湯姆．迪克森

Tom Dixon 早年涉足音樂與平面藝術，30 多年前踏入設計領域，開啟製造、設計與銷售工藝品的生涯。作為自學成才的設計師，他以自由奔放的創作風格，展現超越產品設計的廣闊視野與獨特想像力。2002 年，他於倫敦創立同名品牌，同步設立 Design Research Studio（DRS），專注於前衛的室內與建築設計。品牌迅速崛起，成為全球焦點，並與義大利奢華家具品牌合作，多款作品進入量產，部分更獲 MoMA、V&A 博物館等永久典藏，奠定其在國際設計界的標誌性地位。此前，他曾任 Habitat 設計總監與創意總監，致力於發掘新銳設計師。為拓展品牌發展，他與投資公司 Proventus 合作，成為芬蘭家具品牌 Artek 的共同擁有者及創意總監，推動與 Eero Aarnio 的合作、重塑 Alvar Aalto 經典燈具、執行回收設計計畫 Second Cycle，並與 Shigeru Ban 攜手打造臨時展館，賦予品牌嶄新國際視野。

臉上掛著墨鏡，身著桃紅色西裝，Tom Dixon 以從容自在的步伐走來。隨著距離拉近，他天生的藝術家氣息愈加明顯——墨鏡下的雙眼閃爍著輕鬆笑意，卻又透出一絲瀟灑與自信。隨意落座後，他以簡短而充滿活力的語調道了聲問候，不拘一格的風範，正如他的設計般亮眼而鮮明。

Wearing dark sunglasses and a bold fuchsia suit, Tom Dixon strides forward with effortless ease. As he approaches, his innate artistic presence becomes unmistakable—his eyes, hidden behind tinted lenses, glimmer with a relaxed smile, yet there's an unmistakable air of confidence and nonchalance. Settling into his seat with casual ease, he greets with a short, energetic remark, embodying the same unorthodox spirit that defines his work—vivid, striking, and impossible to ignore.

談及 Tom Dixon 的設計世界，難以忽視那不羈的靈魂。冷冽的金屬質感中蘊藏著工業風格的堅韌與優雅，並融合大膽而奇特的玩味元素，使其在當代設計領域中獨樹一幟。在此之前，Tom 曾是 1980 年代倫敦音樂圈中的活躍貝斯手，隸屬名為 Funkapolitan 的樂隊，隨團巡演於歐洲和美國，徹底沉浸在音樂與亞文化的氛圍中。直至一場突如其來的摩托車事故，將他的命運推向全然不同的方向，從音樂人轉為自學成才的設計師。

Tom Dixon's world of design is inseparable from his maverick spirit. His creations, often sculpted from cold, industrial materials, balance raw resilience with unexpected elegance, infused with an audacious, almost playful quality that sets them apart. Long before his foray into design, Tom was an active bassist in London’s 1980s music scene, a member of the funk-infused band Funkapolitan. A sudden motorcycle accident, however, shifted his path entirely, steering him from music toward an entirely self-taught journey into design.

「無論是音樂，還是設計，我都沒有接受過正規的訓練。過去的經歷告訴我：自學的力量是無可比擬的。」從貝斯手到設計師，Tom 的創造力源於無師自通，憑藉本能與對材料的敏感度，逐步發展出獨特的設計語言。這份自信與底氣，源自他在音樂生涯中體悟到的「自學精神」——當年，他靠自學掌握創作、演出與推廣，如今，他以同樣的方式探索設計。對 Tom 而言，未經正規教育「調教」的背景，反而成為他的優勢，使他能擺脫傳統框架的束縛，像即興演奏音符般，將設計視為對材料、工藝與形式的自由詮釋。

"I never had formal training in either music or design. My experiences have shown me that self-learning is a powerful force," he says. His creativity is rooted in instinct, shaped by a deep sensitivity to materials. Just as he once taught himself to compose, perform, and promote music, he now applies the same intuitive approach to design. Unbound by conventional education, he sees design as an improvisation—an interplay of materials, craftsmanship, and form, much like a musician composing on the fly. 

Tom 的作品始終充滿對材料的實驗性與技術創新的探索，他曾說，設計的過程即是對新材料與新技術的回應，而正是這些未知的領域，蘊藏著無窮的可能性，等待著被發掘。圍繞著對材質與工藝的深入研究，他擅長運用金屬、玻璃與其他工業材質，將冷峻的工業風格與細膩的優雅細節融合，創造出兼具機能與美感的作品。

Tom's work has always been defined by material experimentation and technical innovation. "Design is a response to new materials and new technologies," he once said, emphasizing that uncharted territories hold the greatest potential for discovery. His mastery of metals, glass, and industrial materials allows him to fuse stark functionality with refined elegance, creating pieces that are both sculptural and practical. 

與時尚界快節奏、趨勢驅動的運作模式不同，Tom 對於室內與家具設計的理解，更加著眼於時間的沉澱與作品的長久價值。在他看來，家具不應是短暫的消費品，更不該隨著季節更替而被輕易取代。人們在裝潢家居時，往往期盼沙發、桌椅能夠歷久彌新，成為生活空間的一部分，而非僅僅追趕潮流的裝飾。他對經典設計的關注，正反映了對高品質材料與耐用性的堅持，並延伸出他更宏觀的設計哲學——設計應當兼具功能性與時間的韌性，使其歷經歲月依然值得珍藏。

Unlike the fast-paced, trend-driven nature of fashion, Tom sees furniture and interiors through a different lens—one that values time, longevity, and permanence. In his view, furniture should not be disposable or dictated by seasonal trends. Instead, pieces should be built to last, forming an integral part of a home rather than serving as fleeting embellishments. His reverence for classic design reflects his belief in high-quality materials and durability, shaping a broader philosophy: true design must embody both function and resilience, standing the test of time.