1、,English for Science & Technology on Furniture & Interior Design,家具与室内设计专业英语,Lesson Four The Western Modern Furniture 1930s1950s,Lesson Four The Western Modern Furniture,Lead-in-Group discussion,1. What influenced the modern furniture?,2. Whats the main characteristics of modern furniture?,Words & E
2、xpressions,Stylistic adj. 格式上的，体裁上的,Uncertainty n. 无常，不确定，半信半疑,Standardization n. 标准化,Utility n. 效用，有用, 实用,Utility was a compromise between the Arts and Crafts spirit and mass-production techniques and materials.,Compromise n. 妥协，择衷 v. 妥协，择衷,make a compromise; arrive at a compromise. 作出一个妥协；达成一个妥协。,
3、Words & Expressions,Restriction n. 限制，约束,Scandinavian n. (北欧一地区，包括挪威、瑞典、丹麦、冰岛的)斯堪的纳维亚人,Scandinavian style furniture,Prominent adj. 卓越的，显著的,Milestone n. 里程碑，重要事件,Formidable adj. 强大的，令人敬畏的,Ergonomic adj. 人类环境改造学的n. 人体工程学,Alliance n. 联盟，联合,make an alliance 结成联盟,Occasional adj. 偶然的，非经常的，特殊场合的,Contender
4、n. 斗争者，竞争者,Revival n. 苏醒，复兴，复活，复苏,Hiatus n. 裂缝， 脱落,thorough-going adj. 彻底的，完全的,Censorship n. 审查机构，审查制度,Canvas n. 帆布,Words & Expressions,Provincial adj. 省的，乡下的，粗野的,Mould/Mold n. 肥土，模，模具v. 用土覆盖，发霉，铸造,Words & Expressions,Kitsch n. 粗劣作品或工艺品,Prim adj. 整洁的，古板的,Plywood n. 夹板， 合板,Rectilinear adj. 直线的，直线构成的，
5、以垂直线条为特征的,Curvilinear adj. 曲线的，曲线构成的,Plywood furniture,Rectilinear form furniture,Baroque n. 巴洛克时期艺术和建筑风格的，巴洛克式 adj. 巴洛克式的，结构复杂的，形式怪样的,Words & Expressions,Rococo n. 洛可可 adj. 洛可可式的, 过分修饰的,Words & Expressions,Bauhaus n. 鲍豪斯建筑学派(德国建筑之一派),Words & Expressions,Lesson three The brief History of Chinese Fur
6、niture,Background:,The rapid technological development that affected furniture during the 1930s become more rapid still in the 1950s, 1960s and 1970s.In terms of materials and techniques used to produce it, furniture have moved further and faster in the past thirty years than in the three centuries
7、between 1500 and 1800. Technical advance has been accompanied, as in the Victorian period, by marked stylistic uncertainly.,The Western Modern Furniture,The war years affected the furniture-industry drastically in Europe, while leaving it relatively untouched in America.e.g. In England, the most sig
8、nificant result of the war was the introduction of the Utility Furniture Scheme in 1942. This imposed complete standardization of design, in an effort to provide enough furniture either for those who were setting up house because they were newly married, or replacing possessions lost when they were
9、bombed out.,Utility was a compromise between the Arts and Crafts spirit and mass production techniques and materials. There is now a tendency(思潮) amongst historians of design to see Utility（实用主义） as a great reform of public taste, a purge which got rid of many of the excesses of the 1930s. Much of t
10、he furniture produced in Britain during the 1950s, even after restrictions were gradually eased, still owed a great deal to the original Utility range.,The Western Modern Furniture,As Horizons widened, it was possible to see that respectable modern design had now split into at least three main tradi
11、tions-American, Scandinavian and Italian-each owed something very important to the environment that fostered it.,The Western Modern Furniture,American:The one that owed most to the Bauhaus was the one that had its roots in American. But what the Bauhaus had achieved was now being developed by native
12、 American designers, prominent among them Charles Eames, and with the help of the formidable resource of American technology. To already standard metal and plywood American designers added glass-fibre reinforced plastic. Significant milestones in its use were Eamess DAR Chair of 1948, and Eero Saari
13、nens Womb Chair of 1945-1948.,The Western Modern Furniture,DAR Chair,Womb Chair胎椅,Both of these used plastic to create multi-curved baroque forms with their own brand of ergonomic and technological logic. These would have been tabu among an earlier generation of architect-designers even if they had
14、possessed the means to achieve them. In a way, the American style involved a love-affair with industry. American designs seemed to assert that the designer in close day-to-day alliance with the latest technology could always do better than one who restricted himself to occasional collaboration with
15、it. The tendency continued throughout the 1950s and 1960s and culminated (达到顶点) in objects such as the Tulip chairs designed by Saarinen for Knoll.,The Western Modern Furniture,Tulip Chair柱脚椅系列,Charles Eames:夫妻档设计师Charles (1907-1978) 及 Ray Eames (1912-1988)是20世纪最有影响力的设计师，是建筑、家具和工业设计等现代设计领域的先锋设计师。 卓越
16、的设计涵盖了家具、建筑、影像与平面设计。他们从二次世界大战中美国海军的实验计画中学习经验并发展 可谓是现今工业中使用模铸胶合版的先锋，这对设计界的超级夫妇档自1940年参与了由MOMA举办的有机家具设计大赛，自今已有近百件他们的作品被各大博物馆所永久典藏。,DAR Chair,The Western Modern Furniture,La Chaise,Lounge Chair & Ottoman,The Western Modern Furniture,The Western Modern Furniture,Walnut Stools,Soft Pad,Organic Chair,The
17、Western Modern Furniture,Molded Plastic Chairs,Molded Plywood Chair,Wire Chair,Hang-It-All,The Western Modern Furniture,作为芬兰文化的代表，他无疑是当时最著名的设计师之一。家庭对其职业生涯有很大影响：父亲是建筑师，母亲是装潢设计师。1923年和家人移居美国，在远离故土的日子里反而加深了对欧洲雕塑的迷恋，随后在耶鲁大学学习建筑。二战结束后一直活跃在设计舞台上，他的作品如进入圣路易斯德拱门、底特律通用公司大楼、纽约肯尼迪机场的TWA航站楼都成为了美国文化的象征，为美国重建做出了贡
18、献。作为革新设计师的盛名则毫无疑问和Knoll International以及大受欢迎的Tulip系列联系在一起，该系列诞生于某种美妙的直觉，有着花柄般的桌脚和椅腿，设计师试图在桌椅下部创造出一个丑陋、混乱、神经质的世界，从而制作出具有雕塑般美感的家具，外形可有不同的变奏。他的作品超越时间，早已成为经典，只可惜年仅50岁就英年早逝了。,Eero Saarinen 埃罗. 沙里宁,The Western Modern Furniture,Womb Chair胎椅,Tulip Chair柱脚椅系列,The Western Modern Furniture,The Western Modern Fu
19、rniture,Scandinavian furniture continued to fulfill quite naturally many of the demands made by the new age. The social tendencies which had gone towards its creation in the 1930s were strengthening rather than diminishing. But the leading Scandinavian designers, such as Arne Jacobsen, were perfectl
20、y willing to move with times, and were,Scandinavian,The Western Modern Furniture,by no means indifferent to the new technology. Jacobsens Swan chair, designed in 1958, is fully as advanced in its way as anything produced in America. Yet it also invites a reference to something much nearer home. Thou
21、gh less stark (十足的，完全的), it is obviously related to the furniture that Aalto designed in the 1930s.,天鹅椅（Swan Chair）,The Western Modern Furniture,Arne Jacobsen,Arne Jacobsen(19021971)生于丹麦首都哥本哈根，他是20世纪最具影响力的北欧建筑师暨工业设计大师，丹麦国宝级设计大师，北欧的现代主义之父, 是丹麦功能主义的倡导人，后与Le Corbusier、Mies van der Rohe及Gunnar Asplund等其
22、它欧洲设计巨擘共同主张简约设计风格。他不只是本世纪最伟大的建筑师之一，同时在家俱、灯饰、衣料以及各式各样的应用艺术上皆有深切琢磨与成就，并成为享誉国际的传奇人物。,The Western Modern Furniture,餐椅DINING CHAIR,壶椅THE POT CHAIR,蚁椅 THE ANT CHAIR,The Western Modern Furniture,层压椅 LAMINATED CHAIR,蛋椅THE EGG CHAIR,The Western Modern Furniture,天鹅椅（Swan Chair）,蛋椅THE EGG CHAIR,The Western Mod
23、ern Furniture,Italy,The most unexpected contender for design leadership was Italy, yet furniture-design experienced a strong revival here after the war, despite the long hiatus imposed by Fascism. In fact, Fascism censorship of design and architecture had never been as thorough-going in Italy as Naz
24、i control in Germany, and a number of genuinely meritorious things had been built under Mussolini. The war, if it did not do Italy arms much credit, did stimulate Italian technical ingenuity. what counted most after 1945, however, was the sense of liberation. It provided a catalyst for the Italian c
25、onsciousness of style, and the daring quality of the Italian imagination.,The Western Modern Furniture,GIO PONTI (1891-1979) was a poet, painter, industrial designer and founding editor of Domus magazine as well as an architect. Through his designs and his work at Domus, he was the godfather of Ital
26、ys post-war design renaissance.,GIO PONTI 吉奥 庞蒂,米兰大厦,这款简朴的669号高脚椅（superleggera）又叫做超轻椅,他的灵感来源是意大利传统椅子和震颤派椅子。这款优雅 权威的椅子有绳编 藤编 皮革 软包多种形式，它轻便 结实 耐用，是他最经典的设计，应用广泛，自1957年问世以来一直都在生产中。2006年意大利文化年期间曾在北京中国美术馆的展览意大利设计50年展展出过。,Assignment,选择自己喜欢的一名国外设计师（建筑、工业、家具、室内、广告、服装等方面），对设计生涯进行简要概述，并对其主要作品进行说明。 要求：英文 2000字以上,
