阿利库迪
Alicudi

2014

这一作品的造型、轮廓及其美学表达都是基于意大利西西里岛的埃特纳火山。作品整体为统一的神秘黑色色调，容器上缠绕着几圈绵质缎带，并串挂有来自慕拉诺岛的玻璃条块。通过让火山石变回其原始的熔岩状态，并塑造成一个全新的形态，形式幻想工作室反转了材料的自然史时间轴，促使“自然”与“人造”进行了一场对话。

在很久以前，西西里岛的工匠们就会将喷发自小型火山的熔岩浇铸进精美的模具制作艺术品。但这传承至今的工艺，现在除了生产一些廉价的纪念品，实际上已经变得毫无意义。在这个名为《论自然化石》（De Natura Fossilium）*的项目中，形式幻想工作室拒绝接受将传统视为观光休闲的看法，在设计师的理念中，风景不应该仅仅是被动消极地“看”，而应该通过小心谨慎的采样、熔融、吹制、编制、铸型、磨压而成。通过将玻璃替换为熔岩，并用和制作玻璃作品同样的工艺塑造熔岩的极致实验，工作室慢慢熟悉了使用玄武岩、熔岩等材料，他们的探索和成果将会叩问现有的局面，并最终揭示熔岩作为设计材料的巨大潜力。

* 《论自然化石》（De Natura Fossilium）是16世纪的德国学者阿格里科拉（Georgius Agricola, 1494-1555）于1546年出版的一部拉丁语自然科学著作。形式幻想工作室以此为项目名称致敬了地质研究的传统。

The aesthetic vocabulary, forms, and shapes of this piece come from the base of Mount Etna, Europe’s largest active volcano. These mysterious black vessels have been finished with archetypal Formafantasma detailing such as cotton ribbons and Murano glass plaques. By returning the rocks to their original molten state, Formafantasma is reversing the natural timeline of the material and forcing a dialogue between natural and manmade.

Historically, craftsmen would mould molten lava erupting from small craters into elaborate forms. This time-honoured craft has effectively been rendered worthless as now only inexpensive souvenirs are produced. Instead, the work of Formafantasma is a different expedition in which the landscape is restlessly sampled, melted, blown, woven, cast and milled. From the more familiar use of basalt stone and fibres, to their extreme experiments with lava in the production of glass, Formafantasma’s explorations and the resulting objects will challenge this situation and realise the full potential of lava as a material for design.