家具设计参考文献

家俱设计外文翻译参考文件Scandinavian FurnitureDesignScandinavian designis30years in the20th centuryHaving achieved great success,andacquired an international reputationfor design.The styleis concerned,the Scandinaviandesignis thefunction ofdoctrine,but not as stringentas the20th century,30years anddoctrines.as stringentas the20th century,30years anddoctrines.Geometric form of softenandedges arefairing intoS-shaped curveor wavylines,often described as organicf thattheform ofmore humaneand angry.Before the war withBauhaus functionalismthe center40years in the20th century,under the difficult conditionsof materialdeprivation iswidelyaccepted,but by the mid-20th century,40,functionalism hasbeen developedKlints ideasre gardingquality functional furniture for the ordinaryconsumer.FDB sfurniturewas manufacturedin wood,especially in the domesticwood sortsof oakand beech.These chairsedesigned forindustrial manufactureand despitethe factthis—furniture for the commwasonman IIit wasstill of a very high calibre,both interms of functionality anddes9on,Boerge Mogensencreated aname forhimself bydesigning exclusivefurniture inogetherdifferent pricebracket for affluent clientele.Despite this,he neverdiveis principlesoffunctionalityand user-friendliness.The two designers whoreally putDenmark on the worldmap wereHans J.Wegnerb orn1914and Finn Juhl1912-

1989.These twomen camefrom radicallydifferentba ounds.Hans J.Wegner was the countrycraftsman who had receivedhis trainingasfur designerat KunsthaandvaerkerskolenThe DanishSchool of Arts Crafts.Jinn Juhlthecosmopolitan academicfrom Copenhagen,whohadbeen educatedas anarchitect atKunstakademietThe Royal Danish Academyof JineArts.Both menhad anamazing fefordesign anda deep-seated desireto createbeautiful,functionalfurniture.As ycreateda long series of furniture classicsovera periodlasting40years；class entoday standout asexceptional.Their productionofquality furnitureis soexte sJ.Wegner aloneis responsiblefor morethan500models-that itis impossibleto hthework ofone orthe other.Particular examples of HansJ.Wegner sunique design worka reKinastolen—The ChineseChair IIfrom1945,The Chairfrom1949and Cirkelstolen—The CircleChair IIfrom

1986.Among FinnJuhl sfurniture aresuch highlights ashis armchair madefor theGuild of Cabinetmakers^autumn exhibitionin1944andHoevdingstolen TheChieftain Chairfrom

1949.It waschairs likethese thatwon Denmarkitsrepu sthe world s leadingdesign nation.Around1970,Denmark beganto experiencestiff competitionfrom Italyat then ousfurniture fairs aroundthe world,and in particular,at the furniture fairsar d,and inparticular,at the furniturefairsin Cologne and Chicago.The Italiande furnituremanufacturers moved innew directions and experimentedwith allkinds ofials andexpression,which causedDanish furnitureto appearbehind thetimes.It wonly the Danish designer,Verner Panton,who livedin Switzerland,who understoodo usethe newman-made materialsandcreate newdesigns.This was a criticalperiod nishfurniture design and for the Danishfurnitureindustry whichfound itdifficul ainits positionas markerleader.This situationwas not onlycaused by the challebythe Italiandesigners.It was also theresult oftoo muchsuccess.The goodinternational reputationof Danish furniture designhad builtby ahanfurniture manufacturerswho wereinterested ingood designand theuse oftalented rs.In thewake of their successhowever,were alarge numberof lessserious furniufacturers.Who swampedthe marketwith unoriginalfurniture,usually ofpoor qualich washastilymarketed underthe labelof DanishDesign.Fortunately,there werenew,talented designerson the way uppeople likethedesigners,Bernt,Rud ThygesenJohnny Soerensen,Johannes FoersomPeterHiort-Lore nzen,GunverNiels JoergenHaugesen,Joergen Gammelgaard,as wellas NannaDitzel a d PoulKjaerholm.These designershelped tolift theheavy legacyleft to them byt-Gold enAgeII of Danish design in the1950s and60s,and fortunately,there werestill furnituremanufacturerswilling tobank onquality design.The greatestproblem forDanish furniture design of the periodwas that the manreof furniture was becomingmore andmore industrialised.The meantthat designerso comeupwith farmore rationaldesigns thanbefore.The fact that training at theand designcollegeswas toa highdegree based on artistryand craftsmanshipcaused ddeal offrictionbetween designers and manufacturers.Manydesigners felt that thacturers onlyhad aneye forprofit margins and mass production.For theirpart,th cturersfeltthat the designersonly thoughtabout designingexpensivefurniture annganame for themselves.This wasnotagood foundationfor developingDanishfur designand bothparties werelacking aviable modelwith which to moveon.It waselegantchair andaccompanying tableseries inlaminated beechwoodwhich markedt artof thesecond-Golden Age II of Danish furniture design.The newfurniturewaspresent dattheannualScandinavian FurnitureFair atThe BellaCentre in1974and wasdesi bythe youngarchitectsRud ThygesenJohnny soerensenfor thefurniture manufacturMagnus OlesenA/S.The chairand the tableseries werespecifically designed as indproducts in a functionaldesignand wereofaveryhighquality.To topit all,the ivelycheap as well.The fact thatthis couldbe donewas partlybecause the design ediscoveredthe industrialand designqualities of thelaminating technique,and pause theyhad gambledon thecontract marketratheron themarket forhousehold furnThe laminatingtechnique waswell knownthe Finnishdesigner,Alvar Altoand theS hdesigner,Bruno Mathssonhad alreadycreated along lineofbeautiful laminatedf in the1930sand40s-and in Denmark,people likeArne Jacobsenhaddeveloped serieso flaminated furniture.What madeRud ThygesenJohnnySoerensen,s approachso uniquewas thefact that they regardedtheir furnitureas industrialproductsinstead ofod,craftsman-made goods.Their furniturewashighly adaptedto rationalmassproductImost kikeindustrial design.More inportantstillwas thefactthatan extremelyvi elfor collaborationbetween designersand manufacturershadbeen found.This modeledaschool of thought andconvinced thefurniture industrythatgood designcould apay!As weapproach anew century,there isevery reason to havehigh expectationsicontinueddevelopment of Danish furniture design.Never beforehas somuch qualityure beenmanufactured,and young,new designersare makingtheir mark.People likeesigner TroelsGrum-Schwensen,Kasper Salto,Henrik Tengler,Hans SandgrenJacobse TomSrepp,PelikanDesign,Komplot Designand variousother groupsof designers.The mostinteresting featureof the developmentof furniture design from1980to thepr yis thatit essentiallyfollowedits ownpath,more orless uninfluencedby changithe postmodernism,high-tech,neoclassicof the1980s,the rediscoveryof artdeco atthe beginning of the1990s together withneo-functionalism andthe renewedinterest forthedign of the I960s-all of these arestyleswhich have been ostentatiouslyintroduced andtroduced atthe greatfurniturefairs inCologneandMilan since1980,and nearlyal disappearedagain.Danish furnituredesignersand furnituremanufacturers however,ha otfelt temptedto followthese trends.This is not out of fearbut ratheroutofadunwillingness tobe dictatedto bywhimsicaltrends whichdo notadd anythingnew toturedesign.Instead,they havecontinued todevelopand refineScandinavian modernishich ischaracterised byits greatcare fordetail andthemanufacturing process,res hehuman anatomy,thorough analyses of requirementsanduse,aesthetics andconside nsabout form anc functionand rationalproduction.This isawork approachwhich hacted wideinternational attentionin thecourse of the lastfiveto sixyears,and manyinternational designershave triedto copy,as was the casewiththe Danishfu esignsof-the GoldenAgeII30-40years ago.It isthis samework approachwhichwill proably guaranteethe leadingposition ofDanish furnituredesign formanyyears toco ovationvia tradition.Given thefactthat the westernconcept of art from the endof the18th centurytowardsthe ever-increasing independenceof artisticexpression,part of the taskc artbecameto reassemblewhat hadbeen dismantled.The boundarybetween fineand mgculture narrowed.Visual art,architecture andapplied artwere tobe seenas aspectmmon dream；the idealofpowerful,modern expression.The beginningof the20th cersaw theintroduction of theterm—Gesamtkunstwerk II.A housewasnolonger aframe around randomcontent.Buildings,furnituredesign,decorative artand interiordesign gwere to support theintegral whole,which becamegreater than the sumof itsindivi rts.From the1920sand30s,the dominantGerman BauhausSchool greatlyinfluen designinEurope andAmerica.Architect andSchool Director,Walter Gropius,expre hisintentionsin thefollowing wayII Ourultimate goalwas thecompound yetindi work ofart,theunique buildingwhere theold boundarybetween themonumental anddecorative elementsvanishedforever II.In Denmark,architects ledby Arne Jacobsen,among others,were extremelystimu dbythis wayof thinking.Here laythe keystoneto thetradition ofinterrelations narchitectureand interiordesign,whichtothis dayremains an important hallmarksharchitects and designers.Since1971,the architecturalfirm ofDissing+Weitling continuedtorun anddevelop Arne Jacobsen sarchitect business,with employeesinDenmark andaroundthe world.The depthin Dissing+Weitling,s workis exceptionalbut this als osayssomething characteristicabout theDanish approach.Here wefind botha senseholenessas wellas anattention todetail,and especially,the challengeof gettinents to forma synthesis.Nothing istoo small,let aloneirrelevant towarrant carion.In additionto architecturalbuildings,Dissing+Weitling alsocarry outwork indsof furniture,lighting design,and medico-technical equipment.In allevents itmpt tomergethe variousparameters such as form,function,construction,materials ortoformabalanced expressionwhose hallmarkisa strong visualidentity,which tmotifof the designprocessA clarityand puritywhich hastimeless anduniversal.In thisregard,Dissing+Weitling havedone asupreme jobof carryingon thelegac neJacobsen.Whereasat theclose of this century,we havewitnessed thenoisier,mi ofdiversity ofinternationaldesign reflectingthe spiritof thetimes,here inDe heNordic countries-the modernisticmethodand approachhas prevailed.Design hasb arriedforward withmoderation andvariationsbasedona tighterminimalism,focusi heelements anddynamics of the individualform,aswellas apronounced sensitivitaterials.There aremany examplesof howthissubtle dialoguebetween space,furnit interiordesign havefound powerfulexpression；designs whichbreak upand imprinterent rhythmon thespace andthe wayin whichfinecontrasts such asthelineatity omare juxtaposedbythecurvature ofthe receptionarea-acommon,repeated themei nyinteriors.It isimportant toremember thatinterior designersare nothousebuilders likear.Interior designersare givenfinished roomswhose interiorsthey have to design.Foreason,all interiordesign dealswith-treatment ofthe roomII andthe Scandinaviantraditionforthis isstrongly linkedto Scandinavianmodernism,i.e.humanism anddemocracyd withfunctionalism,which againis linkedto thearchitecturaltradition.The restold buildingsalso exertsan influenceon theworkofDanisharchitects andinterio rs.An extensiveseries ofbuildings hasbeen restoredwithrespect forexisting arandthequalitiesofpast design.Many buildingshave beenthoroughlyrenovated witye tomeeting newfunctions andmodern requirements.Thebalance betweenmaintaining eoriginal distinctivearchitectural featuresandensuring amodern designposes ag challenge.This isexactly whereacomprehensive stagingwith thedesigning of sp rnitureand fixturescan becomeameans ofensuring auniformity ofstyle andexpre汉字翻译:北欧家俱设计斯堪纳维亚设计是在20世纪30年代即已取得较大成就，并取得了国际声誉设计格调就格调而言，斯堪纳维亚设计是功效主义，但又不像20世纪30年代那样严格和教条几何形式被柔化了，边角被光顺成S形曲线或波浪线，经常被描述为一有机形II,使形式更富人性和生气战前以包豪斯为中心功效主义在20世纪40年代物质匮乏困难条件下被广泛接收了，但到了20世纪40年代中期，功效主义已逐步包含了许多实际上和格调上改变这些改变离开了包豪斯纯几何形式和一工程II语言美学，其中最引人注目标是斯堪纳维亚设计早在1930年斯德哥尔摩博览会上，斯堪纳维亚设计就将德国严谨功效主义与本土手工艺传统中人文主义融会在一起在1939年纽约国际博览会上，又确立了一瑞典当代格调II作为一个国际性概念地位经过20世纪40年代一段艰辛时期之后，斯堪纳维亚设计在20世纪50年代产生了一次新飞跃其朴素而有机形态及自然色彩和质感在国际上大受欢迎在1954年米兰三年一度国际设计展览中，斯堪纳维亚设计展示出了全新面貌，参展瑞典、丹麦、芬兰和挪威都取得了很大成功这些国家设计组织在战后实施了一个合作政策，它们第一项主要成就是名为一斯堪纳维亚设计II展览在美国艺术基金会赞助下，这个展览从1954-1957年在北美22个城市主要博物馆巡回展出，所以使一斯堪纳维亚设计II形象在国际间广为流行在斯堪纳维亚当代功效设计运动中，各国设计组织在全国或地方层次上举行了大量展览，这些活动成了20世纪50年代一个主要特点斯堪纳维亚设计年展轮番在各国举行，影响十分广泛，它们与出版物和期刊一道，为设计界交流做出了重大贡献设计组织不但举行展览，它们也是设计这一领域主要提倡者，激励厂家投资于有创见产品开发，说服当局在其设计政策中支持优异设计它们还启发公众意识到好设计和日常使用中更美东西，这对于20世纪5060年代早期设计发展起了主要作用除〜了设计组织努力之外，支配20世纪50年代社会和经济生活力量对设计发展有着更为深刻影响，伴随工业化和城市化进程，整个人口结构发生了改变不停提升生活水准影响了大多数人民以及他们生活方式，产生了普遍乐观情绪和对于发展与进步信心新观念gradually includesa numberof practicaland stylechanges.These changesleft theB puregeometricforms andworks thelanguage ofaesthetics,most notablythe Scandinaviandesign.As earlyas1930,the StockholmFair,Germany,Scandinavian dewill bea strictfunctionalismand localarts andcrafts in the humanisttraditior ofintegrating theirtogether.In the1939New YorkInternational Exposition,bui alsoestablished the,SwedishModern style,f,astheconcept of an internationalstatus.20th century,40years afteradifficult period,Scandinavian designin the20th cyearsproduced anew leapforward.Its simpleand organicshape andnatural colorandtexture verypopular in the internationalarena.Milan Triennialin1954,the intdesignexhibition,Scandinavian designshow anew look,the participatiofnSweden,Denmark,Finland and Norway haveachieved greatsuccess.The designofthesecount afterthe war,the organizationimplemented apolicy ofcooperation,their firstmajorachievement wascalled ScandinavianDesign exhibition.Arts FoundationintheUn Statesunderthe sponsorshipof thisexhibition from1954-1957in NorthAmerica in22开始深入人心，如认为普通百姓有权享受舒适家，这个家不不过有益于健康，而且还应满足功效和美学上要求在20世纪50年代，福利国家最终在斯堪纳维亚建立起来20世纪40年代为了表现民族特色而产生怀旧感，经常表现出乡野质朴，推进了这种柔化趋势早期功效主义所推崇原色也为20世纪40年代渐次调和色彩所取代，更为粗糙质感和天然材料受到设计师们喜爱1945年后，另一个怀旧趋势一丹麦精良手工艺传统在瑞典和挪威也得到了加强20世纪50年代，一批战前就素负盛名设计师如汉宁森、克兰特、马姆斯登、阿尔托等仍走在设计前列比如汉宁森在战后又设计了许多新型PH灯具,尤其是他设计PH-5吊灯和PH洋蓟吊灯取得了很大成功，至今畅销不衰另首先年轻设计师也脱颖而出，由此推进了斯堪纳维亚设计深入发展斯堪纳维亚设计人情味也表现于工业装备设计上，在这方面瑞典工业设计师作了大量工作从1965年开始，由6名设计师组成瑞典一设计小组II参加了索尔纳企业胶版印刷生产线开发设计工作，他们对生产线操作过程进行了详尽人机工程分析，并重新设计了标志、符号、指令和操纵手柄，使工作条件得到了很大改进丹麦家俱设计传统可追溯到450年前1554年，一些家俱师创建了哥本哈根家具行会协会，其目标是开发制造高质量家俱和培养高水平家俱师以维护本行业市场2后，1777年皇家家俱杂志创刊，其目标是为皇室及其个部门设计生产统

一、高质量家俱皇室家俱由当初最有名设计师按照样原来设计制作，家俱图纸要交给全国家俱大师，然后由他们来按图制作经过短短40年，于18这种做法就停顿了这主要是因为上述做法对于质量和设计来将是极为不现实，但却为今后发展打下了坚实基础丹麦皇家艺术学院还于1770年在哥本哈根创建了家俱设计学校，学校目标是培养徒工，让他们描画和学习大师作品一一这能够说是世界第一所系统地培养家俱设计者学校19世纪至20世纪代，丹麦没有出现独特设计格调那时设计师追求是法式，尤其是英国式格调，仅仅为贵族和政府官员设计家俱工人、农民依然不能代表令人感兴趣消费阶层不过伴随上个世纪末丹麦从农业型社会转向工业型社会，这一情况发生了转变城市规模急剧膨胀，另外因为体力劳动者和办公室职员两个新阶层出现，人们社会意识增强，两个阶层人都要求为他们提供服务支付工资简单说来，可能这就是当代消费社会产生原因当满足了吃饭、穿衣、住房和取暖等生活必需品开支后，人们还要购置家俱，这个需求尽管起初很小，但却为家俱行业形成奠定了基础当人们从狭小单元房搬进较大公寓和郊区独立式住宅后，家俱行业才真正起飞家俱行业发展经历了两个阶段第一个阶段在代，这时公共房屋工程上马，独立式住宅开始出现，第二阶段是在50年代，公共房屋和独立式住宅遍布城镇这一发展伴随人们知识水平提升，出现了一个崭新住房文化，人们开始需求高质量且使用家俱这一需求在丹麦出现很快，其余国家也出现了类似情况代人们渴望买到真正丹麦格调家俱1924年，丹麦哥本哈根皇家建筑艺术学院开设了家俱设计讲座课讲座由丹麦建筑师科伦・克林特主讲，他在很大程度上影响着丹麦家俱设计发展克林特是一位当代主义者和按规矩办事人他要求学生率先对市场特殊需求进行一些列调查研究和分析科伦・克林特代表着一个设计思想，即家俱应该实用、舒适，这种设计思想在许多方面有别于欧洲其余国家，那里实用主义者经常采取形式注意手法，把注意力集中在上流人群，而不是街头普通老百姓其结果是在30-40年代丹麦出现一股很强，独立人文实用注意时尚，50年代初这股时尚涌向世界达成高潮领导这股时尚就是于1928年开始，由家俱师行业协会举行，每年一次秋季家俱展览会在展览会上，青年家俱设计师们能够从已经有家俱师协会中寻求合作搭档，方便开发新型家俱就是在这么展览会上，丹麦设计师们如汉斯・韦格纳；奥勒・布斯切尔；芬・尤尔；博格・摩根森；阿纳・雅格布森等在事业上取得了突破；也正是经过这么展览会，在二战结束后一段时间里，尤其是在美国市场上，人们看到了丹麦家俱设计格调一一丹麦时尚在50年代至60年代，丹麦家俱设计取得了更大发展，由此使家俱出口大量增加丹麦家俱生产是以手工家俱为开端，不过伴随技术进步，家俱生产呈工业化趋势，这一趋势影响着家俱师们设计方式这一时期最好样板之一就是设计师兼教授阿纳・雅格布森著名被称作一蚂蚁II作品，这是1951年他为诺费•诺迪斯克新药厂设计流动餐厅座椅这种椅子是他与家俱商弗里慈・汉森合作制作最初，这是为工业大批量生产而设计几年以后，1957年，阿纳・雅格布森为弗里慈・汉森企业又设计了一系列一蚂蚁II椅子，即所谓7誓系列椅子，这种椅子至今已经销售了五百万把，取得了巨大成功雅格布森一直与弗里慈・汉森企业合作直至1971年逝世为止除了一蚂蚁和7系列产品之外，阿纳・雅格布森与弗里慈・汉森又成功地开发了丹麦家俱经典系列，如名为一鸡蛋||、一天鹅II舒适椅这是雅格布森1959年为哥本哈根北欧航空企业皇家旅馆设计这两种椅子材料是雅格布森率先在家俱中广泛使用聚苯乙烯塑料，这种材料使用走在了时代前列除了雅格布森之外，其余设计师们也在为工业化生产家俱进行设计1942年，FDB（丹麦合作社）聘用了28岁家俱设计师博格・摩根森出任FDB新成立家俱设计室总设计师摩根森曾是科伦-克林特学生，他发展了克林特社会设计思想，为普通消费者设计高质量实用家俱，FDB家俱只木制，尤其是使用了当地产橡木和山毛样木设计这些椅子知道思想一是一家俱面向大众II;二是为了工业规模化生产这些产品在用途和设计上都是高质量日后，博格・摩根森又认为有钱人设计生产高档次，不一样价格家俱而扬名但不论怎样，他都不会偏离实用舒适设计标准真正使丹麦在世界上知名两位设计师是汉斯・韦格纳生于19和芬・尤尔1912-1989这两位设计师有着不一样背景汉斯・韦格纳是位乡村工匠，他在丹麦工艺学校接收了家俱设计方面培训；芬・尤尔则来自哥本哈根国际学院，他在丹麦皇家高雅艺术学院接收了设计方面教育二人对设计都有着令人惊奇感受，并深深地渴望创造出漂亮而实用家俱于是在长达40年时间里，他们开发了一系列家俱精品，这些家俱至今仍不失为上乘之作他们生产名优家俱品种如此之多一一仅汉斯•韦格纳一人就超出了500多个一一因为不可能将他们杰作一一介绍汉斯・韦格纳别具一格设计作品是1945年生产一中国椅II、1949年椅子以及1986年生产圈椅芬・尤尔代表作有为1944年家俱师行业协会展览会设计扶手椅以及1949年设计老板椅这些椅子为丹麦赢得了领先世界设计时尚声誉1970年前后，意大利频繁在世界各地举行家俱展览会，尤其是在克隆和芝加哥举行展览会开始与丹麦家俱行业展开了激烈竞争意大利设计师和家俱制造商开始了新尝试，他们试用各种不一样材料并采取不一样表现手法，这使得丹麦家俱显得落后于时代不过只有居住在丹麦设计师维尔纳-潘顿知道怎样使用新兴人造材料开展新设计制作这对于即将失去竞争优势丹麦家俱行业来说，是一个关键时期这种局面不但仅是因为来自意大利挑战，还因为太多成功而造成后果丹麦家俱设计享誉世界，归功于一批热衷于精美设计和擅于使用有才能设计师家俱制造商不过，随之也出现了一大批不太严厉家俱制造商他们用冒牌家俱充满市场，这些家俱通常质量低劣，冒充丹麦设计商标充满市场庆幸是，一批有才能设计师挺身而出他们是伯恩特、拉德・斯格森、尤尼・索林森、尤汉尼斯・费萨姆、彼德・洛仁森、杠费、尼尔斯・华哥森、尤根・甘梅尔加德、以及楠娜・迪兹尔和保罗・凯罗姆这些设计师继承了丹麦五六十年代一黄金设计时代II遗产，另外总算还有一些情愿依赖于高质量设计家俱制造商与之携手并进这个时期丹麦家俱设计者碰到最大问题，就是家俱制造正越来越趋向于工业规模化生产这意味着设计师们要赶上时代步伐，设计要比以前愈加合理因为设计院校对设计师训练都是以手工工艺生产和艺术创作为前期，所以设计师与制造商常发生矛盾许多设计师感到制造商们只着眼于利润率和批量生产；而制造商们则以为设计师只热衷于设计高档家俱，是为了知名这个矛盾对于丹麦家俱设计发展是极为不利，双方缺乏一个共同前进合作形式一个用山毛棒胶合板制作成小型雅致座椅系列产品出现，标志着丹麦家俱设计史上第二个一黄金时代II开始1974年这种新型家俱出现在每年一度贝勒中心举行北欧家俱博览会上这些新型家俱是由设计师拉德・斯格森和尤尼・索林森为麦格纳斯・奥莱森家俱企业设计，这套座椅系列产品实现了规模化生产，实用而质量上乘，价格也相对廉价这种家俱所以开发成功，一是因为设计师们重新利用了既适合于工业规模化生产，又适合于高质量设计胶合板技术；二是他们冒险进入了承包市场而不是家庭家俱市场胶合板技术早已为人所知，在三四十年代芬兰设计师阿尔法・奥托和瑞典设计师布朗诺-麦森就已经开发出了一系列漂亮胶合板家俱；在丹麦，设计师阿纳•雅格布森也开发出了系列胶合板家俱拉德・斯格森和尤尼・索林森成功奥秘在于他们将自己生产家俱看作是一个工业产品，而不是一个手工艺制品他们在设计上进行了改进，以适合合理工业化大批量生产更主要是找到了设计者、生产者合作路径这种类型家俱创建了一个思想流派，使家俱行业确信，优良设计最终会得到回报！伴随新世纪到来，人们有理由期待丹麦家俱设计继续向前发展以前从没有生产如此高质量家俱，新一代年轻设计师也从来没有像现在这么干出了自己名气他们是卓尔斯・施文森、凯斯帕・索尔托、亨雷克・滕格勒、汉斯・桑德格兰、汤姆・斯迪普、皮里勘・德赛尔、康姆普拉特・德赛尔以及其余设计师从1980年至今，家俱设计发展最令人感兴趣特点主要是走自己路，没有被改变无常各种时尚所影响，比如后当代主义、高技术、80年代新经典、90年代初重拾旧梦艺术装饰及新功效主义，乃至对60年代设计格调怀旧式追求一一全部这些1980年以后被引入在克隆和米兰举行大型家俱展销会上新思潮，日后全部销声匿迹了不过，丹麦家俱设计师和制造商没有追赶这个浪潮这不是因为害怕时尚，而是由根深蒂固不愿被异想天开时尚所控制思想所支配因为这些时尚不会给家俱设计带来任何新东西于此相反，他们继续发展和完善北欧当代注意格调，这主要表现在对生产工艺和质量关注，对人体结构学、审美学、用途和需求深入分析研究，并充分考虑形式和功效以及合理生产统一这种工作方法在过去五六年里，吸引了国际上同行们广泛注意力，并争相仿效，人们有看到了三四十年代丹麦家俱设计一黄金时代II情形依传统而创新，这一精神将会成为丹麦家俱设计格调在未来许多年里处于领先地位确保从18世纪末开始，西方艺术概念向独立表现形式转移当代艺术任务之一就是重建那些拆掉古建筑高雅艺术文化与大众之间距离缩小了视觉艺术、建筑艺术和实用艺术被看作是一个共同梦想组成部分，是强有力当代表现形式理想化所在20世纪初，引入里这么说法，即房屋不再是随意堆放物品框架建筑物、家俱设计、装饰艺术和室内设计相互融合浑然一体，缺一不可，表现了整体装饰效果20-30年代主导地位德国包豪斯学校极大地影响了欧洲和北美设计格调建筑师兼校长沃尔特-格拉皮斯用以下语言表示了他对装饰、设计艺术看法一我们最终目标是各门艺术集成，追求是整体效果，那么表现在独特建筑物上面，纪念性与装饰性之间界限将永远消失在丹麦，上述流派思想极大地激励着以阿纳・雅格布森为首建筑师们他们为建筑与室内设计友好统一奠定了基石，这一传统保持至今，成为丹麦建筑师与设计师最主要标志从1971年开始，迪星・韦特灵建筑企业继承和发展了雅格布森建筑事业，该企业雇员来自丹麦及其余国家迪星・韦特灵企业工作质量是非凡，这也说明了丹麦工作方法特点在他们身上我们发觉了一个整体意识和对细节关注，尤其是将二者合一挑战精神建筑行业本无小事，更不用说无视质量确保了除了房屋建筑外，迪星•韦特灵企业还包括家俱，灯光设计以及医疗设备领域他们一贯尝试将形式、用途、施工、材料以及色彩融合在一起，追求一个平衡效果，其标志就是视觉上统一性，即设计主题这就是永葆简练、纯净本质在这方面迪星・韦特灵企业很好地继承了阿纳・雅格布森设计思想时代精神不一样国家设计格调大杂炒在丹麦及北欧国家，现实主义方式、方法占了上风在紧凑小型化基础上，设计格调在协调和改变中向前发展，集中表现个性化和动态化，也表现了对材料敏感性许多设计经过空间，家俱和室内设计之间微妙联络达成强烈效果不一样设计格调会在空间上打破千篇一律，并创造不一样韵律在许多室内设计中，设计者们用一个流行、惯用构思，像客厅里曲线来代替房间中并列直线精细对比主要是要记住，室内设计师并不是房屋建筑师室内设计师是在建好房间进行设计因为这个原因，全部室内设计就是对房间进行一处理II在这方面北欧传统是与北欧现实主义亲密相连，即人文主义与民主主义，实用主义相伴而生，而这又与建筑传统相关联修复古老建筑也对丹麦建筑师和室内设计师设计工作施加了影响在尊重现有建筑和以往设计质量基础上，一批古建筑得到了恢复许多建筑物在彻底改造时着眼于满足新用途和当代需求years,the city!s mainmuseums aroundthe world,thus making^Scandinavian design”imageof thewidely popularintheinternational community.Function ofthe Scandimodern designmovement,the countriesinthedesign organizationatthenational olevel,held alargenumber ofexhibitions,the20th century,these activitieshave keyfeature ofthe50fs.Scandinavian designoftheYear,held alternatelyin variouscountries,affecting awiderange,which,togetherwith the publicationsand periothedesignoftheexchanges madeasignificant contribution.Design organizationsr exhibitions,they arealso animportantadvocate in this areadesigned toencourage manufacturersto investinacreative productdevelopment,to persuadethe authoidesign policiestosupportits excellentdesign.Theyalso inspirepublic awarene5designandeveryday usemore beautifulthing,and this50to60forthe20th cemearly designdevelopment playedanimportantrole.In additiontodesigning thorganization efforts,dominated the20th century,50years ofsocial andeconomicthe developmentofthepower ofdesign hasa moreprofound impact,withtheproceindustrialization andurbanization,the wholepopulation structurehas changed.Continuously improvethe standardof livingaffected themajority ofthe peoplea wayoflife,resulting inwidespread optimismand confidenceforthe development andprogress.New ideasbegin togain traction,suchasthattheordinary peoplehavetoenjoy thecomfortof home,the familyisnotonly healthy,but alsomeets thef andaesthetic requirements.In the20th century,501s,the ultimatewelfare stateScandinavia.The20th century,40years inorder toreflect theethnic characteristfrom asense ofnostalgia,often showingthepristine countryside,contributed tothissoftening trend.Early functionalismadvocated bythe primarycolor forthe20th40yearsto reconcilethe colorgradually replacedby amore coarsetexture andnaturalmaterials bytheir favoritedesigners.After1945,another retrotrend-theDanisofexcellent craftsmanshipin SwedenandNorwayhave alsobeen strengthened.The2century,50years,a groupof pre-war designers,suchasthe prestigiousHenningsen,Klandt,mam Marsden,Aalto,etc.are stillwalking inthe forefrontofthedesign.Forexample,Henningsen,designed afterthewar,a numberof newPH lamps,in particuledesigneda PH-5,and PHArtichoke pendantlamp hasachievedgreatsuccess andhas briskly.The otherhand,young designershave alsocome tothe fore,thus promotedtheScandinavian designof furtherdevelopment.Scandinavian designofthehuman toucalsoreflected inthedesignof industrialequipment,inthisrespect Swedishindustrialdesigner madea lotof work.From1965onwards,from Sweden,consisting ofsix designersdesignteam involvedin Soina,the company1s offsetprinting product!development anddesignwork,they operateontheproduction lineprocess carriedout adetailedergonomic analysisand redesignthe signs,symbols,instructions ancman ipthehandle,so thatworking conditionshavebeengreatly improved.Danishfurnituredesign hasa traditiondating backalmost450years.In1554,erof cabinetmakersfounded KoebenhavnsSnedkerlaug TheCopenhagen GuildofCabinetmakerswith thedual purposeof creatinghigh-quality furniture and ofprotecting efrom poorcraftsmenby establishingformal trainingfor cabin-makers.Two hundredyears later,in1777,Det KongeligeMeoble MagazineThe RoyalFurniture agazinewas established withthe aimof manufacturinguniform,high-quality furnituerms ofproductionanddesignfortheDanish RoyalHousehold and its variousdepart andministries,etc.The furniturewas designed almost alongthe linesof catalogueythemostrenowned designersofthe period,and theirdrawings wereforwarded toma cabinetmakersallover thecountry,who thenmanufactured themAftera briefperiod ofonly40years,the practicecame toan endin

1815.The itthing isthattheabove-mentioned eventswere extremelyvisionary asregards qualdesign,and thatthey wentontoformasolid foundationfor laterdevelopment.Furth DetKongeligeDanske KunstakademiThe RoyalDanish AcademyofArtin Copenhagen,establisheda schooloffurnituredesignin1770,whose purposewas theeducation oure apprenticestodraw andinspect masterpieceswhat amountedtotheworldsfirst systematiceducation offurniture designer.Throughout the19th century,indeed untilthe Iofthe1920s,there isan absenceofanindependent Danishstyle.The architectsoftheareinspired byFrench,and particularly,English furnitureand onlydesigi furnituwealthyupper classesand civilauthorities.Peasants,farmers andth fledglingwor sstill donotrepresent aninteresting commercialbody,but thispicture changeswi ntrysmovefroman agriculturalsociety toan industrializeone towardsthe endofthcentury.The citiesalmostexploded insize andsocial awarenessflew withthe emerfthenew socialclasses-laborers andoffice workers-both ofwhom demandedmonetary ymentfor theirservices.Put insimple terms,yoi mightsay thatthis washow thefo nof modernconsumersociety cameinto being.Once currentoverheads hadbeen metsasfood,clothing,rent andheating,etc.People stillhad themeans tobuy furnitureits ownsmall way,created thebasisfor aformalized furnitureindustry.The furnitureindustry didnot reallytake offuntilpeople beganmoving awayfromthcramped apartmentsinthecity centersto largerapartmentsand detached houses orthe outtown.This happenedin twostages,the firstofwhich wasinthe1920s,whei the socialhousing projectsbegan anddetachedhousesstarted toappear.The secondstage was1950s,when bothtypes ofhousing befan toshoot upeverywhere.This development,combined withahigh levelof knowledgeand awareness,creatd anew anmore rationalhousing culturewherepeople beganto demandhigh-quality functionafurniture.As itturned out,people outsideDenmarksoon beganto makethe samekin demands.The1920s sawthe desireforapurely Danishstyle offurniture.In1924,a lecturenfurnituredesignwasestablishedat KunstakademietsArkitektskole TheRoyalDaniademyof FineArts Schoolof Architecturein Copenhagen.The lectureshipwent toth nisharchitect,Kaare Klint1888-1954,who influencedthedevelopmentofDanishfur edesignto agreat degree.Kaare Klintwasasystematist anda modernistwho usedh entsto pioneeraseries ofsurveys andanalysesoffurnitureandspatial needs.Fi emost,Kaare Klintrepresentedthe approachthat furnitureshould befunctional andendly,an approachwhichin manyways deviatedfrom therest ofEurope,where functiosm oftentook theformofformalistic exercises,directing itsfocustowards awelle ratherthantheordinary maninthestreet.The resultwas thatastrong,independent,humanistic functionalismevolved inD kthroughthe1930sand40s,culminating inaninternationalbreakthrough atthe beginningofthe1950s.A contributoryfactor tothis breakthroughwastheGuild orCabinetmakersannual autumnexhibition heldforthefirst timein

1928.Here,young furnituredes:uldfind collaborativepartners amongthe establishedcabinetmaker workshopswithtodeveloping newtypes offurniture.It was at theseexhibitions thatDanish archiHansJ.Wegner,Ole Wanscher,FinnJuhl,Boerge Mogensen,ArneJacobsenand manyother:made theirbreakthrough,anditwasatthese sameexhibitions intheperiodfollowii econdWorld Warthat,inparticularthe Americanmarket,caught sightof Danishfurnitesign-Danish modern.The developmentofDanishfurnituredesigncontinued forcefullyup throngthe’sand60s,resulting ina sharpincrease in furniture exports.The startinpoint ofDarniture productionwas joinercraftsmen furniture,but astechnolog developed,produ becameincreasinglyindustrialized andthis affectedthewayiwhich architectsdesi urniture.One ofthe bestexamplesofthefurnitureofthiperiodis architect,Pr eJacobsen sfamous-Myren II—The AntII,designed i1951asacanteenchair forNovo Nordisk IIs newmedicinal factory.The chairwa developedin cooperationwiththefurnituanufacturer FritzHansen A/S.From thbeginning,It wasdesignedasanindustrial formass production.Some yearslater in1957,ArneJacobsendesignedamorestrea dversion of-The AntII forFrit HansenA/S,theso-called7-series andthese chairsbea hugesuccess withmillion chairssold todate.His collaborationwith FritzHacontinued untilhis deathin

1971.In additionto-The AntII andthe7-series,Arne JacobsenandFritz Hansecsucceeded increating alongseriesofDanishfurniture classics,e easychairs—Aegget II—The EggIIand Svanen—The SwanII,which Jacobsendesignedfo rthe SASRoyal Hotelin Copenhagenin

1959.These twochairs wereremarkable inasmhas Jacobsenpioneered theuse ofexpanded polystyreneinfurniture-chairs aheado mes.There wereothers too,designers whodesigned industriallymanufactured furnit1942,FDBThe DanishCo-op Societyhired the28year oldfurniture designer,Borg gensen,aschief designerfor FDBs newlyestablished furnituredesign studio.Borge Mogensen wasa formerstudent ofKaare Klint,and Mogensenfurther。