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  本文關(guān)鍵詞：傳統(tǒng)圈椅的再設(shè)計研究　出處：《武漢紡織大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 圈椅 設(shè)計 傳統(tǒng)文化 民族性

【摘要】：現(xiàn)代座椅設(shè)計為了適應(yīng)技術(shù)化發(fā)展而趨于同質(zhì)化,忽視了設(shè)計為人服務(wù)的主題,導(dǎo)致設(shè)計出的產(chǎn)品沒有獨特性,從傳統(tǒng)圈椅設(shè)計出發(fā),由席地而坐到高足垂坐行為習(xí)慣的改變,使得圈椅設(shè)計圍繞著人的坐姿習(xí)慣而產(chǎn)生,為坐而設(shè)計的核心也就是為人而設(shè)計,同時圈椅所蘊含的文化精神顯現(xiàn)出了民族性的特征,讓設(shè)計物變得別具一格。跪坐到垂足而坐的文化生活奠定了圈椅成為高型坐具的雛形,結(jié)合了席與幾的功能,因人身體的坐姿狀態(tài)發(fā)展為由上順勢而下的椅圈形態(tài),成為了圈椅獨有的物性特征,圈椅上下的分割比例根據(jù)人坐姿的高低尺寸而來,運用天然的木質(zhì)紋理作為椅面裝飾,突顯出了產(chǎn)品的本真之美。圣人立象以盡意,圈椅又名圓椅,古人認為圓有天體之意,而上圓下方的圈椅造型則體現(xiàn)出天圓地方的傳統(tǒng)文化思想,傳統(tǒng)工藝中的榫卯結(jié)構(gòu)不僅符合了人體工程原則,還將以人為本的設(shè)計精神融入到了手工制作過程中,圈椅作為時代的產(chǎn)物離不開人文環(huán)境的影響,追求細膩簡潔、自然含蓄的審美理念鑄就了圈椅的風(fēng)格特征。座椅設(shè)計發(fā)展至今,無論是西方還是中國的設(shè)計師都有以圈椅為原型的再設(shè)計經(jīng)驗,將民族元素運用到現(xiàn)代設(shè)計中,蘊含著民族文化的設(shè)計物,承載著民族意識,同一個民族擁有著共同的民族情感,也使得具有民族特征的產(chǎn)品更容易被該民族的消費群體所接受,不僅創(chuàng)造了傳統(tǒng)還因文化的差異使產(chǎn)品變得獨特。反思當代座椅的設(shè)計現(xiàn)象,以圈椅為靈感來源對現(xiàn)代座椅進行再設(shè)計,運用由表觀、淺層到內(nèi)在的設(shè)計方法深入到了系統(tǒng)中去,讓這種特定風(fēng)格成為民族身份的象征,在人與物之間建構(gòu)出無形的設(shè)計語言。總而言之,站在當代社會的背景下,讓技術(shù)為設(shè)計服務(wù),將傳統(tǒng)文化融入到當代設(shè)計中,讓民族文化通過設(shè)計走向世界,這樣一個相輔相成的過程才能使得本土設(shè)計風(fēng)格持續(xù)以往的發(fā)展。
[Abstract]:The seat design tends to homogenization in order to adapt to the development of technology and design, ignore the service for people to design a theme, are not unique, starting from the traditional chair design, by the students to sit down on behaviour change, the chair design around the sitting habits of people, and the design of the core the design is for people to sit at the same time, seeking cultural spirit contains showing national characteristics, make the design have a unique style. Become sitting kneeling to pedal the cultural life laid a prototype of a high chair seats, with seats and a few functions, sitting chair ring shape development human body on the grounds of homeopathy, becoming the chair features unique, the chair of the segmentation according to the proportion of people sitting height size, the use of natural wood texture as the chair surface decoration, The product highlights the true beauty. The saints standing to Italy, also known as the chair round chair, the ancients believed that round bodies of Italy, and on the bottom of the circle of the chair shape reflects the Tianyuandifang tradition culture, tenon structure in the traditional process not only conforms to the human engineering principle, will also design spirit people oriented into Handmade process, influence the chair as a product of the times cannot do without the humane environment, the pursuit of exquisite simplicity, forge aesthetic concept of natural connotative style characteristics. The development of chair seat design so far, whether it is western or Chinese designers have experience in design and prototype chair, use the ethnic elements in modern design, which contains the design of the national culture, carrying the national consciousness, the same people have the common national feelings, but also makes products with national characteristics are more likely to be the Accepted by the national consumer groups, not only created a tradition for cultural differences make the products become a unique phenomenon. The reflection of the contemporary design of the seat with a chair for inspiration and design of modern seats, used by the apparent, the shallow layer to the inner design method into the system to make the specific style become a symbol of national identity, construct in a design language between people and things invisible. In short, the station is in the contemporary social background, makes the technology design services, the traditional culture into modern design, let the national culture through the design of the world, such a process can make complementary local design style in the past development.

【學(xué)位授予單位】：武漢紡織大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TS665.4

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