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每一个品牌的背后， 都有着太多太多不为人知的故事。 那些让众人追捧的产品， 到底是由什么样的人设计出来的呢？ 今天让我们一起来探索一下 和创始人Estrid Ericson一起 为Svenskt Tenn贡献了许多好设计的 设计大师Josef Frank ▼ ▼ ▼ Svenskt Tenn 约瑟夫·弗兰克（英语：Josef Frank，1885年7月15日生于维也纳巴登，1967年1月8日逝世于斯德哥尔摩），是一位犹太裔的奥地利和瑞典籍建筑师。他曾与奥斯卡·斯特兰德共事，并接触到维也纳学派。Frank在1932年获得了瑞典的国籍，1933年来到瑞典，在Svenskt Tenn从事设计工作，并设计出大量的优秀作品，直到他去世。1945年以后，他一直生活在瑞典。1965年，他获得了奥地利国家建筑最高奖。 ▼Josef Frank的室内设计手稿▼
▼Josef Frank的室内设计▼ 他首先在维也纳的科技大学学习建筑学。从1919年到1925年，他作为老师在维也纳工艺美术学校任教。Josef Frank是维也纳工艺联盟的基础会员和创始人，在1932年他成为工艺联盟社区计划的领导者。Josef Frank很早就开始研究社会性房屋建设。同时，相对应于大部分二战时期支持工作性社区的建筑师，他支持思考性住宅区，并且从不在市区建造所谓的超级住宅区。 ▼Josef Frank的室内和建筑设计▼ ▼关于Josef Frank的书▼ Josef Frank has had an enormous impact on the history of Swedish design. Despite the fact that he was already 50 years old when he fled Nazism for Sweden and Svensk tenn, the Austrian architect and designer is considered to be one of Sweden’s most important designers of all time. Josef Frank对瑞典设计史有着巨大的影响。尽管他在50岁时离开了纳粹主义的瑞典和Svensk tenn，他作为奥地利和瑞典籍建筑师和设计师，任被认为是瑞典最重要的设计师之一。
At Svenskt Tenn, Josef Frank received both a unique stage and invaluable help from Estrid Ericson, who was an exceptionally artistically inclined producer. He awarded her by being extremely productive: there are over 2,000 furniture sketches and 160 textile designs signed with his name in Svenskt Tenn’s archives. 在Svensk tenn，Josef Frank获得了独特的发挥舞台和来自于Estrid Ericson无价的帮助，Estrid Ericson可以算是非常具有艺术倾向的生产商，Frank则以极其高产的设计回报了Ericson：在Svensk tenn的档案中，署有他的名字的家具设计稿超过2000张，纺织设计草图超过160张。 As a young man, Josef Frank was a part of early Vienna Modernism’s front figures. But by the beginning of the 1920s, he had begun to question modernism’s growing programmatic streak. The French architect Le Corbusier’s belief that a house should be a “machine for living in,” was not to Frank’s taste. He was against puritanical principals and feared that standardized interior design would make people all too similar. 作为一个年轻人，Josef Frank是维也纳现代主义的早期的人物之一。但在1920年代初,他开始质疑现代主义日渐增长的程序化的教条。法国建筑师Le Corbusier（勒·柯布西耶）认为房子应该是“用于生活的机器,”但是这并不符合Frank的品味，Frank反对古板的准则，担心标准化的室内设计会让人们看起来都太相似了。 ▼世界四大建筑设计师之一的法国建筑师Le Corbusier（勒·柯布西耶）▼
Frank represented a freer, more artistic style ideal, and he developed his own type of modernism with values such as comfort, hominess and a wealth of colour in focus. He perceived tubular steel furniture as a threat to humanity. By contrast he wanted to include nature’s colours and forms in interior design and to be able to breathe and feel free even in enclosed rooms. For the same reason he preferred furniture that people could see through, a chair should have an open back and a cupboard should be on legs that were so high that one could distinguish the borderline between the floor and the wall. Josef Frank代表了自由和解放，以及更加艺风格的理想，他发展出了自己的现代主义，例如舒适、居家的价值观和聚焦于丰富的色彩。他认为金属家具对人类是一种威胁。相比之下，他希望在室内设计中包含自然的色彩和形式，这样即使在封闭的房间也能呼吸和感受自由。出于同样的原因，他更喜欢人们可以看穿的家具，椅子的设计应该有一个开放的靠背，橱柜的脚应该足够高，高到可以让人们清楚地区分地板和墙之间的界线。
Frank’s ideas on harmony also went against the tide. When others advocated monochromatic environments, Frank wrote: “The monochromatic surface appears uneasy, while patterns are calming, and the observer is unwillingly influenced by the slow, calm way it is produced. The richness of decoration cannot be fathomed so quickly, in contrast to the monochromatic surface which doesn’t invite any further interest and therefore one is immediately finished with it.” Frank对于和谐的理解也违背了潮流。当其他人主张单色的环境是， Frank写道:“单色表面看起来显得让人不安，而印花则是平静的，观察者会不自觉地受到印花带给他们的缓慢和平静感受的影响。单色表面无法引起人们进一步的兴趣，因此很快就会完结，与之相反的是，丰富的装饰不容易很快被琢磨透。”
Josef Frank began working at Svenskt Tenn in 1934 and just a few years later, the Frank/Ericson duo made their international breakthrough. Svenskt Tenn’s exhibition room at the World Expositions in Paris in 1937 and in New York in 1939 was completely contrary to the ideal of the time with its bold contrasts in materials, colours and patterns. The duo received a great deal of attention and became, somewhat paradoxically, the model for the expression Swedish Modern. Josef Frank从1934年开始在Svensk tenn工作，就在不久的几年后，Frank和 Ericson二人组获得了国际性的突破。在1937年巴黎的世界博览会和1939年纽约的世界博览会上，Svensk tenn的陈列室是与当时流行的典范完全相反的，以其在材料、颜色和图案上大胆对比运用，两人收到了极大的关注，并且颇为反常地成为了表达瑞典现代风格的典范。 ▼Svensk tenn创始人Estrid Ericson和Josef Frank▼
During the Second World War, Josef Frank was forced into exile yet again. At the height of the war he fled to Manhattan and the border between fantasy and reality with his freely growing trees of life with flowers and fruit developed. This resulted in a number of textile designs, including the 50 which he gave to Estrid Ericson as a 50-year birthday present on September 16, 1944. Sweden’s Prince Eugen was one of many who rejoiced. He felt that the new designs exceeded those of the legendary textile designer and Frank role model, William Morris. 第二次世界大战期间，Josef Frank再次被迫流亡。在战争的高峰时期,他逃到曼哈顿，在幻想和现实之间的边界上，他自由在生活这棵树上生长出了鲜花和果实。这使他设计了大量的纺织品，包括他在1944年9月16日送给Estrid Ericson 50岁的生日礼物。瑞典王子Eugen（尤金）是非常欣喜的人之一，他觉得新设计超越了传奇般的纺织品设计师William Morris（威廉·莫里斯），而Josef Frank成为了新的榜样。 ▼著名纺织品设计师William Morris（威廉·莫里斯）▼
And that is what happened when a professor of architecture from Vienna, on the escape from Nazism, raised Swedish design to new heights. 这就是当一个建筑学教授在从维也纳逃离纳粹的过程中，将瑞典设计提高到新的高度的故事。 ▼下面都是Josef Frank为Svensk tenn设计的产品▼
▼现在你能在Maison de Joseph店里 买到的Josef Frank为Svensk tenn设计的产品▼
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