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50s 60s

by Lik Cheng |

你是否想過,如果可以生活在歷史上你最熱愛的那個年代,遇到人類文明星空中璀璨的大師們,你和他們會有怎樣的對話,以及進行什麼樣的共同創作?2022 年ziinlife新品正式發布,我們將以 “特殊”的方式與大家進行一次時空穿越,走進那些有趣而偉大的靈魂,感受近百年的設計價值與魅力。
Have you ever thought, if you can live in the era of history you love the most, meet the bright masters in the starry sky of human civilization, what kind of dialogue you and they will have, and what kind of joint creation? In 2022 ziinlife will be launched, we will have a "special" way to travel through time and space, walk into those interesting and great souls, and feel the value and charm of nearly 100 years of design.

儘管遇到一些不可抗力的阻礙ziinlife依然想當個悲觀的樂觀主義者。 在還需與疫情共處的當下,ziinlife相信創造力依然是人類文明發展最重要的驅動之一。 我們以上世紀 50’60’年的設計風格為靈感重返產品從手工製造到大機器批量生產轉變的時期,設想如果ziinlife置身那個設計的黃金時代,會有什麼回應?
Despite some force majeure obstacles ziinlife still wants to be a pessimistic optimist. At a time when we still have to live with the epidemic, ziinlife believes that creativity remains one of the most important drivers of human civilization. We are inspired by the design styles of the 50's and 60's of the last century to return to a time when products were transformed from hand-made to mass-produced machines, and imagine what ziinlife's response would be if it were in that golden age of design.
1950-70年之間,被稱為設計史上,充滿榮耀的黃金年代,既MCM年代 (Mid-Century Modern)。 如果說Bauhaus是現代生活的源頭,那麼50'60'年代的國際主義風格則是第二波現代設計理念的主導潮流。這期間設計以前所未有的速度滲透到更多元開放的生活方式當中,功能主義與實用性,舒適性甚至趣味性成為被考量的要點。 設計與商業化的對接也有了更豐富的形式,層出不窮的設計大師們與品牌一同創造了諸多至今受益的經典之作。
The period between 1950-70 is known as the golden age of design history, the Mid-Century Modern (MCM). If Bauhaus was the source of modern living, then the internationalist style of the 50's and 60's was the leading trend of the second wave of modern design concepts. During this period, design penetrated at an unprecedented rate into a more diverse and open lifestyle, where functionalism and practicality, comfort and even fun became the main points of consideration. The interface between design and commercialization also took on a richer form, with a plethora of design masters working together with brands to create many of the classics that benefit today.

不分時代。那些忠於自己的理想和熱愛的設計師們,彼此前輩的找到了更多的啟發,和鼓動“中古家具〞是後人對上世紀50-70年代的設計,以及風格的設計作品的統稱,我們與其他類似的同時是設計畫家、古文創作,同時也是“中家具〞的ziinlife好友進行了一次關於“5060 年代的設計”以及,《熱愛》的交流。

Regardless of the era. Those designers who are faithful to their ideals and passions, find more inspiration from each other's predecessors, and encourage "Chinese furniture" is a collective name for the design of the 1950s-70s and the style of design works, we and other similar design painters, ancient text creation, but also We had a conversation about "50's and 60's design" and "Love" with other ziinlife friends who are also design painters, antique creators, and "medium furniture".




If ziinlife really goes back to the 5 or 60s.
What can we bring to you?

ziinlife 2022全新 【50‘ 60’】系列,運用了MCM時代最具代表性材料和工藝,用克制的設計語言,從形式中提取日常的思考,質感嘅善意。致敬經典的同時,探討經典以外是否還有跟多可能性。  面對未來新型的變革與衝突,設計還可以發揮什麼價值?

ziinlife 2022's new [50' 60'] series uses the most representative materials and craftsmanship of the MCM era, and uses a restrained design language to extract everyday thoughts and textures from the forms. While paying tribute to the classics, we also explore whether there are more possibilities beyond the classics.  In the face of new changes and conflicts in the future, what value can design still play?


 The first three new products, 7-1 began to pre-sale

設計開源床,我們回歸到了床作為“臥具”這一使用功能的本質,進行了解構再重組。 在保留基本屬性的同時,對固有結構進行了全新的設計與表達。 傳統金屬彎管工藝巧妙的與板材之間兩兩鏈接,相互咬合,形成了有趣的互承結構,靈活且堅固。 結構上的創新帶來了更加開放的形態使其有了更大的重組空間和形態上更多的可能性.每一個單元部件都實現了工業化、標準化生產即使在床板的尺度上,細微之處的取捨也實現了更加友善的使用體驗。 開源床最終打破了對於常規形態的認知,摒棄了多餘的裝飾,忠於真實,是“形式即功能”的典型。

To design the open source bed, we returned to the nature of the bed as a "bedding" function and reorganized the structure. While retaining the basic attributes, the inherent structure was designed and expressed in a new way. The traditional metal bending technique is cleverly linked with the plates, forming an interesting inter-bearing structure that is flexible and strong. The structural innovation brings a more open form, allowing more room for reorganization and more possibilities in form. Each unit component has been industrialized and standardized even in the scale of the bed board, the subtleties of the trade-offs have also achieved a more user-friendly experience. The open source bed finally breaks the perception of the conventional form, discards the superfluous decoration, and stays true to the reality, which is the typical of "form is function".

長椅,就是為了靠近,交流,甚至擁抱而生的。20 世紀中期的西方,自由和創意蓬勃生長,公園的長椅上會遇見出雙入對的情侶,認真畫稿的建築師,或正在演奏的音樂家。 現代主義設計風格將長椅的開放性,主動性,和交流感進行了新的詮釋。 拱橋造型和結構性拼接的創新運用,讓 89度長椅完成了新古典主義和現代主義的一次驚喜融合! 腿部非完全垂直的 1 度誤差,是嚴苛的工藝,也是對自由思想的包容。 三段拱門式椅腿,如百年長廊,邀請你落座,來一場建築美學的對話。

In the mid-20th century, when freedom and creativity flourished in the West, park benches were filled with couples, architects working on their sketches, or musicians playing. The modernist style of design brings a new interpretation to the bench's openness, initiative, and sense of communication. The innovative use of arched shapes and structural splices allow the 89 degree bench to complete a surprising fusion of neoclassicism and modernism! The 1-degree error of the non-perfectly vertical legs is the result of rigorous craftsmanship and the tolerance of free thinking. The three arched legs, like a century-old promenade, invite you to sit down and have a dialogue on architectural aesthetics.

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H椅(鯨魚尾),如果需要用一把椅子,紀念一-個時代,可以是它。 在國際主義風格的影響下MCM 時代的設計作品出現了秩序美感的特徵。 我們將椅子的傳統元素進行重置,得到全新的突破形式。 通過兩塊靠背固定連接一根後腿和兩根側腿的結構,實現獨特且有張力的新形式和有秩序的美感。 椅子整體側面呈現h型,正面則呈現H型,靠背由兩塊多層板製成並連接,從俯瞰角度形成類似鯨魚尾巴的造型。 側面雙腿向上延伸,成為靠背與坐面的連接點,成就了餐椅結構的穩固性。 整體不銹鋼金屬亮色,與皮質、木頭材料的結合增加了復古的調性。 海綿填充的坐面和符合人機工學的靠背角度,久坐舒適。 

H chair (whale tail), if a chair is needed to commemorate an era, it can be it. Under the influence of internationalist style, the design works of MCM era have emerged with the characteristics of order and beauty. We reset the traditional elements of the chair to get a new breakthrough form. Through the structure of two backrests fixed to connect one back leg and two side legs, a unique and tense new form and orderly aesthetic is achieved. The backrest is made of two multi-layers and connected, forming a shape similar to a whale's tail from an overhead perspective. The side legs extend upward to become the connection point between the backrest and the seating surface, achieving the stability of the dining chair structure. The overall stainless steel metallic color, combined with leather and wood materials adds a vintage tone. The sponge-filled seating surface and the ergonomic angle of the backrest make it comfortable to sit for a long time.

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