裝修美不美，一盞吊燈定乾坤

裝修美不美，一盞吊燈定乾坤

WHEN Sara Story is looking for light fixtures, her feeling is, the bolder, the better.

當(dāng)薩拉·斯托里(Sara Story)在挑選燈具的時(shí)候，她的體會(huì)是，越大膽越好。

“I’m always willing to take more of a risk with a light fixture than I am with a fabric color or wallpaper,” she said, noting that her clients often tell her that the fixtures she chooses for them are their favorite thing about her work.

“我在燈具的選用上一向樂于冒點(diǎn)兒險(xiǎn)，但在裝飾面料的顏色或墻紙上則不然，”她說，還提到其客戶常常告訴她，她為他們選擇的燈具是他們?cè)谡麄€(gè)設(shè)計(jì)方案中最喜歡的東西。

And when it comes to chandeliers, drama is even more important.

而就枝形吊燈而言，夸張的造型就更為重要了。

Ms. Story, 40, an interior designer in Manhattan, likened a chandelier to “a piece of sculpture or jewelry” for a room that also happens to provide illumination and ambience. “You could do a really quiet room and just have this spectacular chandelier,” she said. “And the balance will work very well.”

現(xiàn)年40歲的斯托里是曼哈頓的室內(nèi)設(shè)計(jì)師，她把枝形吊燈比作房間里恰巧可以提供照明和烘托氣氛的“一件雕塑或珠寶”。“你可以布置出一間寧靜的房間，只需要有這盞漂亮的枝形吊燈就行了，”她說，“這會(huì)平衡得非常好。”

In Ms. Story’s world, chandeliers aren’t limited to the traditional cluster of crystal. There are many other materials, colors and shapes that offer a variety of looks. But choose carefully: a chandelier “gives a place so much character,” she said, and invariably has a major impact on a room.

在斯托里的世界里，枝形吊燈的概念并不局限于一簇水晶的傳統(tǒng)樣式，還可以有其它許多材料、顏色和形狀，使得燈具的樣子千差萬別。但是，請(qǐng)精心選擇，因?yàn)橐槐K枝形吊燈“會(huì)賦予一個(gè)地方很強(qiáng)烈的風(fēng)格特征，”她說，無疑會(huì)對(duì)整個(gè)房間產(chǎn)生很大影響。

At Artemide in SoHo, she pointed out the Mercury LED suspension lamp by Ross Lovegrove, which appeared to dangle a handful of silvery pebbles in midair. Describing its futuristic look as “very spaceship,” Ms. Story said it would be an unexpected choice for a dining room, and would be particularly well suited to a large space.

在蘇豪區(qū)(SoHo)的阿特米德(Artemide，歐洲知名燈具品牌——譯注)店內(nèi)，她挑出了由羅斯·洛夫格羅夫(Ross Lovegrove)設(shè)計(jì)的水銀LED吊燈(Mercury LED)，那盞燈看起來就像將一把銀色鵝卵石懸吊在空中。斯托里形容這盞燈的新潮外觀“很有太空飛船的感覺”，她說，這盞燈將會(huì)是餐廳里的意外之選，而且特別適合寬敞的空間。

Just up the street, at Design Within Reach, she picked out the Modo 10-globe chandelier by Jason Miller for Roll & Hill. “It’s edgy and chic,” she said, admiring the way its sticklike frame spreads out horizontally to give it a strong presence in a room.

在這條街上游的Design Within Reach店里，她又挑中了由杰森·米勒(Jason Miller)為Roll & Hill設(shè)計(jì)的Modo 10-globe吊燈。“這盞燈既前衛(wèi)又優(yōu)雅，”她說，贊許這盞燈木棍狀的框架水平伸展的樣子，掛在房間里特別醒目。

At Flos, she stood transfixed by the Nebula fixture by Joris Laarman, made with 10 blown-glass cones of varying sizes that “almost look like big speakers,” she said. “I just want to stare at it.”

而在Flos燈具店，尤里斯·拉曼(Joris Laarman)設(shè)計(jì)的星云燈(Nebula)讓她看呆了。那盞燈由10個(gè)大小不一的吹制玻璃圓錐體組成，“看起來就像是一些大音箱，”她說，“我只想盯著它看。”

Ms. Story often uses vintage chandeliers in her projects, so she also stopped at Bernd Goeckler Antiques in Greenwich Village, where she admired the many midcentury fixtures before settling on a favorite: a 1950s brass suspension light by Angelo Lelii for Arredoluce, with bright red, blue and yellow shades on adjustable gooseneck arms.

斯托里常常在自己的設(shè)計(jì)中使用古老的燭臺(tái)吊燈，所以，她還到格林威治村(Greenwich Village)的古董店Bernd Goeckler Antiques看了看。她在店里看中了好幾盞二十世紀(jì)中葉的燈具，最后還是買下了自己最喜歡的那盞：由安吉洛·萊利(Angelo Lelii)為Arredoluce設(shè)計(jì)的一盞20世紀(jì)50年代的銅吊燈。在這盞燈可調(diào)節(jié)的鵝頸燈臂上，安有鮮艷的紅色、藍(lán)色和黃色的燈罩。

But not everyone, she acknowledged, is ready for such unconventional chandeliers. For those who are hesitant about committing to an ultramodern fixture, Ms. Story recommended the Veronique Linear 14 by Steven Sclaroff, at Remains Lighting.

但她承認(rèn)，不是每個(gè)人都能接受這種非傳統(tǒng)的枝形吊燈。對(duì)那些還在猶豫要不要安裝一盞非常時(shí)尚的燈具的人，斯托里推薦那款由史蒂芬·斯克拉羅夫 (Steven Sclaroff)設(shè)計(jì)的Veronique Linear 14吊燈，在Remains Lighting燈具店有售。

“It’s a contemporary take on the traditional chandelier,” she said. In other words, a dramatic choice, but not a risky one.

“這是一款采納了傳統(tǒng)枝形吊燈元素的現(xiàn)代燈具，”她說。換句話講，這個(gè)選擇很出挑，但并不冒險(xiǎn)。