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1、 Scandinavian Furniture DesignScandinavian design is 30 years in the 20th century Having achieved great success,a nd acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and do

2、ctrines.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 form, so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20t

3、h 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 Bauhaus pure geometric forms and works the language of aesthetics, most not

4、ably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design 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 st

5、yle, as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennia

6、l in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement

7、was called Scandinavian Design exhibition. Arts Foundation in the UnitedStates under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the citys main museums around the world, thus making Scandinavian design the image of the widely popular in the international community

8、. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50s. Scandinavian design of the Year, held alternately in various co

9、untries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creat

10、ive product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition

11、 to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process of industrialization and urbanization, the whole population structure has changed. Continuously improve the

12、standard of living affected the majority of the people and their 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 the right to enjoy the comfort of home, the family is not only healt

13、hy, but also meets the functional and aesthetic requirements. In the 20th century, 50s, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed

14、 to this softening trend. Early functionalism advocated by the primary color for the 20th century, 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 Danish tradition of excellent crafts

15、manship in Sweden and Norway have also been strengthened. The 20th 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 P

16、H lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold 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 touch is also reflecte

17、d 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 companys offset printing production line development and design work, they operate on the production

18、 line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a numb er of cabinetmakers founded K

19、oebenhavns Snedkerlaug (The Copenhagen Guild of Cabine tmakers) with the dual purpose of creating high-quality furniture and of protecting the trad e from poor craftsmen by establishing formal training for cabin-makers.Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furnitur

20、e M agazine) was established with the aim of manufacturing uniform,high-quality furniture in t erms 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 b y the most renowned desig

21、ners 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 importan t thing is that the above-mentioned events were extremely visionary as regards quality a

22、nd 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 furnit ure apprentices to draw and insp

23、ect masterpieces what amounted to twheo rld s first system atic education of furniture designer.Throughout the 19th century,indeed until the beginning of the 1920 sth, ere is an absence of an independent Danish style.The architects of the time are inspired by French, and particularly,English furnitu

24、re and only design furniture for the wealthy upper classes and civil authorities. Peasants,farmers and the fledgling working clas s still do not represent an interesting commercial body,but this picture changes with the cou ntry s move from an agricultural society to an industrialized one towards th

25、e end of the last century.The cities almost exploded in size and social awareness flew with the emergence o f the new social classes-laborers and office workers-both of whom demanded monetary pa yment for their services.Put in simple terms,you might say that this was how the foundatio n of modern co

26、nsumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people be

27、gan moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,thef irst of which was in the 1920 s,whetnh e social housing projects began and detached houses started to appear.The second stage was in the

28、1950 s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge and awareness,creatda 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 m

29、ake the same kinds of demands.The 1920s saw the desire for a purely Danish style of furniture.In 1924,a lectureship i n furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Ac ademy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Da nish

30、architect,Kaare Klint(1888-1954), who influenced the development of Danish furnitur e design to a great degree.Kaare Klint was a systematist and a modernist who used his stud ents to pioneer a series of surveys and analyses of furniture and spatial needs. First and for emost,Kaare Klint represented

31、the approach that furniture should be functional and user-fri endly,an approach which in many ways deviated from the rest of Europe,where functionali sm often took the form of formalistic exercises,directing its focus towards a well-to-do elit e rather than the ordinary man in the street.The result

32、was that a strong,independent,humanistic functionalism evolved in Denmar k through the 1930s and 40 s,culminatinign an international breakthrough at the beginnin g of the 1950 s .cAontributory factor to this breakthrough was the Guild or Cabinetmakers annual autumn exhibition held for the first time

33、 in 1928.Here, young furniture designers co uld 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 ma

34、ny others made their breakthrough,and it was at these same exhibitions in the period following the S econd World War that,in particular the American market,caught sight of Danish furniture d esign-Danish modern.The development of Danish furniture design continued forcefully up through the 1950 s and

35、 60 sre, sulting in a sharp increase in furniture exports.The starting point of Danish fu rniture production was joiner craftsmen furniture, but as technology developed ,production became increasingly industrialized and this affected the way in which architects designed f urniture. One of the best e

36、xamples of the furniture of this period is architect, Professor Arn e Jacobsen s famous Myren ( ATnhte ),designe idn 1951 as a canteen chair for Novo No rdisk s new medicinal factory.The chair was developed in cooperation with the furniture m anufacturer Fritz Hansen A/S. From the beginning, It was

37、designed as an industrial product for mass production. Some years later, in 1957,Arne Jacobsen designed a more streamline d version of TheAnt for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chairs sold to date. His collaboration with Fritz Hansen A/

38、S continued until his death in 1971. In addition to TheAnt and the 7-series, Arne Jacobsen and Fritz Hansec succeeded in creating a long series of Danish furniture classics, such as th e easy chairs Aegget ( ETghge) and Svanen( ThSewan ) ,which Jacobsen designed fo r the SAS Royal Hotel in Copenhage

39、n in 1959. These two chairs were remarkable inasmuc h as Jacobsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furniture. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture

40、 designer, Borge Mo gensen, as chief designer forF DBs newly established furniture design studio. Borge Moge nsen was a former student of Kaare Klint, and Mogensen further developeKd lint s ideas re garding quality functional furniture for the ordinary consumer. FDBs furniture was manuf actured in w

41、ood, especially in the domestic wood sorts of oak and beech. These chairs wer e designed for industrial manufacture and despite the fact this was furnitur efor the comm on man, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name fo

42、r himself by designing exclusive furniture in an alt ogether different price bracket for affluent clientele. Despite this, he never diverged from h 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

43、Juhl (1912-1989). These two men came from radically different backgr ounds. Hans J.Wegner was the country craftsman who had received his training as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Crafts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had bee

44、n educated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, the y created a long series of furniture classics over a period lasting 40 years; classic

45、s which ev en today stand out as exceptional. Their production of quality furniture is so extensive-Han s J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Particular examples of HansJ .Wegner s unique design work a re Kinastolen

46、( Th Cehinese 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 a utumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs lik

47、e these that won Denmark its reputation a s the world s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the numer ous furniture fairs around the world, and in particular, at the furniture fairs around the worl d, and in particular, at the furniture fair

48、s in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented with all kinds of mater ials and expression, which caused Danish furniture to appear behind the times. It was really only the Danish designer, Verner Panton, who lived in Switzerland,

49、 who understood how t o use the new man-made materials and create new designs.This was a critical period in Da nish furniture design and for the Danish furniture industry which found it difficult to maint ain its position as marker leader. This situation was not only caused by the challenge posed by

50、 the Italian designers. It was also the result of too much success.The good international reputation of Danish furniture design had built by a handful of furniture manufacturers who were interested in good design and the use of talented designe rs. In the wake of their success however, were a large

51、number of less serious furniture man ufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, whi ch was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Danish designers, Bernt, Rud Thygese

52、n&Johnny Soerensen, Johannes Foersom&Peter Hiort-Lore nzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as Nanna Ditzel an d Poul Kjaerholm. These designers helped to lift the heavy legacy left to them by the Gold en Age of Danish design in the1 950s and 60 sa,nd fortunately, there w

53、ere still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manufactu re of furniture was becoming more and more industrialised. The meant that designers had t o come up with far more rational designs than before. Th

54、e fact that training at the architect and design colleges was to a high degree based on artistry and craftsmanship caused a goo d deal of friction between designers and manufacturers. Many designers felt that the manuf acturers only had an eye for profit margins and mass production. For their part,

55、the manufa cturers felt that the designers only thought about designing expensive furniture and of maki ng a name for themselves. This was not a good foundation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair an

56、d accompanying table series in laminated beechwood which marked the st art of the second GoldenAge of Danish furniture design. The new furniture was presente d at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerens

57、en for the furniture manufacturer Magnus Olesen A/S. The chair and the table series were specifically designed as industrial products in a functional design and were of a very high quality. To top it all, they were relat ively cheap as well. The fact that this could be done was partly because the de

58、signers had r ediscovered the industrial and design qualities of the laminating technique, and partly beca use they had gambled on the contract market rather on the market for household furniture. The laminating technique was well known: the Finnish designer, Alvar Alto and the Swedis h designer, Br

59、uno Mathsson had already created a long line of beautiful laminated furniture in the 1930s and 40s and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & JohnnyS oerensen sapproach so unique was the fact that they regarded their furniture as i

60、ndustrial products instead of one-of-a-kin d, craftsman-made goods. Their furniture was highly adapted to rational mass production, a lmost kike industrial design. More inportant still was the fact that an extremely viable mod el for collaboration between designers and manufacturers had been found.