玄关家具设计论文2

摘 要

将古典元素与现代板式家具设计融合在一起,不仅是弘扬民族文化,实现古

典文化可持续发展的一条途径, 也是当今全球一体化，文化多元化的国际发展趋

势。从而可以使我国家具行业更好地融于现代生活方式，提升民族品牌, 增强国

际竞争力, 提高经济效益。在设计家具的时候既要考虑到装饰功能又要考虑到实

用功能，既要符合人们的审美需求又要符合生活需要。

本设计不仅将中国传统元素较好的融入到玄关家具设计中，而且将玄关家具

外部装饰性与内部功能性进行了较好的结合。外观设计上，运用苏州园林景中景

的特点，使得玄关家具在有限的空间里，变化无穷

。

内部功能上，采用将内部结

构进行合理功能分区方法，解决了市场上玄关鞋柜存在的问题。

关键词：古典元素；玄关家具；苏州园林；装饰性；功能性

ABSTRACT

Classic design elements and modern furniture together, not only promote

national culture and realize the sustainable development of classical culture, a way, is

today's globalization and cultural diversification of the international development

trend. China's furniture industry, which can make better and into the modern way of

life, enhance the national brand and enhance international competitiveness, enhance

economic efficiency. In the design of furniture, it is necessary to take into account the

time and also taking into account the decorative features practical function, it is

necessary to meet the aesthetic needs of the people have to meet the needs of life.

This design is not only a good traditional Chinese elements into the design of

porch furniture, porch furniture, but also the internal external decorative and

functional for a good combination. Design, the use of the characteristics of Suzhou

Garden View medium shot, making the porch furniture in a limited space, endless

variations. Internal functions, using the partition function of the internal structure of

rational solutions to the market entrance of shoe problems.

Key words:

Classical elements; porch furniture; Suzhou gardens; decorative;

functional

目 录

前言

第一章 项目提出

„„„„„„„„„„„„„„„„„„„„„„„„1

第二章 市场调查

„„„„„„„„„„„„„„„„„„„„„„„„2

2.1板式家具现状调查分析„„„„„„„„„„„„„„„„„„„„„3

2.2中国融入古典元素现代家具设计的现状分析„„„„„„„„„„„„4

2.3中国玄关家具设计的现状分析„„„„„„„„„„„„„„„„„„6

2.4市场调查结论 „„„„„„„„„„„„„„„„„„„„„„„„10

2.5现实意义 „„„„„„„„„„„„„„„„„„„„„„„„„„11

第三章 方案构思及草图表现

„„„„„„„„„„„„„„„„„„12

3.1设计构思 „„„„„„„„„„„„„„„„„„„„„„„„„„12

3.2方案分析 „„„„„„„„„„„„„„„„„„„„„„„„„„15

3.3小结 „„„„„„„„„„„„„„„„„„„„„„„„„„„„16

第四章 设计定案

„„„„„„„„„„„„„„„„„„„„„„„„17

4.1渲染效果图表现 „„„„„„„„„„„„„„„„„„„„„„„17

4.2设计说明分析 „„„„„„„„„„„„„„„„„„„„„„„„19

4.3尺寸图 „„„„„„„„„„„„„„„„„„„„„„„„„„„23

4.4色彩与材质分析 „„„„„„„„„„„„„„„„„„„„„„„23

4.5主要材料及制作工艺 „„„„„„„„„„„„„„„„„„„„„24

4.6小结 „„„„„„„„„„„„„„„„„„„„„„„„„„„„24

第五章 设计展示

„„„„„„„„„„„„„„„„„„„„„„„„26

第六章 模型的制作

„„„„„„„„„„„„„„„„„„„„„„„28

6.1模型的制作过程 „„„„„„„„„„„„„„„„„„„„„„„28

6.2模型展示 „„„„„„„„„„„„„„„„„„„„„„„„„„28

结论

„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„30

参考文献

„„„„„„„„„„„„„„„„„„„„„„„„„„„„30

附录

„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„32

谢辞

„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„39

前 言

在刚刚过去的二十世纪，人类经历了战争、危机、对峙和发展等一系列的艰

难历程，随着新世纪的到来，人们希望对世界的秩序进行重构（包括政治、经济、

文化、社会），于是当代哲学家们提出，廿一世纪是皈依宗教的世纪，而社会学

家们则提出，廿一世纪是归依理性的世纪。我们暂且不论是皈依宗教还是归依理

性，新世纪其实质都是对人类精神家园的追寻，和对人类终极精神的关怀！

家具设计作为一种文化艺术形态的产品，它实际上是对“人类终极精神关

怀、人类精神家园追寻”这一理念的物化。18世纪末开始的欧洲工业革命，奏

响了现代家具诞生的序曲。森林资源的减少和环保意识的兴起，促使人造板材应

运而生。1836年，比利时家具师托耐特发明了层压板技术和曲木工艺，并首先

采用生产线批量生产家具，这是现代板式家具和机械化生产的萌芽。

一说到家具的组合，许多人的思绪就会回到上个世纪下半叶，眼前自然浮现

出风靡世界的欧洲板式家具影子来。以组合为特色的板式家具之所以勃然兴起形

成潮流，主因离不开此前德国包豪斯（Bauhaus）学派变革建筑与家具设计理念、

创立全新国际风格的长时间探索。包豪斯学派倡导流动的建筑空间，使得突破传

统束缚的标准化板式家具在去除装饰细节、强化使用功能的同时，几乎衍生为室

内建筑灵活的构件，迎合了二战以后世人普遍寻求平实与清新的需要。板式家具

之所以成为家具市场的主流产品，是由它自身的特点决定的，其特点是：有效地

减少实木材料消耗，有利于保护森林资源；产品结构简单化，易拆装、易运输；

产品部件标准化、专业化；生产方式高度机械化、自动化和专业化。部件生产趋

向规范化，设计和制造技术趋向现代化、一体化。

然而，在当代全球文化的格式中，作为东方文化形态的中国现代板式家具设

计，在西方强势文化的肆虐下、在以西方艺术为评判标准的状态下，东西方文化

已很难构筑一个平等对话的平台。这使得当代中国板式家具设计一直处于被动的

局面中。