家具设计外文翻译北欧的家具设计

本科生毕业设计（论文）外文翻译毕业设计（论文）题目：家具设计外文题目：SCANDINAVIANFURNITUREDESIGN译文题目：北欧家具设计学生姓名：WJL 专 业：工业设计 指导教师姓名： 评阅日期：Reference:JudithGuruThames&HudsonLtd・ScandinavianFurnilure:ASourcebookofClassicDesignsforthe21stCentuiy.2007-11MikeRoemer.INTERIORANDFURNITUREDESIGN.ThamesHudsonPress.2005SCANDINAVIANFURNITUREDESIGNScandinaviandesignis30yearsinthe20thcenturyHavingachievedgreatsuccess,andacquiredaninternationalreputationfordesign.Thestyleisconcerned,theScandinaviandesignisthefunctionofdoctrine,butnotasstringentas(he20thcenlury,30yearsanddcKlrines.asstringentasthe20thcentury,30yearsanddoctrines.Geometricformofsoften,andedgesarefairingintoS-shapedcurveorwavylines,oftendescribedas''organicform”,sothattheformofmorehumaneandangry.BeforethewarwithBauhausfunctionalismasthecenter40yearsinthe20thcentury,underthediftlcultconditionsofmaterialdeprivationiswidelyaccepted,butbythernid-20thcentury,40.functionalismhasbeengraduallyincludesnnumberofpracticalandstylechanges・ThesechangesleftllieBauhauspuregcomelricformsand''works'*thelanguageofaesthetics,mostnotablytheScandinaviandesign・Asearlyns1930,theStockholmFair,Germany,Scandinaviandesignwillbeastrictfunctionalismandlocalartsandcraftsinthehumanisttradilionofintegratingtheirtogether.Inthe1939NewYorkInternationalExposition,butalsoestablishedtheSwedishModemstyle/1astheconceptofaninternationalstatus.Afterthe20thcentury,40yearsafteradifficultperiod,Scandinaviandesigninthe20thcentury,50yearsproducedanewleapforward.Itssimpleandorganicshapeandnaturalcolorandtextureverypopularintheinternationalarena・MilanTriennialin1954,theinternationaldesignexhibition,Scandinaviandesignshowanewlook,theparticipationofSweden、Denmark,FinlandandNorwayhaveachievedgreatsuccess.'「hedesignofthesecountriesafterthewar,theorganizationiniplemenledapolicyofcooperation,theirfirstmajorachievementwascalled'ScandinavianDesignpexhibition・ArtsFoundationintheUnitedStatesunderthesponsorshipofthisexhibitionfrom1954-1957inNorthAmericain22years,thecity'smainmuseumsaroundtheworld,thusmaking^Scandinaviandesign1*theimageofthewidelypopularintheinternationalcommunity.FunctionoftheScandinavianmodemdesignmovement,thecountriesinthedesignorganizationatthenationalorlocallevel,heldalargenumberofexhibitions,the20thcentury,theseactivitieshavebecomeakeyfeatureofthe50rs・ScandinaviandesignoftheYear,heldalternatelyinvariouscountries,affectingawiderange,which,togetherwiththepublicationsandperiodicalsforthedesignoftheexchangesmadeasignificantcontribution.Designorganizationsnotonlyexhibitions,theyarcalsoanimportantadvocateinthisareadesignedtoencouragemanufacturerstoinvestinacreativeproductdevelopment,topersuadetheauthoritiestodesignpoliciestosupportitsexcellenldesign.Theyalsoinspirepublicawarenessofgooddesignandeverydayusemorebeautifultiling,andthis50to60forllie2()tbcentury,theearlydesigndevelopmentplayedanimportantrole・Inaddiliontodesigningtheorganizationefforts,dominatedthe20thcentury,50yearsofsocialandeconomiclifeofthedevelopmentofthepowerofdesignhasamoreprofoundimpact,withtheprocessofindustrializationandurbanization,thewholepopulationstructurehaschanged.Continuouslyimprovethestandardoflivingaffectedlhemajorityofthepeopleandtheirwayoflite,resultinginwidespreadoptimismandconfidenceforthedevelopmentandprogress・NewideasbegintogainIractioiLsuchasthattheordinarypeoplehavetherighttoenjoythecomfortofhome,thefamilyisnotonlyhealthy,butalsomeetsthefiinctionalandaestheticrequircnicn【s.Inthe20thcentury,5()'s,theultimatewelfarestatebuiltupinScandinavia.Th已20thcentury,40yearsinordertoreflectlheethniccharacteristicsarisingfromasenseofnostalgia,oftenshowingthepristinecountryside,contributedtothissofteningtrend・Earlyfunctionalismadvocatedbytheprimarycolorfordie20thcentury,40yearstoreconcilethecolorgraduallyreplacedbyamorecoarsetextureandnaturalmaterialsbytheirfavoritedesigners・After1945,anotherretrotrend-theDanishtraditionofexcellentcraftsmanshipinSwedenandNorwayhavealsobeenstrengthened.The20thcentury,50years,agroupofwardesigners,suchastheprestigiousHenningsen,Klandt,mamMarsden,Aalto,etc.arestillwalkingintheforefrontofthedesign・Forexample,Hcnningsen,designedafterthewar,anumberofnewPHlamps,inparticular,hedesignedaPH-5,andPHArtichokependantlampliasachievedgreatsuccessandhassoldbriskly・Theotherhand,youngdesignershavealsocometothefore,thuspromotedtheScandinaviandesignoffurtherdevelopment.Scandinaviandesignofthehumantouchisalsoreflectedinthedesignofindustrialequipment,inthisrespectSwedishindustrialdesignermadealotofwork・From1965onwards,fromSweden,consistingofsixdesigners"designteam*1involvedinSoina,thecompany'soffsetprintingproductionlinedevelopmentanddesignwork,theyoperateontheproductionlineprocesscarriedoutadetailedergonomicanalysisandredesignthesigns,symbols,instructionsandmanipulatingthehandle,sothatworkingconditionshavebeengreatlyimproved・Danishtumiluredesignhasatraditiondatingbackalmost450years.In1554,anumberofcabinetmakersfoundedKoebenhavnsSnedkerlaug(TheCopenhagenGuildofC'abineimakcrs)withthedualpurposeofcreatinghigh-qualityfumilurcandofprolectingthetradefrompoorcraflsnienbyestablishingfornuiltrainingforcabin-makers.Twohundredyearslaterjn1777.DetKongeligeMeobleMagazine(TheRoyalFumitureMagazine)wasestablishedwithlheaimofmanufacturingunifomijiigli-qualilyfurnitureintermsofproductionanddesignfortheDanishRoyalHouseholdanditsvariousdepartmentsandministries.elc.Thefurniturewasdesignedalmostalongthelinesofcataloguegoodsbythemostrenowneddesignersofthepcriod.andtheirdrawingswereforwardedtomastercabinetmakersalloverthecountry,whothenmanufacturedtheni.Afterabriefperiodofonly40years,thepracticecametoanendinl815.Theimportantthingisthattheabove-mentionedeventswereextremelyvisionaryasregardsqualityanddesigitandthattheywentontoformasolidfoundationlorlaterdevelopment.Furthermore,DetKongeligeDanskeKunstakademi(TheRoyalDanishAcademyofArt)inCopenhagen,establishedaschooloffurnituredesignin1770,whosepurposewastheeducationoffurnilureapprenticestodrawandinspectmasterpieceswhataniountedtotheworld'sfirstsystematiceducationoffumituredesigne匚ThroughotHthe19thcentury,indeeduntillhebeginningofthe1920's,thereisanabsenceoianindependentDanishslyle.ThearchitectsofthetimeareinspiredbyFrench,andparticularly^Englishfurnitureandonlydesignfurnitureforthewealthyupperclassesandcivilauthorities.Pcasantsjanncrsandthefledglingworkingclassstilldonotrepresentaninterestingcommercialbody,butthispicturechangeswiththecountry'smovefromanagriculturalsocietytoanindustrializedonetowardstheenclofthelastcentury.Thecitiesalmostexplodedinsizeandsocialawarenessflewwiththeemergenceofthenewsocialclasses-laborcrsandoftlceworkcrs-bothofwhomdemandedmonetarypaymentfortheirservices.Putinsimpleterms,youmightsaythatthiswashowthefoundationofmodernconsumersocietycameintobeing.Oncecurrentoverheadshadbeenmetsuchasfood,clothing,retnandheatingxtc.PeoplestillhadthemeanstobuyfurniturcAvhichinitsownsmallway,createdthebasisforaformalizedfuniilureindustry.Thefurnitureindustrydidnotreallytakeoffumilpeoplebeganmovingawayfromthecrampedaparlmenlsinlhecitycenterslolargerapartmentsanddelachedhousesontheoutskirtsoftown.Tliishappenedintwostagesjhefirstofwhichwasinlhe192()*,whenlhesocialhousingprojectsbegananddetaclicdhousesstartedtoappear.Thesecondstagewasinthe1950\,whenbothtypesofhousingbefantoshootupeverywhere.Thisdevelopnient^conibinedwithahighlevelofknowledgeandawareness,creatdanewandmorerationalhousingculturewherepeoplebegantodemandhigh-qualilyfunctionalfumiture.Asitturnedout,peopleoutsideDenmarksoonbegantomakethesamekindsofdemands・The1920ssawthedesireforapurelyDanishstyleoffuniilure.InI924,alectureshipinfurnituredesignwasestablishedatKunstakadeniietsArkitektskole(TheRoyalDanishAcademyofFineArtsSchoolofArchitecture)inCopcnliagcn.TliclectureshipwenttotheDanisharchitect.KaareKlint(l888-I954),whoinfluencedthedevelopinentofDanishfuniiturcdesigntoagreatdegree.KaarcKlintwasasystcmatistandamodenlistwhousedliisstudentstopioneeraseriesofsurveysandanalysesoi*furnitureandspatialneeds.Firstandforemost,KaareKlintrepresentedtheapproachtlialfurnitureshouldbefunctionalanduser-friendIy.anapproachwhichinmanywaysdeviatedfromtherestofEurope.wherefunctionalismoftentooktheformofformalisticexercises,directingitsfocustowardsawell-to-doeliteratherthantheordinarymaninthestreet.Theresultwasthatastrongjndcpenclent,humanisticfunctionalismevolvedinDennuirkthroughthe1930sand4O's,culmiiiidiiiginaninternationalbreakthroughalthebeginningofthe1950's.AcontributoryfactortothisbreakthroughwastheGuildorCabinetinakers'annualautumnexhibitionheldforthefirstlimein1928.Here,youngfurnituredesignerscouldfindcollaborativepartnersamongtheestablishedcabinetmakerworkshopswithaneyetodevelopingnewtypesoffurniturewasaltheseexhibitionsthatDanisharchitectslikeHansJ.WegnecOleWanscher,FinnJuhl.BoergeMogenseirAmcJacobsenandmanyothersmadetheirbreakthrough,anditwasatthesesameexhibitionsintheperiodfollowingtheSecondWorldWartliatjnparticulartheAmcricanmarket,caughtsightofDanishfurnituredesign-Danishmodern.ThedevelopmcrnofDanishfurnituredesigncontinuedforcefullyupthroughthe1950'sand60\,resultinginasharpincreaseinfurnitureexports.ThestarlingpointofDanishfurniturepnxluctionwasjoinercraftsmenfurniture,butastechnologydeveloped,productionbecameincreasinglyindustrializedandthisaffectedthewayinwhicharcliitectsdesignedfurniture.Oneofthebestexamplesofthefurnitureofthisperiodisarchilccl.ProfessorAmeJacobsen'sfamous"MyrcnM(4fcTheAnf'),designedin1951asacanteenchairforNovoNordisk^snewmedicinalfactory.ThechairwasdevelopedincooperationwiththefurnituremanufacturerFritzHansenA/S.Fromthebeginning,llwasdesignedasanindustrialproductformassproduction.Someyearslater,in1957,ArneJacobsendesignedamorestreamlinedversionof“TheAntMforFritzHansenA/S.theso-called7・scriesandthesechairsbecameahugesuccesswith5millionchairssoldtodate.HiscollaborationwithFritzHansenA/Scontinueduntilhisdeathin1971.Inadditionto"TheAnf*andthe7-series,ArneJacobsenandFritzIlansecsucceedcdincreatingalongscriesofDanishfurnitureclassics,suchastheeasychairs“Acggetn(4TheEgg”)andSvanenCTheSwan"),whichJacobsendesignedfortheSASRoyalHotelinCopenhagenin1959・'「hesetwochairswereremarkableinasmuchasJacobsenpioneeredtheuseofexpandedpolystyreneinlurniture-chairsaheadofthetimes・Therewereothersloo,designerswhodesignedindustriallymanufacturedfurnitiire.In1942,FDB(TheDanishCo-opSociety)hiredthe28yearoldfurnituredesigner,BorgeMogensen・aschiefdesignerforFDB'snewlyestablishedfurnituredesignstudio.BorgeMogensenwasaformerstudentofKaareKlint,and\4ogensenFurtherdevelopedKlint'sideasregardingqualityfunctionaltumilureforllieordinaryconsumer.FDB'sfurniturewasnianufacturedinwood,especiallyinthedomesticwoodsortsofoakandbeech・Thesechairsweredesignedforindustrialmanufactureanddespitethefactthiswas'luniilurcforthecommonmaif\itwasstillofaveryhighcalibre,bothintermsoffunctionalityanddesign.Latercm,BoergeMogensencreatedanameforhimselfbydesigningexclusivefumilureinanallogelherdifferentpricebracketforalHuentclientele.Despitethis,heneverdivergedfromhisprinciplesoffunctionalityanduscr-friendliness.ThetwodesignerswhoreallyputDenmarkontheworldmapwereHansJ.Wcgner(born1914)andFinnJulil(1912-1989).Thesetwomencamefromradicallydifferentbackgrounds.HansJ.WegnerwasthecountrycraftsmanwhohadreceivedhistrainingasfurnituredesigneratKunsthaandvaerkerskolen(TheDanishSchoolofArts&C「afts).JinnJulilwasthecosmopolitanacademicfromCopenhagen,whohadbeencducaledasanarchitectaltheKunstakademiet(TheRoyalDanishAcademyofJineArts).Bothmenhadanamazingleelfordesignandadeep-sealeddesiretocreatebeautifulfunctionalfurniture.Asaresult,theycreatedalongscriesofiuniilureclassicsoveraperiodlasting40years;classicswhicheventodaystandoutasexceptional.Theirproductionofqualityfumitureissoextensive-HansJ.Wegneraloneisresponsibleformorcthan500models-thalitisimpossibletohighlighttheworkofoneortheother.ParticularexamplesofHansJ.Wegner?suniquedesignworkareKinastoien(；*TheChineseChair*)from1945,TheChairIrom1949,andCirkelstolcn(叮heCircleChair')from1986・AmongFinnJuliTsfumilurearcsuchhighlightsashisarmchairmadefortheGuildofCabinetmakers^autumnexhibitionin1944andHoevdingstolen(TheChieftainChair)from1949.ItwaschairslikethesethatwonDenmarkitsreputationastheworld'$leadingdesignnation.Around197(),DenmarkbegantoexperiencestiffcompetitionfromItalyatthenunierousfurniturefairsaroundlheworld,andinparticular,attheiuniilurelairsaroundllieworld,andinparticulai;atthefurniturefairsinCologneandChicago.TheItaliandesignersandfurnituremanufacturersmovedinnewdirectionsandexperimentedwithallkindsofmaterialsandexpression,whichcausedDanishIuniiluretoappearbehindthetimes.ItwasreallyonlytheDanishdesigner,VernerPanton,wholivedinSwitzerland,whounderstoodhowtouselhenewman-madematerialsandcreatenewdesigns.ThiswasacriticalperiodinDanishfurnituredesignandfortheDanishfurnitureindustrywhichfounditdifficulttomaintainitspositionasmarkerleader.ThissituationwasnotonlycausedbythechallengeposedbylheItaliandesigners・Ilwasalsotheresuitoftoomuchsuccess.ThegoodiniemationalreputationofDanishfurnituredesignhadbuiltbyahandfuloffurnituremanufacturerswhowereinterestedingooddesignandtheuseoftalenteddesigners.【nthewakeoftheirsuccesshoweverwerealargenumberoflessscriousfurnituremanufacturers.Whoswampedthemarketwithunoriginalfurniture,usuallyofpoorquality,whichwashastilymarketedunderthelabelofDanishDesign.Fortunately,therewerenew.talenteddesignersonthewayup:peopleliketheDanishdesigners,Burnt,RudThygesen&JohnnySoerensen,JohannesFoersom&Pete「Hioi•卜Lorenzen,Gunvcr&NicIsJocrgcnHaugcscn,JocrgcnGammclgaard,aswellasNannaDitzelandPouIKjaerholni・Thesedesignershelpedloliftllieheavylegacyleftlothembythe"GoldenAge,?ofDanishdesigninthe1950*8and60s,andfortunately,lherewerestillfurnituremanufacturerswillinglobankonqualitydesign・ThegreatestproblemforDanishfurnituredesignoftheperiodwastlialthenianufactureoffurniturewasbecomingmoreandmoreindustrialised.Themeanlthatdesignershadloconicupwithfarmorerationaldesignsthanbetore.Thefactthattrainingatthearchitectanddesigncollegeswastoahighdegreebasedonartistryandcraftsnianshipcausedagooddealoffrictionbetweendesignersandmanufacturers.Manydesignersfellthatthemanufacturersonlyhadaileyeforprofitmarginsandmassproduction.Fortheirpart,themanufacturersfeltthatthedesignersonlythoughtaboutdesigningexpensivefurnitureandofmakinganameforthemselves・ThiswasnotagoodtoundationfordevelopingDanishfurnituredesignandbothpartieswerelackingaviablemodelwithwhichtomoveon.wasasmall,elegantchairandaccompanyingtabicscriesinlaminatedbeechwoodwhichmarkedtiiestartofthesecond"GoldenAge"ofDanishfurnituredesign.ThenewfurniturewaspresentedattheannualScandinavianFuniiturcFairatTheBellaCentrein1974andwasdesignedhytheyoungarchitectsRudThygesen&JohnnysoerensenforthefurniturenianufacturerMagnusOlesenA/S・ThechairandthetableserieswerespecificallydesignedasindustrialproductsinaI*unclionaldesignandwereofaveryhighquality.lotopilall,theywererelativelychcapaswell.Thefactthatthiscouldbedonewaspartlybecausethedesignershadrediscoveredtheindustrialanddesignqualitiesofthelaminatingtechnique,andpartlybeeausetheyhadgambledonthecontractmarketratheronthemarketforhouseholdfumiture.Thelaminatingtechniquewaswellknown:theFinnishdesigner,AlvarAltoandtheSwedishdesigner,BrunoMalhssonhadalreadycreatedalonglineofbeautifullaminatedfurnitureinthe1930、sand401-andinDenmark,peoplelikeArneJacobsenhaddevelopedscriesoflaminatedtuniiturc.WliatmadeRudTbygescn&JohnnySoerensensapproachsouniquewasthefactthattheyregardedtheirfurnitureasindustriaIproductsinsteadofone-of-a-kind,craftsman-madegoods.Theirfurniturewashighlyadaptedtorationalmassproduction,almostkikeindustrialdcsign.MoreinpoitantstilIwasthefactthatanextremelyviablemodelforcollaborationbetweendesignersandmanufacturershadbeenfound・Thismodelcreatedaschoolofthoughtandconvincedthelurnilureindustrythatgooddesigncouldactuallypay!Asweapproaclianewcentury,thereiseveryreasontohavehighexpectationsforlhecontinueddevelopmenlofDanishlurniluredesign・Neverbeforeliassomuchqualityfurniturebeennianufactured.andyoung,newdesignersaremakingtheirmark.PeoplelikethedesignerTroelsGrum-Schwensen,KasperSalto,HenrikTengler,HansSandgrcnJacobsen,lornSrepp,PelikanDesign・KomplotDesignandvariousothergroupsofdesigners・ThemostinterestingfeatureoflhedevelopmentoffurnituredesignIrom198()tothepresentdayisthatitessentiallyfolloweditsownpath,moreorlessuninfluencedbychangingstyles:theposlmodcrnisnKhigh-tech,ncoclassicofthe1980^,therediscoveryofartdecoatthebeginningofthe1990\togetherwithneo-functionalismandthe「cncwedinterestforthedesignoftheI96()'s・allofthesearcstyleswhichhavebeenostentatiouslyintroduced(andreintroduced)atthegreatfurniturefairsinCologneandMilansince1980,andnearlyallhavedisappearedagain.Danishfiimilurcdesignersandfuniilurcmanufacturershowever,havenotfelttemptedtofollowthesetrends・Thisisnotoutoffearbutratheroutofadeep-rootedunwiilingnesstobedietatedtobywhimsicaltrendswhichdonotaddanythingnewtofurnituredesign.Instead.theyhavecontiimedtodevelopandrefineScandinavianmodernismwhichischaracterisedbyitsgreatcarefordetailandthemanufacturingprocess,respectforthehumananatomy,Ihoroughanalysesofrequirementsanduse,aestheticsandconsiderationsaboutformandfunctionandrationalproduction.Thisisaworkapproachwhichhasatiractedwideinternationalattentioninthecourseoflhelastfivetosixyears,andonewhichmanyinternationaldesignershavetriedtocopy,aswasthecasewiththeDanishfurnituredesignsof"theGoldenAge9'30-40yearsago.ItisthissameworkapproachwhichwillprobablyguaranteetheleadingpositionofDanishfurnituredesignformanyyearstocome:innovationviatradition.Giventhefactthatthewesternconceptofartfromtheendofthe18thcenturymovedtowardstheever-increasingindependenceofartisticexpression,pailofthetaskofmodemartbecametoreassemblewhathadbeendismantled.Theboundarybetweenfineandmassculturenarrowed.Visualart,architectureandappliedartweretobeseenasaspectsofacommondream;theidealofpowerful,modernexpression.Thebeginningofthe20tliccniiirysawtheintroductionoftheterm"Gcsarmkiin气【werk”.Ahousewasnolongeraframearoundrandomcontent.Buildings,furnituredesign,decorativeartandinteriordesigngenerallyweretosupporttheintegralwhole,whichbecamegreaterthanthesumofitsindividualparts・Fromthe1920'sand30's、thedominantGermanBauhausSchoolgreatlyinfluenceddesigninEuropeandAmerica.ArchitectandSchoolDirector,WalterGropius,expressedhisintentionsinthefollowingwayf'Ourultimategoalwasthecompoundyetindivisibleworkofart,theuniquebuildingwheretheoldboundiirybetweenthemonumentalanddecorativecleTnentsvanishedforever*・InDenmark,archilcctsledbyArneJacobsen,amongothers,werecxlremclyslimulatedbythiswayofthinking.Herelaythekeystonetothetraditionofinterrelationshipbetweenarchitectureandinteriordesign,whichtothisdayremainsanimportanthaI!markofDanisharchitectsanddesigners・Since1971.thearchitecturalfirmofDissing+WcitlingA/ShascontinuedtorunanddevelopAmeJacobsen'sarchitectbusiness,wilhemployeesinDcnnuirkandaroundtheworld・ThedepthinDissing+Weitling^workisexceptionalbutthisalsosayssomethingcharacteristicabouttheDanishapproach・Herewcfindbothasenseofwholenessaswellasanattentiontodetail,andespccially,thechallengeofgettingbothelementstoformasynthesis.Nothingistoosmall,letaloneirrelevanttowarrantcareandattention.Inadditiontoarchitecturalbuildings,Dissing+Weitlingalsocarryoutworkinlhefieldsoffurniture,lightingdesign,andmedico-technicalequipment.Inallevents,itisanattempttomergethevariousparameterssuchasform,function,construction,malerialsandcolortoformabalancedexpressionwhosehallmarkisastrongvisualidemity,whichistheleitmotifofthedesignprocess:Aclarityandpuritywhichhastimelessanduniversalqualities・Inthisregard,Dissing+WeillinghavedoneasupremejobofcarryingonthelegacyofArneJacobsen.Whereasatthecloseofthiscentury,wehavewitnessedthenoisier,mishmashofdiversityofinternationaldesignreflectingthespiritofthetimes,hereinDcnmark-andtheNordiccountries-thcmodernisticmethodandapproachhasprevailed.Designhasbeencarriedforwardwithmoderationandvariationsbasedonatighterminimalism,focusingontheelementsanddynamicsoftheindividualibrin,aswellasapronouncedsensitivityformaterials・Therearemanyexamplesofhowthissubtledialoguebetweenspace,furnitureandinteriordesignhavefoundpowerfulexpression;designswhichbreakupandimprintadiiTerenlrhythmon(hespaceandthewayinwhichfinecontrastssuchasthelinealityoftheroomarejuxtaposedbythecurvatureofthereceptionarca-acommon,repealedthemeinmanyinteriors.Itisimportantlorememberthatinteriordesignersarenothousebuilderslikearcliitects.Interiordesignersaregivenfinishedroomswhoseinteriorstheyhavelodesign.Forthisreason,allinteriordesigndealswith*fctrealnicnloftheroom"'andtheScandinaviantraditionforthisisstronglylinkedtoScandinavianmodernism,i.e.humanismanddemocracypairedwithfunclionalism,whichagainislinkedtothearchitecturalIradition.TlierestorationofoldbuildingsalsoexertsaninfluenceonlheworkofDanisharchitectsandinteriordesigners.Anextensiveseriesofbuildingshasbeenrestoredwithrespecttorexistingarchitectureandthequalitiesofpastdesign.Manybuildingshavebeenthoroughlyrenovatedwithaneyetomeetingnewfunctionsandmodemrequircnicnts/Ihcbalancebetweenmaintainingtheoriginaldistinctivearchitecturalfeaturesandensuringamodemdesignposesacontinuingchallenge・Thisisexactlywhereacomprehensivestagingwiththedesigningofspecialfurnitureandfixturescanbecomcameansofensuringauniformityofstyleandexpression.参考文献:朱迪思•古拉泰晤丄和哈徳逊公m.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11边克•罗莫.室内与家具设计.ThameHudson出版社.2005北欧家具设计斯堪的纳维亚设计是在20世纪30年代即已取得较大成就，并获得了国际声誉的设计风格。就风格而7F，斯堪的纳维亚设计是功能主义的，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，常常被描述为“有机形”，使形式更富人性和生气。战前以包豪斯为中心的功能主义在20世纪40年代物质阴乏的困难条件卜被广泛接受了，但到了20世纪40年代屮期，功能主义匚逐渐包括了许多实际上和风格上的变化。这些变化离开了包豪斯纯几何形式和"匸程”语言的美学，其中最引人注目的是斯堪的纳维亚设计。早在1930年的斯徳哥尔摩博览会上，斯堪的纳维亚设计就将徳国严谨的功能主义与本l-.T-I：艺传统中的人文主义融会在-起。在1939年的纽约国际博览会上，乂确立了“瑞典现代风格”作为-种国际性概念的地位。经过2()世纪10年代•段艰苦的时期之后，斯堪的纳维亚设计在2()世纪50年代产生了~次新的飞跃。其朴素而有机的形态及自然的色彩和质感在国际上人受欢迎。在1954年米兰一•年-腹的国际设计展览中，斯堪的纳维W•设计展示出了全新的面貌，参展的瑞典、丹麦、芬兰和挪威都获得了很大成功。这些国家的设计组织在战后实行了•种合作政策，它们的第•项在要成就是名为“斯堪的纳维'IK设计”的展览.在美国艺术基金会的赞助卜，这个展览从1954-1957年在北美22个城市的主要博物馆巡回展出，因此使"斯堪的纳维亚设计”的形象在国际间广为流行。在斯堪的纳维'I卩•现代功能设计运动中，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年代的一个主要特点。斯堪的纳维亚设计年展轮流在各国举办，影响I•分广泛，它们场出版物和期id-道,为设计界的交流做出了重大贡献。设计纽织不仅举办展览，它们也是设计这一领域的重要倡导者，鼓励厂家投资F有创见的产品开发，说服泊局在其设计政策中支持优秀设计。它们还启发公众意识到好的设计和II常使用中更美的东西，这对于20世纪50〜60年代早期的设计发展起了重要作用。除了设计组织的努力之外,支配20世纪50年代社会和经济生活的力量对设计的发展有着更为深刻的影响，随着匸业化和城市化的进程,整个人口结构发生了变化。不断提高的生活水准影响了大多数人民以及他们的先活方式,产生了普遍的乐观悄绪和对」•发展与进步的信心，新的观念丿I：始深入人心，如认为普通百姓有权亨有舒适的家，这个家不但是有益于健康的，而且还应满足功能和美学上的要求。在20世纪50年代，福利国家最终在斯堪的纳维亚建立起来a20世纪40年代为了体现民族特色而产生的怀旧感，常常表现岀乡野的质朴，推动了这种柔化的趋势。早期功能主义所推崇的原色也为20世纪40年代渐次调和的色彩所取代，更为粗糙的质感和人然的材料受到设计师们的喜爱。1945年后,另-种怀旧的趋势一丹麦精良的手工艺传统在瑞典和挪威也得到了加强。2()世纪50年代,•批战前就素负盛名的设计师如汉宁森、克堆特、马姆斯豊、阿尔托等仍走在设计的前列例如汉宁森在战后又设vI了许多新型的PH灯具,特别是他设计的PH-5吊灯和PH洋蓟吊灯取得T很人成功，至今畅销不袞。另一方面年轻设引师也脫颖而出，由此推动了斯堪的纳维亚设计的进•步发展。斯堪的纳维亚设讨的人情味也体现于工业装备的设计上，在这方面瑞典的工业设计师作了大量工作。从1965年开始,由6名设计师组成的瑞典“设计小组”参与了索尔纳公司的胶版印刷生产线的开发设计T作，他们对生产线操作过程进行•了详尽的人机丁程分析，并重新设计了标志、符号、指令和操纵手柄，使T•作条件得到了很犬改善。丹麦家具设讣传统可追溯到450年询。1554年，一映家具师创立了哥木哈根家具行会协公，其II的是开发制造高质论的家具和培养窩水平家具师以维护本行业的市场。200年后，1777年皇家家具杂志创刊，其冃的是为皇室及其个部门设计生产统•的、高硕伉的家具。.皇室的家具山X时址有名的设计师按照样本来设计制作，家具图纸要交给全国的家具人师，然后由他们來按图制作。经过短短的40年，于1815年这种做法就停||：了.这匸要是由于I.述做法对「质量和设计米将是极为不现实的，但却为今后的发展打下了坚实的基础。丹麦見家艺术学院述于1770年在哥本哈根创建了家口设il学校，学校的N的是培养從丁，让他们描画和学习大师的作品一一这可以说是世界第•所系统地培养家具设计者的学校。19世纪至20世纪20年代,丹麦没有出现独特的设计风格。那时的设计师追求的是法式的，特别是英国式的风格,仅仅为贵族和政府官