毕业设计工业设计专业外文翻译-椅子发展史.doc

1、椅子的发展史 18世纪至19世纪20年代18世纪晚期直到十九世纪中期，大多的椅子都还是手工制作的，但是新的工业设计者已经在尝试现代化的生产方式以确保快速生产出高质量、价格低廉适合大批量生产的家具。在这些人中最为成功的当属奥地利的制造商米切尔托勒，他是曲木家具的开拓者。直到18世纪晚期，他的这种风格的椅子都是贵族与工厂工人购买使用的首选。 第14号椅，1870生产者：托勒，奥地利被视为19世纪最为出色的工业产品，托勒的第十四号椅-也被称作“咖啡馆椅”-因其价廉、轻盈与力量感而饱受欢迎。托勒为创造一个能够适合大批量生产的第十四号椅模板努力了多年，最终在1859年获得了成功。之前的众多模板都是用片状

2、木粘合在一起的，但是在1861年托勒成功的制造出了以螺钉为衔接方式的胶合板模板，非粘合的。托勒继续完善他的设计，随后在1867年，由六块弯木、十个螺钉和两个垫圈构成的咖啡馆椅被制造出来了。到1870年时，咖啡馆椅作为托勒最便宜的模具仅被卖3奥地利弗罗林币。第1号摇椅，1860生产者：托勒，奥地利中、上等阶层所鼓励的手工艺品运动兴起，将摇椅与其他纯朴的家具风格作为18世纪后期的一个全新的影响。除了其工业化思潮，托勒从手工艺设计的灵感运用于他的产品风格中去。托勒的公司在1860年生产出了第一款摇椅：第一号摇椅。销售起初很缓慢，但是第一号摇椅与后来的摇椅的欢迎度都在稳固上升，到1913年，每售出的托

3、勒的20把椅子中都有一个摇椅。 第9号书桌椅，1905生产者：托勒，奥地利第9号书桌椅或称维也纳椅被托勒改良成为一款舒适便宜的椅子在1902年上市销售。当勒柯布西耶选择维也纳椅作为1925年巴黎世界博览会新精神馆布置时，它达到了颠覆性的地位。柯布西耶是这样阐释他的选择的：“我们相信它作为在使用中的百万分之一的椅子是一个高贵的东西。”出席巴黎世界博览会的世界各地建筑界人群以及柯布西耶的精神馆是最受赞赏的部分。19世纪早期十九世纪早期是一个持续性的椅子设计试验阶段。创新性的设计者和建筑界人士们，如苏格兰的查尔斯麦金托什和奥地利的科罗曼穆塞尔与约瑟夫霍夫曼，力图将还未成熟的现代主义运动所喜爱的几何形

4、态与单色形式运用到家具和家居产品中去。他们的椅子由手工制作小批量产出，大多被富有的波西米亚人所购买，还有就是偶然性的被像是苏格兰茶店和维也纳咖啡馆等的公共场所的委员们购买。 英格拉姆大街的茶房的高背椅，1900设计者：查尔斯麦金托什在最早的也是在英国设计中最高雄辩指数的是苏格兰建筑师与设计师查尔斯麦金托什（1868-1928）。通过掌握具有纯净日本审美的传统凯尔特技术，麦金托什在新艺术的尖端确定了一种有特色的、高度提炼后的设计风格，由此产生了工艺美术运动与欧洲中心分离派。他最长久的客户之一是克莱斯顿小姐，她在苏格兰西南部拥有连锁的茶店，要求麦金托什进行设计。他设计了这个高背椅僵直的几何形式，用

5、以与英格拉姆大街的茶房中女士们午宴环境中白色的墙形成强烈对比。 普克斯多夫疗养院扶手椅，1902山毛榉，柳条设计者：科罗曼穆塞尔作为一个制图与家具的设计者，科罗曼穆塞尔（1868-1918）特别喜爱的几何主题与单色形式作为维也纳工坊的代表，他与设计师约瑟夫霍夫曼与1903年在维也纳创立了这个具有影响力的工坊。这个扶手椅被19世纪早期的奥地利人们认为具有疯狂的风格，作为麦金托什的尖角家具被他的苏格兰同事们认定是为霍夫曼设计建造的普克斯多夫疗养院设计的。在疗养院里，穆塞尔的扶手椅被成对的安排在别致的八角桌子周围。 蝙蝠歌厅椅，1905-1906山毛榉设计者：约瑟尔霍夫曼在1902年去英国游览进行研

6、究工艺美术运动的过程中，约瑟尔霍夫曼（1870-1956）待苏格兰的设计师麦金托什如友，并且被他的大胆、几何形式的家具风格所吸引。麦金托什的影响显然迅速地在精细的结构以及霍夫曼为维也纳的蝙蝠歌厅设计的山毛榉椅子的清晰线条中体现出来。霍夫曼以“一件艺术品”的态度设计了他拥有的酒店的每一要素。一个时间的批评家描述它说：“完美比例，明快的气氛，欢快流畅的线条，雅致明亮的部件，舒服的新形态，还有最终的，高雅的整体性。诚恳的霍夫曼。” 19世纪20年代第一次世界大战之后，进步性的设计人士利用新人工材料的出现以及制造家具运用在“机械时代”美学上的如冰川美艳般的生产技术。那十年设计被种族所束缚设计了第一款悬

7、臂椅，最终被荷兰设计师马特斯坦赢得，同时经过德国的马歇布劳耶与米斯凡德罗的钢管实验，以及柯布西耶，巴黎的皮埃尔让纳雷和夏洛特贝里安。红蓝椅，1918-1921山毛榉，夹板设计者：吉瑞特托马斯里特维尔德一时间，当家具的单色调色法被设计者如苏格兰的查尔斯麦金托什以及奥地利的约瑟夫霍夫曼被认为具有惊人的创新能力，最初的红蓝椅介绍是在1921年被荷兰设计师吉瑞特托马斯里特维尔德（1888-1964）所提出的。以空间中的线与面构思的抽象性作品，这个椅子是里特维尔德的三维视觉化对于蒙德里安画的体现，蒙德里安是风格派运动的代表者。里特维尔德计划将椅子用于批量化生产，椅子是由标准长度的木头制成的，要求的构造性

8、技巧很少。起初是由天然木材制成的，1921年的时候被里特维尔德以明亮的色彩漆绘。B3（瓦西里）休闲椅，1925镀铬钢，皮革设计者：马歇布劳耶被设计一款像福特汽车工厂规模一样的椅子的挑战所困扰，马歇布劳耶（1902-1981）作为包豪斯木匠业工作室的领导者致力于两个目标。一个是以同样的钢管风格发展家具像他在德绍骑的阿德勒自行车。另外一个是设计一款悬臂椅，或者由单一底座支撑。他的实验生产出了有棱角的B3椅，他以他的教师同僚瓦西里康定斯基的名字爱称椅子为“瓦西里”。不幸的是，荷兰的艺术家马特斯坦（1899-1986）在布劳耶之前于1926完成了他第一个悬臂椅第s33号气管椅。第B33号模型，1927

9、-1928镀铬钢管，皮革设计者：马歇布劳耶当马歇布劳耶的B33椅在19世纪20年代末期上市的时候，这样一个修长的没有传统腿或臂的奇特的椅子是那么的不平常，以至于很多人都不敢坐在上面。B33对布劳耶来说是一个苦乐掺半的产品。他开始设计的时候就已经知道了他已经丢失了设计第一款悬臂椅-拥有唯一支撑-因为荷兰艺术家马特斯坦已经在1926年末完成了他的MS33椅的设计。布劳耶的椅子设计在比例、细节和结构上是出众的，不是最低限度的因为它是由无钢筋结构的管状钢制成，更有弹性也更加舒适。MR10,1927镀铬钢管，皮革设计者：米斯凡德罗，莉莉瑞克纵观19世纪20年代的德国艺术家米斯凡德罗（1886-1969）

10、与国内设计师莉莉瑞克（1885-1947）合作，在他的建筑学科的家具发展中有所建树。在19世纪20年代中期以前，像其他进步性的设计师一样，他们都着迷于管状的金属。米斯和瑞克都被他们看到的不具有中产阶级装潢色彩的现代极致特色的悬臂椅所吸引。到1927年，他们已经完成了纺织椅MR10和藤条椅MR20。这两款椅子都在现代主义代表性的1927年在斯图加特的白院聚落模具椅子展览上展出。B32,1928镀铬钢管，木材，藤条设计者：马歇布劳耶最优雅与坚定的悬臂椅开创者在19世纪20年代末期被生产出来，它就是B32，设计者是米斯凡德罗（1902-1981）。通过增加木质坚硬的框架在座位与椅背，他根除了为交错幅

11、面增加额外支撑的需求，隐藏了管状结构保留了轻质的、文雅的结构。它的轻质与现代感通过精致的管状金属结构、温暖的木质框架以及半透明的藤条椅背和座椅表现出来材质和色彩的对比。第LC2号福尔豪华酒吧椅，1928镀铬弯曲钢管，皮革设计者：勒柯布西耶，皮埃尔让纳雷，夏洛特贝里安当24岁的家居设计者夏洛特贝里安（1903-1999）求职在巴黎塞夫尔大街35号勒柯布西耶的工作室，他回复说：“我们这里不要绣花垫子。”几个月之后，在他的堂兄妹皮埃尔让纳利用玻璃、钢铁和内部的铝为她的酒吧的设计品参加了一项展览之后，他为他之前的态度道歉。直到后来柯布西耶以奥地利索耐特的弯木椅子和伦敦的枫的酒吧椅完成了他的住宅项目和展

12、览设置。皮埃尔的到来为他的工作室在家具上从工业材料方向向有棱角的现代运动方向发展。起初为巴黎的罗斯德贝洛奇园以及1929年的秋季艺术沙龙设计的，福尔豪华酒吧椅是从勒柯布西耶最喜欢的枫酒吧椅。第B306号躺椅，1928镀铬弯曲钢管，皮革设计者：勒柯布西耶，皮埃尔让纳雷，夏洛特贝里安柯布西耶创立的夏洛特贝里安派别的第一个产品被设计成为系列以供应他在巴黎设计的罗斯德贝洛奇园。他要求三种类型的椅子：一个“为了交谈”，一个“为了休闲”还有一个“为了休息”。第一个是B301活动靠背椅，第二个是福尔豪华酒吧椅，第三个是B306躺椅。被法国18世纪坐卧两用椅的优美线条所启发，福尔豪华酒吧椅将实用性的钢管与马驹

13、皮结合在一起。“我想到了狂野西部中抽着烟袋的牛仔男孩，脚在空中挥舞高于他的头部，倚在烟囱架上：完全的放松。”柯布西耶回复道。夏洛特贝里安为B306宣传剪短了头发，穿着大胆的短裙和一个工业轴承球的项链。第B302号环状椅，1928-1929镀铬弯曲钢管，皮革设计者：勒柯布西耶，皮埃尔让纳雷，夏洛特贝里安由一个简单的咖啡椅得来的启发，这个环状椅被设计用作一个书桌或晚餐桌子。在勒柯布西耶的监督下，夏洛特贝里安利用装饰性的豪华皮革装饰底座和后背，转变了其功利性的形式。她想象后背是一个“像汽车轮胎一样”可以依靠的舒服的垫子。和柯布西耶、让纳雷一起工作为她自己灌输了一条严格的规则。“最小的铅笔敲打需要一个

14、点，”她稍后补充道，“为了满足一个需求，或者回应一个姿态，为了达到大规模生产。”贝里安试图去说服法国厂商标志适应在他们的家具中使用自行车钢架中的钢管结构。当标志衰退的时候，她成功的说服了柯布西耶最喜欢的弯木椅的厂商索耐特，为秋季艺术沙龙制造了所有的家具，包括这个环状椅。第MR90号，巴塞罗那椅，1929镀铬平面钢管，皮革设计者：米斯凡德罗，莉莉瑞克在米斯设计的椅子中，与国内的设计者莉莉合作的巴塞罗那椅是最为优雅与宏伟的。设计于1929年，它是最具有识别性的20世纪早期椅子，它同时也是公共场所中一个常见的场景。这个椅子作为米斯公会所设计的内容，被挑选为1929年巴塞罗那国际展德国馆的陈设。当德国

15、馆被当做官方的公共仪式场所，米斯决定了椅子的样式为宝座样式的象牙椅，一种被罗马法官所用的古老的椅子。来源：http:/designmuseum.org/exhibitions/online/a-century-of-chairs/late-1800sLATE 1800sUntil the mid-19th century, most chairs were made by hand, but the new industrialists were experimenting with modern production techniques to manufacture high qualit

16、y furniture swiftly and cheaply in large quantities. Among the most successful was the Austrian manufacturer Michael Thonet, who pioneered the mass-production of bentwood furniture. By the late 1800s, his simply styled chairs had become the first to be used by both aristocrats and factory workers.Ch

17、airs in production at the Thonet factorySide Chair No. 14, 1870Production: Thonet, AustriaRegarded as the most successful industrial product of the 19th century, the Thonet Chair No. 14 nicknamed the Consumer Chair owed its popularity to cheapness, lightness and strength. Thonet struggled for years

18、to produce a version of No. 14 which would be suitable for mass-production and succeeded in 1859. Early versions were glued together from laminated wood but, by 1861 Thonet succeeded in making the chair in solid wood with screws, not glue. Thonet continued to improve the design and, by 1867, the Con

19、sumer Chair could be made from six pieces of bentwood, ten screws and two washers. By 1870 the Consumer Chair was Thonets cheapest model selling for 3 Austrian florins. Side Chair No. 14, 1870Bent, solid and laminated beech, woven caneProduction: Thonet, AustriaRocking Chair No. 1, 1860Production: T

20、honet, AustriaThe popularity of the Arts and Crafts movement encouraged the middle and upper classes to regard rocking chairs and other rustic styles of furniture with a new affection during the late 1800s. Despite its industrial ethos, Thonet drew inspiration from Arts and Crafts design in the styl

21、ing of its products. The company developed its first rocking chair, the Rocking Chair No. 1, in 1860. Sales were slow at first, but Rocking Chair No. 1 and subsequent rockers steadily gained popularity and by 1913, one in every twenty chairs sold by Thonet was a rocking chair. Rocking Chair No. 1Ben

22、t, solid and laminated beech, woven caneProduction: Thonet, AustriaDesk Chair No. 9, c.1905 Production: Thonet, AustriaDeveloped by Thonet as a comfortable, inexpensive desk chair, the No. 9 or Vienna Chair went on sale in 1902. It attained iconic status when the architect Le Corbusier chose it to f

23、urnish his Pavilion de lEsprit Nouveau (the Pavilion of the New Spirit) at the 1925 Exposition Internationale des Arts Dcoratifs in Paris. Le Corbusier justified his choice by explaining: “We believe that this chair, millions of which are in use is a noble thing.” Architects flocked to Paris for the

24、 1925 Exposition from all over the world and Le Corbusiers pavilion was one of the most admired installations. Chair No. 9Bent, solid and laminated beech, woven caneProduction: Thonet, AustriaEARLY 1900sThe early 1900s was a period of continued experimentation in chair design. Innovative designers a

25、nd architects, such as Charles Rennie Mackintosh in Scotland and Koloman Moser and Josef Hoffmann in Austria, strove to apply the geometric forms and monochrome palette favoured by the fledgeling modern movement to furniture and domestic objects. Made by hand in small quantities, their chairs were m

26、ostly bought by wealthy bohemians, except for occasional special commissions for public buildings such as Glasgow tea rooms and Viennese coffee houses.Charles Rennie Mackintoshs design of the studio drawing-room in his house at 78 South Park Terrace, Glasgow, 1902High-backed chair for the Ingram Str

27、eet Tea Rooms, 1900OakDesign: Charles Rennie MackintoshAmong the earliest and most eloquent exponents of a modern spirit in British design was the Scottish architect and designer Charles Rennie Mackintosh (1868-1928). By fusing the influence of traditional Celtic craftsmanship with the purity of Jap

28、anese aesthetics, Mackintosh defined a distinctive and highly refined design style on the cusp of Art Nouveau, the Arts and Crafts Movement and central European Secessionism. One of his most enduring clients was Miss Cranston, who owned a chain of tea rooms in Glasgow and asked Mackintosh to design

29、them. He designed the stark, geometric form of this high-backed chair to contrast boldly with the white walls of the ladies luncheon room in the Ingram Street tea room.High-backed chair for the Ingram Street Tea Rooms, 1900Design: Charles Rennie MackintoshReissue: Cassina, ItalyArmchair for the Purk

30、ersdorf Sanatorium, 1902Beech, wickerDesign: Koloman MoserAs a designer of both graphics and furniture, Koloman Moser (1868-1918) favoured the geometric motifs and monochrome palette which were to typify the work of the Wiener Werkst鋞te, the influential craft workshops that he founded in Vienna with

31、 the architect Josef Hoffmann in 1903. This armchair, which was considered as audacious in style by the Austrians of the early 1900s as Charles Rennie Mackintoshs angular furniture was by his fellow Scots, was originally designed for use in the foyer of the Purkersdorf Sanatorium of which Hoffmann w

32、as the architect. At the sanatorium, Mosers armchairs were arranged in pairs around elegant octagonal tables.Armchair for the Purkersdorf Sanatorium, 1902Design: Koloman MoserReissue: Wittmann, AustriaCabaret Fledermaus Chair, 1905-1906BeechDesign: Josef HoffmannOn a visit to England to research the

33、 Arts and Crafts Movement in 1902, Josef Hoffmann (1870-1956) befriended the Scottish architect Charles Rennie Mackintosh and was impressed by the bold, geometric style of his furniture. Mackintoshs influence is readily apparent in the fine structure and clean lines of this beech chair that Hoffmann

34、 designed for the Cabaret Fledermaus in Vienna. Hoffmann designed every element of the cabaret which he conceived as “a total work of art”. A critic of the time described it as being: “wonderful the proportions, the light atmosphere, cheerful flowing lines, elegant light fixtures, comfortable chairs

35、 of new shape and, finally, the whole tasteful ensemble. Genuine Hoffmann.”Cabaret Fledermaus Chair, 1905-1906Design: Josef HoffmannReissue: Wittmann, Austria1920sAfter World War I, progressive designers could take advantage of the emergence of new man-made materials and production techniques to cre

36、ate furniture in the glacially glamorous aesthetic of the machine age. The decade was dominated by the race to design the first cantilevered chair, eventually won by the Dutch architect Mart Stam, and by the experiments in tubular steel of Marcel Breuer and Mies van der Rohe in Germany, and Le Corbu

37、sier,Charlotte Perriand and Charlotte Perriand in Paris.Charlotte Perriand with (left to right) Edouard Jeanneret and Le Corbusier at Le Corbusiers architectural studio on rue de Sevres, Paris, late 1920sRed/Blue Chair, 1918-1921Beech, plywoodDesign: Gerrit Thomas RietveldAt a time when the monochro

38、me palette of furniture designers such as Charles Rennie Mackintosh in Scotland and Josef Hoffmann in Austria was considered to be startlingly innovative, the introduction of the primary coloured Red/Blue Chair in 1921 by the Dutch architect Gerrit Thomas Rietveld (1888-1964) caused a sensation. Con

39、ceived as an abstract composition of surfaces and lines in space, this chair is Rietvelds three-dimensional vision of the minimalist paintings of Piet Mondrian, a fellow member of the De Stijl movement. Rietveld intended the chair for mass-production and it is made from standard lengths of wood, whi

40、ch require little skill to construct. Originally finished in natural wood, it was painted in then-radical bright by Rietveld in 1921. Red/Blue Chair, 1918-1921Beech, plywoodDesign: Gerrit Thomas RietveldReissue: Cassina, ItalyB3 (Wassily) chair, 1925Chromium-plated steel, leatherDesign: Marcel Breue

41、rObsessed by the challenge of designing a chair to be built in a factory like a Model T Ford car, Marcel Breuer (1902-1981) concentrated on two goals as head of the Bauhaus carpentry workshop. One was to develop furniture from the same tubular steel as the Adler bicycle which he rode around Dessau.

42、The other was to design a cantilever chair, or one supported by a single base. His experiments produced the angular B3 chair, which he nicknamed the Wassily after his colleague tutor Wassily Kandinsky. Unfortunately for Breuer, the Dutch architect Mart Stam (1899-1986) completed the first cantilever

43、 chair before him by making the 1926 Model No. S33 from gas pipes.B3 (Wassily) chair, 1925Chromium-plated steel, leatherDesign: Marcel BreuerReissue: Knoll International, USModel No. B33, 1927-1928Chrome-plated tubular steel, leatherDesign: Marcel BreuerWhen Marcel Breuers B33 chair went on sale in

44、the late 1920s, the spectacle of such a slender chair without conventional legs or arms was so unusual that many people were frightened to sit on it. The B33 was a bittersweet project for Breuer (1902-1981). He started work on it knowing that he had lost the race to develop the first cantilevered ch

45、air one with a single support to the Dutch architect Mart Stam (1889-1996), who had completed the design of his MS33 side chair in late 1926. The design of Breuers chair was superior in proportion, detailing and structure, not least because it was made from non-reinforced tubular steel which was mor

46、e resilient and more comfortable. Model No. B33, 1927-1928Chromium-plated tubular steel, leatherDesign: Marcel BreuerProduction: Gebrder Thonet, AustriaMR10, 1927Chromium-plated steel, leatherDesign: Mies van der Rohe, Lilly ReichThroughout the 1920s the German architect Mies van der Rohe (1886-1969

47、) collaborated with the interior designer Lilly Reich (1885-1947) on the development of furniture for his architectural projects. By the mid-1920s they, like other progressive designers, were fascinated by the possibilities of tubular metal. Mies and Reich were intrigued by the cantilever chair, which they saw as the acme of modernity offering the comfort of a conventional armchair without the bourgeois associations of upholstery. By 1927, they had developed the textile-seated MR10 and cane-seated MR20. Both