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1、一个世纪的椅子设计（图片英语）一个世纪的椅子设计（图片英语）Few objects tell the history of modern design as eloquently as the chair. Aesthetic trends, the emergency of new technologies, ergonomics, social and cultural developments are all reflected in the evolution of chair design. LATE 1800s Until the mid-19th century, most ch
2、airs were made by hand, but the newindustrialists were experimenting with modern production techniques tomanufacture high quality furniture swiftly and cheaply in largequantities. Among the most successful was the Austrian manufacturerMichael Thonet, who pioneered the mass-production of bentwoodfurn
3、iture. By the late 1800s, his simply styled chairs had become thefirst to be used by both aristocrats and factory workers.2007-11-17 10:46Chairs in production at the Thonet factory Side Chair No. 14, 1870 Production: Thonet, Austria Regarded as the most successful industrial product of the 19th cent
4、ury,the Thonet Chair No. 14 nicknamed the Consumer Chair owed itspopularity to cheapness, lightness and strength. Thonet struggled foryears to produce a version of No. 14 which would be suitable formass- production and succeeded in 1859. Early versions were gluedtogether from laminated wood but, by
5、1861 Thonet succeeded in makingthe chair in solid wood with screws, not glue. Thonet continued toimprove the design and, by 1867, the Consumer Chair could be made fromsix pieces of bentwood, ten screws and two washers. By 1870 theConsumer Chair was Thonets cheapest model selling for 3 Austrianflorin
6、s. Side Chair No. 14, 1870 Bent, solid and laminated beech, woven cane Production: Thonet, Austria Rocking Chair No. 1, 1860 Production: Thonet, Austria The popularity of the Arts and Crafts movement encouraged the middleand upper classes to regard rocking chairs and other rustic styles offurniture
7、with a new affection during the late 1800s. Despite itsindustrial ethos, Thonet drew inspiration from Arts and Crafts designin the styling of its products. The company developed its first rockingchair, the Rocking Chair No. 1, in 1860. Sales were slow at first, butRocking Chair No. 1 and subsequent
8、rockers steadily gained popularityand by 1913, one in every twenty chairs sold by Thonet was a rockingchair. Rocking Chair No. 1 Bent, solid and laminated beech, woven cane Production: Thonet, Austria Desk Chair No. 9, c.1905 Production: Thonet, Austria Developed by Thonet as a comfortable, inexpens
9、ive desk chair, the No. 9 or Vienna Chair went on sale in 1902. It attained iconic statuswhen the architect Le Corbusier chose it to furnish his Pavilion delEsprit Nouveau (the Pavilion of the New Spirit) at the 1925Exposition Internationale des Arts Dcoratifs in Paris. Le Corbusierjustified his cho
10、ice by explaining: “We believe that this chair,millions of which are in use is a noble thing.” Architects flocked toParis for the 1925 Exposition from all over the world and LeCorbusiers pavilion was one of the most admired installations. Chair No. 9 Bent, solid and laminated beech, woven cane Produ
11、ction: Thonet, Austria EARLY 1900s The early 1900s was a period of continued experimentation in chairdesign. Innovative designers and architects, such as Charles RennieMackintosh in Scotland and Koloman Moser and Josef Hoffmann in Austria,strove to apply the geometric forms and monochrome palette fa
12、voured bythe fledgeling modern movement to furniture and domestic objects. Madeby hand in small quantities, their chairs were mostly bought by wealthybohemians, except for occasional special commissions for publicbuildings such as Glasgow tea rooms and Viennese coffee houses.Charles Rennie Mackintos
13、hs design of the studio drawing-room in his house at 78 South Park Terrace, Glasgow, 1902High-backed chair for the Ingram Street Tea Rooms, 1900 Oak Design: Charles Rennie Mackintosh Among the earliest and most eloquent exponents of a modern spirit inBritish design was the Scottish architect and des
14、igner Charles RennieMackintosh (1868-1928). By fusing the influence of traditional Celticcraftsmanship with the purity of Japanese aesthetics, Mackintoshdefined a distinctive and highly refined design style on the cusp ofArt Nouveau, the Arts and Crafts Movement and central EuropeanSecessionism. One
15、 of his most enduring clients was Miss Cranston, whoowned a chain of tea rooms in Glasgow and asked Mackintosh to designthem. He designed the stark, geometric form of this high-backed chairto contrast boldly with the white walls of the ladies luncheon room inthe Ingram Street tea room.High-backed ch
16、air for the Ingram Street Tea Rooms, 1900 Design: Charles Rennie Mackintosh Reissue: Cassina, ItalyArmchair for the Purkersdorf Sanatorium, 1902 Beech, wicker Design: Koloman Moser As a designer of both graphics and furniture, Koloman Moser (1868-1918)favoured the geometric motifs and monochrome palette which were totypify the work of the Wiener Werksttte, the influential craftworkshops that he founded in Vienna with the architect Josef Hof
