办公家具设计外文翻译

外贸英语词汇——家具风格家具英译(6) 家具风格Aa generation of chairs办公椅的改进型a proven program 一个已经落实的新项目a relaxed posture in every seating position 适应各种从姿，令人倍感舒适aesthetic design 美学设计allow an ambience to be harmoniously created 营造和谐温馨的气氛appealing design 造型优美artisan craftsmanship 手工工艺BBaroco style 巴洛克风格CColonial plantation furniture 殖民种植风格家具Contemporary design 现代风格设计Copy 复制，模仿，仿冒DDesign studio 设计事务所Design trend 设计趋势Designer 设计师Distinct grain pattern 清晰的木纹图案EEconomical, versatile and efficient 经济实惠，用途多，效率高Emphasize the magnificent features of the range 更烘托出豪华气氛Energy and comfort 方便舒适Essential, functional design 基本功能设计Ethnic African style 非洲民族风格FFocus on the essential 注重本质Freelance 自由职业者Functional, ergonomic, long-lasting 功能齐全，人体工艺，经久耐用Functionality, quality and appealing design 功能全，质量优，造型佳GGraphic design 图片(装帧)设计HHigh quality 优质的IIdeal combination between 两者完美的结合Imitate 模仿In a Italian walnut finish 意大利胡桃木效果Innovative 创新的Intelligent design 理智的设计Interior decorator 室内美术师Interior design室内设计Interior designer室内装饰师Italian style意大利风格LLight color浅色，淡色MMarbled effect 大理石效果Meet the standards of all areas of the modern world of work可满足现代化办公要求Ming Dynasty 明朝NNatural feeling of warmth and texture 质感温暖自然Neoclassic style 新古典式风格PPerfect in shape and function 造型优美，功能完善Product image development 产品形象推广Product industrialization 产品工业化(设计)QQing Dynasty 清朝RRectangular 矩形Rococo style洛可可风格TTerra-cotta granulated paint finish 陶式沙砾漆效果The strength of the company 公司工作重点Traditional design传统风格设计WWith a classic trend 带有古典风格With the experience of specialist 由专家设计制作Without compromise 面面俱到。

办公家具设计理念范文英文Office Furniture Design ConceptIn today's fast-paced and competitive business world, a well-designed office space with functional and aesthetically pleasing furniture is vital. It not only enhances productivity and efficiency but also reflects the company's values and culture. With this in mind, our office furniture design concept focuses on creating a harmonious and flexible workspace that fosters collaboration, innovation, and employee well-being.First and foremost, our design concept revolves around the idea of flexibility. We believe that office furniture should be adaptable to meet the ever-changing needs of modern businesses. To achieve this, we incorporate modular furniture systems that can be easily rearranged and reconfigured as required. This allows for seamless collaboration and smooth transitions between different work modes, such as individual work, group discussions, or presentations. By providing flexible solutions, we enable employees to create their own personalized workspaces that suit their working styles and preferences.Another important aspect of our design concept is the integration of technology. In today's digital age, technology plays a crucial role in daily office operations. Our furniture designs incorporate built-in power outlets, USB charging ports, and cable management systems to ensure easy access to power and connectivity. This eliminates the need for unsightly and hazardous cables, creating a clean and clutter-free workspace. By seamlessly integrating technology into our furniture, we enable employees to stayconnected and productive throughout the workday.Furthermore, our design concept emphasizes the importance of employee well-being. We understand that a comfortable and healthy workspace is essential for employee satisfaction and productivity. To achieve this, our furniture designs prioritize ergonomics. Adjustable chairs with lumbar support, ergonomically designed desks with adjustable height, and monitor arms that promote proper posture are just a few examples of our commitment to ergonomic design. Additionally, we incorporate elements of nature, such as plants and natural lighting, to create a calm and refreshing office environment. By creating a workspace that supports employee well-being, we aim to enhance overall job satisfaction and reduce employee turnover.Lastly, our design concept also considers sustainability. As global citizens, it is our responsibility to minimize our environmental impact. All our furniture is made from eco-friendly and sustainable materials, such as recycled and FSC certified wood. We also prioritize energy efficiency by incorporating LED lighting and energy-saving technologies into our designs. By adopting sustainable practices, we not only contribute to a greener planet but also inspire and encourage others to do the same.In conclusion, our office furniture design concept aims to create a flexible, technology-driven, employee-centric, and sustainable workspace. By incorporating these principles into our designs, we strive to enhance productivity, well-being, and overall job satisfaction. We believe that a thoughtfully designed office spacecan have a profound impact on employee performance and the success of a company as a whole.。

附录In the consciousness of people, office furniture always gives people a heavy, restrained and even inflexible feeling. But in recently usa.in group its new office furniture exhibition hall in new century, the reporter hands-on revealed to the new office furniture style.According to usa.in group introduce Mr. YangHuaMing floral general manager, said the new concept of office furniture, it is in the group "new era, the new idea of" guiding ideology roll out. With the development of The Times, especially the network time arrival, office furniture also need to adapt to the social features, give office staff more displays of space.Save energy is consider for the customer"A new era, the new idea", is an important aspect of facing the future, fully considering modern office environment inch land inch gold question, thus in the space use on maximum consider for the customer, at the same time to the greatest extent save resources. Like usa.in of 338 partition series, from this face the look may is the simple side partition wall, and on the other side is a very practical wardrobe.If the office environment requires adjustment, 338 partition series furniture still can change combinations. Previously closed meeting rooms can easily into personal workstations, without the need to purchase any new materials, the original material also won't be wasted, this is actually advocate a save resources of new ideas. Usa.in providing customers the many ornaments, can use telephone etc many originally to occupy desktop objects hang up, not only saved a space, and fashionable and interesting, is very humanized design. And the Vatican usa.in Clover high series, flexible and minimalist design, use the simplest, basic parts, this series can evolve into all kinds of combination, which can be applied to different purposes.In the new products, to usa.in increased a lot of unique design details. For example in some desk underneath, renovated unique big roller. The original each other two workbench, a spell can form a very beautiful and practical conference table. Roller have braking switch, need not use when a foot to trample can firmly in place.Now desktop computer is the mainstream of office equipment, and the future, laptop computers, affirmation is the development trend of office furniture, so usa.in in mobility, also made full consideration.Because office space is limited, but usa.in can through office furniture flexibility, to make full use of limited space.Reveal personality increase gradeIn order to break the traditional office furniture inflexible, inanimate situation, launched the latest product -- usa.in Kristall glass hobson table series. This series of office furniture, the whole desktop into translucent grind arenaceous glass, desktop by metal support, desktop is unique arc, give a person a kind of strong contemporary feeling.Kristall series of form a complete set of Hera seat also focused on the dermis, metal, matt metal, rubber wheel and so on several kind of material, not only give the customer a range of options, and also more show concise, modern. This product after it was introduced, the welcome by customers.A network clients of the company at a glance the phase of this product, all will be three sets. This also reflects usa.in in product design new ideas are meet the demand of customers.In addition, any product to usa.in considerable pertinence, even for customers "custom-made2". Like the Vatican Pope John Paul ii, Hong Kong chief executive tungchee-hwa is usa.in valued customers.The new idea means perfect service"A new era, the new idea" also have a content is perfect service system. If a customer plans to buy usa.in products, professional project managers will advance to the photos, then the design gives optimal office furniture layout scheme for the customer to choose, from design to usa.in wiring, installation, the professional service staff will provide free all-round "close-fitting service". komatsu。

办公家具常用英文单词Office furniture is an essential part of any workspace, providing comfort and functionality to employees. Desks, chairs, and filing cabinets are the backbone of a productive office environment.A well-organized office starts with ergonomic chairs that support the back and promote good posture. These are crucial for long hours of work and can make a significant difference in employee well-being.Desks come in various shapes and sizes, from compact workstations to large executive desks. They are the primary surface for tasks like typing and meeting discussions.Storage solutions like filing cabinets and bookcases are vital for keeping documents and materials organized. They help maintain a clutter-free space, which is conducive to focus and efficiency.Conference rooms often feature conference tables and presentation equipment, facilitating team meetings and brainstorming sessions.Cubicles are a common sight in open-plan offices,offering a degree of privacy and personal space while still allowing for easy communication with colleagues.Reception areas are the first impression of a company, often furnished with reception desks and comfortable seating to welcome visitors and clients.Breakout areas, equipped with sofas and coffee tables, provide a relaxed space for informal meetings or a quick break from the daily grind.In summary, office furniture plays a critical role in creating a conducive and efficient work environment. It's not just about aesthetics but also about functionality and employee comfort.。

办公家具的英语作文The Essentials of Office Furniture.Office furniture plays a crucial role in creating a productive and comfortable workspace. It is not merely about the aesthetics of a room; it's about functionality, ergonomics, and employee well-being. In this article, we delve into the importance of various office furniture pieces and how they contribute to the overall efficiency of an office environment.1. The Role of Desks.The desk is the central hub of any office setup. It's where the majority of work takes place, from document preparation to computer-based tasks. The ideal desk should be adjustable to accommodate different heights and sitting postures, promoting good ergonomics. It should also have ample space for a computer, paperwork, and other office essentials.Moreover, desks can be customized to fit the specific needs of the job. For instance, creative professionalsmight prefer a larger workspace with ample room for drawing or sketching, while executives might prefer a more compact desk with built-in storage for files and electronic devices.2. The Importance of Chairs.Just as desks are integral to office productivity,chairs are equally important. An uncomfortable chair can lead to back pain, neck strain, and other health issues, affecting employee morale and productivity. Ergonomicchairs are designed to provide support to the back, neck, and hips, ensuring that employees can sit comfortably for extended periods.Some chairs even offer adjustable height and tilt, allowing individuals to customize their sitting position based on their body type and preferences. This flexibilityis crucial in ensuring that employees can maintain good posture throughout the day, reducing the risk of discomfortand injury.3. The Role of Storage Solutions.Efficient storage is essential in maintaining a tidy and organized workspace. Cabinets, shelves, and drawers are all integral to keeping paperwork, files, and other office supplies neatly organized. This not only improves the aesthetics of the office but also makes it easier for employees to find what they need quickly.Well-designed storage solutions can also help save space, which is especially beneficial in smaller offices. By utilizing vertical space with wall-mounted cabinets or shelves, for example, businesses can maximize their floor area for more productive purposes.4. The Impact of Conference Tables.Conference tables are the backbone of collaborative workspaces. They provide a central meeting point for teams to gather, discuss, and brainstorm ideas. The idealconference table should be large enough to accommodate all participants comfortably but not too big to make itdifficult to maintain eye contact or engage in conversation.In addition to size, the table's design should also encourage interaction. Round or oval tables, for instance, tend to foster a more informal and collaborative atmosphere, while rectangular tables might be more suitable for larger meetings where presenters need to share information with a larger audience.5. The Aesthetic Aspect.While functionality is paramount, office furniture should also complement the overall aesthetic of the workspace. Furniture pieces that are visually appealing and fit with the company's branding can help create a positive work environment that enhances employee morale.From the color scheme to the material used, everydetail of the office furniture should contribute to the overall ambiance. For instance, wooden furniture might lenda sense of warmth and tradition to a space, while modern metal and glass designs might convey a sense of innovation and forward-thinking.In conclusion, office furniture is not just about providing a place to work; it's about creating an environment that supports employee well-being, enhances productivity, and reflects the values and branding of the organization. By investing in functional, ergonomic, and aesthetically pleasing furniture, businesses can create a workspace that not only looks good but also performs well.。

介绍办公家具的英文作文I. The desk is the centerpiece of any office. It'swhere all the work gets done, where ideas come to life, and where productivity thrives. A good desk should be spacious and sturdy, providing ample space for a computer, paperwork, and other essentials. It should also have drawers orstorage compartments to keep things organized and within reach. A comfortable chair is also essential for long hours of work, with adjustable height and backrest for optimal support.II. Shelves and cabinets are essential for storing books, files, and office supplies. They come in various sizes and styles, from open shelves to closed cabinets with doors. They can be made of wood, metal, or even glass, depending on the desired aesthetic and functionality. Shelves and cabinets not only keep things organized butalso add a touch of personality to the office, showcasing personal items or decorative pieces.III. A filing cabinet is a must-have for any officethat deals with a large amount of paperwork. It provides a secure and organized way to store important documents, invoices, and contracts. Filing cabinets come in different sizes, with multiple drawers or compartments, and can be made of metal or wood. They are designed to ensure easy access and efficient organization, with labels and dividers to categorize and sort documents.IV. A comfortable and stylish sofa or armchair is a great addition to any office, providing a cozy space for relaxation or informal meetings. It can be a place to take a break, read a book, or have a casual conversation with colleagues or clients. Sofas and armchairs come in various designs, colors, and materials, allowing for customization to match the overall office decor and style.V. Lighting is an often overlooked but crucial aspect of office furniture. Good lighting not only enhances visibility but also creates a pleasant and productive work environment. Natural light is ideal, so offices with large windows are highly sought after. However, artificiallighting is equally important, with adjustable desk lamps or overhead lights to provide adequate illumination. Different types of lighting, such as warm or cool tones, can also affect the mood and ambiance of the office.VI. Lastly, accessories such as desk organizers, pen holders, and monitor stands can greatly improve the functionality and aesthetics of an office. They help keep the desk clutter-free and create a sense of order and professionalism. Accessories can be simple and practical or decorative and personalized, depending on individual preferences and needs.In conclusion, a well-equipped office requires a range of furniture and accessories to create a comfortable, organized, and productive workspace. From desks and chairs to shelves and cabinets, each piece serves a specific purpose and contributes to the overall functionality and aesthetics of the office. So, whether it's a small home office or a large corporate space, investing in quality office furniture is essential for a successful work environment.。

外文文献原文+译文原文The research of personalized office space interior designMartin GAbstractIn the 21st century, human society entered the "information age", most countries in the world also has gradually into the "post industrial society". In the era of "post industrial society", based on computer technology, network technology and information technology characteristics of the information society will change our mode of production, life style, work style and way of thinking, affects every aspect of our lives. The development of network makes the world becomes smaller and smaller, and the city became big assimilation, life becomes urbanization, people lost the passion of pursuing new and change. In this era of homogeneity, any new things will make people feel excited and delighted, can someone as the cheers and applause, pursuing new and change is the slogan of The Times. The life needs, design calls for more personalized works. Make public individual character, in the field of design innovation is the slogan. The personality is the soul of interior design, interior design for individual work.Keywords: Human nature; Personalized; Office space; Interior design1 IntroductionIn calling upon the personality in the field of interior design, on the one hand, people demand more attention to person itself, also in the interior design is also more to embody the "people-oriented" design concept. Interior design more consideration to all levels of people of different physiological and psychological level, the various requirements of the design to achieve more balance, balance the dual requirement of people in the material world and spiritual world, tend to be more humane, intelligent and ecological design. Gradually reduce, on the other hand, as the earth's resources, the worsening of the natural environment, destruction of ecological balance, need more of is in interior design "people-oriented" dialectic, which is in the life to promote energy conservation, saving resource and moderate consumption, on thedesign to implement green design, ecological design and environmental design, achieve the harmonious development of man and nature.In the field of interior design, office space occupied large proportion of interior design. In August 1933 C AM (international association of modern architecture) fourth conference in Athens by the Athens charter, and put forward the "live, work, transportation activities is to study and analysis of urban design in modern times, the most basic classification". Work is one of the main human activities, office space is the center of the modern life, and people have a third day of the time want to be in the office. Well-designed personalized office space people can keep a good balance of body and mind, stimulate creativity, promote the exchange of work, and enhance the sense of belonging, to create greater wealth for the society. Therefore, office space interior design is particularly important.2 Overview of interior designInterior design, also known as the indoor environment design, the main content of the design for indoor plane design and space combination, indoor surface art processing, and indoor furniture, lamps and lanterns, display the selection and arrangement, etc. Generally have the floor plan, flat-topped diagram, facade expansion plan, as well as furniture, lamps and lanterns and detail drawing. Can use Gantt chart or color rendering." As an independent professional interior design, in the world is truly established in the 1960 s, after the birth of modern architecture movement is interior design professional agent directly, make indoor design in design idea and great changes have taken place in modern architecture movement one by one to make indoor decoration from pure interface to the design of the space; from the traditional pattern of two-dimensional space design to create innovative four-dimensional model; the essence lies in the overall artistic atmosphere of interior space to create, this is the traditional way of thinking of interior design a fundamental shift in attitudes.Interior design is a comprehensive strong cross discipline, is the art and science, the unity of form and technique. Art and science, as human beings to know the world and transform the world's two most powerful means, also reflected in the design. Cansay, the whole process of design, is to make all sorts of subtle things and feelings, organized into a clear concept and art forms, so as to build content to demand the materialization of human emotions and behavior. All design practice is to make the knowledge and the characteristics of emotional streamline, ultimately comes down to this practice aesthetics system in the form of art and scientific theory system. Any kind of design results is the crystallization of art and science, the design is on the brink of between arts and science subjects. Here, the art as a source of design thinking, reflected in people's spiritual world, subjective emotional aesthetic consciousness become design create impulsion. Science as a design specification of the process manifests itself in the material world, people of objective function of technology using the designing a guarantee of success. That reflect more outstanding in the indoor design, modern interior design involves the aesthetic psychology, architecture, sociology, ethnology, human body engineering, structural engineering, architectural physics and material science disciplines, such as it requires the use of multidisciplinary knowledge, comprehensive multi-level space environment design, is a highly integrated comprehensive discipline. Interior design as an independent comprehensive discipline, is the rational creation method in architectural interior space, is a kind of based on the structure of science, to the art form of expression, to create a spiritual space and material space and indoor living environment for the rational creation activity, the sensibility of art together and scientific rationality as the designers create infinite power.Interior design is a category of design, all aspects of the design of the full performance characteristics. Design is to seek a breakthrough in the artistic feeling, an extraordinary, a characteristic of the state, while in this state and breakthrough collectively known as personalized design. Personalized embodied in interior design in the modern office space more to highlight, even far beyond the spiritual and cultural requirements of the space environment is responsible for. It requires that reflects the unique style of enterprise culture, policy makers, tolerance and style, the collective image of the company, the company's historical development and even the company's product characteristic image, and so on. Interior design of individual ischaracter on the premise of "people-oriented". The "people-oriented" can be understood as interior design some of the common requirements, design some aspects of personality development of functional factors, including interior space of the physical environment, physical environment and psychological environment and visual environment and other factors. Personalized office space interior design should be based on these factors.Interior design of individual is character on the guideline of "environmental consciousness". In be being designed indoors, "people-oriented" design concept represents human intuitive understanding of their own interests, reflects the value judgment of anthropocentrism and value orientation, the design of the forming rule of nature theory system and methodology. However, due to human easily swayed by utilitarianism, simply emphasize the "people-oriented", is bound to damage the natural value to achieve the purpose of remaking nature. Should be in the development of interior design development under the guidance of overall environment consciousness, personalized interior design should merge in the overall environment, and the natural harmonious development of the overall concept of choose and employ persons ideas and planning projects, to carry on the design. Interior design to the idea of ecology and ecological values is the main principle, to fully consider the human environmental sustainable development.3 The change of the post-industrial society office spaceSince the 1990 s, represented by information and communication industry of knowledge-based industries become the growth point of the world's biggest economy, network, digitalization and virtualization become the main characteristics of the new economy. Along with the wide application of Internet technology, the popularity of mobile communication technology development, each kind of electronic office products constantly upgrading, make the human on the basis of constantly improve office efficiency, to the depth and breadth development, continue to deepen the degree of office automation, a new type of office mode, arise. Transmission of information is to reduce line configuration. The development of information technology has brought "virtualization" office building in the 1990S. As mobile phones, notebook computers,the emergence of the Internet and E-mail, office workers actually turned out to be "free agents" (Foot Loose) office place and time of freedom. Information technology is also changed on the concept of work and organization. Divide too fine office space layout is no longer suitable for the new working method emphasizes the interaction of team spirit, so had to create a more open workspace.On the one hand, the scope of information technology makes the work continuously break limit of the space, everywhere in the world. The emergence of new digital office mode and concept, make the enterprise began to put more money into the computer network and related technology, and slash funding for the new office. Many large companies have begun to experiment a new office mode. For example, the "elastic" (Flextime) or "office" alternately (Alternate office) implemented in IBM.IBM for 13000 sales, often, technical and administrative personnel are equipped with computers, printers, fax machines and modem, facilitate everybody work outside the office. A new information system, on the other hand, make development changed about the concept of work and organization, office workers actually turned into "free agents", they enjoy freedom of offices and office hours. Increasing work efficiency of the individual, unit time has created an unprecedented social wealth. The arrival of network age makes "SOHO (Small office, home office) became popular in the world. SOHO narrowed the office space, completely eliminate the space distance of the office and family, to overcome the busy traffic, congestion, the share of energy at the same time, reduces the consumption of resources, good way to solve the problems of land for growing population explosion and the scarce. SOHO works make work life, ever tiresome many working atmosphere in the family to make the person feels interest, the workings of a SOHO has become a mainstream in the future.文献出处：Martin G. The research of personalized office space interior design [J]. California Management Review, 2016, 4(3): 89-101.译文个性化办公空间室内设计研究Martin G摘要21世纪人类社会进入了“信息时代”，世界上大多数国家也已经逐步转入了“后工业社会”。

家具行业英汉翻译词汇(3)家具生产技术词汇AA high degree of light-fastness 高质量不褪色A highly compressed special particle board 具有高密度的特殊粒子层的镶板Abrasion 机械磨蚀Abrasion hardness 磨损硬度Abrasive band 砂带Abrasive grain 磨粒Abrasive paper 砂纸Absolute humidity 绝对温度Absolute viscosity 绝对粘度Accelerating aging 加速老化Accomplishment 业绩Achievement 完成Air circulation 空气循环Air-dried condition 气干条件Airless spraying 无气喷涂All-in cost 总费用Allowance for finishing精加工留量，裕度Amazingly true-to-nature wood decors 具有惊人的逼真效果的木材装饰An aver age of … units of chairs per annum 每年平均生产。

套座椅Angle bar 平底鱼尾板，角钢Angle bridle joint 直角啮接Angle of hook 锯齿角，齿钩角Annual outlet 年度生产Annual output 年产量Anvil 铁砧Area of bearing 支撑面积Armrest 带扶手Artificial grain 人造花纹Artisan industry 手工业Assembly line 装配线Automation 自动化BBack bevel angle 后斜角Back boxing 里衬，内衬Back of tooth 齿背Ball bearing 滚珠轴承Banded core 封边板心Beautifully finished 加工完美Bed linens （亚麻）床上用品Bent work 弯曲加工Bevel 斜面，制成斜面Beveled tenon 斜榫Billet-sawn 分段锯切Binging 粘合，夹锯Blade straining device 带锯拉紧装置Blank 毛坯，细缝Bleach 漂白Blister 气泡Bond stress 胶接应力Bottom-board 底板，抽屉底Bovine leather 牛皮Bow door 弓形门Box-lock 套接Braced miter joint 联结斜接Brake drum 制动轮Brake ratchet wheel 棘轮制动器Break-even point 等值点Brush 毛刷，漆刷Buckling strength 扭压强度Buckling stress 扭曲应力Built-up area 建筑面积Butt 截头，切方Butt and butt 两头对接Butt tenon对头接榫Butt joint 对接，平接CCabinet maker's blank 细木工坯料Cabinet work 细木工Cabriole leg 弯脚Cantilever base 伸臂底座Capable of producing… 能生产。

家具设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)SCANDINA 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 conditionsof 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 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 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 ofindustrialization 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, thus promoted 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 Furniture 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 agricultu ral 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 andawareness,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 cabinetmake r 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 him self 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 more 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 designers 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 and the 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 rens en’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, HansSandgren 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 approach which 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, WalterGropius, 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 fo rever”.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 timeles s 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。

Adjustable bed 可调床Air bed 气床Anti-slip strip for stairs （儿童床）防滑楼梯打击扶手Antique furniture 古式家具Antique reproduction furniture 仿古家具Armchair 扶手椅B Baby crib 婴儿床Backless wall-unit 不设背板的壁橱Bamboo furniture 竹家具Banqueting chair 宴会椅Barstool 吧椅Bathroom accessories 浴室配套装置Bathroom combination 浴室组合柜Bathroom consoles 浴室多用架Bathroom furniture 浴室家具Bathroom vanity 浴室盥洗台Batten door 板条门Bed base床架，床套Bed base set 成套床架Bedroom suite 卧室系列家具Bedstead 床架Bentwood furniture 曲木家具Beside table 床头柜Birch door 桦木门Board-room and conference table 会议桌Bookcase 书柜Bookshelf 书架Built-in kitchen 配套厨房家具Bunk 双层床Bunk bed 双层床C Cabin bed 儿童多功能床Cabin furniture for ships 船用家具Canopy bed 带天篷的床，四柱床CD-video storage cabinet边音响组合柜Chair with castors 脚轮椅Changing table 可调桌Chest of drawers 多屉橱柜Child cot 童床Children’s bed 儿童床Children’s bedroom suite 儿童卧房系列家具Children’s chair 儿童椅CKD(complete knock down) 整体拆装式家具Clothes rail 挂衣杆Cocktail cabinet 吧柜，酒柜Cocktail table 鸡尾酒桌Coffee table 茶几，咖啡桌Combine-unit 组合柜Composite furniture 复合家具Console 小桌Console table （装在墙上的）蜗形腿台桌Contract furniture 订做家具，承建家具Contract programmes 订做家具Corner sofa suite 拐角扶杆Cot 童床（婴儿床）Couch 长沙发椅Cupboard 橱柜Cupboard wall unit for flat 套房衣柜Curtain 窗帘，挂帘Customized furniture 订做家具D Decorative lighting 装饰灯具Dining room furniture 餐厅家具Dining room set 起居室配套家具Dining table 餐桌Divan 长沙发，沙发床Dividing wall and fitted wall unit 隔墙板及系列DIY furniture 自装式家具Double-bed 双人床Double function sofa-bed 双人沙发床Double sided mirror 双面镜Draughtsman chair 吧椅Drawer 抽屉Dressing table 梳妆台E Easy chair 轻便椅End table 茶几Entrance hall furniture 门厅家具Exterior door户外门F Filing cabinet 文件柜Fireplace壁炉Fitment 固定家具Fitting 家居用品Flap 翻门Flower stand 花架Flush door 平面门，全板门Folding chair 折叠椅Folding furniture 折叠家具Folk furniture 民间家具Foot-stool 踏脚凳Framed mirror 带框镜子French-type furniture 模式家具French cabinet 法式桌椅弯脚French door 玻璃门Function sofa多功能沙发椅Furniture for bedrooms 卧室家具Furniture for public premises 公共场所家具G Game table 玩具桌Gate-leg table折叠桌Glass cabinet 玻璃陈设柜Glass case玻璃陈设柜Glass unit and container 玻璃容器制品Glazed door 玻璃门H Hall furniture 厅房家具Hat and coat stand 衣帽架Headboard 床头Heirloom quality furniture 祖传家具High bed 儿童高脚床（不带屉柜）High chair 高脚椅Highback executive chair 高背办公椅Home furniture 家庭家具，民用家具Home office furniture 家庭办公家具Hotel furniture 酒店家具Household furniture 家庭家具Hutch碗架I Institutional furniture 风俗家具，公用家具J Junior desk chair 学生书桌椅K Kitchen block /kitchen rock 厨房地砖Kitchen cabinet 餐具柜Kitchen chair, stool and bench 厨房椅、圆凳及条椅Kitchen fitment 厨房固定家具Kitchen table 厨房餐桌Kitchen unit 厨房成套家具L Lamp table 灯桌Lath grid 板条格Ledged door 直板门Link chair 写字板椅Living room furniture 起居室家具Locker 衣帽柜Lounge furniture 客厅家具Louvered door 百叶窗柜门Lowback executive chair 低背办公椅Lowback guest chair 低背来宾椅Lowback visitor chair 低背接待椅M Managerial mediumback chair 中背经理椅Margined flush door 镶边平板门Mattress 床垫，席梦思Mediumback executive chair 中背办公椅Metal furniture金属家具Mirror door 玻璃门Mirror for chest of drawers 多屉柜梳妆镜Multi-purpose sofa 多用沙发Multi-purpose table 多用桌N Nest 茶几O Occasional furniture 配套家具，休闲家具Occasional table 休闲桌Office furniture 办公家具Office seating 办公座椅Office table 办公桌P Partition wall 隔断Pembroke table 折面桌Planters chair 园艺工用椅Plastic furniture 塑料家具Play furniture 娱乐家具Presidential highback chair 高背办公椅Pull-out table 伸缩餐具R Rattan furniture 藤家具Recliner 躺椅Refectory table长餐桌Rocking chair 摇摆椅Rotary chair 转椅Rustic style furniture 乡村风格家具rectangular table 长方桌red-lacquered chest 红漆木箱round bed 圆床round stool 圆凳round table 圆桌round-backed armchair 圈椅S School table 课桌screen 屏风Seat 座椅secretaire 写字桌(尤指有抽屉及分类格者) Secretarial chair 秘书椅sectional sofa 拼合沙发semi-CKD 半拆装家具separate wine cabinet 独立厨柜serving table 送餐桌settee; chaise longue 长靠椅shelving combination 组合架shoe rack 鞋架side table 小桌sideboard 餐具柜simmous bed 席梦思床single bed 单人床slat stool 板条凳sleeper sofa 可睡沙发sofa 沙发sofa bed 沙发床sofa table 沙发桌soft chair 软椅spring bed; steel cot 钢丝床；弹簧床spring-seat chair 弹簧座椅square stool 方凳square table 方桌steel chair 扶手椅steel desk 钢制写字台steel safe 保险柜step stool 梯凳stool 凳子；搁脚凳storage for umbrellas 伞架straight back chair 直背椅strong box; safe 保险箱studio couch 单人沙发床suitcase; trunk 衣箱；小型旅行箱swivel armchair 帆布折叠躺椅swivel-top stool 转动凳。