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«
В Harman Kardon нас вдохновляют эмоции
»
Александр Демин о звуке, дизайне и новой Hi-Fi-аудиосистеме Harman Kardon Radiance 2400
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Компания Harman была основана в 1980 году. В ее портфеле более двадцати брендов, в том числе JBL, AKG, Harman Kardon, Lexicon, Mark Levinson. А еще — множество премий в области технологий и дизайна, в том числе iF Design Award, Red Dot Design Award, CES Innovation Design Award, EISA Award, Red Star Design Award, Good Design Award. Мы поговорили с директором отделения индустриального дизайна Harman Александром Деминым об особенностях новой Hi-Fi-аудиосистемы Harman Kardon Radiance 2400.
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Музыка и звук в общем — эфемерное явление, то, что нельзя увидеть или потрогать. Как это выражается в дизайне?
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Наша дизайнерская команда выступает за визуализацию звука как особого феномена. В Harman Kardon мы придерживаемся философии, согласно которой его можно потрогать, увидеть. Это достаточно объемное и материальное переживание. С самого первого дня работы мы пытаемся отразить эту историю в продуктовом дизайне. Мы работаем со всем спектром чувственных переживаний человека, как аудиальных, так и визуальных, тактильных.
Есть акустические элементы, которые украшают непосредственно саму конструкцию, например динамики. В Radiance их двадцать четыре, и они находятся за передней решеткой, мы их показываем. Даже в состоянии покоя они транслируют мощь техники. Есть такие продукты, как Onyx: на его тыльной панели есть излучатель, акустический элемент, который генерирует басы.
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В процессе звучания можно видеть, как он вибрирует. Излучатель двигается и создает четкую визуализацию звука. Другие бренды пытаются скрыть эти элементы, так как они являются сугубо техническими. В случае с Harman Kardon в ряде устройств мы пытаемся их продемонстрировать, чтобы можно было оценить глубину и силу звука. Чем он громче, тем больше колебания в пространстве. Также мы подчеркиваем эффект через материалы — часто это металлическая панель с отделкой на гранях.
В дизайне техники (особенно крупногабаритной) сейчас наметились два глобальных тренда: минимализм и мимикрирование под интерьер.
Как это реализовано в Harman Kardon Radiance 2400? Благодаря чему система может вписаться практически в любую обстановку?
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Техника становится менее навязчивой визуально. Стремление к этому прослеживается и, например, в современных телевизионных панелях. У Samsung ряд изделий максимально мимикрирует под окружающую среду. Они больше похожи на картины, на предметы интерьера. Отражают идею минимализма и полностью растворяются в пространстве. Этим мы и руководствовались при создании Radiance 2400. В Harman Kardon есть ряд устройств, которые мы называем аудиоскульптурами. Их задача — выделяться, привлекать внимание. В Radiance 2400 мы, напротив, хотели подчеркнуть минималистичный дизайн, сделать акцент на ненавязчивости. Этого удалось добиться за счет тех уникальных технологий, которые мы выбрали для реализации акустической системы.
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Radiance 2400 выглядит очень элегантно, у нее ультратонкий профиль корпуса, который практически незаметен в пространстве. Мы вдохновлялись чистотой, простотой, функциональностью и изысканностью. Все эти принципы предопределили внешний вид Radiance 2400. Любая из наших акустических систем определяется пространством, в которое она погружена. Иногда мы ориентируемся на более классические интерьеры, а в каких-то случаях, как, например, с Citation, мы вдохновлялись скандинавским стилем.
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При внешней минималистичности системы какие «фирменные» детали помогают безошибочно узнать Harman Kardon Radiance 2400?
Если сделать объект слишком минималистичным, вы рискуете попасть в ловушку — остаться незамеченным. В Harman Kardon мы придерживаемся идеи эмоционального минимализма, отличающегося лаконичностью форм и элегантностью деталировки. Мы играем с формой, с переходами от одной плоскости к другой, стараемся найти красивые плавные линии, заложить в них пластичность. Это сделано для того, чтобы глазу было интересно рассматривать систему как некую скульптуру, чтобы свет играл на переходящих одна в другую поверхностях, на отделке. Большое внимание мы уделяем материалам, которые придают форме премиальный характер, эстетичность. Их должно хотеться потрогать, ощутить холод металла или тепло текстиля. Сочетание этих элементов создает законченный образ и выделяет Radiance 2400 среди классических Hi-Fi-аудиосистем.
Одна из особенностей традиционных акустических систем — обилие проводов. В Harman Kardon Radiance 2400 их просто нет.
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Это дизайнерское решение или новые технологии? Как удалось этого добиться?
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Мы постоянно думаем о нашей аудитории, о ее предпочтениях в отношении аудио. Наши клиенты могут отличить качественный звук, они готовы наслаждаться им. Стандартные Hi-Fi-аудиосистемы имеют слишком много компонентов. При создании Radiance 2400 мы исследовали возможности современных технологий и предпочтения пользователей. Мы решили, что нужно придумать максимально простую систему, без проводов, где вся передача сигналов между элементами системы уже предустановлена производителем и вам оставалось бы только включить ее в сеть. Простота и интуитивность в пользовании были заложены в основу дизайн-идеи, которая двигала процесс. Мы исследовали те беспроводные технологии и акустические конфигурации, которые позволили бы нам реализовать эту идею.
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Вы разрабатывали дизайн Harman Kardon Radiance 2400 два с половиной года. С чего все начиналось? Что оказалось самым сложным?
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Radiance 2400 отличается тем, что это одна из самых сложных систем, которую мы разрабатывали на протяжении 2,5–3 лет. Прежде всего это связано с инновационностью решения. Любые технологические инновации требуют много времени для адаптации к серийному производству, а также к жилой среде пользователя. Важно упомянуть технологию, которая пришла из профессиональной техники. Потребовалось время, чтобы ее масштабировать и применить к данной конкретной модели. Самым сложным моментом было определение той акустической конфигурации, которую мы в итоге реализовали. Стояла задача сделать так, чтобы конструкция системы была очень легкой визуально и при этом производила максимально качественный звук. Можно отдельно поговорить про работу с металлическим корпусом. Он вытянутый, длинный. Radiance 2400 — крупная конструкция. Чтобы ее переместить от фабрики к магазину и потом домой к пользователю, ее необходимо как-то сложить, уменьшить общий объем упаковки. Для этого мы разработали специальную систему сборки. В ее основе — стыковочный узел, с помощью которого корпус легко разбирается на две компактные части.
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Что такое технология CBT (Constant Beam-width Technology) и какую роль играет дизайн в том, чтобы аудиосистема показала свои максимальные возможности?
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Мы обратились к нашим акустикам, и они предложили использовать технологию CBT (Constant Beamwidth Technology). Она применяется в профессиональной технике для больших пространств, в павильонах, в театрах. Это очень мощная технология, которая использует ряд динамиков, расположенных вертикально, что позволяет в разы сократить общий объем корпуса устройства.
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Звуковые колонны Harman Kardon Radiance 2400 похожи на арт-объект. А если бы вас попросили стать куратором выставки промышленного дизайна, какие экспонаты вы бы обязательно показали?
Я думаю, это была бы выставка скульптуры. Мы часто говорим, что создаем аудиоскульптуры. Объекты, которые красивы и эстетичны сами по себе. Даже если они находятся в состоянии покоя, то все равно пробуждают воображение и вдохновляют. Нужно подумать над тем, какие скульптуры можно было бы представить на этой выставке. Но это определенно были бы самые разнообразные скульптуры из мира искусства и дизайна.
Для современного общества стало нормой воспринимать звук через наушники. Так мы слушаем музыку и подкасты, смотрим видео.
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Есть какая-то принципиальная разница между восприятием звука через наушники и через полноценную акустическую систему?
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История с наушниками — персональная. Только вы можете наслаждаться звуком, который из них доносится. Звук может путешествовать вместе с вами, куда бы вы ни отправились, какие бы места ни хотели бы посмотреть. Это музыка, которая следует за вами в течение дня. Когда речь идет о домашнем кинотеатре или системах, которые относятся к Hi-Fi-аудио, это все-таки социальная история, где люди наслаждаются звуком вместе. Это некое единение и общий восторг, который вы испытываете одномоментно со своими близкими и друзьями или, наоборот, незнакомыми людьми, неожиданно ставшими для вас очень близкими. Это два совершенно разных мира, две сферы, в которые вы погружаетесь при использовании двух разных типов устройств.
Слушаете ли вы музыку, когда разрабатываете дизайн? Если да, то какую? Что слушали, когда работали над Harman Kardon Radiance 2400?
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В моем коллективе все безумные меломаны. Для меня важно свежее впечатление в процессе дизайна, я редко заслушиваю одну музыкальную композицию. Мне хочется, чтобы каждый трек ощущался по-настоящему новым и нес какой-то позитивный импульс, удивлял меня чем-то, вдохновлял. Это провоцирует ум на поиск новых форм, нового звучания, новых решений, на вдохновение и обмен музыкой с друзьями. Это про поиск идеального трека, который ты никак не можешь найти, продолжая движение вперед.
На каких мелодиях, на ваш взгляд, лучше проверять качество звука? Есть какой-то универсальный совет? Или можно просто включить любимую композицию?
Стоит под конкретную систему подбирать свою музыку. В Нью-Йорке в студии Harman установлен проигрыватель с легендарными динамиками от JBL, на которых мы прослушивали классические композиции, например Прокофьева. Затем мы переключились на Канье Уэста. Было круто наблюдать за контрастом, за тем, как система адаптируется под любой жанр, как она может добавить баса и изысканно, с ювелирной детализированностью воспроизвести фортепианные мелодии. Например, JBL фокусируется на низких частотах, на басах, характерных для рок-музыки. Когда слушаешь рок на Harman Kardon, он звучит немного по-другому. Для Harman Kardon подходит музыка, которая располагает к общению. Когда ты приходишь на рейв или рок-концерт, ты вроде как находишься в компании других людей, но наслаждаешься сам по себе. Философия Harman Kardon состоит в том, чтобы делиться впечатлениями. Здесь и сейчас, в процессе беседы и общности. Кстати, именно поэтому мы сделали нашим амбассадором пианиста и композитора Даниила Трифонова: классика помогает многим людям собираться вместе, обсуждать музыку.
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Звук и Hi-Fi-индустрия в целом сейчас движутся в сторону материального. По последним данным, сильно выросли продажи физических носителей звука: виниловых пластинок и даже кассет.
Интересно взглянуть на это немного под другим углом: меняется ли как-то в связи с этим опыт прослушивания музыки?
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Мы все больше и больше погружаемся в виртуальный мир, онлайн-общение. В противовес этому у людей присутствует желание погружения в мир объектов, которые ассоциировались с тем аудиальным опытом. Проигрыватели винила — это отдельная ниша в области промышленного дизайна. Например, существуют решения с левитирующими пластинками. Звук, воспроизводимый с физического носителя, имеет свой оттенок. Считается, что он более теплый, аутентичный. Кому-то это близко. Самое главное здесь — передать те эмоции, которые человек испытывает от ритуала, когда он достает пластинку из красивой коробки, чувствует ее запах, оценивает дизайн. Я бы с удовольствием сделал что-то такое для Harman Kardon.
Материал подготовлен при поддержке
