What are Some Different Types of Upholstery Tools?

This book explores some decorative factors and decorative ideas scattered in various design fields, explores the value of decoration in the information age, and explores new era characteristics of decoration.

Decoration and utensil modeling

Preface decoration is the instinct of human beings. It sprouts from every healthy heart, and it is active in every corner of life. From ancient times to today, as long as there are traces of human beings, they must also leave traces of decoration. What exactly is decoration? Decoration is an item? Decoration is an artistic style? Decoration is an accessory? Decoration is an embellishment or the essence of art? Decoration is everything or decoration does not matter? It is often difficult for us to answer. All we know is that removing decoration from the earth is as incredible as squeezing water out of the world.

The decoration is distant. It reveals the original artistic wisdom and life taste of human beings. The decoration is fashionable and it creates an ideal dream in the future. The decoration is vast, ranging from garden buildings to daily necessities. The scope and variety of items daunt any kind of art form; the decoration is mysterious, elegant and secular, tradition and innovation, noble and rustic, noisy and quiet ... ... being mortal for the sake of decoration. Decoration is free and easy. It has never influenced the course of history. The prosperous era is more prosperous because of decoration. The deteriorating era also retains a sense of helplessness and purity because of decoration. Decoration is permanent, humanities can be corrupted, and faith can Depreciation, art can decline, but decoration is still being decorated, and decoration is just decoration.

Decoration can be an object, and it exists only for people to enjoy. Decoration can also be an artistic style, but this unique style opens up people's inner vision and makes people see an exaggerated and modified natural scene. Whether it is used as a decoration for people's enjoyment or as an artistic style, its attached attributes seem to be inevitable.

The affiliation belongs to affiliation, and the role of decoration in design is really unavoidable. Looking at the history of design development in any country, you can find an era when you don't know how to design without decoration. In the initial stage of design, people want to beautify and decorate. Almost all areas of design: packaging, advertising, clothing, daily necessities, etc. are all dominated by decorative patterns. After the industrial revolution, as standardization entered people's daily lives, designers began to think about the value of decorative patterns on machines and tools. Begin to think about the nature of design, the value orientation of design, and the spirit of design. Once people's design consciousness is awakened, decoration must be firstly questioned and rejected. People with innovation spirit can no longer bear the situation of designing by decoration. They have tried to go beyond decoration and express it in a more direct design. And pure functions replace beautification and modification. They even went to war on decoration, thinking that it blocked people's access to design concepts, disrupted normal design procedures, and alienated the relationship between design functions and design aesthetics, so they had to completely eliminate decoration from some design fields. Architects once advocated the decorationless packaging and packaging design history. The decorative patterns and decorative patterns are indeed very gracefully retreating from some fields. At least at present, no designer intends to put some decorative patterns on the TV or computer casing. However, the absence of decorative patterns does not mean that there is no decorative spirit and decorative concept. TVs and computers have shapes, buttons, and branded text. The shape of the lines, the shape and position of the buttons, and the design of the brand and text all have problems with beauty and decoration. Even if there is no pattern, decoration cannot be avoided. Can't get rid of decoration. The pattern without patterns is also a reflection of a decorative concept. Many designers who fight for decoration finally find that pure design is just a form of decoration, a more "pure" decoration. Admittedly, the design must have its own unique features. The packaging needs accurate visual communication and protection of the product. The advertisement needs accurate appeal and targeted audiences. TVs and computers obviously put the convenience of operation and performance optimization first. . But these functions do not have to conflict with the decoration and landscaping, and the decoration does not have to live up to the design concept. On the contrary, good design happens to be a high degree of unity between the two: beautiful and practical, both stylish and comfortable, and pleasing and handy.

It is worth noting that, to this day, the meaning of decoration in design obviously needs further understanding.

Decoration is a kind of "accessory", but it often carries the most "cultural" part of the design. Because of the existence of decoration, the history of design does not disappear at the same time. Let us enjoy the bright sunshine of modern civilization in luxurious and full decoration, and in the mottled and desolate decoration we appreciate the moaning and pain of the overturning of ancient civilization.

Decoration is a kind of "accessory". But in modern life, such attachment is essential. With the improvement of living standards, there will be more and more decorative factors in life. People decorate for enjoyment, decorate for display, decorate for appreciation, decorate for interest, decorate for satisfaction, decorate for pastime, ... even decorate for decoration. Among the "affiliates", the decoration occasionally secretly manipulates people's temperament and mind, which no one can deny.

Decoration is a kind of "accessory". In the design, "accessory" is not absolute, and "accessory" may be transformed into a decisive factor for the success of the design at any time. Paris fashion that leads the world's trends is not because of its warm covering function. Its decoration and grooming function are all factors that determine everything. The warm covering has become an accessory function of decoration.

Decoration is a decoration, but it is destined to be an important part of design. Decorative patterns can be withdrawn from the steam locomotive, but in the world's fastest French TGV locomotive is still decorated with bright and striking colors. We can laugh at the man's killing weapons with Sven's decorative patterns, but we can still see the graphics of fangs and teeth on the most modern fighters. Here, the decoration seems to loosen the muscles of those overly nervous designs, and there is a bit of fun when you are nervous. Decoration does often complement the necessary affinity for the use of a certain design, delicately balancing and regulating the physical function and psychological impact.

We do not agree that design is just decoration, decoration is not a universal verb of design. Overly-designed decoration can easily lead to empty content. We are more opposed to copying, piling up, and decorating the ancients, and the muddy appearance. The grand appearance cannot make up for the lack of content. However, the fact is that for quite some time, the decoration did become a forgotten corner. The spirit of decoration, the concept of decoration, the interest of decoration, and the meaning of decoration are ignored by everyone. Once the decoration is separated from the design, the survival of the decoration itself becomes a problem. More and more popular design itself. Blindly rejecting decoration, the design is bound to become paler.

An undeniable fact is that by the end of the 1950s, most people in developed countries had spent a lot of time and money on personal hobbies. At this time, economists came out and concluded: a country's NGP index shows that when people spend less than half of their income on food and clothing, the proportion of leisure in life will become larger and larger. This also means that the demand for decoration in life will be more and more, and the content of decoration in design will be more and more, and design can't be without decoration. The 17th-century poet Zhang Chao said, "Flowers must be without butterflies, mountains cannot be without springs, stones cannot be without moss, water cannot be without algae, trees cannot be without rattan, and people cannot be without addiction." Direct call: Packaging must not be without decoration, clothing must not be without decoration, home environment must be without decoration, life cannot be without decoration, and no design can be without decoration. The spirit of decoration lasts.

The purpose of launching this series of books is based on the above thinking. Explore some decorative factors and ideas spread in various design fields, explore the value of decoration in the information age, and explore the new era characteristics of decoration. We do not intend to control all design categories with decoration, but all design categories cannot avoid decoration.

This series of books is based on the long-term research and thinking of experts, from their own unique perspectives, and combined with specific design categories, they have revealed their unique understanding of decoration. The series do not emphasize the unity of styles, do not blindly seek the exact rational laws, there are rigorous as academic writings, there are chic such as essays, and there are also exaggerated dialogues. After reading these books, I believe that readers will never use the same definition to understand decoration. They will find their feelings about decoration and find their place in their hearts.

Decoration can help you expand your vision in various design fields, and decoration can always add fun to your life.

Overview: Great artifact creation techniques and Chinese contributions Part I Ceramics Part II Lacquerware Part III Metalware Part IV Woodwork Part I Wooden Art in Ancient Chinese Architecture II Ming Dynasty Furniture III. Scandinavian-style furniture IV. African woodcarving fifth edition of glassware I. The birth and early manufacturing of glass II. Chinese glass III. Western glass sixth knitting utensils seventh seventh bone and jade articles I. Originated from primitive civilization Bone Artifact II

The fourth part of the book, woodware, refers to utensils made of wood. With the continuous development of human civilization, woodware is used by humans. There have been Paleolithic and Neolithic eras in the course of human development. It is inevitable that before this era, humans in ancient times may have begun to use wooden utensils. The reason is that the ancients lived in the natural environment with trees day and night, and the availability and plasticity of wood is relatively strong, and the processing is relatively easy, which can become the tool of choice in their lives. At least some stone axes, stone knives, and other sharp tools made of stone during the archaeological excavations we have unearthed in archeology. It is inferred that their shape and volume may be used together with wooden materials such as wooden sticks. Power was difficult to compete with the harsh living environment of the time.
Due to the natural factors of wood, it is relatively perishable, and its storage time is far less than that of stone tools and metals. Therefore, the woodware that has been passed down to date is generally relatively close in time, and the number is relatively limited. However, in the production and life of human beings, woodware has always been highly valued by human beings, and has been continuously integrated into the people's beautiful desire for life and nature. What is more noteworthy is that when the stone tools and even the bronze tools that appeared in the contemporary era no longer became the mainstream of human life, the wood tools continued to develop, and the wood products that originally depended on them became wood art works.
Today, the wood art we know includes the following aspects:
(1) Architectural woodware, which is mainly expressed in wooden structures and decorations in ancient buildings. Because today's buildings are mostly reinforced concrete, metal, plastic, glass and other structures, it is regrettable that there is less and less inheritance of traditional art in this field.
(2) Wooden utensils for daily life, mainly wooden furniture and utensils.
(3) Wooden crafts and decorations, mainly wood carvings, wooden handicrafts and other decorative works of art.
Although the art in these three aspects is not a multitude, it also has a wide variety.
This article introduces the four representative aspects of "wooden art in ancient Chinese architecture", "Chinese Ming-style furniture ... Nordic modern furniture" and "African wood carving".
I. Wooden Structure Art in Ancient Chinese Architecture Ancient Chinese architecture occupies an important position in the history of world architecture. After primitive society, slave society and feudal society, ancient Chinese architecture gradually formed its own unique style.
In ancient Chinese architecture, the use of wooden structures can be inferred to ancient times. "Han Feizi's May Day": "In ancient times, there were few people but many beasts and animals, and the people were overwhelmed by beasts, insects, and snakes. They were made by sages and made wood as nests to avoid swarms." It can be seen that during the primitive tribe period, people avoided the disadvantages of nature. Started with wood as a home.
From the available actual data, the earliest wooden structure that can be recognized by tenon printing technology is the Hemudu site in Yuyao, Zhejiang, which is about six or seven thousand years old. The wooden component relics found are columns, beams, rafters, boards, etc. , Many components have tenon marks.
To the slave society. Wooden structures are used more in construction. Since the Shang Dynasty, the building has adopted rammed earth foundation and wooden structure. From the excavated Shang Dynasty production tools, axes, knives, saws, chisels, drills, shovels, etc. have been found. These tools are very practical for woodware manufacturing.
During the Western Zhou Dynasty, the wooden frame building ruins of the Western Zhou Dynasty in Hunchun, Hubei were scattered within 5 oooaF square meters. The site was left with a large number of wooden columns, wooden stairs, etc., indicating that the density of wooden buildings is quite high and the technology is quite good.
During the Warring States Period, a master craftsman who has been promoted as the ancestor of woodworking, Luban appeared. Lu Ban's accomplishments in wood art have left us many amazing and interesting anecdotes. From the idiom "banmen get the axe", the high level of Luban's wooden craftsmanship is evident.
China's feudal society has experienced a rare history. The art of wood structure in a large number of buildings that appeared during this period can be described as brilliant. The Sui Dynasty, Tang Dynasty and Song Dynasty are the mature period of the development of ancient architecture in China, and the large-scale and large-scale wooden structure construction technology has been mastered. The earliest existing wooden building in China is the Great Hall of Nanzen Temple in Wutai Mountain, Shanxi Province (AD. 782). A famous master Yu Hao appeared in the Northern Song Dynasty, specializing in the construction of wooden towers and pavilions. He was hired to design the Kaibao Temple tower in Kaifeng, where models were made before construction. During the field visit, he found that the local wind was not small and the wind direction did not change much, so he deliberately tilted the tower body during construction for natural correction in the future. The tower was expected to survive for '700 years, and was destroyed by fire after 700 years. However, his monograph on the experience of wooden architecture is known as the first theoretical monograph in the history of Chinese architecture. The Song Dynasty's Li Jie's "Creating Law" was also written for this purpose.
In the Song Dynasty, the "Building Method" was three years before the Northern Song Dynasty (1100). A "Building Method" was compiled by Li Jie, a young superintendent, as a design specification for buildings at that time, including structure and construction. This work reflects the high achievements of wood construction technology at that time. Extensive use of the principles of mathematics, geometry, mechanics, and aesthetics to formulate a general and reasonable framework (standard). The concept of module distance is operated on the material and building scale. The components made of big wood are determined by the ratio of "wood", "deed" and "minute". In architecture, the decoration and structure are unified, and the construction production management method is strict. It is the leader in the history of world architecture at the same time.
The wooden structures in ancient Chinese architecture mainly have the following types:
I. Stacked type: It is a pillar on the foundation, a beam on the pillar, a short column on the beam, and then the beam and the two ends of the beam are supported.
If the roof is stacked, place a spine column in the center of the uppermost beam to support the spine. This structure is common in northern buildings.
Second, the bucket type: also known as the stand-up type, from the column with a denser column diameter and a thin column directly supporting the short column, without beams between the columns and use a number of piercing connections, and supported by peach eaves. This structure is common in Nanjing buildings.
Third, the middle dry type: the two ends of the log-type semi-circular wood with a tenon are combined into a rectangular wooden frame, which is stacked on top of each other as a wall.
Types of wooden structures Buildings in ancient China required changes. For example, there are single buildings such as halls, halls, halls, halls, pavilions, pavilions, pavilions, towers, pavilions, pavilions, doors, and corridors. The plane has square, circle, triangle, pentagon, hexagon, hex, octagon, fan, curved ruler, I-shaped, mountain-shaped, etc. Different monomers are combined with each other to form a variety of buildings from houses to temples and palaces. In contrast, the same "matchbox" made with one drawing is "how fast and easy to save", but without spirit, how do these architects face our ancestors?
The "big wooden works" and "small wooden works" (song-style designation, also known as wooden decoration) in ancient Chinese architecture basically constitute the art of wood structure.
Big wood is the main structural part of a wooden building, consisting of columns, beams, and concrete.
"Pillars" can be divided into outer columns and inner columns, including eaves columns, heavy columns, middle columns, mountain columns, child columns, and so on.
"" includes "front ", "table ", "Quedi", etc .;
"Roof trusses" include erecting, pushing and retracting mountains, beams, trusses, and rafters.
"Beech" is a unique structural component of wooden frame buildings in China, and it can also be said to be a building form with Chinese characteristics, so it is not easy to say a few more here.
The "bucket" consists of a square bucket, a riser, and a rectangular, oblique wing. It picks up the load on the structure and transfers the weight of the roof to the column. In addition, it plays a good decorative role in the shape of the building.
"Doo" first appeared in the bronze wares of the Zhou Dynasty. The gold and silver inlaid dragon and phoenix schemes unearthed from the tomb of King Zhongshan during the Warring States Period had the early "dou" and "arch" on the four pillars of the case. There are many portrait bricks, murals, architectural artifacts and records in the Han Dynasty. The Tang Dynasty was an important stage in the development of Dougong, and some Dougong were closer to later forms and production. Dougong's architecture played an important role. Built in 857 AD, Foguang Temple is one of the most famous Buddhist temples in Wutai Mountain in Shanxi Province in the Tang Dynasty. The east hall is 34 meters wide and 17.66 meters deep, and the bucket arch structure is fully operational on the pillars. It has not been deformed for more than 1,100 years, and perfectly matches the interior structure, and has achieved a wonderful artistic effect. By the Song Dynasty, Dou Gong had developed to a mature period, which was explained in detail in "Creating French Style." Among the ancient buildings left in the Song Dynasty, we can fully understand the Liao, Jin, and even after the Ming and Qing Dynasties, although Dougong inherited the Tang and Song dynasties, the scale of change has gradually decreased.
Since the Song Dynasty, the decoration of the building has been called "small wooden work", that is, the exterior and interior eaves of the building. The exterior eaves are decorated outdoors, such as the railings of the corridor, and the external doors and windows are hung under the eaves. Indoors, such as partitions, hoods, smallpox, moi.
"Small wooden work" leads the way in Chinese ancient architecture, among which doors, windows, etc. have unique styles.
There are three main types of doors: one is the board door, which has the form of "checker board door" and "environment panel door". The chessboard board door, as the name suggests, looks like a chessboard, that is, a border is formed by the edge and the upper and lower hanging heads, a number of banners inside the frame (referred to as "wearing"), and then nailed on one side of the frame, which is flush Can't afford the pins. A chessboard-like gate is formed like this. Pay attention to the door nails and shop heads, as if in the market. In the Qing Dynasty, there were eleven, nine, seven, and five-way nails in the longitudinal direction. The horizontal distance of the nails can be arranged according to 1, 1.5, or 2 times the diameter of the nails. 2 times the distance. The door leaf of the front panel door does not need a wooden frame, and it is completely assembled with the original wooden boards, and the back is connected by horizontal wood. The second is the second door. Generally used as an exterior door or internal partition of a building, it has been used since the Tang Dynasty and has been more widely used since the Song Dynasty. Song is also called the lattice door. Up to the Ming and Qing dynasties, it was generally used, and the partition fan was also composed of a border and a wiper. It is roughly divided into two parts: "Flower Heart" and "Skirt". Tang Dynasty Flower Hearts are often used in straight lines or squares. In the Song Dynasty, wicker frames and patterns were added. There are more patterns in the Ming and Qing dynasties. The boxes can be pasted with paper or tulle, or decorated with smooth shells. The skirting board is the focal point of the decoration of the fan. Since the Song Dynasty, more flower characters or other symbolic decorations or reliefs have been used.
In addition, there are "covers" that serve as partitions and decoration in the interior.
Windows: There were many styles of windows in the Han Dynasty. Before Tang Dynasty, there were many mullion windows, and they could not be opened. Since the Song Dynasty, there have been more and more windows, and many developments have been made in terms of type and appearance.
The windows in ancient buildings were mostly wooden structures, which were mainly "straight window", "sill window", "branch window", "horizontal window", and "missing window".
Mullion windows have a large number of performances in ancient Chinese architecture. Since the Ming Dynasty, they have gradually been replaced by threshold windows, but they are more occasional in folk.
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What are Some Different Types of Upholstery Tools?

Decoration and utensil modeling

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