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Reference:Judith Gura Thames & Hudson Ltd .Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century .2007-11Mike Roemer. INTERIOR AND FURNITURE DESIGN. Thames Hudson Press.2005SCANDINAVIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditions of material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process of industrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a number of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of protecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture Magazine) was established with the aim of manufacturing uniform,high-quality furniture in terms of production and design for the Danish Royal Household and its various departments and ministries ,etc.The furniture was designed almost along the lines of catalogue goods by the most renowned designers of the period,and their drawings were forwarded to master cabinetmakers all over the country,who then manufactured them. After a brief period of only 40 years,the practice came to an end in 1815.The important thing is that the above-mentioned events were extremely visionary as regards quality and design,and that they went on to form a solid foundation for later development.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose was the education of furniture apprentices to draw and inspect masterpieces what amounted to the worlds first systematic education of furniture designer.Throughout the 19th century,indeed until the beginning of the 1920s, there is an absence of an independent Danish style.The architects of the time are inspired by French, and particularly,English furniture and only design furniture for the wealthy upper classes and civil authorities. Peasants,farmers and the fledgling working class still do not represent an interesting commercial body,but this picture changes with the countrys move from an agricultural society to an industrialized one towards the end of the last century.The cities almost exploded in size and social awareness flew with the emergence of the new social classes-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of modern consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920s,when the social housing projects began and detached houses started to appear.The second stage was in the 1950s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge and awareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920s saw the desire for a purely Danish style of furniture.In 1924,a lectureship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the development of Danish furniture design to a great degree.Kaare Klint was a systematist and a modernist who used his students to pioneer a series of surveys and analyses of furniture and spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated from the rest of Europe,where functionalism often took the form of formalistic exercises,directing its focus towards a well-to-do elite rather than the ordinary man in the street. The result was that a strong,independent,humanistic functionalism evolved in Denmark through the 1930s and 40s,culminating in an international breakthrough at the beginning of the 1950s.A contributory factor to this breakthrough was the Guild or Cabinetmakers annual autumn exhibition held for the first time in 1928.Here, young furniture designers could find collaborative partners among the established cabinetmaker workshops with an eye to developing new types of furniture.It was at these exhibitions that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogensen,Arne Jacobsen and many others made their breakthrough,and it was at these same exhibitions in the period following the Second World War that,in particular the American market,caught sight of Danish furniture design-Danish modern. The development of Danish furniture design continued forcefully up through the 1950s and 60s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology developed ,production became increasingly industrialized and this affected the way in which architects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsens famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed in cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning, It was designed as an industrial product for mass production. Some years later, in 1957,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chairs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 1971. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeeded in creating a long series of Danish furniture classics, such as the easy chairs “Aegget”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Royal Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jacobsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furniture. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDBs newly established furniture design studio. Borge Mogensen was a former student of Kaare Klint, and Mogensen further developed Klints ideas regarding quality functional furniture for the ordinary consumer. FDBs furniture was manufactured in wood, especially in the domestic wood sorts of oak and beech. These chairs were designed for industrial manufacture and despite the fact this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for himself by designing exclusive furniture in an altogether different price bracket for affluent clientele. Despite this, he never diverged from his principles of functionality and user-friendliness. The two designers who really put Denmark on the world map were Hans J.Wegner (born 1914) and Finn Juhl (1912-1989). These two men came from radically different backgrounds. Hans J.Wegner was the country craftsman who had received his training as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Crafts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their production of quality furniture is so extensive-Hans J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Particular examples of Hans J.Wegners unique design work are Kinastolen (“The Chinese Chair”) from 1945, The Chair from 1949, and Cirkelstolen (“The Circle Chair”) from 1986. Among Finn Juhls furniture are such highlights as his armchair made for the Guild of Cabinetmakers autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worlds leading design nation. Around 1970, Denmark began to experience stiff competition from Italy at the numerous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented with all kinds of materials and expression, which caused Danish furniture to appear behind the times. It was really only the Danish designer, Verner Panton, who lived in Switzerland, who understood how to use the new man-made materials and create new designs.This was a critical period in Danish furniture design and for the Danish furniture industry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the result of too much success.The good internationa