经过五年的大规模翻新和现代化改造，斯德哥尔摩国家美术馆国家博物馆终于于2018年10月13日重新开放,为游客提供了更丰富的体验，其使命是尽可能使艺术和设计变得无障碍。博物馆新建的300个座位的餐厅和咖啡馆的背后也有着同样的愿景，它们占据了三个令人印象深刻的地下画廊，这些画廊以前是不对公众开放的。

该项目被设想为一个艺术项目，它使一批设计师有机会共同探索材料和方法，发现新老生产商，以便使参观者对设计过程有深入的了解。由瑞典设计师Matti Klenell，TAF工作室，Carina Seth Andersson和StinaLöfgren领导的这一协作过程的结果是NM＆ - En Ny Samling，这是一个现代家具，灯具，餐具和其他装饰物品的集合，在一个已经充满艺术杰作的房子里庆祝未完成和不确定的餐具和其他装饰物品。

After five years of extensive renovation and modernization,Nationalmuseum, Stockholm’s National Museum of Fine Arts, finally re-opened on October 13, 2018, offering visitors an enhanced experience underpinned by its mission to make art and design as accessible as possible.The same vision has been the driving force behind the museum’s new 300 seat restaurant and café which has taken over three impressive ground floor galleries previously closed to the public.

Conceived as an artistic project, the project gave a collective of designers the opportunity to work together to explore materials and methods, and discover old and new producers, in order to provide visitors with insights into the design process. The result of this collaborative process, which was helmed by Swedish designersMatti Klenell,TAF Studio,Carina Seth AnderssonandStina Löfgren, isNM& - En Ny Samling, a contemporary collection of furniture, light fittings, tableware and other decorative objects that celebrate the unfinished and uncertain in a Housealready filled with artistic masterpieces.

nm&-en ny samling，意为“新的收藏品”，简洁地概括了这个项目的雄心，同时也提到了国家博物馆收藏的大量绘画、雕塑，从文艺复兴到20世纪初的绘画和版画，以及它令人印象深刻的应用艺术和设计的收藏，其时间跨度甚至更长。在瑞典，“取样”还意味着采集，不仅暗示餐厅的社会方面，而且还恰当地描述了创造纳米技术和收藏品的过程，涉及来自北欧各国的32名设计师和21名制造商。

这不是Matti Klenell、TAF工作室、Carina Seth Andersson和Stina Löfgren第一次合作。在2012-2014年期间，瑞典设计师与台湾工匠合作，在台湾国家工艺与研究所的赞助下，用古漆技术制作了一系列当代物品。这个名为“新层”的项目继续促进更多的国际合作，最近的一个项目是去年的A New Layer II：台湾的身份/设计故事。

The collection’s name,NM& - En Ny Samling, which means “a new collection”, succinctly sums up the project’s ambitious nature but also references the Nationalmuseum’s enormous collection of paintings, sculptures, drawings and prints ranging from the Renaissance to the beginning of the 20th century and its impressive collection of applied arts and design that spans an even longer long period. In Swedish, ‘sampling’ also means gathering which not only alludes to the restaurant’s social aspect but also aptly describes the process of creating the NM& collection which involved 32 designers and 21 manufacturers from all over the Nordic countries.

This is not the first time thatMatti Klenell,TAF Studio,Carina Seth AnderssonandStina Löfgrenhave collaborated. During 2012–2014, the Swedish designers worked together with Taiwanese artisans to create a series of contemporary objects made with ancient lacquer techniques under the auspices of theNational Taiwan Craft and Research Institute. Titled “A New Layer”, the project went on to foster more international collaborations, the latest of which were unveiled last year under the name \"A New Layer II: Crafting Identities / Design Stories from Taiwa

与他们以前的合作相似，地点和起源的概念是团队设计国家博物馆餐厅和咖啡馆任务的中心，在这个案例中，这是对博物馆“民族”特征的肯定，也是对瑞典和北欧地区的设计和应用艺术进行监测和收集的任务。但更广泛地说，对于设计师，地方的重要性通常表现为需求，灵感，起点或目标。 在统一性是规则的全球化设计场景中，本地可以意味着独特，制造地点可以赋予独特的特征。 世界各地使用木材，金属，陶瓷和玻璃等材料制作类似的文物，但是它们的地方和传统使它们分开并赋予它们独特的灵魂。

同时，正如设计团队在台湾的集体旅行所展示的，跨文化交流可以成为创新和更新的力量。考虑到这个框架，设计团队一起走遍了北欧国家，探索当地的制造业，寻求研究和灵感。从斯德哥尔摩老城的小型工作坊，到瑞典中部的威姆兰森林中的织布厂以及芬兰的惠美玻璃厂，他们参观过的地方的熟悉程度既是福祉，也是挑战。正如团队所承认的，“用自己的遗产工作肯定比解释别人的遗产要困难得多”。

他们的探索之旅产生了80多个全新设计的物品，每个物品都有一个档案代码，从NM&001开始，类似于博物馆的库存编号，这些物品都放在一个共同的调色板上，调色板由无声的颜色、精益求精的材料和朴素的工艺组成。它们完全是当代的，大胆地具有独特性，但它们却令人印象深刻地体现了该地区的北欧传统。

Similarly to their previous collaboration, the concept of place and origin was at the center of the team’s assignment to design the Nationalmuseum’s restaurant and café, in this case as an assertion of the museum’s “national” character and its mission to monitor and collect design and applied arts from Sweden and the Nordic region.But more broadly, for a designer, the importance of place is manifested oftentimes as a requirement, inspiration, starting point or goal. In a globalized design scene where uniformity is the rule, local can mean unique and the manufacturing location can give distinctive character.Materials such as wood, metal, ceramics and glass are used around the world to make similar artifacts but it is place and tradition that set them apart and give them a distinctive soul.

At the same time, as the design team\'s collective journeys in Taiwandemonstrated, cross-cultural exchanges can be a force for innovation and renewal.With this framework in mind, the design team travelled together across the Nordic countries, exploring local manufacturing both for research and inspiration.From small scale workshops in Stockholm’s Old Town, to a weaving mill in the Värmland woods in central Sweden, all the way to a glass factory in Häme, Finland, the familiarity of the places they visited was both a blessing and a challenge. As the team confesses, “it is for sure much more difficult to work with your own legacy than to interpret someone else’s”.

What came out of their exploratory travels was a collection of more than 80 entirely new designed objects - each one given an archive code starting with NM& 001 similar to a museum inventory number - grounded in a shared palette of muted colors, eclectic materials and unpretentious craftsmanship.Utterly contemporary and boldly idiosyncratic, they nevertheless evocatively embody the region’s Nordic heritage.As the team explains, ”each product in the NM& collection has a sometimes messy but always well documented pedigree around its origins, and just as we hoped somewhere at the beginning of our journey, the overall final picture of a place, our place right here, right now, is just as motley and unpredictable as we hoped it would be”.