家，为人所用，而非为物所累

家，为人所用，而非为物所累

Amanda Dameron could easily be a design snob, but her approach to decorating is as practical as it is discerning.

阿曼达·达默隆(Amanda Dameron)原本很容易变成一个设计界的势利眼，然而她的装潢风格却既实用，又能体现出独到的眼光。

Although she’s the editor in chief of Dwell, the 14-year-old shelter magazine whose tagline is “At Home in the Modern World,” she does not live surrounded with furniture and accessories found only in the Museum of Modern Art’s architecture and design collection or the Design Within Reach catalog.

达默隆就职于拥有14年历史的家居杂志《Dwell》，其口号是“当代世界的家居生活”。虽然身为主编，但是她的家居陈设并不是那种只能在现代艺术博物馆(MoMA)的建筑设计馆藏品和Design Within Reach家具店里才能找到的类型。

To the editor in chief of Dwell, good design matters, but no one in her home goes around screaming, ‘Don’t Touch.’

对于家居杂志《Dwell》的主编来说，好的设计是很重要，但她家里没有人会到处追着你喊：“别去碰。”

“I don’t have the kind of lifestyle that can support that type of object worship,” said Ms. Dameron, sitting on Kaare Klint’s 1933 Safari Chair in the living room of her floor-through apartment in a 1901 brownstone in the heart of Park Slope, Brooklyn.

“我过的并不是那种可以支持那样的拜物教的生活方式。”达默隆说，此时她正坐在客厅里的一张凯尔·科林特(Kaare Klint)于1933年设计的狩猎椅上。她的公寓位于一栋始建于1901年的褐石建筑中，占满了整个楼层。这栋建筑坐落在布鲁克林公园坡(Park Slope)的中心位置。

“The way I approach everything is that it has to have utility,” she said. “It can’t be art for art’s sake.”

“我选东西的标准是，它必须实用，”她说，“不能为了艺术而艺术。”

Ms. Dameron, 37, has other parameters. Everything in her home seems to have a pedigree, a story or sentimental value. She enthusiastically explains that she bought her vintage leather sofa online from Chairish. “It came from an estate in Atlanta, and it’s been well-used and well-loved,” she said. “It’s reminiscent of the work of a designer named Percival Lafer who was working in Brazil in the 1970s. I can’t afford a Percival Lafer sofa, but this one is kind of like a cousin — Brazilian modern meets a tufted Chesterfield.”

现年37岁的达默隆，对此还有其它考量。在她的家里，每样东西似乎都有着自己的一脉“血统”、一段故事或一份情感价值。她兴致勃勃地解释说，她的复古真皮沙发是在网上从Chairish订购的。“它以前的主人是亚特兰大的一户人家，它得到了妥善的使用，保养得也很好，”她说，“它能让人联想起设计师珀西瓦尔·拉费尔(Percival Lafer)的作品。这名设计师于上世纪70年代在巴西工作。我买不起一件珀西瓦尔·拉费尔的沙发，但是这只沙发就类似它的表亲——融合了巴西现代风格和钉扣长沙发的元素。”

She also chose it because the arms have rounded corners. That way her 10-month-old son, Otto, can’t get poked. And because it’s well broken in, she doesn’t worry that he will ruin it. “I have to have a home that is not too precious, with a son and two dogs,” she said.

她挑选这款沙发的另一个理由是，它的边角是圆弧形的，这样一来，她那十个月大的儿子奥托(Otto)就不会被戳到了。况且，由于它很耐用，她也不用担心孩子会把它弄坏。“我家有小孩，还养了两只狗，所以家里的东西不能太金贵。”她说。

Ms. Dameron and her husband, Keven Matsuzaka, 34, a one-time sushi chef who is now a stay-at-home dad, moved recently from a one-bedroom apartment in Windsor Terrace to their two-bedroom walk-up because they wanted Otto to have his own room.

达默隆的丈夫凯文·松阪(Keven Matsuzaka)现年34岁，以前是寿司厨师，现在全职在家带小孩。他和达默隆最近从温莎公园(Windsor Terrace)的一套一居室公寓，搬到了现在无电梯的两居室里，因为他们想给奥托一个属于自己的房间。

“That was paramount,” she said, adding that good light was a requirement and the washer/dryer and bathtub were an added bonus. “His room is just big enough for a crib and a changing table, but I love that he has a window that looks out on treetops.”

“这是最重要的，”她说，同时表示，采光好是一个必要条件，而洗衣/烘干两用机和浴缸则是加分项。“他的房间里刚好放得下一张婴儿床和一个换尿布台，不过我比较喜欢的是，他的房间里有扇窗户，可以看到外面的树梢。”

In front of a window framed by the original interior wood shutters, Ms. Dameron hung a glass sculpture called “Morning in Athens,” a 1953 design by the Finnish designer Kaj Franck. The clear handblown orbs make a gentle musical sound when you blow on them that is said to reverberate like the church bells of Athens. “I got it at the Iittala factory and lugged it back on the airplane,” she said.

在一扇装饰着原始木百叶帘的窗前，达默隆挂了一件名为《雅典的早晨》(Morning in Athens)的玻璃雕塑，是芬兰设计师卡伊·弗兰克(Kaj Franck)1953年设计的作品。这些清透的、人工吹制的球体，在清风的吹拂下会发出音乐般的柔和声响，据说就像雅典教堂的钟声。“我从 Ittala(芬兰顶级家居品牌——译注)的家具厂买下它，然后空运了回来。”她说。

Among the few other modernist elements in her apartment are the sleek Vitsoe 606 library-style bookshelves designed by Dieter Rams of Germany in 1960. “I’ve long coveted them and I finally had the space,” she said. “As a serious collector of books and magazines, bookshelves are very important to me.”

在她公寓里为数不多的现代主义元素当中，还有线条明快的Vitsoe 606系列图书馆风格书架，是由德国设计师迪特·拉姆斯(Dieter Rams)于1960设计的。“我一直想买下它们，现在终于有地方放了，”她说，“作为严肃的图书及杂志收藏者，书架对我来说很重要。”

Ms. Dameron worked from 2001 to 2005 at Architectural Digest, and she has filled several shelves with issues from the 1970s and 1980s. “I refer to them all the time,” she said. “They are a great record of an important era.”

达默隆在2001到2005年曾就职于《建筑文摘》(Architectural Digest)，她在好几个书架上摆满了上世纪七、八十年代的《建筑文摘》过刊。“我时不时就会翻翻看，”她说，“它们很好地记录了一个重要的时代。”

The bookshelves are punctuated with things that remind her and Mr. Matsuzaka (who is half Japanese) of their childhoods in Cincinnati, such as wooden kokeshi dolls that belonged to his paternal grandmother and the Kodak Brownie Fun Saver movie camera that belonged to his maternal grandfather, who was an engineer with Kodak. “We have a lot of objects from our grandparents because we are very close to them and we don’t have any family in New York, so they’re important for Otto and ourselves.”

书架上点缀着一些怀旧的小玩意，能让她和松阪(他有一半的日本血统)想起他们在辛辛那提(Cincinnati)度过的童年时光。这些小东西包括松阪祖母的小芥子木偶娃娃，还有他外公的柯达小精灵一次性电影相机(Kodak Brownie Fun Saver)，松阪的外公是柯达的一名工程师。“我们有很多祖父母的小物件，因为我们跟他们很亲近，而且我们在纽约没有亲人，所以他们对奥托和我们都很重要。”

There is also a traditional Uncle Sam mechanical bank that belonged to Ms. Dameron’s father. “When you put a penny in his hand it drops immediately into the U.S. bag and his chin starts wagging,” she said. “I’ve had that everywhere I’ve ever lived. We put it in our history and philosophy section.”

书架上还有一个风格传统的山姆大叔机械存钱罐，那是达默隆的父亲给她的。“你把一便士放到山姆大叔手上后，它就会马上掉进写有‘U.S.’字样的包里，然后山姆大叔的下巴就会开始动，”她说，“我无论住在哪儿都带着它。我们把它放到历史和哲学书籍区。”

On a lower shelf, a copy of the children’s book “The Snowy Day” by Ezra Jack Keats is displayed on an easel like a work of art. “I love the graphics,” she said. “It was one of my favorite books growing up, and seeing it always takes me back to my childhood.”

在书架较低的一层上，埃兹拉·杰克·济慈(Ezra Jack Keats)的《雪天》(The Snowy Day)这本儿童书被摆放在一只画架上，就像是件艺术品。“我爱看里面的图画，”她说，“这是我非常喜欢的一本书，它伴随着我长大。每次看到它，我就感觉回到了小时候。”

Before moving to New York, Ms. Dameron lived in other hot neighborhoods — Silverlake in Los Angeles and the Mission in San Francisco — and she’s besotted with Park Slope.

搬到纽约之前，达默隆也曾在其它热门社区居住——洛杉矶的银湖(Silverlake)和旧金山的教会区(Mission)，而她还是为公园坡心醉神迷。

“I don’t want to live anywhere else,” she said. “I love how in a block I can walk to get my shoes fixed, go to a hardware store, get an orange or have a painting framed. And they are all independent businesses, although Starbucks is encroaching. It makes me feel good to support the local economy.”

“我不想在别的地方住了，”她说，“在这里，我只需走一个街区，就可以修鞋、去五金店、买橘子、装裱一幅画，太方便了。而且这些店都是独立经营的，只不过星巴克正在蚕食这个地方。能够支持本地经济让我感觉很好。”

While she describes the neighborhood’s tree-lined streets and huge brownstones as “calming, moving and evocative of a lot of people’s romantic visions of Brooklyn,” her work life is focused on innovative, contemporary architecture and design. This past week her concern was the Dwell on Design NY conference in SoHo, with a schedule including a discussion on the intersection of design with loss.

虽然她说，这个社区里树木夹道的大街和巨大的褐石建筑很“宁静、动人，能唤起很多人对布鲁克林的浪漫想象，”不过她的职业生活着眼于创新的、当代的建筑和设计。上周，她忙于将在苏豪区(SoHo)举行的、Dwell on Design展会纽约站的事务，其中就安排了一场关于设计与迷失之间交集的讨论。

Ms. Dameron was to be the moderator of that conversation, between Barry Svigals, the architect of the new Sandy Hook Elementary School in Newtown, Conn., and Mark Wagner of Davis Brody Bond, the lead architects of the National September 11 Memorial Museum. “It’s hard to create a monument to tragedy, remembrance and progression,” she said.

达默隆将成为这场对话的主持人，对话双方分别是巴里·思维戈斯(Barry Svigals)，康涅狄格州纽敦(Newtown)新建的桑迪·胡克小学(Sandy Hook Elementary School)就是他设计的;另一位嘉宾是马克·瓦格纳(Mark Wagner) ，他就职的戴维斯-布罗迪-邦德(Davis Brody Bond)公司，就是“9·11”国家纪念博物馆(National September 11 Memorial Museum)的首席建筑师事务所。“要建造一座铭记悲剧、继往开来的纪念馆，是很难的。”她说。