【J】What’s the inspiration behind the INO collection?

　　【J】您的INO系列背后的靈感是?

　　【TN】For me the inspiration comes really from the ceramic. You will see in the presentation that for me it’s very important to do a full immersion in the field. I knew already with ceramic factory Laufen used to work with bathroom ceramic. But with SaphirKeramik we have to go beyond to find another step. Everything I was thinking was how we can do something which make sense to do with SaphirKeramik, which will also be difficult to copy with any other material but which make sense. So the inspiration for me was to mix all these things. The washbasin started with the icon of a washbasin, which is still a washbasin it’s not something strange. I wanted to do something really normal, but what we say extraordinary we mean normal but exceptional in the way if you pay attention. So for me the inspiration was from the culture of washbasin to the possibility of SaphirKeramik, try to mix, to give birth to something which was still in our collective memory of the washbasin, but which is something really different, really innovative.

　　【TN】對我來說靈感完全來自于陶瓷本身。待會你將會在我的演示中看到，對于整個制造過程的實地考察和沉浸，這對我來說是非常重要的。在過去的合作中我已經熟知勞芬的陶瓷生產工廠，但是對于藍鉆陶瓷來說，我們必須要進一步優化升華。我所考慮的所有要點都是如何能用藍鉆陶瓷來做出最適合它的自然的設計，這種設計可能很難用其他材料來復制。于是我的洗臉盆設計始于一個普通的洗臉盆的“感覺”或“印象”，我希望做出最符合這種洗臉盆印象的設計，做出一種“超越平凡”的設計，一種乍眼看上去很平凡，但是如果你留意到它了，會覺得這是一種非常優美而高超的設計。所以我的靈感源自于洗臉盆自身的文化，再加上藍鉆陶瓷，我將這兩者巧妙的混合，來得出一個既符合大眾印象中的洗臉盆形象，但又有些許不同、創新的設計。

　　【J】How did you draw from collective unconsciousness to derive such a product? I’m curious because it seems very hard.

　　【J】您是如何從這種大眾潛意識中設計出產品形象的?我很好奇，這看上去是件很困難的事情。

　　【TN】No it’s not hard because it’s completely subjective. So I’m not collecting information for a benchmark. In this case the approach of the product is trying to… The work of a designer I think is a big digestion of all the picture all the image you can do, no? Creating new from nothing, is something I think is an illusion, we always draw from a culture product or culture process or developing together with the company which has its specificity. For me the ideal condition is also with Laufen because I like working with the company which its strong knowledge about something, a deep specific knowledge. I’m lucky because I can do this with different company and with different process so someone working with wood, and someone working in sofa, someone working in different field. With Laufen for me it’s really focusing on the discussion, the project as a result of a collaboration, I believe in the collaboration to do the project. I’m not believe in trying by myself like “this is the product to design, let’s go this way”. For me the first time I’m like a sponge I try to absorb everything I can get from the company from the factory from all these people who are much better than me with ceramic.

　　【TN】這不是件很難的事情，因為這是完全主觀的。我不是在收集信息調研得出大眾的一個統一標準。對于設計師來說他的工作就是要消化這些感覺和形象，不是么?從“無”中創造出“有”，我覺得這就是一個悖論。我們一直在從過去的文化產品中尋找靈感或和擁有自身核心技術的公司一起研發。對我來說和勞芬的合作是一個很理想的狀態，因為我喜歡和對某個領域有很深刻認識的公司一起工作。我也很幸運，因為我可以和不同的公司一起嘗試不同的流程，也許是木材商，也許是沙發商，也許是完全不同產品領域。和勞芬的項目成果確實是合作的碩果，我堅信只有合作才能做好項目。我不相信那套只靠自己“這是要設計的產品，我們就這么做吧”的方式。從一開始我就像個海綿一樣，吸收所有我能從公司、從工廠、從所有比我更懂陶瓷太多的人身上學到的東西。

（INO系列面盆和連體柜）