家具设计参考文献

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毕业论文现代中式家具设计之餐厅家具设计说明

林业大学本科毕业设计（论文）题目：象·君在城上中国风·华夏情—餐厅家具设计学院：家具与工业设计学院专业：家具设计学号：学生：指导教师：职称：现代中式家具设计之餐厅家具设计---体味朝文化，设计现代中式餐厅家具摘要：由于现代生产方式和生活方式的太大改变，传统中式家具已经不能满足人们的需要。

这次毕业设计的容是选择了餐厅这个空间来设计一套现代中式家具。

就是在体会文化的基础上，运用朝文化元素，结合现代家具设计方法，设计出符合现代人需要的现代中式家具。

这次餐厅整套家具设计不仅是现代人生活需求的一种选择，也想通过这套餐厅家具让人们感受到朝的文化精神和传递给人们一种生活态度。

关键字：现代中式家具，餐厅家具，朝，嬴渠梁目录1.前言1.1目的1.2意义2.正文2.1课题的确定2.2开题2.3资料收集2.4市场调研，市场定位和产品企划2.5设计构思，设计方案确定2.6实物制作作品3.结论4.致5.参考文献6.附录1.前言1.1目的此次毕业设计的目的是培养学生综合运用所学的基础理论、专业知识、基本技能应对和处理问题的能力，是学生对四年来教学的一次全面回顾。

此次毕业设计的主题是“中国风·华夏情”，旨在更好的发扬中国传统文化，推出新，使中国设计走向国际化。

1.2意义此次毕业设计要求学生是原创设计，在做毕业设计的过程中可以对中国传统文化做一次全新的认识。

另外，还可以对家具的材料、结构、工艺等做一个全面的了解，巩固大学四年来所学的知识。

2.正文2.1课题确定——中国风、华夏情2010年1月12日，指导老师帮我确定课题，从那一天毕业设计就真正的开始了。

中国元素、中国风时下正热，并以各种形式代表中国形象频繁出现在世人面前。

以浓郁的中国风吸引市场消费目光的设计风格，相信是未来家具与建筑工业产品设计开发成功之道之一。

同时，我们也必须切忌刻意地在设计中加入中国符号，要让中国元素自然蕴涵在家具或建筑工业产品设计中，更将中国文化元素的精髓极至融合于家具与建筑工业产品的品质之中，从而体现中国人独有的思维方式、中国精神与中国原创家具与建筑工业产品设计形象；其实，中国风格和气质是与生俱来的，而不是做作地附加在产品表面，否则便失去了设计的精神和灵魂，更无法真正使中国设计走向国际化。

现代简约风参考文献

现代简约风参考文献近年来，现代简约风格在室内设计、时尚界、艺术领域等多个领域中备受关注。

它以简洁、大方、实用为设计理念，追求极简主义的审美效果。

本文将以人类的视角，为读者详细介绍现代简约风格的特点、应用及其在不同领域的表现。

一、现代简约风格的特点现代简约风格注重简洁、舒适、实用，追求简单而不失精致的设计。

它主张尽量去除多余的装饰，突出功能性和实用性，使人们的生活更加便利和舒适。

1.简约的线条和造型：现代简约风格强调简洁的线条和造型，避免过多的装饰和繁杂的图案，注重形式的纯粹和几何感。

2.明亮的色彩：现代简约风格常采用明亮的色彩，如白色、灰色、米色等，以增加空间的明亮感和舒适感。

3.大面积的留白：现代简约风格倡导大面积的留白，使空间更加宽敞明亮，给人一种清新、简洁的感觉。

4.实用的家具和布局：现代简约风格注重实用性，家具和布局更加简单、实用，以满足人们的日常需求。

二、现代简约风格在室内设计中的应用1.客厅：现代简约风格的客厅通常以简洁、舒适的家具为主，如简约风格的沙发、茶几、电视柜等。

配以明亮的灯光和简约的装饰品，打造出宽敞、明亮、舒适的客厅空间。

2.卧室：现代简约风格的卧室以简洁、舒适为主，床、衣柜、床头柜等家具通常采用简约风格的设计，色彩上以明亮、柔和的色调为主，打造出宁静、舒适的卧室环境。

3.餐厅：现代简约风格的餐厅通常以简洁、实用的餐桌和餐椅为主，可以搭配一些简约的装饰品和绿植，使餐厅更加温馨、舒适。

4.厨房：现代简约风格的厨房以简洁、实用为主，采用简约风格的橱柜、台面等，使厨房更加整洁、明亮。

三、现代简约风格在时尚界的表现现代简约风格在时尚界的表现主要体现在服装和配饰方面。

现代简约风格的服装注重线条的简洁和剪裁的精致，色彩上以简洁明亮为主，追求简约而不失时尚的效果。

配饰方面也是简约实用为主，如简约的手表、项链、耳环等。

四、现代简约风格在艺术领域的表现现代简约风格在艺术领域的表现主要体现在绘画和雕塑方面。

家具创新外文翻译参考文献

家具创新外文翻译参考文献1. Yu, X. L., & Lu, J. (2019). Innovative Design of Furniture Based on Livability: Taking the Design of Children's Desk as an Example. Advances in Engineering Research, 264-264.2. Candi, M., Damasceno, M. F., & Bezerrra, A. K. (2021). Innovation in furniture design: A look at production processes and material choices. Journal of Industrial and Production Engineering,38(1), 56-68.3. González-Zamar, M. D. P., & Suárez-Torres, J. (2020). Customer-oriented innovation in furniture design: key factors and approaches. Journal of Engineering Designs, 31(5), 234-247.4. Zhang, P., & Cheng, X. (2020). Analysis of the Innovation Model of High-end Customized Furniture Design. Journal of Applied Science and Engineering Innovation, 555-562.5. Wernick, J. S., & Katz, A. E. (2021). Design and Innovation for Office Furniture: High-Quality Design for the Workspace. International Journal of Humanoid Robotics.以上是一些文献参考，介绍了家具创新设计的不同方面，包括客户导向创新、高端定制家具的创新模式、基于舒适度的创新设计以及办公家具设计的创新和发展等。

现代家具设计中明式家具设计的发展论文.doc

现代家具设计中明式家具设计的发展论文摘要：在现代家具设计中，要随时把握现代文化时尚的发展趋势，有意识的体现各种文化特色和风格。

本文通过对现代家具的设计风格阐述从而进一步对现代家具中的明式家具的发展以及其表现方式进行研究从而解决实际设计中遇到的的问题。

关键词：现代家具明式家具设计发展现代家具和明式家具从他的功能、材料和结构的本源上看出他们追求简约、高品质的材料要求，人体工程的表现都是他们共同拥有的特质。

这就为中国现代家具的设计取得更多的依据，繁荣家具的设计创作。

加速了中国特色家具的现代化进程，有利于可持续发展。

一、现代家具的设计风格进入二十一世纪以后，现代设计理念异彩纷呈，世界家具设计潮流进入了一个新的时期。

它预示了在新的世纪初期家具会迎来一个新的发展阶段。

根据现阶段的种种迹象表明，我认为由于科学技术的进步和时尚文化观念的更新，二十一世纪的前期在家具的设计理念，使用功能和艺术风格上都会发生巨大的变化。

现代家具产品的设计应以现代科学工艺为生产手段，要体现现代的科学技术的发展成果，从目前来看，家具将进入高科技，智能化发展阶段。

所谓高科技是指在这个阶段家具的设计和制造将大量采用新的技术和新的材料，如光电技术，遥测感应技术，遥控技术，以及一些不破坏生态平衡，无污染的新材料，智能化即是指在利用这些技术的基础上，延续人的控制思维，使家具功能的进一步完善。

这些技术在家具的设计和生产中应用，会给人的生活和家具的设计带来一场深刻的革命。

从现在来看，人们对智能化家具的最主要的要求，就是人在使用家具时，对人体健康状况和环境质量进行监测，保护和管理，延续人的控制思维，使家具功能更加完善和舒适，现在室内家具和设施的设计上已经出现了这种倾向。

因此家具形态也可能出现一些我们目前还没有考虑到的家具形式。

家具设计运用现在科学技术，主要是提高家具的信息化、智能化的程度，从而适应现代工作节奏和生活质量的需要。

在现代家具设计中，要随时把握现代文化时尚的发展趋势，有意识的体现各种文化特色和风格。

室内设计专业论文参考文献

室内设计专业论文参考文献1. 郑曙旸著.室内设计.吉林:吉林美术出版社,19972. 吴卫著.钢笔建筑室内环境技法与表现. 北京:中国建筑工业出版社,20043. 孙佳成编著.室内环境设计与手绘表现技法. 北京:中国建筑工业出版社,2006.4. 〔美〕弗郎西斯·D.K.钦著邹德侬方千里译.建筑:形式·空间和秩序. 北京:中国建筑工业出版社,19875. 朱会平主编.家具与室内设计.黑龙江:黑龙江科学技术出版社,19996. 梁思成全集.北京：中国建筑工业出版社，20017. 郑曙阳，绿色设计之路——室内设计面向未来的唯一选择建筑创作第十期 20028. 郑曙阳，室内设计资料集北京：中国建筑工业出版社，19939. 韩冬青，建筑形态建构方式的比较和探索新建筑，第三期，199410. 孙佳成编著.室内环境设计与手绘表现技法. 北京:中国建筑工业出版社,200611. 郑曙旸著.室内设计.吉林:吉林美术出版社,199712. 罗玲玲主编.建筑设计创造能力开发教程. 北京:中国建筑工业出版社,200313. 朱会平主编.家具与室内设计.黑龙江:黑龙江科学技术出版社,199914. 刘芳苗阳编著.建筑空间设计.上海:同济大学出版社,2003 .15. 张世礼，中国现代室内设计研究散记，中国室内，第三期，200116. 潘谷西主编.中国建筑史参考图. 北京:中国建筑工业出版社,200017. 同济大学建筑系编. 同济大学学生建筑设计作业选2000-2001.18. 北京:中国建筑工业出版社,200219. 《大师系列》丛书编辑部编著.《大师系列》. 中国电力出版社,200520. 〔美〕M.萨利赫·乌丁著.美国建筑画. 北京:中国建筑工业出版社,199821. 王晓俊编著.风景园林设计.江苏:江苏科学技术出版社,200722. 〔美〕弗郎西斯·D.K.钦著邹德侬方千里译.建筑:形式·空间和秩序. 北京:中国建筑工业出版社,198723. 〔美〕M.萨利赫·乌丁著张永刚陆卫东译.建筑设计数字化. 北京:中国建筑工业出版社,200224. 陈文斌章金良主编.建筑工程制图.上海:同济大学出版社,200625. 韩中杰编著.手绘表现图.福建:福建科学技术出版社,200426. 李明，许谦编著.群星记录.北京:清华大学出版社,2003。

室内设计论文参考文献

室内设计论文参考文献室内设计论文参考文献酒店作为有着特殊经营规律和服务特点的企业，其室内功能布局不同于一般的办公楼或商业大厦，它要求从酒店经营的角度去进行室内功能布局与经营空间的合理规划设计。

目的是使酒店既适应宾客需要，又符合经营管理的要求，并且能够发挥酒店各功能部门的作用，提高投资效益，满足现代人们的物质与精神生活的需求。

1.现代酒店室内设计的要点1.1酒店的室内设计要考虑散客和团队客人不同的需求，除主入口外，还设有团队会议客人独立出入口和行李出入口。

设计两个出入口，分别方便住店顾客和非住店顾客人的活动，使非住店客人的活动路线与住店客人的活动路线划分，相互之间没有大的影响。

1.2酒店室内设计要满足经营管理和发展需要，在初始规划酒店室内整体功能时就要适应社会人口、消费结构和地方特色。

把握人与人、人与自然的融洽关系，构建设计酒店室内空间。

一定程度上调整或修改空间的布局。

功能、大小。

满足顾客的各类要求。

在确保健康、环保的前提下为酒店产品创造品牌。

1.3建筑室内设计是建筑设计的继续和深化，是室内空间和环境的第二次创造。

一个酒店。

不管规模大小。

都必须确保拥有娱乐、休闲、生活、工作所需的一系列空间：酒店大堂、歌舞中心、大中小型会议室、商务中心、多功能厅、影视厅、客房、各类餐厅、酒吧、洗浴桑拿中心等。

高效空间的设计能提供更多的空间种类，更有趣的空间组合、更短的步行距离。

1.4酒店室内设计功能布局要合理，服务区域的划分区要合理。

酒店种类繁多的区域既要划分明确，又要有机联系统一，使酒店的每一寸空间都派上用场。

无论是规模大小，都能让顾客进去后不觉得拥挤。

都很方便。

1.5酒店室内设计应提倡绿色环保和可持续发展，坚持吸收本地、本民族和民俗的母体文化。

使酒店体现出一种独特的文化个性，从而确定每个酒店各自的形象。

2.酒店室内设计2.1酒店大堂设计大堂是酒店的中心，是客人对酒店第一印象的窗口，是酒店整体形象的'体现，大堂的合理布局极为重要。

现代家具设计与风格论文

现代家具的设计与风格研究【摘要】家具作为建筑空间与人之间的媒介，它通过形式和尺寸在室内空间和个人之间形成一种尺度，在我们的工作和活动中将室内变得舒适，通过不同风格的变化渲染出不同的室内空间。

家具是人们生活的一个部分，它必须符合使用者对其功能、结构和审美的要求。

【关键词】家具设计;设计特性;人性化研究【中图分类号】j525 【文献标识码】a 【文章编号】1009-5071(2011)11-0303-02功能性是家具设计的主导前提，实用是家具的固有属性，物质功能作用是家具设计不容忽视的，家具的出现和存在是因为它满足人们生活中的实际使用功能。

功能达到最大值时，它的外在元素就显得尤为重要了。

现代社会，影响家具选择的首要因素逐步转换为视觉效果，将外在元素加以整合，而创新的任务是由设计来完成的。

其中造型、材料、色彩甚至舒适度等等，构成了家具的个性特点。

1 现代家具的造型美造型是家具设计成败的重要因素之一。

一个好的造型可以给人带来视觉上的美感和精神上的愉悦、舒适感。

一个成功的造型设计，首先要遵循美学中的对比关系，比如：粗与细的对比、圆与方的对比、曲与直的对比。

由于这些对比关系，使家具在造型上体现设计师的创意特点或设计品牌的品牌形象等。

设计师在造型上从根本概念出发考虑人们的未来，考虑人们生活的发展趋势，从而设计出超越当前现有水平，创造出人们新生活方式所需求的家具产品。

并且根据消费者对家具的功能需求，而萌发出原始构思，在设计中慢慢形成产品创意，然后落实到具体的设计中去。

2 现代家具的材质美材料是构成家具的物质基础。

家具的制作材料反映出当时的生产力发展水平。

材料的质地和肌理在很大程度上决定了产品的外观和质量给人的感受。

比如木材绿色环保、纹理自然、美观且手感好，并且易于加工和着色，是上等材料。

塑料及其合成材料具有模拟各种天然材料质地的特点，并且具有良好的着色性能，但有易于老化、受热变形等缺点。

家具设计的造型之所以能够给观赏者以美感，也是基于它的材质。

浓情简欧一简欧风格家居设计毕业设计论文

_、选题的目的及意义（一）项目背景：此次设计项目是位于贵阳市山水中央小区的户型，户型结构比较特殊，为不规则户型。

面积为145itf,有三室两厅一厨两卫两阳台，业主是一个三口之家，一对夫妻他们的职业为服装设计师，对生活品质有一定的要求，喜欢简约又不失高雅的家居环境。

他们还有一个十二岁的小女孩，所以我为他们选择简欧风格。

（二）简欧风格的背景：简欧风格是欧式风格中之一，起源于古希腊、雅典，发展于罗马帝国。

在当时历史条件的影响下，欧式室内装饰经过意大利、地中海周边的国家、西班牙、德国、法国等国家的文化融合产生了各具特色的欧式风格。

经历了时间的洗礼欧式风格走向了全世界乃至中国。

如今我国家装提倡减少过度硬装，提倡功能性，遵循以人为本。

而简欧风格合理简化古典欧式风格，使人们对轻松自然却不失温馨家充满希望。

（三）项目价值意义：改革开放后中国室内设计随着改革开放后渐渐发展起来的，此后住宅建设一直是城乡建设的热点，经过这么多年的积累沉淀住宅建设渐渐从量的追求改变到质的要求。

住房制度的改革是其中比较重要的部分,人们对住宅的功能性与舒适性有了一定的追求。

欧式风格就这样在我国慢慢的发展且流行起来。

但是古典欧式追求华丽的装饰、精美的造型过于奢华瑰丽。

而当代中国属于快速发展的年代，生活节奏比较快，人们更希望家是轻松、自然、温暖，所以简欧风格更符合当下普通家庭和没有太多财富积累的青年人的生活方式。

（四）研究目的：简约欧式风格沿袭古典欧式风格的经典元素，融入了现代简约的生活元素。

欧式的家居设计有的不仅仅是豪华大气，更多的是轻松和浪漫。

通过优美的曲线，精益求精的细小地方的处理，带给家人不尽的舒服感与愉悦感。

事实上和谐是简欧风格的最高境界。

我希望通过对本设计的研究，让更多的人喜欢上简欧风格。

（五）国内外研究现状：随着装修的发展国内也有很多相关的学术论文，例如：刘东明写的《浅析居室设计中的简欧风格》和王晴晴写的《对简约欧式风格家居设计的思考》等。

中国家具设计的审美文化

法制度的影响．所有器物的造型、材质皆反映了当时宗教和政治活动的审美情趣。以几为例，<周礼 ·春观》有。司几筵掌五几五席之名物．辩其用，与其位。 ”这五几为左右玉几、雕几、彤几、漆几、素几。根据材质不同可辨别使用者身份和使用场合。受“礼”的影响，周朝的社会生活，由前朝的尊神杷鬼俨然转入了等级分明、秩序井然的有序社会。作为家具的纹样．由此也从具有神秘宗教色彩的饕餮、夔龙等图案转为井然有序的窃曲纹 m。
家具的审美包括社会的、艺术的、技术的、经济的等多种因素。以材质为例．木材作为中国家具几千年以来的主要材质。其美观的材质肌理带给家具以美感．含蓄、温润的特色。赋予家具经久不衰的魅力。中国明式家具是木结构家具的颠峰期。家具制作中不施胶、钉的榫卯结构工艺使得整个家具严丝合缝．工整精致的木质材料特性由此得以更完美的实现。
中国家具设计的审美文化
井浩淼
( 南通大学蔓术与设计学院)
摘要：审美文化精神是中国当代家具设计的基础。家具在审美中固然要注重家具外部形态美，既功能、材质、结构关的统一体。文化的影响以及文化内涵的体现。也是家具设计当中需要关注的问题。
关键词：家具设计；审荧；文化
众所周知．作为不同子动物的高等生物——人类，其与低等生物之间最大的区别就在于人对环境有着美的追求．而不仅仅存在物质需要。在人类的历史上对于事物的观点固然是功利先于审美，但随着社会的进步和发展．人们对审美的需求日益强烈和明显。
个字“简、厚、精、雅。”13] 文字言简意赅，却涵盖全面。明式家具。造型简洁大方、线条舒展灵秀，彰显了文人洒脱、旷达的气质；家具线脚处理上多采用圆角，体现了一个。厚”字。这和中庸之说不谋而合．有着中庸学说“平实 ”、“和谐”的审美趋向：。精 ”这个字和“简 ”不矛盾，精不意味着繁复也不意味着是简的对立。虽然那时的家具在整体造型上简单明了，但并不意味着整体细节的忽略：闻风格古朴简索、意趣含蓄的家具纹饰也体现了古人喜好风雅的审美情趣。从而，明式家具以其独有的审美特点，成就了中国家具史上的巅峰时期。

家具设计毕业论文

家具设计毕业论文毕业论文(设计)题目: 化茧成蝶蜕变自我学号: 100408xxxxx姓名: xxx系别: 艺术设计系专业班级: 家具1001班指导教师: 钱xx 顾xx 李xx2012年 6 月 10 日本人声明郑重声明本论文(设计)系本人在老师的指导下独立完成的论文(设计)，本人拥有自主知识产权，没有抄袭、剽窃他人成果，由此造成的知识产权纠纷由本人负责。

作者(签名):年月日1目录目录..........................................................................................2 摘要及关键词..............................................................................3 一、设计主题来源 (4)(一)设计主题………………………………………………………………4 (二)设计灵感………………………………………………………………4 (三)设计理念………………………………………………………………4 (四)主题意义........................................................................4 (五)市场调研........................................................................5 (六)设计方向........................................................................7 二、实现过程..............................................................................8 (一)材料..............................................................................8 (二)家具结构........................................................................8 (三)家具表现 (10)三、主题表现效果........................................................................11 四、整体评价与重点.....................................................................11 (一)设计特点........................................................................11 (二)总体评价........................................................................11 附录..........................................................................................11 参考文献....................................................................................17 致谢 (24)2摘要这一系列客厅家具是由明、清式风格演变成的现代简约家具，其理念是根据明式家具的特色结合现代家具的特点而设计的一系列新中式的客厅家具。

家具设计外文翻译参考文献

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。

美式风格参考文献

美式风格参考文献美式风格参考文献文章类型：参考文献论文参考文献本文是一篇参考文献，参考文献按照其在正文中出现的先后以阿拉伯数字连续编码，序号置于方括号内。

一种文献被反复引用者，在正文中用同一序号标示。

（以上内容来自百度百科）今天为大家推荐一篇参考文献，供大家参考。

美式风格参考文献一：[1]钟华。

美式风格在现代家居中的应用。

科技视界，2013,26:281+328.[2]许洁。

美式之魅。

绿色环保建材，2014,12:78-81.[3]杨晓林，汪书春。

2014年国产动画电影综论。

电影新作，2015,01:47-53.[4]覃庆贵。

木材、石材在美式田园风格中的运用。

美术教育研究，2015,05:65.[5]覃庆贵。

美式田园风格归类。

现代装饰（理论），2015,02:172.[6]覃庆贵。

美式田园风格中的装饰性元素。

美术教育研究，2015,06:78.[7]刘树老。

美式家具的文化起源与风格特征解读。

美术学报，2015,02:89-93.[8]佟建，辛欣。

乡村风格在美式设计中的实践应用。

现代装饰（理论），2015,05:131.[9]陈福兰。

美式田园风格家居设计的探究。

大众文艺，2015,12:88.[10]周倩。

谈美式风格在现代家居设计中的运用。

山西建筑，2015,32:209-210.[11]韩露枫。

浅析美式风格在现代家居中的应用。

美与时代（城市版），2015,11:51-52.[12]朱继纹，佟健。

美式风格之赖特草原风格分析。

艺术科技，2016,02:305.[13]何晴。

《美式风格咖啡馆手绘效果图》。

现代装饰（理论），2016,05:6.[14]刘树老，吴智慧，张军。

美式家具的风格起源与装饰特点。

包装工程，2016,14:117-121.[15]伏平。

悠悠美式风。

现代装饰（家居），2016,07:141.[16]仇丹。

美式乡村风格在中国室内设计中的应用研究。

美与时代（上），2016,07:78-79.[17]陈涤。

室内轻奢风格论文参考文献

室内轻奢风格论文参考文献
1.高金锁.建筑空间室内设计[M].辽宁:辽宁科学技术出版社,2009.09.
2.孔健.现代室内风格设计[M].上海:同济大学出版社, 2011.04.
3.朱妍妍.路易十四至十六期间家具与室内陈设研究及其当代应用[D].南京林业大学,201
4.
4.张明杰,邸士武,后宗飞.欧洲新古典主义室内设计[J].城市住宅,2011,07:100-103.
5.赵川.西方现代室内设计艺术的观念与理论研究[D].南京师范大学,2018.
6.邹静.浅谈室内设计中轻奢与极简风格[J].数码设计(下),2020,9(5):8
7.
7.李江军,王梓羲.软装全案设计教程[M].南京:江苏凤凰科学技术出版社,2020:14-15.
8.毛琛.浅谈轻奢室内装饰风格的兴起与发展[J].中国建筑装饰装修,2021，05:168-169.
9.龙巧玲,张驰,张春燕.浅谈中国家居装饰风格设计[J].建材与装饰,2016,(22):85-86.
10.姜男.软装设计在色彩中的层次结构[J].西部皮革, 2020(11):71-72.
11.胡景初.迎接大设计大融合时代的到来[J].家具与室内装饰,2016(1):9.
12.包颖.轻奢时代的室内装饰:将巴黎装进房间[J].魅力中国,2020,(37):327.
13.熊晶,徐帆.轻奢设计在室内装饰中的运用分析[J].新一代,2021,25(5):268.
14.于宁,谈“轻奢”室内装饰风格[J].艺术品鉴, 2019,(23):82-83.。

《室内设计》课程参考文献

室内设计参考文献
《室内设计资料集》张绮曼、郑曙暘编中国建工出版社
《室内外设计资料集》薛健编中国建工出版社
《室内设计原理》上、下来增祥陆震纬编中国建工出版社《建筑室内与家具设计人体工程学》李文彬编著中国林业出版社
《室内空间设计手册》[日]小原二朗、加藤力、安藤正雄编中国建工出版社
《住宅I》 [日]谷口汎邦主编马俊、韩毓芳译中国建工出版社
《住宅II》 [日]谷口汎邦主编马俊、韩毓芳译中国建工出版社
《餐饮建筑设计》邓雪娴、周燕珉、夏晓国中国建工出版社
《餐饮业店铺设计与装修》[日]竹谷稔宏孙逸增俞浪琼译辽宁科学技术出版社
《商业形象与商业环境设计》陈维信编著江苏科学技术出版社
《现代展示设计教程》朱淳编著中国美术学院出版社
《办公空间设计与工程》邓楠罗力编重庆大学出版社
《办公楼》 [日]谷口汎邦主编马俊、韩毓芳译中国建工出版社。

家居设计毕业论文

摘要家居设计是室内设计重要的组成部分。

家居设计即居住建筑室内设计，亦称“家装”。

室内家居设计重在表达人与空间的关系，它的重要性体现在人与自然和谐相处。

家作为承载人生活空间的场所，人的一生绝大部分时间都是在家度过的。

本方案以“家”为主题，顾名思义是设计自己的家。

一个家，难道只是一个房子，一个住所而已么？在我看在，不只是这样。

设计家要坚持“以人为本”。

本设计以人性化的设计为理念做接地气的设计为指导展开的。

关键词：现代、简约、建筑、空间、小户型AbstractHousehold design interior design is an important part. Household design that residential building interior design, also say "domestic outfit". Indoor household design is to express the relations between human and space, and its importance is embodied in the person and the nature harmoniously. As people life space carrying home, site of one's life for most of the time is spent at home. This plan to "family" as the theme, just as its name implies is to design your own home. A home, is it just a house, a dwelling? Look in me in, not only that. Designers to adhere to the "people-oriented". This design to the human nature in the design for the concept of the design of the gas do grounded on the guidance.Key words: a modern, simple, building, space, small family目录摘要 (I)Abstract (II)1 绪论 (4)2 《家》 (5)3 设计分析 (13)3.1 门厅设计 (13)3.2 餐厅客厅设计 (15)3.3 卫生间设计 (16)3.4 厨房设计 (17)3.5 主卧室设计 (18)3.6 次卧房设计 (19)设计总结 (20)参考文献 (21)致谢 (22)1绪论在英汉字典里，House的含义是“房子，住宅”，指居住的建筑物。

基于传统文化视角的现代家具设计探析

感情需求的产品；应遗形去貌地追溯其精髓，注重
［９］陈育德．灵心妙悟艺术通感论［Ｍ］．合肥：安徽教育出版社，
２００５：３５－４０．
［１ｏ］裴学胜．现代设计中的通感化设计［Ｊ］．河南科技大学学报：社会科学版，２００５，Ｚ３（１）：６９ — ７１．ＰＥＩｘＳ．Ｍｏｄｅｒｎｄｅｓｉｇｎｏｆｔｈｅｉｎｆｌｕｅｎｃｅｄｅｓｉｇｎ［Ｊ］．Ｊｏｕｒｎａｌｏｆ
图４ “ 双” 椅
ＥＪ］．佳木斯大学社会科学学报，２０１０（２）：８９９０．
Ｆｉｇ．４Ａｃｏｕｐｌｅｃｈａｉｒ
［８］孙巍巍，李德君，宋魁彦．符号学视角下的现代中式家具创新设
参考文献：
［１］贺德吕．论传统文化与现代化的共时性ＥＪ］．现代商贸工业，
２Ｏｌ１（１２）：２２－２３．
Ｅ２］韩冬，李晓芳．中国传统文化与现代家其设计关系之创新探索
ＥＪ］．美术教育研究，２０１０（６）：１１４ — １１５．［３］杨艳红，苏珂，钟相强．ＯＥＭ与中国家具业的发展机遇ＣＪ］．家
具与室内装饰，２００５（５）：４８４９．

参考文献_家具设计_[共2页]

业出版社， 2001. [18] 陶涛，张星艳，张萍，等，家具设计与开发 . 北京：化学工业出版社， 2011. [19] 中华人民共和国国家质量监督检验检疫总局，中国国家标准化管理委员会 . 国家标准
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家具设计
Jiaju sheji
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