一切事物都是生命力永无止境之跃动的一部分……
自然是一个活着的整体……
——洪堡
Nature herself is sublimely eloquent. The stars as they sparkle in firmament fill us with delight and ecstasy, and yet they all move in orbit marked out with mathematical precision.
---Alexander Von Humboldt
当我们习惯于工业化大生产格式化后的坚固,时常物品对变化多端感到手足无措,发霉的墙面,含在嘴里就烂掉的纸吸管,而又总是惊叹于有机生命旺盛的生命力。
While getting used to the substantial production by massive industrial manufacture, people might often feel clumsy in front of the changing objects, moldy wall, paper straw that rotten in the mouth, then sometimes couldn’t help himself to be impressed by the exuberant vitality of organic life.
同济大学设计创意学院Studio 5的课程收到来自芬欧汇川(UPM)纸浆材料的邀请,由设计专业的学生以设计思维换角度审视纸浆这一原材料。
Invited by UPM, 6 students from D&I restudied paper pulp material with their design think during the Studio 5 course.
纸浆来自再生林中的树木,是100%的可再生资源。芬欧汇川多年来致力于可持续的林业建设和循环能源造纸,造纸用水达到97%循环使用和用电100%来自树木采伐废料,并将造纸废料树木的木质素开发成为生物塑料原料。这让纸浆具备了碳足迹为负的可持续发展要素,同时,芬欧汇川的原生纸浆洁白细腻,温暖柔和,这样的材料如何在更多的场景中被应用呢?
UPM’s Paper pulp comes from regenerative forest, it is 100% renewable resource. Meanwhile, UPM focus in sustainable forest industry and recycle energy usage in production for many decades. There are 97% of water during the paper manufacture are recycled and reused, 100% of the energy is coming from the wood wastes, and developed lignin into bio-plastic. These technical results make paper from UPM have negative carbon footage. With the bright and fine, soft and warm physical character, how might we profit the paper pulp application in more life scenarios?
来看看学生们的创想。
Let’s look at the students’ ideas.
纸砖,黄丹琪
Pulp tile, designed by Ms.HUANG Danqi
当我们从沙发、床边赤脚站起,或在玄关脱鞋站到地面,纸砖铺设的地板将会给人以柔和与踏实的感受。
我们从自然界中得到许多资源,经过加工制造出许多产品,比如烧制作瓷砖的粘土和石英。在这个加工过程中,自然的痕迹被打磨、抛光至消失,产品也逐渐变得冰冷。纸浆也是取自自然的材料,用纸浆做成的纸砖,其在坚固的同时兼具柔和的质感,使生活多了一些来自自然的感受。
自20世纪开始,国内外的艺术家和设计师们就尝试在创作形态的设计上打破既定规则,期望创造出更具有视觉冲击力的形象。他们从自然中找到的答案,认为运动是自然界最普遍的存在方式,是美的根源之一。而运动的种种变化,来自受力。地球上多数物体通过相互间的作用力,产生多种运动方式,从而确立自己的存在形态,比如云雨风,花草树。因此,形态之美包含着运动之美、力学之美,这是一种取乎自然的美感和生命力。
纸浆中的植物纤维相互缠绕交织,使纸砖得以定型。在纸砖的形状设计上,设计师利用木框固定铜片,并依靠铜片本身的弹性塑造出纹样模具的形态。在铜片被固定端点时,其弯曲的状态中蕴含着弹性势能和发生运动变化的潜力。这种形态具有某种“倾向性的张力”, 同时产生了“不动之动”的视觉感知。将这些纹样的纸砖组合在一起的时候,更是具备了弯曲蔓延的流动感。
When we stand up barefoot from the sofa or the bed, or stand on the ground with our shoes off, the floor made of paper bricks will give people a soft and down-to-earth feeling.
We get many resources from the nature, through processing to make many products, such as ceramic tiles made from the clay and quartz. During this process, the traces of nature are polished and polished until they disappear, and the product gradually becomes cold. Pulp is also taken from nature. Paper bricks made of pulp are firm and soft at the same time, giving life more natural feelings.
Since the beginning of the 20th century, artists and designers have tried to break the established rules in the design of forms, hoping to create a more visually impactful image. They found the answer from nature, believing that movement is the most common way of existence in nature and one of the roots of beauty. Movement comes from force. Most of the objects on the earth, through mutual forces, produce a variety of motion modes, thereby establishing their own forms, such as clouds, rain, wind, flowers, grass and trees. Therefore, the beauty of form includes the beauty of motion and mechanics, which depends on nature.
The plant fibers in the pulp are intertwined and interwoven, so that the paper bricks can be shaped. In the design of the pattern, the designer uses the wooden frame to fix the copper sheet, and relies on the elasticity of the copper sheet itself to shape the pattern mold. When the copper sheet is fixed at the end point, its bent state contains elastic potential energy and the potential for movement changes. This form has a certain "tendency of tension", and at the same time it produces the visual perception of immobility. When the paper bricks with these patterns are combined together, they have a sense of flow.
雨林, 周进敏
Rainforest, designed by Ms.ZHOU Jinming
水是生命之源,是仅次于氧气的重要物质,却在遭受着日趋严重的污染,成为人类的健康第一大杀手。森林是地球之肺,给予人类的是清洁的生存环境,是绿色宝库,而人类对森林的毁坏,却使生态环境日趋恶化,灾难频繁。随着人们对环境保护的日益重视,各种虚拟种植的推广,如蚂蚁森林,人们对于在日常生活中如何与自然和谐共生有了自己的思考和方法。
提及热带雨林,脑海中浮现的是参天大树和溪水湖泊,弯曲缠绕的藤蔓穿插其中,雨林中的一切都像是在连接天地,将物质在天地间进行循环。
纸浆源于木,木生于根,纸浆制成的云朵悬于空中,种植在纸浆云朵中的藤蔓类植物垂吊向下蔓延,就像云朵中流淌出来的绿色瀑布,在人们的身边形成一个个小小的都市雨林,人们照料植物就像在保护一个小小的雨林,为保护环境而作出贡献。
Water is the source of life and an important substance second only to oxygen. However, it is suffering from increasingly serious pollution and has become the number one killer of human health. Forests are the lungs of the earth, giving humans a clean living environment and a green treasure house. However, the destruction of forests by humans has worsened the ecological environment and frequent disasters. With people’s increasing attention to environmental protection and the promotion of various virtual plantings, such as ant forests, people have their own thinking and methods on how to live in harmony with nature in daily life.
When it comes to tropical rain forests, towering trees, streams and lakes appear in my mind, with winding vines interspersed among them, everything in the rain forest seems to be connecting the heaven and the earth, circulating matter between the heaven and the earth.
Pulp is derived from wood, and wood is born from roots. Clouds made of pulp hang in the air. Vines planted in the pulp clouds hang down and spread downward, like a green waterfall flowing out of the clouds. Small urban rainforests have formed around people. People taking care of plants are like protecting a small rainforest and contributing to the protection of the environment.
可持续珠宝盒,李兆涵
Jewelry Box, designed by Ms.LI Zhaohan
在过度包装与夸张营销的时代,如果我们能够停止接受现代的精炼标准,可持续生产在包装行业就更容易实现。
作者以购物袋再造纸浆及回收材料制作的无毒可持续珠宝盒,通过与真实珠宝盒进行对比,用明喻的手法体现作者的立场,分别代表着:可持续包装的价值内核不存在于“表面”, 精美和过度的包装并不会提升钻石价值。希望消费者能够识破精美包装的障眼法,呼吁大家去接受可持续包装的不完美。
除此之外作者展示其制作工艺,希望可以有更多的人关注包装的可持续再利用,用手边的材料手操作试试看纸浆是如何能够被重新定义和充分利用的,创造生活方式的影响。
材料:tiffany购物纸袋,面粉,二手钻戒盒,项链盒,仿真钻石,925银,不锈钢
In an age of over-packaging and over-marketing, sustainable production in the packaging industry would be easier to achieve if we stopped accepting modern standards of refinement.
Non-toxic sustainable jewelry boxes made of recycled paper pulp and recycled materials from shopping left-over are compared with a real jewelry box to illustrate the author’s point of view. Each represents: the core value of sustainable packaging does not exist in the “Surface”, exquisite packaging does not enhance the value of a diamond. Hoping that consumers can see through the deception of fine packaging, calling on everyone to accept the imperfect sustainable packaging.
By showing its manufacturing process, the author also hopes that more people will focus on the up-cycle of packaging, using the materials at hand to see how pulp can be redefined and fully utilized, creating a lifestyle impact.
Material: Tiffany shopping bag, flour, used diamond ring box, necklace box, imitation diamond, 925 silver, stainless steel.
时代设计,靳怡朗
TIME Design, designed bu Ms.JIN Yilang
人们时常产生一种误解,自身处在森林—木材—纸浆—人类社会生产链的末端,森林资源与人类社会是一种单向的give and take。事实上,人类取之森林,亦延续着森林生态,这循环的后半段在大众的视角中被隐去了,鲜有人关注。设计者想向外界传达这一观点:人类与森林是一种循环共生关系,自然的生命力远比文明更加久远,更加坚韧。
纸浆与草木本是同源的,它作为人类社会的造物,天然成为了自然-文明的一个桥梁。以纸浆做成文字,植物生长在其上,这就像是一个倒退的生态过程:纸浆被转化为植物,文明渐渐地隐于自然中。它将被隐去的循环链重新呈现给外界。TIME这一单词即是隐喻,于人类漫长的百年岁月,于森林不过半个轮回。
在细节上,文字其上的有机孔洞则以泥土上的苔藓斑为灵感,苔藓微不足道却顽强不息,出现于泥盆纪中期距今已有几亿年。文字选用的无衬线体具有极强的工业感,这与植物的有机形态,纸浆制品的不规则纹理产生了反差。
People often have a misunderstanding that they are at the end of the forest-wood-pulp-human society production chain. Forest resources and human society are a one-way capture. In fact, what mankind takes from forests also continues the forest ecology. The second half of this cycle is hidden from the public's perspective, and few people pay attention to it. The designer wants to convey this point of view to the outside world: human beings and forests are in a circular symbiotic relationship, and the vitality of nature is far longer and more resilient than civilization.
Pulp is homologous to grass and wood. As a creation of human society, it has naturally become a bridge between nature and civilization. Using paper pulp to make text, and plants growing on it, is like a retrogressive ecological process: the pulp is transformed into plants, and civilization is gradually hidden in nature. It re-presents the hidden circular chain to the outside world. The word TIME is a metaphor, in the long hundred years of mankind, in the forest, it is only half a cycle.
In terms of details, the organic holes on the text are inspired by moss spots on the soil. The moss is insignificant but tenacious. It appeared in the middle of the Devonian period hundreds of millions of years ago. The sans serif used for the text has a strong industrial feel, which contrasts with the organic form of plants and the irregular texture of pulp products.
不周·峰, 刘益维
Summit Plant Fertilizer, designed by Mr.LIU Yiwei
不周·峰是以纸浆+肥料为基础的植物辅生设计。产品灵感来源于从中国神华中的不周山,传说中共工怒触不周山,导致这根支撑天地的山体被一分两截。产品整体以山峰的形状为主,上部作为纸浆制作的模具,下部作为承装以淘米水为主的家用发酵肥料的容器。
纸浆的模型通过上部的不周山的“峰”来完成制作。峰分为内外两层,内层是以中国神话山海经为主的妖魔神物作为表面的扇形硬纸,外层是家用纸张/废纸等经过浸泡,粉碎后得到的纸浆层,达到亲和土壤与水分、稀释并传递植物所需要的微量元素等作用。
主要以蛋壳和淘米水为主的肥料,经过测试得出土壤需求量,并通过两种模具与模型的配合达到培育土壤,化作春泥的作用。
[ Bu Zhou · Feng ] is a plant-assisted design based on pulp and fertilizer. The product was inspired by Bu Zhou Mountain in the Chinese mythology. In legend, Gong Gong crashed the Bu Zhou mountain into two segments. The product as a whole is designed in the shape of a mountain, the upper part is used as a mold made of pulp, and the lower part is used as a container for household fermented fertilizer mainly made of rice washing water.
The model of the pulp is completed by the "peak" of the Bu Zhou Mountain on the upper part. The peak is divided into inner and outer layers. The inner layer is fan-shaped hard paper with the monsters and gods as the main surface of the Chinese mythology of the mountain and sea. The outer layer is the pulp layer obtained after soaking and crushing household paper/waste paper to achieve affinity. The role of soil and water, diluting and transferring trace elements needed by plants.
Fertilizer is made from eggshells and rice water, and the amount of fertilizer required for the soil is tested, and the two molds and models are combined to cultivate the soil.
纸道轮回, 尹沛源
The circular life of Pulp, designed by Ms.YIN Peiyuan
作品使用了典故的设计手法,尝试通过六张白色纸浆制作的轮回主题插画,体现了纸浆制作的过程中,受轮回却仍然如初的生命力。
作品灵感来自于佛教中的经典唐卡:六道轮回。
佛教中认为,人经历轮回是因为仍然没有超脱尘世之心。然而对树木的采伐、萃取、沉淀、重生,一切都是因人而起,为人而生,而纸和树木本身已经超脱此外,割肉喂鹰。正因如此我们能够触摸到,这些沉默的生命力如此质朴而柔韧。
第一道工序是采伐,对应的轮回名称是饿鬼道。
饿鬼道是将人变为见识扭曲、欲而不得的鬼的地狱。树木被采伐切割,打断了它们原本的生长、扭曲了它们的肢体,但是它们并不对此有所反馈,保持着沉默。
第二道工序是去皮,对应的轮回名称是阿修罗道。
在阿修罗道中,人们互相纷争不止,饱受争斗之苦。木段被导入机器后,是通过相互摩擦将树皮剥离。
第三道工序是蒸煮,对应的轮回名称是地狱道
八大地狱是地狱道中最广为人知的地狱,在这里人们饱受热气之苦的折磨。为了去除杂质,获得纤维,要将木头放入水中煮至软烂。
生于人道,不仅要饱受生老病死之苦,还有许多形形色色的苦痛等待着人们。在这一个步骤中,大量而多种的化学药剂会被投入木浆中,催生漂白、改变韧度和柔软度等等反应。
第四道工序是化学处理,对应的轮回名称是人道。
生于人道,不仅要饱受生老病死之苦,还有许多形形色色的苦痛等待着人们。在这一个步骤中,大量而多种的化学药剂会被投入木浆中,催生漂白、改变韧度和柔软度等等反应。
第五道工序是干燥,对应的轮回名称是天道。
天道在六道中较为幸福,但是仍未超脱六道,在这里人们会感受到极乐结束的落差之痛。在干燥后,纸张的制作进入收尾,它的生命转变到了另一个全然不同的轨道上,将会被快速地投入使用发挥价值、然后大概率地——被丢弃。
第六道则是重生,对应的轮回名称是畜生道。
畜牲道就是人投生成动物的轮回,无知无觉、无道可修,只能硬捱过一生痛苦。UPM公司拥有大片森林,采伐的同时也会在原有的地片种植新的树苗,——为了继续使用它们。
纸浆是树木的再生,让我们合理的消耗让纸浆再次回到滋养树木的轮回中。
Paper pulp is the new life of trees, let our responsible consumptions help paper pulp return to the cycle of nourishing trees again.
Studio 5 课程作品展于11月8-19日在同济大学设计创意学院大厅展出。
参观展览请联系莫娇老师预约: jmo@tongji.edu.cn
Design projects of Studio 5 are displayed in the exhibition hall in College of Design and Innovation, Tongji University from Nov.8th to 19th, visiting reservation via : jmo@tongji.edu.cn.