíÇÑ ´À³¦ÀÌ´Ù. <HERE AND THERE>´Â À¯¸®¿Í ³ª¹«¶ó´Â, °¢°¢ ºÃÀ» ¶§´Â Æò¹üÇÏÁö¸¸ µÎ ¹°¼ºÀÌ ÇÔ²² ÀÖÀ» ¶§ Ưº°ÇÑ ´À³¦À» ÁÖ´Â °æ¿ì´Ù. ÀÌ°Ç ¾îµð±îÁö³ª ³» °³ÀÎÀûÀÎ »ý°¢À̰í ÀÌ °°Àº ÀÛ¾÷µé¿¡ ´ëÇÑ Àǵµ°¡ ¹«¾ùÀÎÁö ±Ã±ÝÇÏ´Ù

³ªÀÇ ÀÛǰµéÀº ³»°¡ ¼±È£ÇÏ´Â °ÍµéÀ» ¼¯À½À¸·Î½á Ư¡Áö¾îÁø´Ù. ³ª´Â ¸Å ÇÁ·ÎÁ§Æ®¸¶´Ù µðÅ×Àϰú ±â´ÉµéÀ» »Ì¾Æ¼­ º¸°í À̰͵éÀ» Çѵ¥ ¸ð¾Æ Ŭ¶óÀ̾ðÆ®ÀÇ ÁÖ¹®¿¡ »óÀÀÇÒ ¼ö Àִ Ưº°ÇÑ ¡®ÄݶóÁÖ¡¯¸¦ ¸¸µé°íÀÚ ³ë·ÂÇÑ´Ù. ³ª´Â ´ÙÀ½°ú °°Àº ¸»À» ÁÁ¾ÆÇÑ´Ù. ¿ì¸®´Â ¹ß¸í(inventing)À» ÇÏÁø ¾ÊÁö¸¸ ¿ì¸®¿¡°Ô ÁÖ¾îÁø °ÍÀ» Çö´ëÀÇ ¹æ½ÄÀ¸·Î ÀçÇØ¼®(re-reading)ÇÑ´Ù. À̰ÍÀº ¶ÇÇÑ ¸¶Ä¡ ¿ä¸®¿Íµµ °°´Ù. ´ç½ÅÀÌ ¸ÀÀÖ´Â À½½ÄÀ» ¸¸µé¾î³»±â À§ÇØ ¾Ë¸ÂÀº Àç·áµé¸¸À» °ñ¶ó ¾Ë¸ÂÀº ¾ç¿¡ ¸ÂÃç Á¶¸®ÇÏ´Â °Íó·³ ¸»ÀÌ´Ù.

I think, your works look like a mixture of commonality and specificity at the same time. In the case of <TAVOLINO>, just a normal board has special legs, and in <VENI, VEDI, VINCI>, I think just normal things become special as they are together. In <HERE AND THERE>, it feels also special as different textures are combined. However, it is a mere my thought. What is your real intention of those your works?

My work is characterized by the way I mix references: for each project I am picking details and functions that I try to put together in order to build a specific ¡®collage¡¯ that will answer to the client¡¯s brief. I always like to say that we are not inventing, but re-reading in a contemporary way what has been feeding us. It's like cooking: you need to choose the right elements and the right quantities to serve a good meal.

Veni, Vedi, Vinci / 2010

For Secondome Edizioni, Glass vases, Salon Maison et Objet, Paris

Æò¹üÇÑ µÎ µðÀÚÀÎÀÌ Çϳª·Î ¸¸³ª¸é¼­ Ưº°ÇÑ µðÀÚÀÎÀ» ¿Ï¼ºÇÑ´Ù. ²Éº´À¸·Îµµ ±×¸©À¸·Îµµ ¾µ ¼ö ÀÖ´Ù. µÎ °¡Áö ÄܼÁÆ®ÀÇ µðÀÚÀÎÀÌ Çϳª·Î ºÙ¾î ÀÖ¾î µÚÁýÀ¸¸é ÀüÇô ´Ù¸¥ ºÐÀ§±âÀÇ ±×¸©À¸·Î º¯½ÅÇÑ´Ù.

 

Color Glass Collection / 2010

Fabrica for Secondome, Fabrica Team + info, Italy

 

´Ù¾çÇÑ ÀÛ¾÷À» ÇÏ´Â °Í °°´Ù. ÀÌó·³ ³ÐÀº ½ºÆåÆ®·³Àº °ð ´ç½ÅÀÇ °ü½É ºÐ¾ß°¡ ³Ð°í Àü¹æÀ§ÀûÀ̶õ °ÍÀ» ÀǹÌÇÏ´Â °Í °°´Ù. ´ç½ÅÀÌ °¡Àå Èï¹Ì·Î¿öÇÏ´Â ºÐ¾ß´Â ¹«¾ùÀΰ¡

³» »ý°¢¿¡ ³ª¿¡°Ô °¡Àå Áß¿äÇÑ ºÐ¾ß´Â ÇÁ·ÎÁ§Æ® ±× ÀÚüÀÌ´Ù. ³ª¸¦ °¡Àå ÈïºÐ½ÃŰ´Â °ÍÀº ÃÖ°íÀÇ ¿ÀºêÁ§Æ®³ª °¡±¸, ¶Ç´Â ÀÎÅ׸®¾î µðÀÚÀÎÀ» Àü´ÞÇϱâ±îÁö ÇÊ¿äÇÑ °úÁ¤µéÀÌ´Ù. âÀÛ°ú Çö½Ç, ¾ÆÀ̵ð¾î¿Í ½ºÄÉÄ¡, µðÀÚÀΰú Á¦Ç° »çÀ̸¦ ½¯ »õ ¾øÀÌ ¿À°¡¸ç ÁøÇàµÇ´Â °í¹Î°ú Åä·Ð °°Àº °Í ¸»ÀÌ´Ù. ¼º°øÀûÀÎ ÇÁ·ÎÁ§Æ®¸¦ À§ÇØ ´ç½ÅÀº ¸ÕÀú »ý°¢Çϰųª »ó»óÇÒ Çʿ䰡 ÀÖ´Ù. ±× ÈÄ¿¡ ´ÜÁö ±×°ÍÀ» ½ÇÇà¿¡ ¿Å±â¸é µÈ´Ù. µðÀÚÀÎÀÌ Ç×»ó ¿­½ÉÈ÷ ¿¬½ÀÇÏ´Â °Í¸¸À» ÀǹÌÇÏÁö´Â ¾Ê´Â´Ù.

I think, you do a variety of works. I guess, it means that your interest is wide and omnidirectional. What is the most interesting field for you?

I think the most important field is the project itself. What really excites me is the process and the evolution that is needed until the end to deliver the best object/furniture or interior design. The ongoing discussion between creativity versus reality, between ideas and sketches, between design and production. For a successful project, you need to think or imagine and then just go for it. Design is not only a talented hard practice.

 

µµÀÚ±â, À¯¸®, ³ª¹« µî ´Ù¾çÇÑ Àç·á¸¦ »ç¿ëÇÑ´Ù. µðÀÚÀ̳ʿ¡°Ô ÀÖ¾î Àç·á°¡ Áö´Ñ ¹°¼ºÀº Áß¿äÇÑ »ç¾ÈÀÏ °ÍÀÌ´Ù. ´ç½Å¿¡°Ô Àç·á´Â ¾î¶² Àǹ̸¦ Áö´Ï³ª

°¢°¢ÀÇ Àç·áµéÀº °¢±â ´Ù¸¥ ¸Å·ÂÀ» °¡Áö°í ÀÖ´Ù. ´ç½ÅÀÌ ÀÌ Àç·á¸¦ ¸¹ÀÌ »ç¿ëÇÒ¼ö·Ï À̰ÍÀÌ °¡Áø ÀåÁ¡°ú ÇѰèµé¿¡ ´ëÇØ ´õ ¸¹ÀÌ ¹è¿ï ¼ö ÀÖ´Ù. À̰ÍÀº ¸¶Ä¡ ´ç½ÅÀÌ ¾ß»ýµ¿¹°À» õõÈ÷ ±æµéÀÌ´Â °Í°úµµ °°´Ù. °¢°¢ÀÇ Àç·áµéÀº ´ç½ÅÀ» ³î¶ó°Ô ÇÒ ¼öµµ ÀÖ°í ȤÀº ½Ç¸Á½Ãų ¼öµµ ÀÖ´Ù. ÇÏÁö¸¸ À̰ÍÀº ±×´ÙÁö Áß¿äÇÏÁö ¾Ê´Ù. ±×·± °úÁ¤ ¼Ó¿¡¼­ ¾ðÁ¦³ª ÀûÇÕÇÑ ¾ÆÀ̵ð¾î°¡ »ý±â°Ô µÉ °ÍÀÌ°í µµÀÚ±â, À¯¸®, ³ª¹« µîÀ» ÇâÇÑ »õ·Î¿î ¾ÖƼƩµå°¡ »ý±æ ¼ö Àֱ⠶§¹®ÀÌ´Ù.

You use various materials such as ceramic, glass, and wood. I think, a property of matter is pretty important for a designer. What dose materials mean to you?

Each material has his own fascination: the more you use it, the more you learn about its capacities and limits. It's like a wild animal that you manage slowly. Each of them can surprise or disappoint you, but it does not matter, there is always an idea that will fit and bring a new attitude either to ceramic, glass or wood.

 

ÀÌÀüÀÇ ÀÎÅͺ信¼­ ¡®¿µ°¨À» ¾îµð¼­ ¹Þ´À³Ä¡¯´Â Áú¹®¿¡, ¡°¿µ°¨À» Áִ Ưº°ÇÑ °ÍÀÌ ÀÖ´Ù¸é ±×°Í¿¡ ±æµé¿©Áú °Í °°¾Æ µÇµµ·Ï ÇÇÇÑ´Ù¡±¶ó°í ´äÇÑ °ÍÀÌ Àλó ±í¾ú´Ù. ½ºÃÄÁö³ª´Â °Íµé, »îÀÇ ÀÛÀº ¿ì¿¬°ú ¾Æ¸§´Ù¿ò¿¡ ¿¹¹ÎÇÑ µðÀÚÀ̳ÊÀÎ °Í °°´Ù

¿µ°¨Àº ³ªÀÇ È£±â½É¿¡¼­ ºñ·ÔµÈ´Ù. ±×¸®°í À̰͵éÀ» ³» ÁÖÀ§¿¡ Àû¿ë½ÃÄѺ»´Ù. ¾ÆÆ® ¹ÂÁö¾ö¿¡¼­ºÎÅÍ ÀÛÀº ¸¶À»ÀÇ °Å¸®±îÁö, ±×¸®°í ¾îºÎÀÇ ¿ÀµÎ¸·¿¡¼­µµ ³» ´«Àº Ç×»ó ¡®ÀÏÇϴ¡¯ ÁßÀÌ´Ù. ³ª´Â Ç×»ó Èï¹Ì·Î¿ï ¼ö ÀÖ´Â »õ·Î¿î °ÍµéÀ» ã´Â´Ù. À̰͵éÀº ¶§·Î ¾Æ¸§´ä±âµµ Çϰí, ¾µ¸ð ¾ø±âµµ Çϸç, ½ÉÁö¾î ¸ø»ý±æ ¶§µµ ÀÖ´Ù. ÀÌ´Â ¸¶Ä¡ ¿©·¯ ´Ü¾îµéÀ» Á¶ÇÕÇØ ¾î´À ³¯ °á±¹ ÇÑ ¹®ÀåÀ» ¸¸µé¾î ³»´Â °Í°úµµ °°´Ù.

I read your interview before. Among them, one of your answers was impressive. The question was ¡°where do you get inspirations?¡± and your answer was ¡°I try to avoid certain things give me an inspiration because I don¡¯t want to accustom myself to it.¡± I think, you are a designer who is susceptible to tiny beauty and trivial things in your life

My inspiration can be resumed to my curiosity and the train I learn to apply to my surroundings. From an Art Museum to a village street or a fisherman cabana, my eyes are always ¡¯working¡¯, I am always looking for new things which can be interesting, useless, beautiful or even ugly. It's like building a language made of words that one day will write a sentence.

 

´ç½ÅÀÇ ¸Ó¸´¼Ó¿¡ ÀÖ´Â ¾Æ¸§´Ù¿î °Íµé, ÀÛÀº °Íµé, ±×¸®°í Áß¿äÇÑ °ÍµéÀº ¾î¶»°Ô Çö½Ç ¼¼°è·Î ³ª¿Í ±¸ÇöµÇ³ª. ´ç½ÅÀÇ ÀÛ¾÷ ÇÁ·Î¼¼½º°¡ ±Ã±ÝÇÏ´Ù

ÀÛ¾÷ ÇÁ·Î¼¼½º´Â ÇÁ·ÎÁ§Æ®¿¡ µû¶ó ´Ù¸£´Ù. ÆÄºê¸®Ä«¿¡¼­ ÀÏÇÒ ¶§´Â ³ª¿Í ÇÔ²² ÀÏÇÏ´Â ÀþÀº µðÀÚÀ̳ʵé°ú ¾ÆÀ̵ð¾î¸¦ ¸ðÀ¸°í, ±×µéÀÌ ÁÁÀº ½ÃÀÛÁ¡¿¡¼­ ¾ÆÀ̵ð¾î¸¦ ¹ßÀü½Ãų ¼ö ÀÖµµ·Ï Á¶¾ð°ú ¾ÆÀ̵ð¾î¸¦ ÁÖ¾î ±×µéÀ» ÀÚ±ØÇÑ´Ù. ¿ì¸®´Â ¶ÇÇÑ ¼­·Î ÀǰßÀ» ¸»ÇÏ°í ±× ÀǰßÀ» µé¾îÁÖ¸ç ÀÛ¾÷À» ÁøÇàÇÑ´Ù. ³ª È¥ÀÚ¸¸ÀÇ ÀÛ¾÷À» ÇÒ ¶§´Â Á» ´õ Àڱ⠼ºÂûÀûÀÎ °úÁ¤ÀÌ µÈ´Ù. È¥ÀÚ À̹ÌÁö¸¦ »ó»óÇØ º¸°í ±× À̹ÌÁöµéÀ» ¸Ó¸´¼Ó¿¡¼­ ¿µÈ­Ã³·³ µ¹·Áº» ÈÄ, ±×°ÍµéÀÌ Ç¥ÇöµÉ ¼ö ÀÖ´Â ¿©·¯ °¡Áö ÇüŸ¦ Á÷Á¢ ¸¶ÁÖÇϱâ À§ÇØ Á¾ÀÌ¿¡ ¿Å±ä´Ù.

How are your ideas realized to the real world from your head? I would like to know your working process

The working process depends of the project: when I am at Fabrica I have to put together the young designers I'm working with, stimulate them with inputs that can be good starting points to develop their ideas. We need to speak and listen to each other as well. When I'm working for myself, It's more an introspective process, I am building images, films in my head and then put them on paper to confront myself with their possible representation and shapes.

 

FAVORITA / 2010

Pensao Favorita, architecture by Nuno Sottomayor, Porto

ÆÄº¸¸®Å¸ È£ÅÚÀÇ ½Ç³» ÀÎÅ׸®¾î µðÀÚÀÎ. È£ÅÚ´äÁö ¾ÊÀº Æí¾ÈÇÔ ¼Ó¿¡ ¼¶¼¼ÇÑ °¨°¢ÀÌ µ¸º¸ÀÌ´Â °ø°£À¸·Î ź»ý½ÃÄ×´Ù.

°³ÀÎÀûÀ¸·Ð ´ç½ÅÀÇ ´Ù¾çÇÑ ¿ÀºêÁ¦µéµµ Èï¹Ì·ÓÁö¸¸ °ø°£ µðÀÚÀεéÀÌ Æ¯È÷ ÀλóÀûÀÌ´Ù. ÆÄº¸¸®Å¸ È£ÅÚ ÀÛ¾÷Àº, ¡®È£ÅÚ °°Áö ¾ÊÀº °ø°£¡¯À̶ó´Â Á¡ÀÌ ¸Å·ÂÀûÀ̾ú´Ù. °ø°£À» µðÀÚÀÎÇÒ ¶§ ÁßÁ¡À» µÎ´Â ºÎºÐÀº ¹«¾ùÀΰ¡

³»°¡ °ø°£À» µðÀÚÀÎÇÒ ¶§ Á¤¸» Áñ°Å¿î Á¡Àº »ç¶÷µéÀÌ ½ºÃÄ Áö³ª´Â »ýȰÀÇ ¹æ½ÄµéÀ» µðÀÚÀÎÇÑ´Ù´Â °Í, »îÀÇ ¹æ½ÄÀ» µðÀÚÀÎÇÑ´Ù´Â °ÍÀÌ´Ù. ³ª´Â »ýȰ¿¡¼­ °æÇèÇÒ¸¸ÇÑ °ÍÀ¸·Î »ý°¢µÇ´Â Á¶°¢ Á¶°¢À» Çϳª·Î ¸ð¾Æ ÇϳªÀÇ °ø°£À» µðÀÚÀÎÇÑ´Ù. ÇÏÁö¸¸ ºñ·Ï ¸ðµç Á¶°¢µéÀÌ °¢±â ´Ù¸¥ ¹è°æ°ú °¢±â ´Ù¸¥ µðÀÚÀ̳ʵé·ÎºÎÅÍ ¿Ô´Ù°í ÇÏ´õ¶óµµ »ç¼ÒÇÑ µðÅ×ÀÏ¿¡¼­ºÎÅÍ ÁÖ¿ä ±â´É(È£ÅÚÀ» À§ÇÑ ¼ÒÆÄ ¶Ç´Â ħ´ë·Î½á)±îÁö ¸ðµç °ÍµéÀº ¼­·Î ÀûÇÕÇÏ°íµµ Àϰü¼ºÀÌ ÀÖ¾î¾ß ÇÑ´Ù.

Personally, I am interested in your space design as well as your objects. Favorita hotel is attractive because it looks ¡®not¡¯ a hotel. What is the most important for you when you do a space design?

When I am designing a space, what I really enjoy is to design a way of living a space, an attitude for the people that will pass by. I am putting together pieces that will permit them to live an experience. From tiny details to the respect of the major functions (as sofa or bed for a hotel) everything has to be adequate and coherent, even if these pieces are from different backgrounds or designers.

ÃÖ±Ù ¹Ð¶ó³ë ±¹Á¦ °¡±¸ ¹Ú¶÷ȸ¿¡¼­ ´ç½ÅÀÇ ÆÀÀÌ ¼±º¸ÀÎ ÀÛ¾÷µé ¿ª½Ã Èï¹Ì·Ó´Ù. ¡®¿ÀºêÁ¦ ²Ã·Î·¹¡¯¿Í ¡®¿ÀºêÁ¦ ÇÁ·¹Æä·¹¡¯, °¢ ÇÁ·ÎÁ§Æ®¿¡ ´ëÇÑ ÀÛ¾÷ ¼³¸íÀ» ºÎÅ¹ÇØµµ µÉ±î

À̹ø Æ®¸®¿£³¯·¹ Àü½Ã´Â ÆÄºê¸®Ä« ±â¼úÀÇ ´Ù¾ç¼ºÀÇ Ç¥ÇöÀ̾ú´Ù. ¿ÀºêÁ§Æ® ÇÁ·¹Æä·¹´Â ÁÖ¿ä ¾ÆÀ̵ð¾î¿¡ ÇüŸ¦ Á¦°øÇÏ´Â Á» ´õ °³³äÀûÀÎ ÇÁ·ÎÁ§Æ®ÀÌ´Ù. ¿ÀºêÁ§Æ® ²Ã·Î·¹´Â º£³×ÅëÀÇ Å©·¹¿¡ÀÌÆ¼ºê µð·ºÅÍ À¯ ÀÀ¿ì¿ºÀ¸·ÎºÎÅÍ ÁÖ¹®À» ¹Þ¾Æ µðÀÚÀÎÇÑ °¡±¸ Ä÷º¼ÇÀÌ´Ù. ¿ÀºêÁ§Æ® ²Ã·Î·¹¿¡¼­ ¿ì¸®´Â ¼î À©µµ¿ì¿Í ¸ÅÀå ¾È¿¡¼­ ¸ðµÎ »ç¿ëÇϱ⿡ ÀûÇÕÇÑ µð½ºÇ÷¹ÀÌ ½Ã½ºÅÛÀ» ¸¸µé¾î¾ß Çß´Ù. ½º¸¶Æ®ÇÔ°ú Ä÷¯Ç®ÇÔÀ» ºñ·Ô, º£³×ÅëÀÇ DNAÀÌÀÚ °¡Ä¡¸¦ Ç¥ÇöÇϴµ¥ ÁßÁ¡À» µÎ¾ú´Ù. ¿ì¸®´Â ¾î¶² Á¾·ùÀÇ ¾î¶² Å©±âÀÇ ¸ÅÀå¿¡¼­µµ »ç¿ëÇÒ ¼ö ÀÖ´Â ¸ðµâ½ÄÀÇ À¶Å뼺 ÀÖ´Â ÀÛǰÀ» ¸¸µé¾ú´Ù. À̰ÍÀº ½ÃÁ𸶴٠´Þ¶óÁö´Â Á¦Ç°µé°ú ´Ù¾çÇÑ »çÀÌÁî¿¡ ¸ÂÃç º¯È­°¡ °¡´ÉÇÏ´Ù. ¿ÀºêÁ§Æ® ²Ã·Î·¹¿¡¼­ ¿ÊÀº ´Ü¼øÈ÷ ¿Ê°ÉÀÌ¿¡ °É·Á ÀÖ´Â °ÍÀÌ ¾Æ´Ï¶ó, µð½ºÇ÷¹ÀÌ¿Í ÇÔ²² °ø°£ ¾È¿¡ ³ì¾Æ µé¾îÀÖ´Ù.

¿ÀºêÁ§Æ® ÇÁ·¹Æä·¹´Â À̾߱Ⱑ ´Ù¸£´Ù. ¿ì¸®´Â º§±â¿¡¿¡ ÀÖ´Â ±×¶ûµå ¿À¸£´µ ¹ÂÁö¾ö¿¡¼­ ÃÊûÀ» ¹Þ¾Æ ±×°÷¿¡¼­ ù ¹øÂ° ÆÄºê¸®Ä« µðÀÚÀÎ ¹ÂÁö¾ö ¼î¸¦ ¿¬ ÀûÀÌ ÀÖ´Ù. (ÆÄºê¸®Ä«´Â ¿ì¸®°¡ °¡´ÉÇÑ ¸¹Àº Áú¹®À» ´øÁö¸ç ÀÏÇÏ´Â ¸®¼­Ä¡ ¼¾ÅÍÀÌ´Ù.) ¾î´À ³¯ ¿ì¸®´Â ¡®¾î¶»°Ô Çϸé È­ÀÌÆ® Å¥ºê(white cube)¿Í °°Àº ÀÌ ¹Ú¹°°üÀ» À§ÇØ µðÀÚÀÎÇÒ ¼ö ÀÖÀ»±î¡¯¶ó´Â Áú¹®À» ´øÁ³´Ù. ¡®¾î¶»°Ô ÇÏ¸é ¿©±â¿¡¼­ ÀÏÇÏ´Â »ç¶÷µéÀÌ ÀÌ ¹Ú¹°°üÀ» ¸¶Ä¡ »ì¾ÆÀÖ´Â °Íó·³ ´À³¢°Ô ÇÒ ¼ö ÀÖÀ»±î¡¯ ÇÏ´Â. ¿ÀºêÁ§Æ®´Â ¿ì¸® µðÀÚÀ̳ʵéÀÇ ¸Å°³Ã¼ÀÌÁö¸¸ ¶ÇÇÑ ¸ðµç À̵é°ú °ü°è¸¦ ¸Î°í ÀÖ´Â °ÍÀÌ´Ù. ±×·¡¼­ ¿ì¸®´Â ¹Ú¹°°ü Á÷¿øµé¿¡°Ô ¡°´ç½ÅÀÌ ÁÁ¾ÆÇÏ´Â ¿ÀºêÁ§Æ®°¡ ¹«¾ùÀÎÁö¡±¿¡ ´ëÇØ °£´ÜÇÑ Áú¹®À» ´øÁö°í ±×µéÀÇ À̾߱⸦ µé¾ú´Ù. ±×µéÀÇ °¢±â ´Ù¸¥ ´ë´äµéÀÌ ¿ì¸®¿¡°Ô ¿µ°¨ÀÌ µÇ¾ú°í, ±× ¿µ°¨Àº ±×µéÀ» »ó¡ÇÏ´Â ÀÛǰµé·Î ´Ù½Ã ž´Ù. ÀÌ´Â Á¤¸» ȯ»óÀûÀÎ Á¶ÇÕÀÌÀÚ ¿ì¸® ¸ðµÎ¿¡°Ô Ưº°ÇÑ °æÇèÀ̾ú´Ù.

I know your team exhibited works at the Milan international furniture fair this time as well. Could you explain about ¡®Object Colore¡¯ and ¡®Object Prefere¡¯?

The Triennale exhibition during Salone was the expression of the diversity and variety of Fabrica¡¯s skills Objet Prefere is a more conceptual project that gives shape to a major idea. Objet Colore is a furniture collection that we design corresponding to the brief that we got from Benetton¡¯s creative director You Nguyen. For Objet Colore we had to invent a display system that can fit both in the windows and inside a flagship store. A very strong presence expressing Benetton¡¯s DNA and values, smart and colorful. We worked around modularity and flexibility, in order to be adapted to any kind/any size of shops. It also allows to follow the sizes and differences of items that the fashion seasons involve. It's not the clothes that are ¡¯placed¡¯ on a rack, but the display adapts itself to the space and the displayed items.

For Objet Prefere, the story is different. We got an invitation from Grand Hornu Museum in Belgium to build the first Fabrica design museum show. (Fabrica is a research center where we question as much as possible). As designers we should serve the request, so I thought of ¡¯how we can design for a museum without doing white cubes?¡¯ How can we meet with the people working there that are ¡¯making¡¯ this museum alive. Objects is our medium but also relate to everybody. So asking to them the simple question "What Is Your Favorite Object" was a way to listen to them. Listening to the different answers gave us the inspiration to design pieces symbolizing who they are. It was a fantastic encounter, a unique experience for both.

 

Object colore / 2012

º£³×ÅëÀÇ Á¦Ç°À» Àü½ÃÇϱâ À§ÇØ µðÀÚÀÎµÈ À¯¿¬ÇÑ Á¶¸³½ÄÀÇ µð½ºÇ÷¹ÀÌ¿ë ¼³Ä¡¹°·Î, ¿©·¯ ÇüÅ·ΠÁ¶ÇÕÀÌ °¡´ÉÇÏ¸ç µ¿½Ã¿¡ ¿©·¯ ¿ëµµ·Î »ç¿ëÀÌ °¡´ÉÇÏ´Ù.

Á» °ü³äÀûÀÎ Áú¹®ÀÏ ¼öµµ ÀÖ°Ú´Ù. ´ç½ÅÀº µðÀÚÀ̳ʷμ­ ´ç½ÅÀÇ ÀÛ¾÷À» ÅëÇØ °á±¹, ±Ã±ØÀûÀ¸·Î, ¼¼»ó¿¡ ¾î¶² ¸Þ½ÃÁö¸¦ ÀüÇϰíÀÚ Çϴ°¡

´ç½ÅÀÌ ½ÃÀå¿¡ ¾î¶² ¿ÀºêÁ§Æ®¸¦ ³õÀ» ¶§ ´ç½ÅÀº °í°´ ¶Ç´Â »ç¿ëÀڵ鿡°Ô ¡®ÀÐÀ» °Å¸®¡¯¸¦ Á¦°øÇØ¾ß ÇÑ´Ù. ±×·¡¾ß ±× µðÀÚÀÎÀÌ ºÐÀ§±â¸¦ Ç¥ÇöÇϰí Àü´ÞÇÒ Åë·Î°¡ µÈ´Ù. ³ª´Â »ç¶÷µéÀÌ ³»°¡ µðÀÚÀÎÇÑ ¿ÀºêÁ§Æ®³ª »óȲ¿¡ ¹ÝÀÀÇÒ ¶§, ±×¸®°í ±×µéÀÌ ±× Á¶°¢µé°ú ´ëÈ­¸¦ ½ÃÀÛÇÒ ¶§°¡ Á¤¸» ÁÁ´Ù. ´ç½ÅÀÇ ÀÛǰµéÀ» º¸°í ¹Ì¼Ò Áþ´Â »ç¶÷À» º»´Ù¸é ¾ó¸¶³ª ÇູÇϰڴ°¡!

This question may be too notional. What message do you want to convey to the world through your design?

When you put an abject on the market you give something to ¡¯read¡¯ to customers/users. So of course that design is a way to express and transmit a mood. I like when people react to objects or situations, when they start to have a conversation with the piece. It's nice to see a smile on the face of the person that is watching one of your pieces!

 

 

 

 

* º» ±â»çÀÇ Àü¹®Àº <ÁöÄÝ·Ð> 6¿ùÈ£¿¡¼­ È®ÀÎÇÏ½Ç ¼ö ÀÖ½À´Ï´Ù.

 

 

 

 

 

 

 

 
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