北欧家具设计.docx

北欧家具设计.docx

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北欧家具设计

【篇名】北欧家具设计

【作者】迈克•罗莫

【关键词】；家具；理念；设计

【摘要】SCANDINAVIANFURNITURE DESIGN

Scandinaviandesignis30yearsinthe20thcenturyHavingachievedgreatsuccess,andacquiredaninternationalreputationfordesign.Thestyleisconcerned,theScandinaviandesignisthefunctionofdoctrine,butnotasstringentasthe20thcentury,30yearsanddoctrines.

asstringentasthe20thcentury,30yearsanddoctrines.Geometricformofsoften,andedgesarefairingintoS-shapedcurveorwavylines,oftendescribedas"organicform",sothattheformofmorehumaneandangry.BeforethewarwithBauhausfunctionalismasthecenter40yearsinthe20thcentury,underthedifficultconditionsofmaterialdeprivationiswidelyaccepted,butbythemid-20thcentury,40,functionalismhasbeengraduallyincludesanumberofpracticalandstylechanges.ThesechangeslefttheBauhauspuregeometricformsand"works"thelanguageofaesthetics,mostnotablytheScandinaviandesign.Asearlyas1930,theStockholmFair,Germany,Scandinaviandesignwillbeastrictfunctionalismandlocalartsandcraftsinthehumanisttraditionofintegratingtheirtogether.Inthe1939NewYorkInternationalExposition,butalsoestablishedthe"SwedishModernstyle,"astheconceptofaninternationalstatus.Afterthe20thcentury,40yearsafteradifficultperiod,Scandinaviandesigninthe20thcentury,50yearsproducedanewleapforward.Itssimpleandorganicshapeandnaturalcolorandtextureverypopularintheinternationalarena.MilanTriennialin1954,theinternationaldesignexhibition,Scandinaviandesignshowanewlook,theparticipationofSweden,Denmark,FinlandandNorwayhaveachievedgreatsuccess.Thedesignofthesecountriesafterthewar,theorganizationimplementedapolicyofcooperation,theirfirstmajorachievementwascalled"ScandinavianDesign"exhibition.ArtsFoundationintheUnitedStatesunderthesponsorshipofthisexhibitionfrom1954-1957inNorthAmericain22years,thecity'smainmuseumsaroundtheworld,thusmaking"Scandinaviandesign"theimageofthewidelypopularintheinternationalcommunity.FunctionoftheScandinavianmoderndesignmovement,thecountriesinthedesignorganizationatthenationalorlocallevel,heldalargenumberofexhibitions,the20thcentury,theseactivitieshavebecomeakeyfeatureofthe50's.ScandinaviandesignoftheYear,heldalternatelyinvariouscountries,affectingawiderange,which,togetherwiththepublicationsandperiodicalsforthedesignoftheexchangesmadeasignificantcontribution.Designorganizationsnotonlyexhibitions,theyarealsoanimportantadvocateinthisareadesignedtoencouragemanufacturerstoinvestinacreativeproductdevelopment,topersuadetheauthoritiestodesignpoliciestosupportitsexcellentdesign.Theyalsoinspirepublicawarenessofgooddesignandeverydayusemorebeautifulthing,andthis50to60forthe20thcentury,theearlydesigndevelopmentplayedanimportantrole.Inadditiontodesigningtheorganizationefforts,dominatedthe20thcentury,50yearsofsocialandeconomiclifeofthedevelopmentofthepowerofdesignhasamoreprofoundimpact,withtheprocessofindustrializationandurbanization,thewholepopulationstructurehaschanged.Continuouslyimprovethestandardoflivingaffectedthemajorityofthepeopleandtheirwayoflife,resultinginwidespreadoptimismandconfidenceforthedevelopmentandprogress.Newideasbegintogaintraction,suchasthattheordinarypeoplehavetherighttoenjoythecomfortofhome,thefamilyisnotonlyhealthy,butalsomeetsthefunctionalandaestheticrequirements.Inthe20thcentury,50's,theultimatewelfarestatebuiltupinScandinavia.The20thcentury,40yearsinordertoreflecttheethniccharacteristicsarisingfromasenseofnostalgia,oftenshowingthepristinecountryside,contributedtothissofteningtrend.Earlyfunctionalismadvocatedbytheprimarycolorforthe20thcentury,40yearstoreconcilethecolorgraduallyreplacedbyamorecoarsetextureandnaturalmaterialsbytheirfavoritedesigners.After1945,anotherretrotrend-theDanishtraditionofexcellentcraftsmanshipinSwedenandNorwayhavealsobeenstrengthened.The20thcentury,50years,agroupofpre-wardesigners,suchastheprestigiousHenningsen,Klandt,mamMarsden,Aalto,etc.arestillwalkingintheforefrontofthedesign.Forexample,Henningsen,designedafterthewar,anumberofnewPHlamps,inparticular,hedesignedaPH-5,andPHArtichokependantlamphasachievedgreatsuccessandhassoldbriskly.Theotherhand,youngdesignershavealsocometothefore,thuspromotedtheScandinaviandesignoffurtherdevelopment.Scandinaviandesignofthehumantouchisalsoreflectedinthedesignofindustrialequipment,inthisrespectSwedishindustrialdesignermadealotofwork.From1965onwards,fromSweden,consistingofsixdesigners"designteam"involvedinSolna,thecompany'soffsetprintingproductionlinedevelopmentanddesignwork,theyoperateontheproductionlineprocesscarriedoutadetailedergonomicanalysisandredesignthesigns,symbols,instructionsandmanipulatingthehandle,sothatworkingconditionshavebeengreatlyimproved.

Danish furniture design has a tradition dating back almost 450 years.In 1554, a number of cabinetmakers founded Koebenhavns Snedkerlaug （The Copenhagen Guild of Cabinetmakers） with the dual purpose of creating high-quality furniture and of protecting the trade from poor craftsmen by establishing formal training for cabin-makers.Two hundred years later,in 1777,Det Kongelige Meoble Magazine （The Royal Furniture Magazine） was established with the aim of manufacturing uniform,high-quality furniture in terms of production and design for the Danish Royal Household and its various departments and ministries ,etc.The furniture was designed almost along the lines of catalogue goods by the most renowned designers of the period,and their drawings were forwarded to master cabinetmakers all over the country,who then manufactured them.

After a brief period of only 40 years,the practice came to an end in 1815.The important thing is that the above-mentioned events were extremely visionary as regards quality and design,and that they went on to form a solid foundation for later development.Furthermore,Det Kongelige Danske Kunstakademi （The Royal Danish Academy of Art） in Copenhagen, established a school of furniture design in 1770,whose purpose was the education of furniture apprentices to draw and inspect masterpieces what amounted to the world’s first systematic education of furniture designer.Throughout the 19th century,indeed until the beginning of the 1920’s, there is an absence of an independent Danish style.The architects of the time are inspired by French, and particularly,English furniture and only design furniture for the wealthy upper classes and civil authorities. Peasants,farmers and the fledgling working class still do not represent an interesting commercial body,but this picture changes with the country’s move from an agricultural society to an industrialized one towards the end of the last century.The cities almost exploded in size and social awareness flew with the emergence of the new social classes-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of modern consumer societycame into being.Oncecurrentoverheadshadbeenmetsuchasfood,clothing,rentandheating,etc.Peoplestillhadthemeanstobuyfurniture,whichinitsownsmallway,createdthebasisforaformalizedfurnitureindustry.Thefurnitureindustrydidnotreallytakeoffuntilpeoplebeganmovingawayfromthecrampedapartmentsinthecitycenterstolargerapartmentsanddetachedhousesontheoutskirtsoftown.Thishappenedintwostages,thefirstofwhichwasinthe1920’s,whenthesocialhousingprojectsbegananddetachedhousesstartedtoappear.Thesecondstagewasinthe1950’s,whenbothtypesofhousingbefantoshootupeverywhere.Thisdevelopment,combinedwithahighlevelofknowledgeandawareness,creatdanewandmorerationalhousingculturewherepeoplebegantodemandhigh-qualityfunctionalfurniture.Asitturnedout,peopleoutsideDenmarksoonbegantomakethesamekindsofdemands.

The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lectureship in furniture design was established at Kunstakademiets Arkitektskole （The Royal Danish Academy of Fine Arts School of Architecture） in Copenhagen.The lectureship went to the Danish architect,Kaare Klint（1888-1954）, who influenced the development of Danish furniture design to a great degree.Kaare Klint was a systematist and a modernist who used his students to pioneer a series of surveys and analyses of furniture and spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated from the rest of Europe,where functionalism often took the form of formalistic exercises,directing its focus towards a well-to-do elite rather than the ordinary man in the street.

The result was that a strong,independent,humanistic functionalism evolved in Denmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or Cabinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young furniture designers could find collaborative partners among the established cabinetmaker workshops with an eye to developing new types of furniture.It was at these exhibitions that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogensen,Arne Jacobsen and many others made their breakthrough,a