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：SCANDINAVIAN FURNITURE DESIGN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:Judith Gura Thames & Hudson Ltd .Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century .2007-11Mike Roemer. INTERIOR AND FURNITURE DESIGN. Thames Hudson Press.2005SCANDINA VIAN FURNITURE DESIGNScandinavian 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 stringent as 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 form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as 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 Bauhaus pure geometric forms and "works" the language of aesthetics, most notably 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 style," 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 Triennial 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 was called "Scandinavian Design" exhibition. Arts Foundation in the United 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" the image of the widely popular in the international community. Function of theScandinavian 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 50's. Scandinavian design of the Year, held alternately in various countries, 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 creative 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 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 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 healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, 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 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 craftsmanship 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 PH 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, thuspromoted the Scandinavian design of further development. Scandinavian design of the human touch is 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 production line development and design work, they operate on the production 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 n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furnitu re Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g 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 almos t exploded in size and social awareness flew with the emergence of the new social clas ses-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 moder n consumer 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 began 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,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 in the 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 kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship 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 developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d 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 fro m 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 De nmark 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 C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmaker workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ an market,caught sight of Danish furniture design-Danish modern.The development of Danish furniture design continued forcefully up through the 1950’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology develop ed ,production became increasingly industrialized and this affected the way in which a rchitects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsen’s famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed i n cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning, It was designed as an industrial product for mass production. Some years later, in 195 7,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chai rs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 19 71. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeed ed in creating a long series of Danish furniture classics, such as the easy chairs “Aegg et”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Roy al Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jaco bsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furnitu re. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studi o. Borge Mogensen was a former student of Kaare Klint, and Mogensen further devel oped Klint’s ideas regarding quality functional furniture for the ordinary consumer. F DB’s furniture was manufactured in wood, especially in the domestic wood sorts of oa k and beech. These chairs were designed for industrial manufacture and despite the fa ct this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for himself by designing exclusive furniture in an altogether different price bracket for afflue nt clientele. Despite this, he never diverged from his principles of functionality and us er-friendliness.The two designers who really put Denmark on the world map were Hans J.Wegn er (born 1914) and Finn Juhl (1912-1989). These two men came from radically differe nt backgrounds. Hans J.Wegner was the country craftsman who had received his traini ng as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Cr afts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educ ated 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, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their prod uction of quality furniture is so extensive-Hans J.Wegner alone is responsible for mor e than 500 models-that it is impossible to highlight the work of one or the other. Partic ular examples of Hans J.Wegner’s unique design work are 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 armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that desig ners had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto andthe Swedish designer, Bruno Mathsson had already created a long line of beautiful la minated furniture in the 1930’s and 40’s–and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & Johnny Soe rensen’s approach so unique was the fact that they regarded their furniture as industria l products instead of one-of-a-kind, craftsman-made goods. Their furniture was highly adapted to rational mass production, almost kike industrial design. More inportant stil l was the fact that an extremely viable model for collaboration between designers and manufacturers had been found. This model created a school of thought and convinced the furniture industry that good design could actually pay!As we approach a new century, there is every reason to have high expectations fo r the continued development of Danish furniture design. Never before has so much qu ality furniture been manufactured, and young, new designers are making their mark. P eople like the designer Troels Grum-Schwensen, Kasper Salto, Henrik Tengler, Hans Sandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work approachwhich will probably guarantee the leading position of Danish furniture design for ma ny years to come: innovation via tradition.Given the fact that the western concept of art from the end of the 18th century m oved towards the ever-increasing independence of artistic expression, part of the task of modern art became to reassemble what had been dismantled. The boundary betwee n fine and mass culture narrowed.Visual art, architecture and applied art were to be se en as aspects of a common dream; the ideal of powerful, modern expression. The begi nning of the 20th century saw the introduction of the term “Gesamtkunstwerk”. A hou se was no longer a frame around random content. Buildings, furniture design, decorati ve art and interior design generally were to support the integral whole, which became greater than the sum of its individual parts.From the 1920’s and 30’s, the dominant German Bauhaus School greatly influenced design in Europe and America. Architect and School Director, Walter Gropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished forever”.In Denmark, architects led by Arne Jacobsen, among others, were extremely stim ulated by this way of thinking. Here lay the keystone to the tradition of interrelationsh ip between architecture and interior design, which to this day remains an important ha llmark of Danish architects and designers. Since 1971,the architectural firm of Dissing +Weitling A/S has continued to run and develop Arne Jacobsen’s architect business, w ith employees in Denmark and around the world. The depth in Dissing+Weitling’s wo rk is exceptional but this also says something characteristic about the Danish approach . Here we find both a sense of wholeness as well as an attention to detail, and especiall y, the challenge of getting both elements to form a synthesis. Nothing is too small, let alone irrelevant to warrant care and attention.In addition to architectural buildings, Dissing+Weitling also carry out work in th e fields of furniture, lighting design, and medico-technical equipment. In all events, it is an attempt to merge the various parameters such as form, function, construction, ma terials and color to form a balanced expression whose hallmark is a strong visual ident ity, which is the leitmotif of the design process: A clarity and purity which has timeless and universal qualities. In this regard, Dissing+Weitling have done a supreme job of carrying on the legacy of Arne Jacobsen.Whereas at the close of this century, we have witnessed the noisier, mishmash of diversity of international design reflecting the spiri t of the times, here in Denmark-and the Nordic countries-the modernistic method and approach has prevailed. Design has been carried forward with moderation and variatio ns based on a tighter minimalism, focusing on the elements and dynamics of the indivi dual form, as well as a pronounced sensitivity for materials. There are many examples of how this subtle dialogue between space, furniture and interior design have found p owerful expression; designs which break up and imprint a different rhythm on the spa ce and the way in which fine contrasts such as the lineatity of the room are juxtaposed by the curvature of the reception area-a common, repeated theme in many interiors.It is important to remember that interior designers are not housebuilders like arch itects. Interior designers are given finished rooms whose interiors they have to design. For this reason, all interior design deals with “treatment of the room” and the Scandin avian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism a nd democracy paired with functionalism, which again is linked to the architectural tra dition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored wi th respect for existing architecture and the qualities of past design. Many buildings ha ve been thoroughly renovated with an eye to meeting new functions and modern requi rements.The balance between maintaining the original distinctive architectural feature s and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can becom e a means of ensuring a uniformity of style and expression.参考文献:朱迪思·古拉泰晤士和哈德逊公司.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11迈克•罗莫. 室内与家具设计. Thame Hudson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。
