北欧家具设计的审美特征英文文献和中文翻译(3)

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The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lectureship 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 development of Danish furniture design to a great degree.Kaare Klint was a systematist and a modernist who used his students to pioneer a series of surveys and analyses of furniture and 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 from 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 Denmark 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 Cabinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young furniture designers could 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 many others made their breakthrough,and it was at these same exhibitions in the period following the Second World War that,in particular the American 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 developed ,production became increasingly industrialized and this affected the way in which architects 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 in 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 1957,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 chairs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 1971. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeeded in creating a long series of Danish furniture classics, such as the easy chairs “Aegget”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Royal Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch 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 designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studio. Borge Mogensen was a former student of Kaare Klint, and Mogensen further developed Klint’s ideas regarding quality functional furniture for the ordinary consumer. FDB’s furniture was manufactured in wood, especially in the domestic wood sorts of oak and beech. These chairs were designed for industrial manufacture and despite the fact 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 affluent clientele. Despite this, he never perged from his principles of functionality and user-friendliness.