用好一面鏡，讓空間靈動(dòng)起來(lái)

用好一面鏡，讓空間靈動(dòng)起來(lái)

A crucial part of designing a room is figuring out “interesting ways to use your walls,” Ashley Whittaker said. “And mirrors are a wonderful way to do that.”

設(shè)計(jì)一個(gè)房間時(shí)，一個(gè)最關(guān)鍵的部分就是，想好“如何生動(dòng)有趣地利用你的墻壁，”阿什莉·惠特克(Ashley Whittaker)說(shuō)，“而鏡子正是實(shí)現(xiàn)此目的的一個(gè)很棒的選擇。”

Ms. Whittaker, 44, an interior designer based in New York, likes to use decorative mirrors in prominent places throughout the homes she works on. “I love a mirror over a fireplace,” she said. “Or on a segmented mirror wall. Or even outdoors, in a covered area.”

44歲的惠特克是一名紐約的室內(nèi)設(shè)計(jì)師，她喜歡在自己負(fù)責(zé)裝修的住宅內(nèi)各個(gè)顯著位置，運(yùn)用具有裝飾性的鏡子。“我喜愛在壁爐上方掛起一面鏡子的設(shè)計(jì)，”她說(shuō)，“或是一個(gè)切割鏡面墻?；蛘?，鏡子甚至可以出現(xiàn)在戶外區(qū)域。”

Mirrors, she said, can be as eye-catching as art, but with another advantage: “Adding a mirror is like adding a window to a room. It brings in light and creates more depth.”

她說(shuō)，鏡子可以同藝術(shù)品一樣吸引眼球，而它更有另一層好處：“在一間屋內(nèi)加一面鏡子，就好比添了一扇窗戶。它會(huì)將光線引進(jìn)來(lái)，并且增加空間的深度。”

At Treillage on the Upper East Side, Ms. Whittaker admired the Starlight mirror by the designer Bunny Williams, one of the store’s owners. The four-foot-wide frame of crisscrossing silver-brushed metal “provides so much visual interest,” she said. “I could see this hanging over a sofa with a pair of sconces.”

在上東區(qū)(Upper East Side)的Treillage店內(nèi)，惠特克欣賞著此店老板之一兼設(shè)計(jì)師伯尼·威廉姆斯(Bunny Williams)的作品——星光鏡(Starlight mirror)。其十字交叉狀的銀拉絲工藝金屬框架有4英尺(約合1.2米)寬，“具有很強(qiáng)的視覺(jué)趣味，”她說(shuō)，“我可以想象將這面鏡子與一對(duì)壁式燭臺(tái)一起掛在一座沙發(fā)上方的樣子。”

A few blocks away, at Mecox, she pointed out another impressively sized option: Iron Orbit, a four-foot-diameter circle of gilded-iron branches with a convex mirror at the center.

幾個(gè)街區(qū)之外，在Mecox店里，她又挑出另一面尺寸頗為可觀的鐵軌道(Iron Orbit)鏡。其周邊一圈由鍍金鐵制分支組成的邊框直徑為4英尺(約合1.2米)，中央是一塊凸面鏡。

“The convex mirror gives you a wide angle on the room,” Ms. Whittaker said. “It can make a space feel twice as big.”

“凸面鏡讓你通過(guò)一個(gè)廣角來(lái)看這個(gè)房間，”惠特克說(shuō)，“它能令一處空間感覺(jué)上有它兩倍那么大。”

Around the corner at Creel and Gow, she found more convex mirrors, but these were small enough to sit on a desk. Mounted on black metal stands, they could be part of a desktop vignette with other objects of interest, she suggested.

經(jīng)過(guò)一個(gè)拐角，就是Creel and Gow的店面。她在那里找到了更多凸面鏡，不過(guò)它們更加小巧，可以直接擺在書桌臺(tái)面上。它們帶有黑色的金屬支架，這樣就可以同其它有趣的物件一起構(gòu)成一處桌面裝飾區(qū)。她這樣建議。

At Jonathan Adler, she admired the orange lacquer Queen Anne mirror for its “modern take on a historical shape,” she said. “The color is punchy; it would be great in a kid’s room — or a bar.”

在喬納森·阿德勒(Jonathan Adler，紐約室內(nèi)與家具設(shè)計(jì)師——譯注)的店內(nèi)，她很欣賞那面橘色漆面的安妮皇后(Queen Anne)鏡，因?yàn)樗?ldquo;現(xiàn)代風(fēng)格又具備一種古老的形狀，”她說(shuō)，“它的顏色很有沖擊力;放在一間兒童房里應(yīng)該很不錯(cuò)——或者一間酒吧。”

But Rain Drops, a reissued design by C. Jeré, was the showstopper.

但是C·嘉瑞(C. Jeré，擅長(zhǎng)墻面雕塑及家居裝飾品的金屬制品藝術(shù)家——譯注)設(shè)計(jì)的雨滴(Rain Drops)鏡，才是她此行最精彩的收獲。

“It’s really fun,” she said, admiring the way the antiqued brass disks clustered around the edge of the circular mirror. “It throws light around in so many different ways.”

“它真的很有趣，”惠特克說(shuō)。她很欣賞古舊風(fēng)格的銅片緊緊圍繞在一面圓鏡邊緣的這個(gè)設(shè)計(jì)思路。“它能從很多個(gè)角度向四周反射光線。”

With so many choices, she said, it’s easy to forget that the style of the mirror isn’t the only thing to consider.

選擇如此繁多，她說(shuō)，就很容易忘記，鏡子的風(fēng)格并不是唯一需要考慮的事。

“The reflection you see,” she added, “is sometimes as important as the mirror itself.”

“你看見的反射效果，”她補(bǔ)充道，“是和鏡子本身同樣重要的事。”