专访爱彼博物馆馆长Sébastian Vivas先生

1.Now AP museum only opens for those who have been invited,and what are the original intentions of this practice?
 

1、博物馆仅向受邀者开放，采用受邀制的初衷是什么?
 

All the visits are customized,all are guided,all must be a fantastic immersive experience.This exclusive access is linked with the fact that we want offer to each visitor a personal welcome by a skilled guide who adapts the journey in the exhibition rooms and workshops to the interests and to the level of technical knowledge of each visitor,or group of visitors.To keep the highest level of quality,we have to keep the number of groups limited,to maximum 3 per day and the number of people to maximum 10 per group.
 

Finally,the visit of the Museum is usually only one step in a large journey of discovery,during which the visitors meet the craftsmen in the Manufacture workshops,and ends the days with the current collections in a special loundge.For those who cannot come to see us,they can visit the Espace Horloger de la Vallée de Joux,the public museum of watchmaking in the region,that we are actively supporting.
 

所有的受邀者都是我们定向选择出来的，我们引导他们，并确保他们能有身临其境的独特的体验。这种独特的受邀制其实是将个人体验和制表知识衔接起来，事实上我们希望通过技术引导给每个受邀者提供一种私人的参观享受，受邀者参观博物馆的展馆或者制表室，在这个旅程中，对于技术知识感兴趣的个人或者团体一样能得到满足。
 

为了保证参观行程的高品质性，我们对每天的受邀团队以及人数做了限制。每天最多邀请三个团队，每个团队人数不超过10人。最终，你会发现整个发现之旅似乎只用一大步就能完成，受邀者参观到我们的“制造厅”，然后在众多的特殊藏品中结束行程。对于那些不能来参观博物馆的人，他们可以去汝拉山谷的钟表博物馆(Espace Horloger，又名钟表大师空间)，那个博物馆面向公众开放，我们非常欢迎大家去参观。

2.What is the importance of brand culture to build brand image?Could you please share with us the DNA of AP’s brand culture?
 

2、品牌文化对品牌塑造有什么帮助?可以谈谈爱彼品牌文化的精髓吗?
 

The brand image must absolutely respect the brand culture and history.There is no way to cheat with the brand messages because they must be understood,accepted internally as well as externally to make sense on a long term basis.The Audemars Piguet personality is extremely strong.During 140 years,it has been forged by the local environment,a beautiful but harsh nature with endless winter,in which time was the only easily available raw material.
 

品牌形象必须绝对尊重品牌文化和历史，由于品牌形象是在长期的内部和外部发展中形成的一种精髓，它深入人心地被理解，所以是绝对没有办法去欺骗消费者的。爱彼在140年的发展历程中，形成了自己的特色，它被当地环境塑造，被美丽而严酷的自然环境塑造，在漫长的冬季，唯一可得的就是精益求精的制作。
 

Owned by the same two families since 1875,the company was able to dig its own way,creating numerous world firsts,and above all to stand independent.This liberty makes it possible to simultaneously protect the great watchmaking tradition and to break the rules by creating revolutionary collections such as the Royal Oak in 1972.
 

1875年，爱彼被两个相似的家族共同拥有，公司由此展开自己的发展之计，创造了无数个世界第一，并且在所有的品牌中保持着独立地位。这样的自由给了爱彼在遵循制表传统的同时打破规则的可能，表厂革新制表，1972年爱彼推出皇家橡树系列腕表就是一个很好的例子。
 

3.For the la Maison des Fondateurs,is there any special meaning of the spiral form?
 

3、爱彼博物馆采用螺旋式亭楼结构，有什么特别的意义吗?
 

One of the major challenges of the architecture competition was to keep an absolute coherence from the smallest scale–the watches displayed in the showcases–to the largest one–the building–.Bjarke Ingels,winner of the competition conceived the new building as a watch.His understanding of the project is simply impressive.He says:“Watchmaking,like architecture,is the art and science of invigorating inanimate matter with intelligence and performance.It is the art of imbuing metals and minerals with energy,movement,intelligence and measure --to bring it to life in the form of telling time.Unlike most machines and most buildings today that have a disconnect between the body and the mind,the hardware and the software,in watchmaking the form is the content --the geometric design is what makes the clock tick!”
 

螺旋式亭楼结构建筑的最大挑战是如何让小规模展示的展厅保持连贯性，在最大建筑空间里呈现出手表展品。Bjarke Ingel，他是爱彼博物馆展厅设计的胜出者，他对这个建筑项目的理解出于单纯的印象，把建筑看作一枚手表。他说：“制表和建筑设计是相通的，都是用带有生机的艺术形式和科学去弥补没有生命迹象的单调，而这样的弥补关乎智力以及它的表现形式。将各种材质糅合，赋予能量是一种艺术，它以时间的形式带入生活。这种形式不同于今天的大多数建筑，将人的思想和生命载体分开，也不同于硬件和软件，制表却能将它们连接到一起——几何设计中也能融入时钟的滴答!”

4.What are your ideas to make the culture of AP widely recognized by the consumers so as to stimulate consumption?What are the difficulties you’ve been come across in the process of culture communication?
 

4、产品最重要的是对接市场，您觉得怎样做才能让爱彼的历史文化获得消费者认可，从而刺激消费?在执行文化传播过程中，您遇到过什么困难吗?
 

An Audemars Piguet watch is a very special object.It concentrates a great number of values:technical values,esthetical values,historical values,cultural values,financial values,and of course personal value for the owner.An Audemars Piguet watch is one of the rare objects still produced today that is not doomed to destruction.No one can trough away an AP watch,even after a hundred years.Thus,the word“consumption”is slightly problematic:an AP watch is never“consumed”but transmitted through generations,given or sold.
 

The mission of our Heritage department is to preserve,study and communicate the history of our company,the product and the context to a very large and diverse audience.When you are passionate,it is as rewarding to explain the magic of watchmaking to the newcomers as to endless talk about incredibly small details with the most knowledgeable collectors.
 

爱彼手表是一个非常特别的物件，它融合了很多不同的价值：技术价值、审美价值、历史价值、文化价值、经济价值，当然还有手表主人的自我价值。仍在继续生产的爱彼腕表在今天依然是少有的具有独特价值的腕表，它完全不属于注定要毁灭之列。没有人能抛弃爱彼手表，即使在几百年以后。因此，“消费”这个词是稍有问题的：爱彼手表从来没有被“消费”过，它可以传给好几代人，甚至能够赠予或者出售。
 

作为一个传承部门，我们的使命是学习并宣扬公司的历史文化，将产品以一个公正的方式呈现到大众面前。当你满怀激情地去做这件事情，奇迹般的奖励就会出现，新的消费者和最有见识的收藏家开始津津乐道关于腕表难以置信的小细节。
 

5.This year is the 140 anniversary of AP,in terms of the culture communication of brands,what is your plan towards the future of AP?
 

5、今年是爱彼140周年，就品牌文化传播方向您对爱彼的未来有什么期望?
 

We are working on a great number of projects around the heritage,structuring the archives,preparing books,studying unknown subjects(with great discoveries),preparing new itinerary exhibitions.But the most exciting project we have is clearly the Maison des Fondateurs,amazingly elegant and ambitious,clever and emotional.Personally speaking,it is a dream project!
 

围绕传承，我们正在做大量的准备工作，包括构建档案，准备书籍，接触未知事物并加以学习(有重大发现)，准备新的巡回展览。但最激动人心的项目显然是创始人之家(Maison des Fondateurs)，我们带着雄心壮志、聪慧和激情去做这个项目，就我个人而言，它是一个充满梦想的项目!