Apparatus Studio recreated its rust-hued set-up from Salone del Mobile, populating its booth with the industrial 'Lantern,' 'Segment' and 'Block' series. Photograpy: Clemens Kois

接下来的几周，纽约本土的集体设计交易会拉开了狂热的序幕。创始人兼导演史蒂文·勒纳(StevenLearner)说，这不公平，这真的是一个平台。我们正在培养下一代的收藏家。在天空之光ClarksonSq家的圆形道路上漫游，很明显的是，“集体”和“冥王”都在交谈，而且皈依者也是如此。

学习者强调了贯穿每个展位的教育脉搏，说“这不是一个奢侈的环境”，而是“艺术和设计之间界限模糊的地方”。博览会的范围跨越了大规模的展示，小手工工艺品可以带回家。

集体的生态系统非常类似于纽约的设计社区，正如勒纳提醒的那样，“纽约拥有的设计师数量是接下来的两个城市巴黎和洛杉矶的两倍，所以我们应该举办一场著名的本土活动来庆祝这一点。”在集体内部，原产于布什威克、红钩和日落公园的作品与麦迪逊大道、翠贝卡和诺玛一起运行。换句话说，纽约以外的地方-迷人的和坚韧的，和谐地并排坐着。

费尔南多·马勒格洛工作室推出了两个新系列，“幽灵”和“索恩”。摄影：克莱门斯·柯伊斯。集体设计

“亲密”通常不是用来形容艺术展的一个词-但展位彼此整齐地排列在一起，有的有墙壁，有的则有分隔邻里分界线的控制台，“集体”有一种平静、愉快的感觉。目光敏锐的克里斯蒂娜·格拉贾莱斯(Cristina Grajales)说，“我想让这一切感觉更有基础、更有机，世界上发生了这么多事情，我希望这是一种反混乱和非常尘世的东西。”她精心设计的空间里，塞满了一张由土耳其布景设计师贝蒂尔·达格德林(Betil Dagdelen)设计的迷人的金属线轴沙发“合金长椅”，格拉贾莱斯“从未见过”，还有佩德罗·巴里德(Pedro Bar运动会)的纹身-木早餐桌和埃尔·卡斯托(El Castor)凳子。

事实上，对自然的冲动是显而易见的-在Loupe画廊，詹妮弗·图斯克(Jennifer Tusk)首次展示了一批由雕刻的骨项链和墙壁雕塑组成的精致花朵，或者就像图斯克所说的，“把动物变成植物”。陶艺家彼得·莱恩(Peter Lane)的“黑暗房间”(DarkRoom)也有类似的冲动，这是他迄今为止最大的粘土装置：8吨手工制作的黑色玻璃粘土面板，大小为12‘x46’，正如莱恩所说，这是一个完整的环境，它传达的是我的实践“，它也在玩打破人与土空间之间的隔阂。”

陶瓷的需求量很大，主要的例子是J·洛曼的Bae Sejin和Wexler画廊的Roberto Lugo。随着Stick灯泡的“再生红木”镜像光雕塑哈斯兄弟最近的“木耳胡蒙古斯”和弗雷德里克森斯塔拉德卢西特桌，环顾四周变得清楚：这一代设计师关心自然，拒绝现代主义的冲动，城市化和机械制造。

As part of the fair’s 'Concept' series, Peter Lane sculpted interior panels for the presentation from eight tonnes of clay. The room also features his Albrecht Dürer-inspired 'Melencolia' table as well as the 'Cobalt' cabochon trumpet vases. Courtesy of Jeff Klapperich

The design duo behind Stickbulb conceived 'Ambassador' after receiving a hot tip that a water tank tower at 200 Vesey street was being taken down – which turned out to be made of a 350-year-old Redwood tree. Photography: Joseph De Leo. Courtesy of Stickbulb

R & Company’s Wonderland-esque booth included Porky Hefer’s 'Wasp Nest' leather-and-steel seat; the Haas Brother’s beaded 'Fungus Humungus'; and Katie Stout’s biomorphic form objects. Photography: Clemens Kois. Courtesy of Collective Design

Ayala Serfaty's 'Akkah Leh III' chair and 'Akkah Leh I' footstool brought elegance and grandeur to the naturalist vibe. Her one-of-a-kind, handmade wool and silk pieces resemble elephant skin. Photography: Elad Sarig. Courtesy of Maison Gerard

Ceramics were in heavy demand, including at J Lohmann's booth. Photography: Clemens Kois. Courtesy of Collective Design

Bae Sejin meticulously hand rolls and cuts his clay into small tiles for this 'Waiting for Godot' series, which he then stamps with numbers, and lays out in a circular pattern to create vessels and vases that have both a Zen and biomorphic feel. Courtesy of J Lohmann Gallery

Also part of Collective Concept, the design firm Pelle teamed up with jewellery designer Erie Basin to produce a range of architectural wares. The standout is the 'Lure' chandelier of bronze geometric arms fitted with delicate cotton-paper orchids spiralling down. Photography: Eric Petschek. Courtesy of Pelle

David Gill Gallery presented work by the likes of Fredrikson Stallard, Zaha Hadid, David Chipperfield, Gaetano Pesce. Photograpy: Clemens Kois

Inspired by the changing natural landscape, design duo Fredrikson Stallard studied images of ice glaciers and manipulated them through a 3D model to create the 'Antarctic' dining table, made of Lucite, and gives the feel of dining al fresco – or should we say, in the freezer. Courtesy of David Gill Gallery

Glass Past gallery included works from Ercole Barovier, Paolo Venini and Tomaso Buzzi. Photography: Clemens Kois. Courtesy of Collective Design

Mindy Solomon Gallery featured ceramic works from Glenn Barkley and Linda Lopez against a brilliant pink backdrop. Photography: Scott Rudd. Courtesy of Collective Design

Cristina Grajales Gallery sought to create an 'organic and grounding' environment, with pieces including Betil Dagdelen’s 'Alloy' bench; Amanda Weil’s screen-printed wood 'Aspen' panels; and Pedro Barrail’s tattoo-wood series. Photography: Clemens Kois. Courtesy of Collective Design

Parisian gallery LeClaireur Gallery placed a great emphasis on classic French design. Take Philippe Hiquily's 'Henri Samuel' petrified wood and copper side tables from 1975, which echoed the environmental tone of the fair. Courtesy of LeClaireur Gallery

keywords:American design, New York design, Global Fair Guide 2017

关键词：美国设计，纽约设计，2017年全球博览会指南