莫扎特的早餐

Michele De Lucchi was born in 1951 in Ferrara and graduated in architecture in Florence. During the period of radical and experimental architecture he was a prominent figure in movements like Cavart, Alchymia and Memphis.

De Lucchi has designed lamps and furniture for some of the best-known Italian and European makers. At Olivetti he was Director of Design from 1992 to 2002, He has developed various personal theories on the evolution of the workplace, as well as experimental projects for Compaq Computers, Philips, Siemens and Vitra.

His architectural designs have been mainly for office buildings, in Japan for NTT, in Germany for Deutsche Bank, in Switzerland for Novartis, and in Italy for Enel, Telecom Italia and Piaggio. In 1999 he was appointed to renovate some of ENEL's (the Italian Electricity Board's) power plants.

For Deutsche Bank, Deutsche Bundesbahn, Enel, Poste Italiane, Telecom Italia, Banca Popolare di Lodi, Banca 121, Banca Intesa and for other Italian and foreign banks he has collaborated on the evolution of their corporate images, introducing technical and aesthetic innovation.

He has curated numerous art and design exhibitions and designed buildings for museums such as the Museo Diocesano in Ivrea, the Triennale di Milano, the Permanente di Milano, the Palazzo delle Esposizioni in Rome and the Neues Museum in Berlin.
His professional work has always been closely associated with a personal exploration of architecture, design, technology and crafts.

In 1990 he set up Produzione Privata, a small-scale concern through which Michele De Lucchi, unsolicited by clients, designs products made using artisan techniques and crafts.

He is currently working on the Fondazione Cini in Venice, on the renovation of the Sforzesco Castle museums with David Chipperfield, on the refurbishment of the Franco Parenti Theatre in Milan and on projects for the redevelopment of urban areas and quarters in Italy and abroad.

His firm, aMDL, has its offices in Milan and Rome.

In 2003 the Centre Georges Pompidou in Paris acquired a considerable number of his works, which were exhibited for one year in two rooms in the permanent museum.
Selections from his works are exhibited in the most important design Museums in Europe, the United States and Japan.

In 2000 he was honoured with the title Ufficiale della Repubblica Italiana by President Ciampi, for services to design and architecture.
In 2001 he was nominated Professor at the Faculty of Design and Art at the University of Venice.
In 2006 he received an Honorary Doctorate from Kingston University, for his contribution to the quality of living.

“只 要一点就已足够”是一种创造性的方法，从存在的万事发端。通过小小的变形、小小的置换、小小的变化，使得每件事物显得不同、清新又令人惊讶。它是一种邀 请，小心翼翼地工作以期最小限度的抑制，这样的情状要比整体的断言抗议能引发出更多的变革，要比重新质疑基础知识带去更多的创新。

——Michele de Lucchi

在bodw07的主题发言上，他的题目是“my client,my friend"

他说：他一个人住在chioso，一个人。有的时候就什么都没穿就去工作室干活。

他说：他在佛罗伦萨拿到了学位，在那时他受到了历史建筑和先锋建筑的影响，然后我邂逅了他的第一个客户：时代精神先生。

他说：通过Memphis他和时尚擦上了点关系...(其后他对其做了及其客观和谦虚的评价，对其自己和memphis）

他说：随着他自己水平的不断提高和成长，他也遇到了最难缠的客户：市场先生。（在访谈中，他谈到 在他的设计观里，设计应该被分成两类：一者，为商业工作生产的设计；一者，为人及其需求和幸福的设计。他表达了他对商业设计的无奈，也同时承认，设计需要把这两类较好的结合。）

他说：手工艺有它的好处，（他自己显然比较偏爱和擅长此类 ），但也承认手工艺总是那么似是而非，变化莫测。

他说：对工业，他总是在尝试着理想化的试验，一直在尝试...尽管怀着没有道理而犯错的恐惧，但仍然去尝试。

他说：研究永远都是必须而必要的。

他说：他有个持续的客户，这个客户 总是不那么好对付，那就是科技先生。

他说：他还有很多客户，空间先生，他终生交友的材料先生，材料先生始终没有为难到他。还有让他一直兴奋的未来先生。

他说：在1980年12月的一个夜晚，在一个很狭窄的公寓里，他、索老（Ettore）、Barbare创造了memphis,从此他结识了自由先生。

他说：和 memphis在一起的日子里，他认识到建筑、设计其实是一种交流。

 

相关信息联接：

http://www.amdl.it/en/micheledelucchi/quaderni/index.asp

http://www.amdl.it/en/index.asp

http://www.designstore.com.tw/designerView.php?d_SN=50

香港，香港，关于香港的地名由来，有两种流传较广的说法。 百先看看：

说法一：香港的得名与香料有关。宋元时期，香港在行政上隶属广东东莞。 从明朝开始，香港岛南部的一个小港湾，为转运南粤香料的集散港，因转运产在广东东莞的香料而出了名，被人们称为“香港”。据说那时香港转运的香料，质量上 乘，被称为“海南珍奇”，香港当地许多人也以种香料为业，香港与其种植的香料一起，名声大噪，也就逐渐为远近所认可。不久这种香料被列为进贡皇帝的贡品， 并造就了当时鼎盛的制香、运香业。可后来，村里人不肯种植了，香料的种植和转运也就逐渐消失，但香港这名称却保留了下来。

说法二：香港是一个天然的港湾，附近有溪水甘香可口，海上往来的水手，经常到这里来取水饮用，久而久之，甘香的溪水出了名，这条小溪，也就被称为“香 江”，而香江入海冲积成的小港湾，也就开始被称为“香港”。有一批英国人登上香港岛时就是从这个港湾上岸的，所以他们也就用“香港”这个词来命名整个岛 屿。直到今天，“香江”仍然是香港的别称。

尽管有不同的说法，但可以大致肯定的是，香港这地名最早出现在明朝，它最初是指今天香港岛上的一个小港湾、小村落，后来才扩大为对整个岛屿（香港岛）的称呼，最后，到了19世纪初，才成了被英国殖民主义者占领的整个地区的统称。

她像风，她的男人，她的女人，在她的怀抱下都有海风的气息。且不管她真的是否有甘甜的溪水，但这里的饮食、行为、人物都像及掺了丝丝甜意、涂了淡淡香水的风。

我在她的善舞长袖下，吮吸着她的味道，不痴迷，但的确很享受。Thank you,Hongkong, for giving me an indelible week.