比利时艺术家Linde Freya Tangelder，成长于巴西和荷兰的混合家庭，对不同的文化价值观念有着浓厚的兴趣，并于2014年成立设计工作室Destroyers/Builders。受建筑形态的启发，Linde Freya Tangelder的家具作品通过多种材料来突破工业与人类之间的边界，同时专注物质性和感性的研究，希望更大范围内呈现感官的丰富和相关意义。

Belgian artist Linde Freya Tangelder, who grew up in a mixed Brazilian and Dutch family with a keen interest in different cultural values, founded the design studio Destroyers/Builders in 2014. Inspired by architectural form, Linde Freya Tangelder's furniture works break through the boundary between industry and humanity through a variety of materials, while focusing on the study of materiality and sensibility, hoping to present the richness and relevant meaning of the senses on a larger scale.

Linde Freya Tangelder新工作室位于一座由红砖建成的低矮建筑内，坐落在布鲁塞尔郊外一处自然景观之中。室内犹如展厅，陈列着各类收藏，既有与不同画廊合作的作品，也有来自工作室Destroyers/Builders设计的家具。每件作品不仅是独立的个体，也构成了有机的整体，使其成为空间的重要部分。

Linde Freya Tangelder's new studio is housed in a low-rise building made of red brick in a natural setting on the outskirts of Brussels. The interior is a showroom of collections, from collaborations with galleries to furniture designed by the studio Destroyers/Builders. Each work is not only an individual, but also constitutes an organic whole, making it an important part of the space.

该建筑最初是建在一处三角形的农村土地上的家庭住宅，周围是低矮的田野景观，从而具备了非常独特的自然视野；坡地上的二十多棵大树，为建筑师的设计带来了极大的挑战。经过Linde Freya Tangelder和她的合作伙伴、景观建筑师的共同努力，使其改造成为一个永久性的场所，令景观、建筑、室内空间、雕塑以及家具融为一体。

The building was originally built as a family home on a triangular rural plot surrounded by a low field landscape, providing a very unique view of nature; The more than 20 large trees on the slope posed a great challenge for the architect's design. Through the joint efforts of Linde Freya Tangelder and her partner, the landscape architect, it has been transformed into a permanent site that integrates landscape, architecture, interior Spaces, sculpture and furniture.

住宅的前部被设定为主要的展览空间，配有制作初步工序的工作室、加工和打磨漆器的漆器室以及一个磨具造型室；而私人区则位于后半部分。在展览空间中，Linde Freya Tangelder的作品占据着核心位置，木质肌理的混凝土天花、拉丝铝和大型橡木制作的家具或雕塑互相产生作用，彼此映衬。

The front of the house is set up as the main exhibition space, with a workshop for making preliminary processes, a paint room for processing and polishing lacquerware, and a abrasive molding room; Private areas are located in the latter half. In the exhibition space, Linde Freya Tangelder's work occupies a central position, with wood-textured concrete ceilings, brushed aluminum and large oak furniture or sculptures that interact and complement each other.

— Interview—

Yinji：Destroyers/Builders的设计哲学是什么？

Yinji: What is the design philosophy of Destroyers/Builders?

Linde Freya Tangelder：在Destroyers/Builders的作品中，家具之间存在着一种相互作用与关联性，它们的灵感大都来源于建筑元素、材料或建造技术。

Linde Freya Tangelder: Within the works of Destroyers/Builders an interaction between the furniture pieces exists in an overarching inspiration; found in architectural elements, materials or building techniques. 

我们致力于在细节和宏观的范围内实现动态的感官体验与文化价值。作品具有雕塑及建筑的特征，受建筑形式的启发，采用不同的材料以突出家具产品的工业属性、审美方式，并于当代和传统元素之间建立平衡。建筑被缩小到适合人类使用的尺度，同时转化为具有雕塑感的形态。材料被重新定义、考量及转化，通过手作方式的表面处理赋予了它们一种可触摸的亲近感。材料之间的对比、可触摸性以及表面清晰可见的手作痕迹，体现了我们的设计哲学。

Linde Freya Tangelder, founder of the studio, strives for sensory relevance and cultural value in detail and on a larger scale. The works have a sculptural and architectural character, and balance between contemporary and traditional elements. Inspired by architectural shapes, the furniture pieces highlight the field between industry and human, through diverse materials. Constructions are scaled down to human sizes, and translations result into sculptural gestures. Both low- and high-end materials get re-valued, reconsidered and transformed. The interventions and finishes by hand, give these architectural objects a tactile aspect. The contrast in materials, the touchability, and the human traces that are still visible in the object, explain the method of Destroyers/Builders. 

工作室希望将产品融于空间之中，确保它们能够与特定的建筑环境展开有意义的对话。无论是雕塑、家具抑或建筑局部，通过和场地环境之间的连接、融合，彼此间形成密不可分的内在联系。

The urge to situate the works in a spatial context, in which the specific architectural space will start a dialogue with the objects therein, is a main focus of the studio. Integrations and relations between the context and the work, whether it is a sculpture, a furniture piece or an architectural fragment, result into inseparable connections between the disciplines.    

Yinji： 您的作品多与雕塑或建筑产生联系，这种跨学科的研究是如何形成的？

Yinji: Your works are mostly associated with sculpture or architecture, how did this interdisciplinary research come about?

Linde Freya Tangelder：我对建筑艺术的痴迷由来已久，不仅是指建筑物本身，还包括那些在大尺度的体量中所使用到的材料。雕塑意识是自然存在的，创作时首先考虑的不是功能，而是它的形式，我想通过它来表达情感。这些具有建筑感、雕塑感的触觉系家具，无不在建筑元素、材料以及建造技术中获得灵感。

Linde Freya Tangelder: Architecture has been a longtime fascination for me, not only the buildings, as well the materials being used in this larger scale volumes. A sculptural value, is something natural for me, it is not the function that is the first that I think of, it is the gesture, the expression that I want to tell through my sculptural works. Architectural, sculptural, tactile furniture: With an overarching inspiration, found in architectural elements, materials or building techniques.

我设计实践的一个原则是，在模型、草图、研究上进行不断地探索，如此才能在我脑海里建立起必要的联系。这些相互关联的过程使某种材料的选择、颜色、尺寸或形状的应用更加的合乎逻辑。从美学角度来讲，我的风格可以描述为温暖的野蛮主义：强烈的形式语言，但又带有柔软的质感。对各类天然材料的热爱也表现的非常突出。我喜欢形式多样的饰面材料，比如未经处理的砖材、烤漆板、灰色的粗石或有肌理的玻璃等。

One principle in my design practice is that much effort in models, sketches, research is needed to fill my head with connections to be made. These interlinked steps give logic in why a certain material choice, why that color, why that size and shape. Aesthetically I could describe my style as a warm brutalism: a strong form language but with softness. The love for many natural materials is prominent as well. I vary in finishes, like raw brick, smooth lacquered wood, grey coarse stone, or textured glass.

Yinji：设计过程中，您是如何在传统与现代之间寻找到一种有效的平衡的？

Yinji: How do you find an effective balance between tradition and modernity in the design process?

Linde Freya Tangelder：在我的雕塑作品中，手作和机器制作是并存的。我深信将二者进行巧妙地结合是一种有趣地尝试，它们相辅相成，呈现出当下新旧工艺与高科技融合的时代特质。没有严格意义上的策略，只需要找到一个理性的元素，就能为项目注入无尽的能量。

Linde Freya Tangelder: In my sculptural works can be both handmade parts as machine made, I absolutely think machine and manual steps is interesting to combine. It goes hand in hand, and by mixing both worlds it carries out the modern era that we live in. A fusion of new and ancient crafts and high technology. There is no strict strategy, but I just need to find the convincing element, and come to an endless energy for a project before I realize it.

我的工作通常始于一些基础的研究，包括捏黏土、制作小型模型、三维建模和绘制草图。我经常从一些最早期的古代原始建筑到现代建筑的吉光片羽中或材料里获得灵感，也受到一些建筑师、建筑物与艺术家的启发。我喜欢通过建筑学的视角来理解生活、并重新构建未来的历史。

But it always starts with a very primitive research; start claying, miniatures, sampling in third dimension and sketching in between. My ideas sprout from ancient and new architectural fragments or materiality, driven as well by certain architects, buildings, artists that inspire me. From most early ancient primitive building to modern architecture. I like to understand the history and future of living, building & creating through the perspective of architecture. 

Yinji：材料的多样性探索本身也是一种进化的行为，对您来说，它的积极性意义有哪些？

Yinji: The exploration of the diversity of materials is itself an act of evolution, what are its positive meanings for you?

Linde Freya Tangelder：我的想法总是体现于对材料和表面工艺处理的研究上，因此在材料、表皮和颜色的实验中，我总是会有新的发现。我追求材料的多样性，未经处理的砖材、原石、木材、玻璃和金属，无所不有。

Linde Freya Tangelder: My research in material andsurface is always connected to a fusion of inspirations, and while experimenting in materials, surfaces and colours, I often arrive to new discoveries. I strive for diversity of materiality, raw bricks, stone, wood, glass, metal.

事实上，这是一种进化的行为，从一种材料到另一种材料，它们之间是相互联系的。通过认识材料，熟悉材料，甚至通过比较每种物质的不同过程，都能促进材料自身的发展或构成新的方法。有的材料从液体变成固体，有的则随着时间而逐渐生长。

And indeed this is an act of evolution, from one material another arrives in the my practise, they are interlinked. Growth or new approach on material can happen by understanding matter, by having it in your hands, even compare the different processes each material has. Some going from liquid to solid, some growing in layers and years. 

Yinji：在您的作品里，既有凝固之美，也有流动之形，看似矛盾的二者却又彼此共存，您是如何使其相互协调的？

Yinji: In your works, there are both the beauty of solidification and the shape of flow, which seem to be contradictory but coexist with each other, how do you harmonize them with each other?

Linde Freya Tangelder：在这一点上，让我想起了用蜡作为造型材料的经历，以及我为CarwanGallery和Cassina制作的玻璃制品。但这也是一种用于铸造金属、青铜和铝的工艺。这两种状态、液体和固体都是必需的，而我想以某种方式来捕捉当物质开始凝固时的过程状态。在我最新的项目 “Water” 中，水的使用令二者兼而有之。

Linde Freya Tangelder: In this, I mainly think of my experiences with Wax as modelling material, my glass works (both for Carwan Gallery as Cassina). But is as well a process that is used for casting metals, bronze and aluminium. Both states, the liquid and the solidified are needed to come to the result, and in a way I want to capture that movement of the in between – when material start to solidify. The use of water in one of my latest projects, Water Pond, is a sensation of both worlds. 

图片版权 Copyright ：Linde Freya Tangelder