家具设计外文翻译参考文献.doc

家俱设计外文翻译参考文件

Scandinavian Furniture Design

Scandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringentas the 20th century, 30 years and
doctrines.
as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and
edges are fairing into S-shaped curve or wavy lines, often described as "organic f that the form of more humane and angry. Before the war with Bauhaus functionalism
the center 40 years in the 20th century, under the difficult conditions of material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been
gradually includes a number of practical and style changes. These changes left the B pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian de
will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. 20th century, 40 years after a difficult period, Scandinavian design in the 20th c
years produced a new leap forward. Its simple and organic shape and natural color and
texture very popular in the international arena. Milan Triennial in 1954, the int
design exhibition, Scandinavian design show a new look, the participatiof nSweden, Denmark, Finland and Norway have achieved great success. The design of these count
after the war, the organization implemented a policy of cooperation, their first major
achievement was called "Scandinavian Design" exhibition. Arts Foundation in the Un States under the sponsorship of this exhibition from 1954-1957 in North America in 22
years, the city's main museums around the world, thus making "Scandinavian design" image of the widely popular in the international community. Function of the Scandi modern design movement, the countries in the design organization at the national o level, held a large number of exhibitions, the 20th century, these activities have
key feature of the 50's. Scandinavian design of the Year, held alternately in various
countries, affecting a wide range, which, together with the publications and perio the design of the exchanges made a significant contribution. Design organizations n
exhibitions, they are also an important advocate in this area designed to encourage
manufacturers to invest in a creative product development, to persuade the author design policies to support its excellent design. They also inspire public awarenes design and everyday use more beautiful thing, and this 50 to 60 for the 20th cent early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic the development of the power of design has a more profound impact, with the proce industrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people a
way of life, resulting in widespread optimism and confidence for the development and
progress. New ideas begin to gain traction, such as that the ordinary people have to enjoy the comfort of home, the family is not only healthy, but also meets the f and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state Scandinavia. The 20th century, 40 years in order to reflect the ethnic characterist
from a sense of nostalgia, often showing the pristine countryside, contributed to this
softening trend. Early functionalism advocated by the primary color for the 20th 40 years to reconcile the color gradually replaced by a more coarse texture and natural
materials by their favorite designers. After 1945, another retro trend - the Danis of excellent craftsmanship in Sweden and Norway have also been strengthened. The 2
century, 50 years, a group of pre-war designers, such as the prestigious Henningsen,
Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For
example, Henningsen, designed after the war, a number of new PH lamps, in particula designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has
briskly. The other hand, young designers have also come to the fore, thus promoted the
Scandinavian design of further development. Scandinavian design of the human touc
also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing producti
development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manip
the handle, so that working conditions have been greatly improved.
Danish furniture design has a tradition dating back almost 450 years .In 1554, er of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabine tmakers) with the dual purpose of creating high-quality furniture and of protecting e from poor craftsmen by establishing formal training for cabin-makers.
Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture agazine) was established with the aim of manufacturing uniform,high-quality furnitu erms of production and design for the Danish Royal Household and its various depart and ministries ,etc.The furniture was designed almost along the lines of catalogue y the most renowned designers of the period,and their drawings were forwarded to ma 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 i t thing is that the above-mentioned events were extremely visionary as regards qual design,and that they went on to form a solid foundation for later development.Furth 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 o
ure apprentices to draw and inspect masterpieces what amounted to the world’s first system
atic education of furniture designer.Throughout the 19th century,indeed until the b of the 1920’s, there is an absence of an independent Danish style.The architects of the are inspired by French, and particularly,English furniture and only design furnitu wealthy upper classes and civil authorities. Peasants,farmers and the fledgling wor s still do not represent an interesting commercial body,but this picture changes wi ntry’s move from an agricultural society to an industrialized one towards the end of th century.The cities almost exploded in size and social awareness flew with the emer f the new social classes-laborers and office workers-both of whom demanded monetary yment for their services.Put in simple terms,you might say that this was how the fo n of modern consumer society came into being. Once current overheads had been met s as food,clothing,rent and heating ,etc.People still had the means to buy furniture
its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the out town.This happened in two stages,the first of which was in the 1920’s,when the social
housing projects began and detached houses started to appear.The second stage was 1950’s,when both types of housing be fan to shoot up everywhere.This
development,combined with a high level of knowledge and awareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kin
demands.
The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture n furniture design was established at Kunstakademiets Arkitektskole (The Royal Dani ademy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to th nish architect,Kaare Klint(1888-1954), who influenced the development of Danish fur e design to a great degree.Kaare Klint was a systematist and a modernist who used h ents to pioneer a series of surveys and analyses of furniture and spatial needs. Fi emost,Kaare Klint represented the approach that furniture should be functional and endly,an approach which in many ways deviated from the rest of Europe,where functio sm often took the form of formalistic exercises,directing its focus towards a well
e rather than the ordinary man in the street.
The result was that a strong,independent,humanistic functionalism evolved in D k through the 1930’s and 40’s,culminating in an international breakthrough at the beginnin g 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 desi uld find collaborative partners among the established cabinetmaker workshops with a to developing new types of furniture.It was at these exhibitions that Danish archit Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogensen,Arne Jacobsen and many others made their breakthrough,and it was at these same exhibitions in the period followin econd World War that,in particular the American market,caught sight of Danish furnit
esign-Danish modern.
The development of Danish furniture design continued forcefully up through the ’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Da rniture production was joiner craftsmen furniture, but as technology developed ,produ became increasingly industrialized and this affected the way in which architects desi urniture. One of the best examples of the furniture of this period is architect, Pr e Jacobsen’s famous ―Myren‖(―The Ant‖),designed in 1951 as a canteen chair for Novo No rdisk‖s new medicinal factory.The chair was developed in cooperation with the furnitu anufacturer Fritz Hansen A/S. From the beginning, It was designed as an industrial for mass production. Some years later, in 1957,Arne Jacobsen designed a more strea d version of ―The Ant‖ for Fritz Hansen A/S, the so-called 7-series and these chairs be a huge success with 5 million chairs sold to date. His collaboration with Fritz Ha
continued until his death in 1971. In addition to ―The Ant‖ and the 7-series, Arne Jacobsen
and Fritz Hansec succeeded in creating a long series of Danish furniture classics, e easy chairs ―Aegget‖(―The Egg‖) and Svanen (―The Swan‖), which Jacobsen designed fo r the SAS Royal Hotel in Copenhagen in 1959. These two chairs were remarkable inasm h as Jacobsen pioneered the use of expanded polystyrene in furniture-chairs ahead o mes.
There were others too, designers who designed industrially manufactured furnit 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borg gensen, as chief designer for FDB’s newly established furniture design studio. Borge Moge nsen was a former student of Kaare Klint, and Mogensen further developed Klint’s ideas re garding quality functional furniture for the ordinary consumer. FDB’s furniture was manuf
actured in wood, especially in the domestic wood sorts of oak and beech. These chairs
e designed for industrial manufacture and despite the fact this―furniture for the commwas
on man‖, it was still of a very high calibre, both in terms of functionality and des on, Boerge Mogensen created a name for himself by designing exclusive furniture in ogether different price bracket for affluent clientele. Despite this, he never dive
is principles of functionality and user-friendliness.
The two designers who really put Denmark on the world map were Hans J.Wegner (b orn 1914) and Finn Juhl (1912-1989). These two men came from radically different ba ounds. Hans J.Wegner was the country craftsman who had received his training as fur designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Crafts). Jinn Juhl the cosmopolitan academic from Copenhagen, who had been educated as an architect at Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing fe for design and a deep-seated desire to create beautiful, functional furniture. As y created a long series of furniture classics over a period lasting 40 years; class en today stand out as exceptional. Their production of quality furniture is so exte s J.Wegner alone is responsible for more than 500 models-that it is impossible to h
the work of one or the other. Particular examples of Hans J.Wegner’s unique design work a re Kinastolen (―The Chinese Chair‖) from 1945, The Chair from 1949, and Cirkelstolen (― The Circle Chair‖) from 1986. Among Finn Juhl’s furniture are such highlights as his armc hair made for the Guild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its repu
s the world’s leading design nation.
Around 1970, Denmark began to experience stiff competition from Italy at the n ous furniture fairs around the world, and in particular, at the furniture fairs ar d, and in particular, at the furniture fairs in Cologne and Chicago. The Italian de furniture manufacturers moved in new directions and experimented with all kinds of ials and expression, which caused Danish furniture to appear behind the times. It w only the Danish designer, Verner Panton, who lived in Switzerland, who understood o use the new man-made materials and create new designs.This was a critical period nish furniture design and for the Danish furniture industry which found it difficul ain its position as marker leader. This situation was not only caused by the challe
by the Italian designers. It was also the result of too much success.
The good international reputation of Danish furniture design had built by a han furniture manufacturers who were interested in good design and the use of talented rs. In the wake of their success however, were a large number of less serious furni ufacturers. Who swamped the market with unoriginal furniture, usually of poor quali
ch was hastily marketed under the label of Danish Design.
Fortunately, there were new, talented designers on the way up: people like the designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter Hiort-Lore nzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as Nanna Ditzel a d Poul Kjaerholm. These designers helped to lift the heavy legacy left to them by t―Gold en Age‖ of Danish design in the 1950’s and 60’s, and fortunately, there were still fu