What are Different Types of Attachable Back Support for Chairs?

The design of the chair involves many elements such as function, shape, material, structure, technology, art, etc. It has a deep theoretical foundation and a wide range of practical application values, and it is the best embodiment of a country's furniture design level. The chair is not just for people to rest, in addition to providing seats, you can also hang things like clothes and bags. The chair is an indispensable piece of furniture for human sitting. Depending on the practical nature of the chair, the chair includes a variety of forms, and due to the differences in materials and structures, it can form many different forms.

Chair design

From the earliest gold armchair in ancient Egypt to the current variety of seating, the chair has gone through a long course of development, from symbolic and decorative to practical and comfortable. Developed into the contemporary, although the boundaries of the design styles of various chairs are not so clear, we can still attribute it to the following: namely popularized post-modernist style; minimalist design style; organic modernist style: high technology Party design style.

The name of the chair began in the Tang Dynasty, and the image of the chair dates back to the Hu bed introduced to the North during the Han and Wei Dynasties. There are two people sitting on chairs in the murals of Cave 285 in Dunhuang. Women in the murals in Cave 257 have women sitting on square benches and cross-legged benches. There are women on round stools in the stone carvings of Longmen Lotus Cave. This image vividly reproduces the use of chairs and stools in the Shifang noble family during the Northern and Southern Dynasties. Although the seat had the shape of a chair and a stool at that time, it was also used to be called a "hu bed" because it was not called a chair or a stool. It was often used for meditation in temples, so it was also called a zen bed. After the Tang Dynasty, the use of chairs gradually increased.

The name of the child is also widely used before it is separated from the bed category. Therefore, when discussing the origin of chairs and stools, we must start with the Hu bed in the Han and Wei dynasties. Song. Gao Cheng's "Shijijiyuan" quoted "custom customs" said: "The Han Emperor is a good Hu Fu, King Master makes a Hu bed. <Han Hanshu. Five Elements One>: "The Emperor of the Han Dynasty, such as Hu Fu, Hu Tie, Hu Bed, Hu Sat, Hu Fan, etc., are all for Kyoto." These two records prove that the ancient chairs in China Appeared during the Han Emperor Period (168-189).

Song. Gao Cheng's "Establishment of Things" quoted "Customs": "The Emperor of the Han Dynasty is a good Hu Fu, and the master of painting is a Hu bed. Hou Han Shu. "The Five Elements": "The Emperor Han Ling was so good at Hu clothes, Hu accounts, Hu beds, Hu sittings, Hufan ... Kyoto's nobles have done it." These two records confirm that the appearance of ancient Chinese chairs was in Han Period of the Emperor (168-189).

The Hu bed was widely used from the Wei, Jin, Southern and Northern Dynasties to the Sui and Tang dynasties. Rich and powerful people not only had to live in the house, but also traveled by an attendant to carry the Hu bed to the left and right for temporary rest. Hu bed was a higher grade in the furniture category at that time

This type is usually only entitled to the male owner or distinguished guest in the home. There are also slang and vivid descriptions in Fang Renshi. For example, in the Southern Dynasties, Liang Ying's Shoulder <Yong Hu Bed Poems> said:

Passing the name is outside the domain, into the letter Zhongjing.

The plantar shape is normal, and the italics are self-leveling.

Lintang made a voyage to the far away passengers.

Beneath He Ruzi Pavilion, Feng Shengming drowned.

Hu bed is also known as "cross bed" and "rope bed" due to its morphological characteristics. The Sui dynasty called "crossing the bed" because Sui Gaozu intended to avoid the word "Hu", and those whose utensils involved the word "Hu" changed it. Song. Tao <Qing Yi Lu> Yun: "Hu Hu Shi turned off to meet his feet, wore bandages to accommodate sitting, and shrunk and weighed a few pounds. According to legend, the emperor's line is often fortunate, and he is driven by his ministers, and his desire cannot be sent. The body was so creative, it was called 'Happy Sitting'. Hu Bed started without a back, like the Mazars you see today. Backrests began in the Tang Dynasty. This easy ride is likely to be a bed with a backrest. The Hu bed first appeared in the Han Dynasty, a few hundred years before the Emperor Tang Ming, and it is obviously inappropriate to say that the idea for the Emperor Tang Ming was inappropriate. Therefore, the creativity mentioned here refers to the addition of a backrest. The Hu bed prevailed during the Tang and Song dynasties, especially in the Song Dynasty. However, in the Song Dynasty, the number of Hu bed was gradually reduced, and it was gradually increased.

The Hu bed with a backrest started from the Emperor Tang Ming, and it can also be confirmed from the Tang Dynasty record of "Jidu Temple Beihaitan Sacrificial Inscriptions. Beiyin", which reads: "Rope bed ten, four chairs inside". From this record, we can see that the name of the chair was already in the first year of Zhenyuan in the Tang Dynasty. The "rope bed ten and four inner chairs" mentioned here refers to four of the ten rope beds that can be reclined. Obviously, it is to distinguish it from the other six non-backed rope beds. It can be seen that although the name of the chair has appeared and is a common furniture in daily life, it has not been completely separated from the concept of the bed. In Tang Dynasty classics, it is still common to refer to chairs as beds. The famous poet of the Tang Dynasty Du Fu wrote in "Juvenile Line. Qi Jue":

Immediately somebody Baimianlang, off the street and sat in a bed.

I do nt know the name, it s rough, and I point to a silver bottle to taste wine.

Although the bed mentioned here does not reflect whether it is a chair with a backrest, it is definitely not a bedding for sleeping. "Chair" is also called "reliance". It originated earlier, but does not refer to a chair for people to sit on. It was originally the name of a kind of tree, also known as "Tongtongzi" and "Water melon". Wood can be used for furniture.

There was another interpretation of the word "chair" before the Tang Dynasty, which was spoken by the side of the car, that is, the fence of the car. Its role is to rely on people when riding. Later chairs, in the form of a fence mounted on a four-foot-supported platform, were inspired by the fence next to the car, and continued to call it a "chair". Judging from the existing data, the Tang Dynasty already has quite elaborate chairs. Such as Lang Yuling's <Imperial Emperor Statue> The chair of Taizong in the middle Tang Dynasty has four straight legs, a waist, an upper corner, and lines at the corners. This decoration was called "mixed-face bilateral lines" ". There are four pillars at the back, two pillars in the middle, slightly taller, curved beams, and two ends are carved into faucets. The armrests are turned from the rear pillar to the front pillars through the side pillars. The gap between the armrest and the sitting surface is indented. The end of the armrest is also carved into a dragon head, which integrates with the back. The seat is padded and backed. It was a very refined chair at the time. The chair depicted in the "Lord of the Six Masters" in the Tang Dynasty, is more representative. It uses four bell pestles to replace the four feet, and the two sides are connected by crossbars. The brain is arched, the ends are upturned and decorated with lotus flowers, the lotus is pendant with beaded tassels, and the overall shape is solemn and luxurious. The furniture inlaid with gold and jade embodies the dignity and sacredness of monks in the temple at that time.

From the Five Dynasties to the Song Dynasty, high-profile seating was unprecedentedly popular, and the form of chairs also increased, including back chairs, armchairs, and armchairs. At the same time, the shape, material, and function of the chair vary according to the level of respect and inferiority.

Furniture from the Five Dynasties to the Two Song Dynasties generally retains the legacy of the Tang Dynasty, but high-profile furniture is more popular than before.

The use of high-quality furniture has become fashionable in the folk, and high-level tables and chairs must be used at home, which can be seen from the paintings at that time. For example, in the Song Dynasty Zhang Zeduan's <Qingming Shanghe Tu>, all the high-end furniture was displayed in the small shops in the market. The circle chairs depicted in the Song Dynasty's "Nine Old Pictures of Huichang" are also the previous generations without varieties. In the Song Dynasty tombs excavated in recent years, there are also furniture models made of stone and pottery or various types of furniture made of brick or carved on the wall of the tomb. Among them, the scene where the tomb owner and his wife are sitting on chairs is the most common. For example, the stone chair pieces unearthed in Henan Nanfang City, the brick carved tables and chairs of the Tomb No. 7 Song Tomb in Jingzhuang County, Hebei Province, the table and chairs in the mural of the tomb No. 2 of Shizhuang Tomb, the table and chairs in the Tomb of Luoyang Brick carving furniture and so on. This shows that high-profile chairs such as chairs are not only commonly used in people's daily life, but also used as a funeral device.

In the Song Dynasty, a cross chair was popular, and it was higher than other chairs. Families with a little status all prepared cross chairs for the hosts and guests.

The chair is a tool that assists people's activities. It must first be able to withstand the various forces and impacts brought about by people's activities. Designers should consider the chair's ability to withstand external shocks in the early stages of design, otherwise the practical function of the chair cannot be fully reflected. Therefore, the designer should design on the basis of fully understanding the structure of the chair, in order to achieve both beautiful and practical purposes. In order to achieve this purpose, the following design flow is constructed.

(I) Conceptualization

The conceptualization stage is the concept and purpose of the overall design, and is a prerequisite to ensure that the specific design can be carried out smoothly in the future. The process of setting the conceptualization of chair design involves issues related to chair functionality, structure and materials, and shape. For the questions such as "why should a certain design take such a shape or structure?" And "why should it be produced with such a material?", A general explanation should be made at the conceptualization stage. The conceptualization of design should fully reflect the designer's ideas and values, and give play to their creativity, so it should not be the opinions of others, but the designer's own ideas. (Three) concrete stage

The concrete stage is to solve the structure, function and aesthetics of the furniture and create its basic shape according to the design scheme set in the conceptualization stage. At this stage, many sketches, drawings, models are made, materials are selected, the structure of the chair and other details are discussed. The concrete stage of the chair design is the process of creating the shape of the product. Simply speaking, it is to make the appearance of the chair shape and demonstrate it.

(Four) the stage of designing furniture

The key of chair design is to focus on the design that conforms to the overall appearance and core architecture. The appearance of the product, the shape of the chair and the stable structure should both reflect the designer's exquisite design and also meet people's requirements for comfort. This is the focus of designing furniture. To achieve this goal, we made the following Skeleton model based on the appearance of the product proposed in the materialization stage. It can be said that this is a basic model made to achieve a top-down design.

From this skeletal model, we can not only see the appearance that reflects the product concept, but also get information about the position and connection of various accessories of the product, such as the core architecture, Tilt, base, and armrests. (ArmRest) and so on. This can be expressed by the designer from three angles, namely, Surface, Curve, and DatumPlane, while designing the product and making a sketch. This skeleton model is related to the content of furniture design in the three stages mentioned above, and is used in the design of ribs, bosses, and physical structures that designers rarely touch. Of course, this is almost impossible for designers without relevant basic knowledge, but as long as they are designers who have developed more than two model products in-house, they can complete the design of each part of the model.

(V) Design inspection stage

The product design completed through the above steps is not perfect. Especially the chair has a close relationship with the human body structure. It can be said that people

It is important to judge the rationality and applicability of the plan. The design should therefore be checked. For the design of the chair, it is important that the thigh-base part of the chair can stably support the body weight. Of course, in addition to the Back, which supports the back of the human body and ArmRest, the inspection of the armrest is also necessary. Explanation of the chair base

Through the above series of instructions, we can understand the entire process of the designer's personal design of product parts. Of course, compared with specialized component designers, their design may still have shortcomings, but this expands the designer's work area. It is important that the designer who creates the product can develop the product by participating in the entire development process of the product. More affinity and ergonomic products.

Practicality:

Practicality refers to the beginning and development of meeting people's daily needs. Modern furniture must not only be reliable, applicable, and safe, but also more importantly satisfy its use function and comfort. Whether it is static load furniture or dynamic load furniture, it should be based on the basic principles of ergonomics and combined with the physical and psychological needs of the human body to design a reasonable furniture scale and space division distance to create a maximum for consumers Ultimate comfort and convenience, as well as the sense of security and visual beauty, finally return to the purpose of the best practical effect. The beauty that modern furniture gives people is to experience and sense through people's visual and tactile senses. The degree of practicality of furniture is verified through repeated use, contact and identification by people. The level of modern furniture designers is only through hard exploration, long-term practice and constant summing up, can their own design works gradually achieve the increasingly perfect design pursuit.

artistry:

Modern furniture is not just a simple consumer goods. Furniture products have developed as a cultural phenomenon to this day. It is already a new generation of art and decorations that adjust the living environment in modern human life. It is a new generation of fusion of art and practical use. consumer goods. At the same time, it is also an important movement and theme that directly affects the artistic effects of interior furnishings and the cultural taste of modern living rooms. For this reason, modern furniture designers must seriously study and analyze the artistic problems in the elements of furniture design from this height. In the furniture design process, it is indispensable to borrow some basic practices in practical art design, such as the stable and balanced appearance of the product; the harmony and aura of the line; the vividness and vividness of the decorative patterns; the hardware accessories The choice of style; designers need to constantly improve their practical art disciplines in practice, in order to adapt to the current fierce competition of internationalization of the Chinese domestic market. Without good product design, there will be no market share.

Craftability:

As mentioned above, at present, the technological manufacturing content of China's furniture industry products has undergone tremendous changes. Different generations of furniture with different craftsmanship and structural features have appeared frequently in different furnishing environments and malls. . The most prominent development is panel furniture, or solid wood furniture. In the 1970s, KD-type furniture, which was widely publicized, has developed to RTA-type furniture with international advanced level. The author can assert that the new generation of solid wood decorative panel furniture will be a long-term place in China's furniture industry product series, and its development prospects are also important.

As early as at the annual meeting of the <Furniture> magazine editorial board in 1995, famous scholars and experts in the industry had pointed out the development trend of China's domestic furniture industry and clearly stated that the future design and development goals of new products in China's furniture industry should be based on the "upgrade of panel furniture." "The solid wood furniture is artistic, the modern furniture is fashionable, and the design method is personalized." Regardless of whether the above arguments are correct or not, there is one point that cannot be disputed. Modern furniture, regardless of the characteristics and content of its technological composition, are becoming more multi-variety, small-batch, and short-term in order to meet the needs of international market competition. Design and production methods. In order to facilitate the industrialized production of furniture, we must also take into account the special characteristics of these products. The situation forces us furniture designers to grasp and control the work of product design while completing the design of the shape. The advanced technology equipment is a concrete means to realize the modeling process. Due to the development of science and technology, it has provided a reliable guarantee for complex modeling processes. The designer's ingenuity and comprehensive technology can create new modeling expressions and traditional processing methods. The relationship between technology and modeling is the same. Modern furniture designers must be familiar and masters of advanced equipment and high-level processing skills in the field of furniture industry production. Engineering and technical personnel engaged in professional design should be composite talents with a new structure and manufacturing technology in order to stir up the heavy tasks that history has given us.

Economical: In modern furniture design, economical design should also be an important design link that designers cannot ignore, which also includes the extension and connotation of technological design, such as processing methods and methods, selection and composition of materials, and craftsmanship. Program arrangement and so on. In the design of panel furniture, the single component blanking method (the batching method) and the component blanking method are compared. The latter method can save 8-10% of raw materials. Among them, it also includes the choice and application of artificial plate types; the application method of decorative stickers on materials and the problem of cost savings. At present, the target cost management method proposed in the management methods of advanced enterprises in China also contains the above economic design content.

For example, two adjacent factories design a similar Baroque-style lounge chair. Because one of the factories does not focus on the economics of product design and does not take into account the content and methods, it ignores the value law of material cost. The result is two The material utilization rates of the factories differ by 3-5%. It is true that there are many differences among designers. Only in the practice of design, modern furniture designers combine practicality, artistry, craftsmanship, economy (target cost law) organically and flexibly use, can they achieve the continuous introduction of good products and dedication to consumers.

Ergonomic design of student computer chair

Relationship between human posture and lumbar spine shape:

</ strong> (1) When the person leans back and relaxes, the pressure in the intervertebral disc is minimal.

(2) The larger the backrest inclination, the smaller the muscle load.

(3) The 5cm-thick short back waist (back to the waist, also called the ground back waist), compared with the flat back, can reduce disc pressure and reduce muscle load.

(4) The optimal reclining angle of the backrest (the angle with the horizontal plane) is 120 °, and the optimal angle of the sitting surface (the angle with the horizontal plane) is 14 °.

Backrest stress The 5cm-thick ground backrest supports the weight of the upper part of the body, thereby reducing the internal disc pressure. The specific ergonomic design elements of the student seat are determined according to the relationship between the human posture and the shape of the lumbar vertebra: When the student computer chair is used, the human body leans forward, the concave edge supports the waist, and when relaxed, the human body leans back, and the back maintains the spine Natural "S" shaped curve. Therefore, it should have a high back pad waist recess.

(1) Height adjustable. The height adjustment range of the office chair is 38-53cm.

(2) Prevents the seat from sliding and tipping. There should be 5 chair legs, which are equally divided on a circle with a diameter of 40-45cm.

(3) Leave enough space for people to move. Seats that need to stand up often should be casters.

(4) The space for movement of the legs should be ensured to reduce leg fatigue.

(5) The sitting surface should be 40 to 45 cm wide and 38 to 42 cm long. The middle of the sitting surface is slightly concave, the front edge is curved, and the sitting surface is tilted back 4 ° to 6 °.

(6) The material of the sitting surface should be breathable and non-slip (such as wool) to increase the comfort of the sitting surface.

(7) An operating table with a keyboard and a mouse that can be turned upside-down and rotated is set beside the right armrest of the seat, so that the distance between the seat and the monitor screen has more freedom and is also conducive to free up computer desk space. This add-on device can be used when the computer desk is crowded, watching videos or pictures (it is convenient to draw by hand).

This design uses the counterweight design to easily adjust the tabletop to any fixed height, so that the user can take a variety of postures to use the computer, and divide the tabletop into two parts that can be adjusted for height, ensuring a suitable display height and Keyboard height.

Human-chair-on-machine environment human-machine interface diagram:

1 The student computer chair adopts a high back pad waist concave edge, the height adjustment range is 38-53cm, the adjustable range of the seat surface and the backrest tilt angle is 105 ° ~ 115 °, and 110 ° is recommended.

2 The foot of the chair should be designed 5 and divided equally on a circle with a diameter of 40-45cm to prevent the chair from sliding and tipping over. The seat adopts small casters to leave enough space for people to move. Keep space for legs to reduce leg fatigue.

3 The sitting surface is 40 to 45 cm wide and 38 to 42 cm long. The middle of the sitting surface is slightly concave, the front edge is curved, and the sitting surface is tilted back 4 ° to 6 °.

4 The material of the sitting surface is made of breathable and non-slip wool to increase the comfort of the sitting surface.

5 Next to the right armrest of the seat is an operating table with a keyboard and mouse that can be turned upside down and rotated to cooperate with the computer desk, so that the distance between the seat and the monitor screen has more freedom and helps to free up the computer desk. space.

Marcel Breuer's Vasili chair Brauer believes in industrialized production and strives to standardize and standardize furniture and building components. He is a true functionalist and a pioneer of modern design.

Marcel Breuer (1902--1981) designed the world's first steel chair in 1925. In honor of his teacher Vasily Kandinsky, he named it "Wassilychair" .

Blauer was born in Hungary. He studied at the Bauhaus in 1920 and showed a strong interest in furniture design. He spent most of his time studying and working in the furniture department. Early works have strong German expressionist characteristics. For simple Primitive designs are also interested. Some of his works are like original African furniture, while others have strong performance characteristics, especially influenced by G. Rietveld, a Dutch style designer. The furniture has obvious cubist sculpture characteristics. At that time, most of the chairs he designed were made of wood, with canvas cushions and backs, standardized components, and simple geometric shapes.

After Bauhaus moved to Desso, Brauer became a design teacher in the furniture department. During this period, he designed the most outstanding series of furniture, the first steel pipe furniture in the world. Inspired by the handlebars of his "Adler" bicycle, he germinated the idea of using steel pipes to make furniture. The first steel pipe chair designed in 1925, the Vasily chair, is light and beautiful, and the structure is simple With very good performance, this new form of furniture quickly gained popularity in the world. The Vasily chair was once known as the symbol of the 20th century chair, and it is of great significance in the history of modern furniture design. As the steel pipe furniture has the most typical characteristics of the Bauhaus, it is considered synonymous with the Bauhaus.

He used steel pipes and leather or textiles, and also designed a large number of new furniture with good functions and modern shapes, including chairs, tables, coffee tables, etc., which have been widely welcomed in the world. He was also the first designer to decorate metal with electroplated nickel. With regard to metal furniture, Brewer wrote: "Metal furniture is part of a modern living room. It is unstyled because it does not expect to express any particular style except for its use and necessary structure .... All types of furniture They all have the same standardized basic parts, which can be separated or converted at any time. "

This article, published in 1928, shows that Bauhaus's design ideas for housewares have gone beyond its original handicraft-based starting point. The furniture designed by Brauer from 1925 to 1928 was designed by Berlin furniture manufacturers. In large quantities, he also designed standardized furniture for the Feder furniture factory in Berlin. This standardized furniture production method laid the foundation for modern large-scale industrial furniture production.

Brauille chronology:

From 1932-1934 he worked mainly in Switzerland and was engaged in furniture design.

In 1935, he started researching on plywood molded furniture, standardized modular unit furniture, interior design, and standardized modular unit housing.

Brauer taught at Harvard School of Architecture from 1937-1946. In 1947, Brauer designed his house in Connecticut;

Designed the UNESCO headquarters in Paris from 1953-1958;

From 1963 to 1966, he also designed the Whitney Museum in New York. Brauille skillfully handles wood and stone materials in a natural relationship, forming a unique style.

Vasily chair by Brauer

Brauer revolutionized the traditional flat seat with a draped, supportive strap, making it more comfortable for the person sitting on the chair and reducing the weight of the chair a lot. This elegant chair is a work sought after by design advocates. The design concept contained in it is far ahead of the era of designers. To this day, its simple appearance and lightweight practicality are still amazing.

Folding chair, chair design, simple design

ulochair, IanWalton from Ireland, this is his graduation design (finalDegreeProject, NationalCollegeofArt & Design, Dublin), a chair design with the theme of "CompactLivingforSustainability", facing those small living spaces. This ulochair is suitable for serious study, work, or dining (upright mode). At the same time, it can be transformed into a casual lounge chair with very simple operations. When in the upright mode, the inside of the joint of the back bracket (metal tube) is locked by an 8mm PTFE-coated hardened steel rod. When you need to convert, step on the back rail to unlock it. The flexible joint makes folding very convenient. We rarely see functional design on chairs and other furniture, and the multifunctional design is so concise, concealed and considerate (referring to those methods such as flipping and changing direction). There is a place that is not safe. Whether intentionally or not, when a person stands behind a person sitting in a chair, many people will step on that rung.

Interpretation of "Italian Style Chair" Design

"Italian style" has been passed down with its outstanding design and image, not only the ordinary chair, but also the designer's inspiration in the details. Not only pursuing unique creative ideas for shapes, the seemingly simple arcs contain the principles of ergonomics, but also more in line with the modern and fashionable people's pursuit of simple and comfortable living concepts, perfectly interpreting the "Italian style" design, leading the furniture design leader Trends and trends. It is worth learning from domestic designers.

2008 Huanhe Cup Environmental Chair Design Competition

Co-hosted by "Frame" China, Shanghai Chinese Ceramic Artists Association, and VNU Asia Exhibition Group Shanghai Wanyao Qilong Exhibition Co., Ltd., after three months of fierce competition, the "Golden Cup" Future Environmental Chair Design Competition is finally here After a successful conclusion, the awards dinner was held on June 26 at No. 3 on the Bund. More than 300 works in the competition brought waves of visual impact and design surprises to the judges from the aspects of appearance design, green environmental protection concepts, and future design ideas.

The 10 selected works of the award-winning works were first displayed in the form of finished products in front of the organizers, judges and even designers in 6.26, and they will be a feast for the majority of design enthusiasts at the 100% Design Exhibition in Shanghai! As the title sponsor of the "Environmental Cup" Future Environmental Chair Design Contest, Huanhe Enterprise promotes the use of traditional building materials in engineering projects to the selection of green materials that pursue environmental protection and energy conservation. Guided by the concept of green environmental protection,

The use of environmentally-friendly and energy-saving materials, especially the external wall insulation products, is deeply involved in the implementation and progress of the project construction, and finally reflects the actual effect of the materials. In line with green environmental protection, sustainable ecological development, and the persistent pursuit of original design, Huanhe Enterprise has teamed up with "FRAME" and more than a hundred designers to take the design of future environmentally friendly chairs as the door bricks, and seek personal protection on the environmental protection road. Environmental protection pays attention to the environmental protection concept of the enterprise, to the environmental protection advocacy of the society, and to the synchronization of environmental protection in the world. A jury composed of Robert Thiemann, editor-in-chief of "FRAME" magazine, Chen Guanghui, executive director of Shanghai Chinese Ceramic Artists Association, RandallH.Shortridge and RAKevinN.Horn of RTKL design company, reviewed each uploaded design work with a world-class vision, and presented awards Accept the critical eye of design masters at the scene.

Changes in modernity in chair design

Many people who are engaged in design are asking what is fashionable and modern design, and how to design popular works. Mr. Wang Shouzhi once said that if you do not understand the history of design, especially the development history of modernism, it is impossible to know what is the latest design. Design is the symbol and language of the development of human society, including the realm of material production and the realm of ideology. Design is by no means a personal whimsy, it reflects every aspect of human life. This article is based on time, and exemplifies the design of several chairs over a large space span, and briefly explains its modern sense.

(1) Chinese Ming wooden chair

The artistic characteristics of Ming Dynasty furniture can be summarized in four words: simple, thick, refined and elegant. Jane means that it is refined, not cumbersome, not stacked, and generous. Thick means that it has a strong image and has a solemn and rustic effect. Fine means that it has a fine workmanship, one line at a time, a twist and turn, rigorous and accurate, and meticulous. Ya means that its style is elegant, attractive, unconventional, and has a high artistic style. In the production process, it can be said that the style furniture is close to perfection. But I personally think that the design concept has not yet broken the boundaries of the previous bed and chair. The whole shape is thick and square, and the armrest and backrest are perfectly integrated. It can be said that it is a simplified "bed" or "collapse".

(2) European and American trends in the second half of the 18th century

After the middle of the 18th century, people began to get tired of pretending Baroque and Rococo, which caused a neo-classical boom. This is a more rational way to avoid unnecessary clutter. Mainly from the ancient Greek and Roman and distant China to absorb nutrients, and began to use textile fabrics to make cushions to increase comfort.

1 neoclassical furniture designed by Sheraton

Neoclassical refers to a cultural trend that first appeared in the early days of capitalism. In the history of architecture and design, it refers to the classical form that prevailed in Europe and the United States in the 1860s. After the Roman Pompeii site was excavated, it was discovered that the quality of classical art was far better than that of the baroque and rococo pretense, and the design turned to a more rational form. George Sheraton (1751-1806) was a master of neoclassical furniture at the time. The emphasis of his chair design is placed on the backrest, which changes a lot, but the legs of the chair are rarely curved, showing a simple structure. 2Chipdale chairs

One of Chepdale's famous styles is the so-called "Chinese style" from China. All backrests of chairs produced by Chepdale are different. But the legs all follow a basic form. The front legs are straight and the rear legs are slightly curved outwards. Among them, five wooden supports supporting the legs of the chair are also arranged in the same way, and the remaining changes are small. In these chairs, one can see a certain sense of structural logic.

(3) Design style of the 19th century

The design style of the 19th century was influenced by new technologies on the one hand, and rationalism was also mentioned on a high level. At the same time, people are still reluctant to decorate, and they can use technology to achieve the purpose of decoration, which is also acceptable to people. This is how the 19th century design style unifies in chaos.

1 Design under new technology conditions

The most famous example of furniture design in the 19th century is the bentwood furniture produced by the Tolle Company in Vienna, which is the result of the introduction of new technology. His company unifies new technology with new aesthetics, producing furniture that is affordable and affordable for most people. The Vienna cafe chair is very simple, every component is not exaggerated, the structure of the chair reflects the logic of the structure. The furniture produced by John Henry Belter is decorated with techniques such as embossing and carving, so that the simpler bent wood furniture can adapt to the decorative taste of the times.

2 tall straight style

The high-straight style seat designed by Mackintosh reflects that sometimes the pursuit of form also affects the structure and function of the product. The famous chairs he designed are generally uncomfortable to sit, and often expose the defects of the actual structure, and there is no technical innovation in the manufacturing method. To ease the stereotyped geometry, he often painted stylized red roses on painted furniture.

Huffman's own design style was deeply influenced by Mackintosh. He liked the structured vertical composition and gradually evolved into a grid pattern, forming his own distinctive style, and thus obtained the "checkerboard Huffman" Ya said.

(4) Modernist design in the first half of the 20th century The modernist movement was an extremely far-reaching and extensive design movement. Adopt rational and regular forms, combine new technologies and new materials, and be suitable for mass production. The modernist movement has different performances in various countries. Here, the most typical Dutch and German designs are mainly exemplified.

1 Dutch style design

The red / blue chair is a typical work of the style school. In art history, it is difficult to find a comparable work that can perfectly embody an art theory. It consists of machine-made wooden strips and laminates. The 13 wooden strips are perpendicular to each other, forming a basic structural space. Screws are used to fasten the components instead of tenons, so as not to damage the integrity of the components. The back of the chair is red, the seat cushion is blue, and the wood strips are painted black. The ends of the bar are painted yellow to indicate that the bar is just a piece of a continuously extending member.

2 Bauhaus steel chairs

In the Bauhaus furniture workshop, Brauer created a series of steel pipe chairs with great influence, opening a new chapter in modern furniture design. These steel tube chairs make full use of the characteristics of materials, light and elegant in shape, and simple in structure, which has become a typical representative of modern design. In 1929, Mies designed the German Pavilion at the Barcelona World's Fair. The building itself and the Barcelona chair he designed for it became a landmark in modern architecture and design. Like Brauer, Mies is also better than the steel chair design. In 1927 he designed the famous Weissenhof chair.

(5) <strong> Scandinavian <strong> Navia design </ strong> of the 20th century

The Swedish furniture design reflects the light and humane style of the Swedish home environment and provides an important psychological basis for family members to spend a long and cold winter. The curved furniture produced by Mattson is light and flexible, which improves the comfort of the furniture and facilitates mass production. The pursuit of comfort also affects the choice of materials. Fiber weaves and natural and soft materials such as rattan and bamboo are widely used. In Finland, the armchair designed by Aalto in 1928 is made of plywood and bent wood. It is lightweight and applicable, making full use of the characteristics of the material, which is both elegant and elegant without sacrificing its comfort. Swedish design has a warm and human atmosphere, and it also helps to reduce costs because wood is inexhaustible in Finland.

Wiener's design rarely has stiff edges, and the corners are generally processed into smooth curves, giving people a sense of intimacy, as is the design of the "chair". Its lyrical and smooth lines, exquisite details and elegant and rustic shapes make it have sculptural quality. His series of "Chinese chairs" from 1945 draws on some of the design features of Chinese Ming chairs.

(6) <strong> United States </ strong> <strong> Organic Modernism </ strong>

These American designers combined Bauhaus's theory with 20th-century Scandinavian design aesthetics to create many influential works. Eames designed the first work for Miller, the dining chair, as a result of his early research on plywood. The seat cushion and back of the chair are molded into a delicate curved surface, giving people

With comfortable support; the chrome-plated steel pipe structure is very simple and uses rubber shock-absorbing nodes. All the components and connections are treated very delicately, making the chair stable, sturdy and beautiful. Saarinen's furniture design often reflects the "organic" free form rather than the rigid, icy geometry, which indicates that the development of modernism has broken through the orthodox Bauhaus style and has begun to "soften". This "softening" trend is linked to Scandinavian design and is called "organic modernism". (7) Diversified development after the second half of the 20th century

1 Application of ergonomics

By the 1950s, ergonomic principles had been adopted by many industrial designers, thereby improving the ergonomics of products. This kind of seat keeps the spine and body in a straight line by keeping the human body leaning forward and knee support, so as to maintain a natural balance, so that each part of the body can best perform its functions, eliminating the back, neck, and hip And leg stress. This chair is also unique in shape.

2 Neo-modernism

After entering the 1960s, in some countries and regions there appeared a so-called "new modernism" that revived the modernism of the 1920s and 1930s and pursued geometric form composition and machine style. In order to reflect the order and efficiency of the business world, the design should have indifferent, formal, and neutral appearance characteristics. Steel pipe and other industrial materials are widely used in furniture and interior design, highlighting the indifference of metal materials. In other countries in Europe and the United States, neo-modernism is also fashionable. Many of the more formal and rigorous neo-modernist works are in the hands of Scandinavian designers. For example, the steel sheet chair appears stable and rigorous. In 1969, Akizom designed the "Miss" chair, which mimics the Barcelona chair by a humorous method. The "Miss" chair uses industrial materials such as chrome-plated square steel and rubber plates and a sharp triangular shape, pushing neo-modernism to the extreme.

3 pop style

Pop style is also called popular style, it represents the expressionist tendency of industrial design pursuit of alienation and entertainment in the 1960s. The Pop design in Italy embodies the characteristics of soft sculpture. The design of the furniture is ambiguous in shape, and it is emphasized by visual association with other objects.

Non-functional, such as designing the sofa as lips or making a big glove. The so-called changes in modernity are actually manifested as changes in aesthetic concepts. But in the final analysis, it is subject to material conditions. This is also in line with Marxist historical materialism. For example, the emergence of new materials and technologies. Steel pipes, plastics and new textile fabrics are used in a large number of design products. Bent wood technology and plywood technology have also had a great impact. To this day, material civilization is highly developed, and some designs with consciousness as the dominant factor have gradually appeared. Such as pop art and green design. There are fewer objective material factors that limit design, and people s aesthetic acceptance has become more open. Design has also become more diversified.