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 DESIGN
Scandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.
as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditions
of material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of 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 of
industrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, 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 Furnitu
re Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.
After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an 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 and
awareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.
The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.
The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established 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 mor
e than 500 models-that it is impossible to highlight the work o
f 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. Amon
g Finn Juhl’s furniture are suc
h highlights as his armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.
Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.
The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.
Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.
The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that desig
ners had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto 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, Hans
Sandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work 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, Walter
Gropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished 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。

就风格而言,斯堪的纳维亚设计是功能主义的,但又不像20世纪30年代那样严格和教条。

几何形式被柔化了,边角被光顺成S形曲线或波浪线,常常被描述为“有机形”,使形式更富人性和生气。

战前以包豪斯为中心的功能主义在20世纪40年代物质匮乏的困难条件下被广泛接受了，但到了20世纪40年代中期，功能主义已逐渐包括了
许多实际上和风格上的变化。

这些变化离开了包豪斯纯几何形式和“工程”语言的美学,其中最引人注目的是斯堪的纳维亚设计。

早在1930年的斯德哥尔摩博览会上,斯堪的纳维亚设计就将德国严谨的功能主义与本土手工艺传统中的人文主义融会在一起。

在1939年的纽约国际博览会上,又确立了“瑞典现代风格”作为一种国际性概念的地位。

经过20世纪40年代一段艰苦的时期之后,斯堪的纳维亚设计在20世纪50年代产生了一次新的飞跃。

其朴素而有机的形态及自然的色彩和质感在国际上大受欢迎。

在1954年米兰三年一度的国际设计展览中,斯堪的纳维亚设计展示出了全新的面貌,参展的瑞典、丹麦、芬兰和挪威都获得了很大成功。

这些国家的设计组织在战后实行了一种合作政策,它们的第一项主要
成就是名为“斯堪的纳维亚设计”的展览。

在美国艺术基金会的赞助下,这个展览从1954-1957年在北美22个城市的主要博物馆巡回展出,因此使“斯堪的纳维亚设计”的形象在国际间广为流行。

在斯堪的纳维亚现代功能设计运动中,各国设计组织在全国或地方层
次上举行了大量展览,这些活动成了20世纪50年代的一个主要特点。

斯堪的纳维亚设计年展轮流在各国举办,影响十分广泛,它们与出版物和期刊一道,为设计界的交流做出了重大贡献。

设计组织不仅举办展览,它们也是设计这一领域的重要倡导者,鼓励厂家投资于有创见的产品开发,说服当局在其设计政策中支持优秀设计。

它们还启发公众意识到好的设计和日常使用中更美的东西,这对于20世纪50~60年代早期的设计发展起了重要作用。

除了设计组织的努力之外,支配20世纪50年代社会和经济生活的力量对设计的发展有着更为深刻的影响,随着工业化和城市化的进程,整个人口结构发生了变化。

不断提高的生活水准影响了大多数人民以及他们的生活方式,产生了普遍的乐观情绪和对于发展与进步的信心。

新的观念开始深入人心,如认为普通百姓有权享有舒适的家,这个家不但是有益于健康的,而且还应满足功能和美学上的要求。

在20世纪50年代,福利国家最终在斯堪的纳维亚建立起来。

20世纪40年代为了体现民族特色而产生的怀旧感,常常表现出乡野的质朴,推动了这种柔化的趋势。

早期功能主义所推崇的原色也为20世纪40年代渐次调和的色彩所取代,更为粗糙的质感和天然的材料受到设计师们
的喜爱。

1945年后,另一种怀旧的趋势--丹麦精良的手工艺传统在瑞典和挪
威也得到了加强。

20世纪50年代,一批战前就素负盛名的设计师如汉宁森、克兰特、马姆斯登、阿尔托等仍走在设计的前列。

例如汉宁森在战后又设计了许多新型的PH灯具,特别是他设计的PH-5吊灯和PH洋蓟吊灯取得了很大成功,至今畅销不衰。

另一方面年轻设计师也脱颖而出,由此推动了斯堪的纳维亚设计的进一步发展。

斯堪的纳维亚设计的人情味也体现于工业装备的设计上,在这方面瑞典的工业设计师作了大量工作。

从1965年开始,由6名设计师组成的瑞典“设计小组”参与了索尔纳公司的胶版印刷生产线的开发设计工作,他们对生产线操作过程进行了详尽的人机工程分析,并重新设计了标志、符号、指令和操纵手柄,使工作条件得到了很大改善。

丹麦家具设计传统可追溯到450年前。

1554年，一些家具师创立了哥本哈根家具行会协会，其目的是开发制造高质量的家具和培养高水平家具师以维护本行业的市场。

200年后，1777年皇家家具杂志创刊，其目的是为皇室及其个部门设计生产统一的、高质量的家具。

皇室的家具由当时最有名的设计师按照样本来设计制作，家具图纸要交给全国的家具大师，然后由他们来按图制作。

经过短短的40年，于1815年这种做法就停止了。

这主要是由于上述做法对于质量和设计来将是极为不现实的，但却为今后的发展打下了坚实的基础。

丹麦皇家艺术学院还于1770年在哥本哈根创建了家具设计学校，学校的目的是培养徒工，让他们描画和学习大师的作品——这可以说是世界第一所系统地培养家具设计者的学校。

19世纪至20世纪20年代，丹麦没有出现独特的设计风格。

那时的设计师追求的是法式的，特别是英国式的风格，仅仅为贵族和政府官员设计家具。

工人、农民仍然不能代表令人感兴趣的消费阶层。

但是随着上个世纪末丹麦从农业型社会转向工业型社会，这一状况发生了转变。

城市规模急剧膨胀，另外由于体力劳动者和办公室职员两个新的阶层的出现，人们的社会意识增强，两个阶层的人都要求为他们提供的服务支付工资。

简单说来，也许这就是现代消费社会产生的原因。

当满足了吃饭、穿衣、住房和取暖等生活必需品的开支后，人们还要购买家具，这个需求尽管起初很小，但却为家具行业的形成奠定了基础。

当人们从狭小的单元房搬进较大的公寓和郊区的独立式住宅后，家具行业才真正起飞。

家具行业的发展经历了两个阶段：第一个阶段在20年代，这时公共房屋工程上马，独立式住宅开始出现，第二阶段是在50年代，公共房屋和独立式住宅遍布城乡。

这一发展随着人们知识水平的提高，出现了一种崭新的住房文化，人们开始需求高质量且使用的家具。

这一需求在丹麦出现不久，其他国家也出现
了类似的情况。

20年代人们渴望买到真正的丹麦风格的家具。

1924年，丹麦哥本哈根皇家建筑艺术学院开设了家具设计讲座课。

讲座由丹麦建筑师科伦•克林特主讲，他在很大程度上影响着丹麦家具设计的发展。

克林特是一位现代主义者和按规矩办事的人。

他要求学生率先对市场的特殊需求进行一些列的调查研究和分析。

科伦•克林特代表着一种设计思想，即家具应该实用、舒适，这种设计思想在许多方面有别于欧洲其他国家，那里的实用主义者常常采用形式注意的手法，把注意力集中在上流人群，而不是街头的普通老百姓。

其结果是在30-40年代丹麦出现一股很强的，独立的人文实用注意潮流，50年代初这股潮流涌向世界达到高潮。

领导这股潮流的就是于1928年开始，由家具师行业协会举办的，每年一次的秋季家具展览会。

在展览会上，青年家具设计师们可以从已有的家具师协会中寻求合作伙伴，以便开发新型家具。

就是在这样的展览会上，丹麦设计师们如：汉斯•韦格纳；奥勒•布斯切尔；芬•尤尔；博格•摩根森；阿纳•雅格布森等在事业上取得了突破；也正是通过这样的展览会，在二战结束后的一段时间里，特别是在美国市场上，人们看到了丹麦家具设计风格——丹麦时尚。

在50年代至60年代，丹麦家具设计取得了更大的发展，由此使家具出口大量增加。

丹麦家具生产是以手工家具为开端的，但是随着技术的进步，家具生产呈工业化趋势，这一趋势影响着家具师们的设计方式。

这一时期最好的样板之一就是设计师兼教授阿纳•雅格布森著名的被称作“蚂蚁”的作品，这是1951年他为诺费•诺迪斯克的新药厂设计的流动餐厅的座椅。

这种椅子是他与家具商弗里慈•汉森合作制作的。

最初，这是为工业大批量生产而设计的。

几年以后，1957年，阿纳•雅格布森为弗里慈•汉森公司又设计了一系列的“蚂蚁”椅子，即所谓的7誓系列的椅子，这种椅子至今已经销售了五百万把，取得了巨大的成功。

雅格布森一直与弗里慈•汉森公司合作直至1971年去世为止。

除了“蚂蚁和7系列产品之外，阿纳•雅格布森与弗里慈•汉森又成功地开发了丹麦家具经典系列，如名为“鸡蛋”、“天鹅”的舒适椅。

这是雅格布森1959年为哥本哈根的北欧航空公司皇家旅馆设计的。

这两种椅子的材料是雅格布森率先在家具中广泛使用的聚苯乙烯塑料，这种材料的使用走在了时代的前列。

除了雅格布森之外，其他设计师们也在为工业化生产家具进行设计。

1942年，FDB（丹麦合作社）聘用了28岁的家具设计师博格•摩根森出任FDB新成立。