大多数设计师都同意“设计是为了解决问题”。然而，Boglarka Mazsi却认为，在设计过程中，有些问题应该被保留。她说，“我的主要目的是让生活更美好，但不一定是更容易”。这位来自匈牙利的设计师为什么这么说呢？随着她分享的经历和观点，你会找到答案。

Narkii:

您一开始学习国际关系，它后来对于您做设计有所影响吗？

You studied International Relations at the first, does this major influence your design?

Boglarka:

在某些情况下，确实是有的，不过这种影响不一定就能在完整的形式或设计的解决方案中体现。先前的学习更可能影响的是我处理问题的方式。

At some point, obviously yes, but this influence not necessarily can be found in the completed forms or the solutions. My previous studies more likely influenced the way, how I approached the problems.

Narkii:

您在布达佩斯都市大学学习陶瓷设计时，做了大量的材料研究。您认为材料在产品中扮演什么角色呢？

As you conducted a lot of material experiments during the time when you studied ceramic design in Budapest Metropolitan University, what do you think of the role of material in a product?

Boglarka:

除了明显的功能外，我觉得材料也充当着传播者的角色，它会讲故事，或者帮助我们了解物体的用法。在一些情况下，它甚至可以在功能的基础上传达情感。

Besides the obvious functional role I think material is a communicator that can tell a story, or help to understand the usage of the object. In some cases it can even transfer emotions, while it supports the function.

对我个人而言，材料是我的老师。它教我，也时不时提醒着我对创造的责任。

Personally material is a kind of master for me. It teaches, and reminds me time to time for my responsibility towards creation.

对材料与结构的探索

Narkii:

您提到，在莫霍利 - 纳吉艺术与设计大学间，最喜欢的一个团队项目是为匈牙利临终关怀基金会做的一个宣传活动，您能具体说说吗？

You mention that one of your favourite group project during Moholy-Nagy University of Art and Design was to design a communication campaign for the Hungarian Hospice foundation. Can you tell us the details?

Boglarka:

这个项目的特殊之处在于它没有实际的任务，无论简单还是难的都没有。如果我们决定什么也不做直接回家，老师们也觉得没问题。所有学生都被分成小组，唯一的要求就是做点什么。任何对于基金会有益的都可以。显然，没有人回家。第一周，我们从病人、家属以及医生那了解基金会如何运转，了解这种特殊的生命状态（由疾病造成）。第二周，每个小组提出各自想要解决的问题。小组之间不分享点子，咨询也是各自进行。

The speciality of this project was, that as a matter of fact there was no actual task, or brief or anything. It wouldn’t be a problem for the teachers if we decided to do nothing and go home. All the students were divided into small groups, and the only request was to do something. Anything that is good for the foundation. - Obviously no one went home. – In the first week, we could get an insight to the operation of the foundation and this specific life situation (caused by this illness), from the point of view of the patient, the family and also the doctors. On the second the groups one each suggested separate problems, that they wanted to solve. Groups did not share ideas with each other and the consultations also took place separately. 

我喜欢这个项目的主要原因（除了有趣的过程之外）是它的结果：当我们展现我们的作品时，五个单独的项目合了起来（就像拼图的碎片）形成一个完整的宣传活动——这是我们任何一个人都没有预料到的。所有关键的部分都已经单独完成，并且互相契合。这种未经计划的统一是对我们在这个社会项目中开展、遇到以及学习到的所有信息，印象和情感的一种确认。

The main reason, why this project is one of my favourite (apart from the interesting process) is the outcome: When it was time to present our work, the five individual projects formed (like the pieces of a puzzle) a working, whole communication campaign – without any of us predicting it. All the essential parts had been developed separately and were in perfect accordance with each other. This unplanned union was a kind of confirmation of all the information, impressions, emotions, that we developed/encountered/learned during the making of this social project.

Narkii:

2010年您离开Ligne Roset Budapest，而在2016年您又回到这里，为什么呢？

You left Ligne Roset Budapest in 2010 and came back there in 2016. Why?

Boglarka:

我喜欢在Ligne Roset Budapest工作，但我也想进步，想要做点不一样的事。所以我决定专注学习。我之前曾经一整天都待在工作室，那样我就没办法做全职或兼职工作。之后我去了西班牙和印度尼西亚学习。

I enjoyed my work at Ligne Roset Budapest a lot, but also wanted to improve and start something new. So I decided to focus on my studies. I used to spend all days in the workshop, which did not allow me to have a full or part time job at the time. Later on I went to Spain and Indonesia to study.

当我硕士最后一年时，他们有职位空缺，问我想不想回去。我当然说想。原因之一在于我喜欢与客户保持联系，看看他们如何预期设计和功能。另一个原因就是我可以在一个新领域工作。Ligne Roset拥有150年的历史，所以我还有很多东西需要从母公司以及超棒的匈牙利老板身上学习。现在除了通常的工作，我也为匈牙利公司做传达设计，我很喜欢。

At the time when I started my last master year they had vacancy. They also asked me if I want to go back. Of course I said yes. The reason on one hand is that I love to stay in contact with customers and see how they anticipate design and function at first sight. On the other hand I also got a new field to work. Ligne Roset is a company with 150 years background, so there is still a lot to learn from the mother company and the Hungarian owner, who is amazing! Now beside the general work I do communication design for the Hungarian company which I enjoy a lot.

A' Design获奖作品L33 ambient lamp，其探索了光线与结构的关系

Narkii:

匈牙利设计业为设计师们提供了怎样的环境呢？

What kind of environment for designers does design industry provide in Hungary?

Boglarka:

尽管这里有许多优秀的设计师和受到国际认可的设计公司（比如 Co&Co、Ivanka、Kazaconcrete），如果我说匈牙利在设计领域并不是最大的输出者，你也一定不会惊讶。这就意味着还有许多要改进的地方。

Altough there are many exceptional designers, and internationally acknowledged design companies (such as Co&Co, Ivanka, Kazaconcrete), I suppose it does not surprise you if I say that my country, Hungary is not the biggest provider in the field of design. This means there is so much place for improvement.

不过过去五年，出现了许多机会，像是培训，创业扶持机构和创业项目。虽然有这些机会，有勇气和意愿创业的年轻人还是不多。一方面官僚主义和规章制度使人气馁。另一方面，制造商缺乏足够的开放性和能力。产品设计师尤其处于弱势。

However many opportunities popped up like trainings, incubator and startup programs during the past five years. Despite these opportunities not many young designers have the courage and mood to start a business. On one hand bureaucracy and regulation cause discouragement. On the other hand there is a lack of adequate openness and capacity of manufacturer side. In particular, product designers are specially disadvantaged.

除了制造，还有重要的一点是我们缺少优秀又有效率的设计管理。尽管我们的教育输送了大量的毕业生，但要找到一个优秀的管理者简直是巨大的挑战。

In addition to manufacturing, it is important to mention the lack of good and efficient design managers. In vain there are courses in the country with a number of graduates, yet a good manager to find is almost the biggest challenge.

在时尚和技术项目领域，这种情况要好得多，投资者的意愿也更强。

In case of fashion and tech projects, for example, the situation is much better, and investors' willingness is greater.

Narkii:

您怎么会想到做L33 Lamp这个作品来探讨人类对于建筑环境以及其中修饰光的感知呢？

How did that occur to you that designing the L33 Lamp to experiment with human sensation of the built environment and the modified light of it?

Boglarka:

我常常把摄影作为灵感来源。我在特兰西瓦尼亚的一个艺术工作室开始拍摄不同的结构。通过试验规模以及建筑结构的变化，我的作品更强调了进入建筑的无形光的角色。我们被建筑包围，并且只能从一些特定的角度去观察它。而自然光或人造光进入建筑阻碍物和建筑结构中也是一样的。因此，理解结构以及建筑的复杂性对于许多人来说永恒的需求。

I often use photography as a source of inspiration. I started taking pictures of different structures at an art workshop in Transylvania. By examining the changes of scales and the architectural structures the role of the intangible source of light entering buildings has gained more emphasis in my work.Architecture surrounds us, and we will be only able to observe it from some given perspectives. The same as the natural or artificial light coming through the architectural brakes and structures. Thus this, understanding the structure, and the complexity of the construction is an eternal demand in many human being.

身边大部分的物件都是被设计为为我们带来方便的，但是Half-Smile杯具不一样，它可能会给你制造点“麻烦”。倾斜的杯口让你在倒水时不得不分外注意，否则一不小心，水就溢出来了。设计师的想法是，在如今人们越来越习惯同时进行多任务，专注于一件小事上哪怕一会儿都有点难。她希望通过这种不舒适的设计，让人们的注意力仅仅集中在使用过程上而不去想其他的，哪怕就一会儿。

Narkii:

大多设计师都认为，设计是为了解决问题，而您的作品——Half-Smile cup set似乎旨在制造问题，这样理解对吗？

Most designers believe that design aims to solve problems. However, your work-Half-Smile cup set seems to “cause problems”, is that correct?

Boglarka:

大体而言，我相信设计需要解决问题。但是有时正确的答案并不是那个最简单最舒服的解决方案。Half smile是一个实验性的物品。它的目的是为了让我们仅专注于喝杯茶或咖啡而不做其他任何事。如果你习惯在早晨这个时候一边读新闻，发短信或是做很多其他事，那这对你来说并不容易。为了达到单一做一件事的平和，这套杯子组就是要制造问题，让你只能专注杯子和温热的液体本身，而没办法做其他事。

In general, do believe that design has to solve problems. But sometimes the right answer is not the easiest and comfortable solution. Half smile is a kind of experimental object. In this case the aim is to push ourselves not to do anything else but drinking our cup of tea or coffee. Which is not that easy if you have the possibility to read the news, send messages and do a lot of thing during this morning ritual. To reach the peaceful state of doing nothing, the cup set literally causes problems, so you cannot concentrate on anything else but the cup with the warm fluid.

Narkii:

“我的主要目的是让生活更美好，但不一定是更容易”，可以和我们解释一下吗？

“My main goal is to make life better, but not necessarily easier”, can you explain that?

Boglarka:

这个没有听起来那么复杂。不过确实很难找到正确的平衡。我就用我自己的故事来解释吧。我父亲70岁时患了严重的疾病，在医院待了两个月，之后只能去康复中心。那时他认路有困难，也不爱交际。我很担心，那里所有的走廊看起都一个样，对我来说要找到正确的房间都很难。要么就是没有标志，要么就是字太小看不清。当时我很沮丧，什么都想不了，只有一个念头，就是我该怎么做才能让整个环境对他和其他病人来得容易点。父亲在那里迷路了几次，也几次不小心走到地下室后，他开始向人们问路，努力去记忆，也更努力地去思考。他交了几个朋友，也开始快速恢复。

This is not that complicated as it sounds. But of course it’s hard to find the right balance. Let me explain it with a personal story. My father was 70 when he had to go to rehabilitation after a serious disease and 2 month in hospital. At that time he had difficulties with orientation and was quite antisocial. I was worried a lot, as all the corridors in the building looked the same, and it was difficult to find the proper rooms even for me. There were no signs or they were too small to read. I was really upset, and couldn’t think anything else but how I could make the whole situation easier for him and the other patients. After my father got lost several times in the building, and visited the basement accidentally a few times, he started to ask people, and tried to remember better and think harder. He got a few buddies and started to recover faster.

我还是觉得那里设计不好，但是必须有一个节点，让你开始使一切变得简单起来。如果走廊设计很“恰当”，那么，比如我父亲，就不会被激励着要去和人打交道。作为设计师，你必须认真地去选择特定环境中你所要解决的具体问题。有时候一些问题还是应该被保留。当你作为一个用户，遇到的困难或问题可以以一种积极的方式挑战你。它们甚至可以让你变得更有创造力。

I still don’t think that the design was fine, but there has to be a certain point until you make everything easier. If the corridors would have been designed “properly”, my father for example had not been motivated to socialize at all. You have to choose carefully what problems exactly you have to solve in the certain situations as a designer. Some problem has to stay a problem in some cases. Difficulties or problems that you have as a user, can challenge you in a positive way. It can even force you to be more creative.  

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