[雙語翻譯]家具設(shè)計(jì)外文翻譯--形態(tài)與系譜夏克式家具與丹麥設(shè)計(jì)（英文）

1、Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rfdc20Download by: [University of California, San Diego] Date: 04 March 2016, At: 06:14Design

2、 and CultureThe Journal of the Design Studies ForumISSN: 1754-7075 (Print) 1754-7083 (Online) Journal homepage: http://www.tandfonline.com/loi/rfdc20Morphologies and Genealogies: Shaker Furniture and Danish DesignMaggie

3、TaftTo cite this article: Maggie Taft (2015) Morphologies and Genealogies: Shaker Furniture andDanish Design, Design and Culture, 7:3, 313-334, DOI: 10.1080/17547075.2015.1105709To link to this article: http://dx.doi.or

4、g/10.1080/17547075.2015.1105709Published online: 29 Jan 2016.Submit your article to this journal Article views: 27View related articles View Crossmark dataM. TaftDesign and Culture 314In the spring of 2014, Nicolai de Gi

5、er and his students from Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design, og Konservering (The Royal Danish Academy of Fine Arts, Schools of Architecture, Design, and Conservation) exhibited “Morpholo

6、gy – Stick and Cushion” at the Milan Furniture Fair. The students showed class projects combining the stick-chair type with upholstery, as explained by the project’s mission, to “generate innovative ideas” (Morphology

7、 2014).1 In II, Astrid Tolnov and Elise Tessier’s simple wooden frame stores beneath its seat a cushion that unfurls and flips up to supply a textured surface pouring over the minimalist con- struction. Johan Jeppesen

8、and Jesper Su Rosenmeier’s Stik is a basket-like seat of round stocks and paper cords in which the stick itself is transformed into upholstery. “The idea”, de Gier explained of the assignment, “is to learn from the cl

9、assic Danish furniture tradition working methods and apply them in a modern context” (Buhl 2014). This article is about the influence of American Shaker furniture on mid-twentieth-century Danish design. But I begin wit

10、h the recent exhibition in Milan because I want to use its concept of morphol- ogy to consider the ramifications of influence beyond the construc- tion of formal genealogies. De Gier and his students were looking to th

11、e work of mid-twentieth-century designers Børge Mogensen and Hans Wegner, and appropriating not only some of their designs but also their shared method of borrowing historical elements, or “ancient types”, to rea

12、lize new ones that are “original and per- sonal” (Morphology 2014). The exhibition’s title seems to have been designed to refer to this process of transformation. However, the term “morphology” refers not just to vari

13、ation in form but also, literally, to the study of form, and, conceptually, to the history of variation in form (Oxford English Dictionary 2014). Indeed, a handful of projects made explicit reference to iconic models

14、. The Eight Chair by Takumi Yoshida and Yuanmo Xie riffed on the construction of Wegner’s Circle Chair (1965), reintroduc- ing one of his less renowned designs into public view. And Eva Fly and Suguru Kobayashi’s Needl

15、e Chair, which paired structural features of Finn Juhl’s Chieftain Chair (1949) with the simplicity of many of Mogensen’s designs for the furniture co-op FDB Møbler, constructed a point of contact between the wor

16、k of two designers typically viewed as oppositional. In The Eight Chair and the Needle Chair, citation vivifies the new design as much as it does the refer- ent. In other words, citation generates innovative interpreta

17、tions of historical designs through the production of new design ideas. This is evident also in the mid-twentieth-century Danish furni- ture that had, as de Gier points out, its own references. Wegner, it was said in a

18、 1959 issue of Industrial Design, had been educated in all the great exemplars of Chinese, Egyptian, and Shaker chairs, tables, and chests (B.D. 1959, 57). His designs for the China Chair (1944) and, later the Wishbon