'Sometimes the unfinished object is the more magical,' say designers Edward Barber and Jay Osgerby. Their new show at London's Design Museum spotlights the manufacturing process, making a virtue out of a design's incomplete state. Photography: Alisa Connan

设计二人芭芭拉·奥斯格比在设计博物馆的新展览“正在制作”的时机恰到好处。你不太可能没有注意到，人们对如何制造事物的兴趣正逐渐增强。现代设计更多的是关于过程，不仅是设计师的技能，而且是他们供应链的每一个阶段的技能。

爱德华·巴伯和杰伊·奥斯格比大多数人都更了解这一点。自从1996年他们的设计工作室成立以来，这对夫妇已经建立了一个折衷但从不炫耀的组合，与家具制造领域的许多大公司合作-Knoll，Vitra，B。

“正在制作”是工作室的第一次设计博物馆展览。杰伊·奥斯格比(Jay Osgerby)说，有些主题我们从未谈论过，甚至在我们最近的书中也是如此。

巴伯解释说：“我们想看看制造流程是如何运作的。像废物产品和中间阶段这样的东西是如何工作的-有时未完成的对象更神奇。这是一个关于生产的节目，也是关于物体的节目。

设计师们也热衷于强调这种方法的教育益处。

在伦敦地铁列车的巨大的前部，在几层的“铝”中形成了“S”形的过程，在制造过程中，类似于步进到生产线上，并在关键阶段移除一个物品，每个物体都贴上标签，以示出它在哪个阶段“暂停”。

另一些则更为抽象，有些则很吸引人，比如用来制作网球的切模的图形简单性-用菱形孔的整齐图案停顿在50%的位置-或者是纯硅块在被刮成晶片用的晶片之前，甚至是纯水晶，最终会成为施华洛世奇的精密光学透镜之一。

更现代的东西放在旁边，例如预先加工的铝坯，注定要变成一台MacBook或原始注射成型的B泡沫。

Barber说：“我们试着去做日常用品，但我们也想尽可能多地接触不同的生产过程。”工作室的自己的ToeToT椅子显示在注射塑料有机会填补模具，留下一个不可思议的一半完成的对象（“这是勇敢的Vitra让我们展示这一点，”奥斯格比缪斯。γ

“这就像一家珠宝店，”巴伯一边说，一边在最后一刻调整聚光灯或字幕。苏吉奇指出，巴伯·奥斯格比(Barber Osgerby)最终是“仍然关心事物的设计师”，展览传递出了一种对世界的惊奇感(这是由一系列迷人的过程视频支撑的)。

即使是最平淡无奇的物品也有一个隐藏的故事——金属棒，它在制造结束之前将叉子叉在原地，而搅拌器龙头总是以镜像对的方式生产，或者现代铝饮料可以从平板上冲出。而不是卷起。在制造“提供一个洞察力-尽管是精心策划的一个”到制造领域，希望有助于激励新一代的设计师拿起火炬。γ

'In The Making's' curatorial process was akin to stepping up to the production line and removing an item at a critical stage, with each object labelled to show what stage it was 'paused' at. The exhibition kicks off with the vast front section of a London Underground train, shaped in several layers of superformed aluminium. Photography: Rosie Mirren, courtesy of the Design Museum

On show is a 'collection of curiosities,' according to Osgerby. Removed from the context of the machines or craftspeople that shape them, each exhibit - including some pieces by Barber Osgerby, such as the Tip Ton Chair (centre) - stands alone, spotlit on a plinth, offering us another way of seeing the strangely familiar. Photography: Rosie Mirren, courtesy of the Design Museum

Pure crystal, before its transformation into a Swarovski optic lens. Photography: Rosie Mirren, courtesy of the Design Museum

A standard clay housebrick begins life as a long extrusion that is then swiftly chopped into pieces. Photography: Rosie Mirren, courtesy of the Design Museum

A halogen light bulb - a classically simple piece of blown glass, pictured before the element is installed. Photography: György Kőrössy

Barber Osgerby's design for the 2012 Olympic Torch used flat sheets of laser-cut aluminium that were then folded into shape. Photography: György Kőrössy

The MacBook is formed from a solid billet of aluminium, with space for circuitry and keyboard routed out. The waste aluminium is then reformed into new cases. Photography: György Kőrössy

A back piece from a classic Thonet bent wood chair. It's form and process has endured for over 150 years. Photography: Rosie Mirren, courtesy of the Design Museum

Corks are cut from strips of cork bark using a special tool. Photography: Rosie Mirren, courtesy of the Design Museum

The UK's £2 coin starts as two pieces of metal which are then bonded together. Barber Osgerby designed a £2 coin in 2013. Photography: György Kőrössy

Like many traditional brass instruments, this French Horn cone is formed using a process that dates back hundreds of years. Photography: György Kőrössy

A marble, formed by twisting a specially created column of glass. Photography: Rosie Mirren, courtesy of the Design Museum

The modern aluminium drinks can is punched out of a super-thin sheet of the material, creating a seamless container that just needs a lid. Photography: György Kőrössy

The starting point for many different hat designs, a felt cone that the milliner will translate into the latest style. Photography: György Kőrössy

This complex cut of leather will form the upper surface of a modern football boot. Photography: György Kőrössy

keywords:Design museum, barber Osgerby, edward barber, jay osgerby, design, manufacturing

关键词：设计博物馆，barber Osgerby，edward barber，杰伊奥斯格比，设计，制造