Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114115
Title: 後現代風格的視覺形式於家具創作應用之研究
A study of Application of Visual Form of Post-Modernist style on Creation of Furniture
Authors: 張柏舟
蘇茂生
許忠文
Hsu Chung-wen
Keywords: 後現代
視覺形式
家具
Post-Modern
Visual Form
Furniture
Abstract: 摘 要   十九世紀末、二十世紀初的現代主義潮流遍及全世界,其帶來的視覺造型革命,開創了人類視覺經驗的新領域,其中最強調的是機械、理性、幾何、無裝飾的「機械美學」;而在其發展二、三十年後,人們開始對現代主義的單調、無人情的風格感到厭煩,開始有人追求更加富於人情的、裝飾的、變化的、個人的、傳統的、表現的形式,這就是後現代主義產生的原因。   後現代主義是由於現代主義的種種偏頗,而產生的多元化的省思及革新,它無法很清楚的直接定義出來,它包含了許多的思想及精神,表現方式及手法更是包羅萬象,它是針對現代主義的反動,從樣式化的統一,回到「人性」的根本。   有感於現代主義家具太追求機能性,而忽略人性的根本及文化的素養,所以藉本研究來探索家具的時代定位。本創作研究之研究方法,分為文獻探討與實例創作兩部份。   文獻探討部份包括家具的定義、中國家具的發展、西方家具的發展、後現代風格的視覺形式及視覺的美感形式。   實例創作部份為家具創作表現,以「三段式設計法」為創作設計之基本方式,透過(一)構想階段(Idea)(二)發展階段(Development)(三) 表現階段(Expression)以達到設計目的。 而在此家具創作研究中,以後現代風格的視覺形式為創作之主軸,透 由主題為「音樂家族」的家具設計,思考及轉換各種樂器的造型或涵義,創作出可讓人感受音樂的韻律與活力,且能兼具實用性和趣味性的系列家具。   本實品創作共有七類不同的項目,包括: 一、 鋼琴長椅(三人座) 二、 大提琴座椅(單人座) 三、 變奏曲椅(兩件分離式雙人座) 四、 爵士鼓茶几 五、 節拍器珍品櫃 六、 浪漫S形隔屏 七、 協奏曲圓凳(1/4圓弧 *4座)
Abstract At the end of the 19th century and in the early 20th century the fashion of modernism spread all over the world. The revolution of visual style brought about by modernism had explored the visual experience of human beings to a new realm. Regarding this, the most highly stressed were the mechanical, rational, geometrical and non-decorative "mechanical aesthetics". And 20 t0 30 years after its development, people began to feel that they were fed up with the lonely and human-touch-free style of modernism. Some people began to pursue the more human-touched, decorative, changeable, personal,traditional and expressive style. This was just the creation of post-modernism. Post-modernism was created from the diversified self-examination, realization and renovation caused by various kinds of bias of modernism. It could not be clearly or directly defined. It included many thoughts and spirits. The expressive ways and styles were even all-embracing. It focused on the reactionary force of modernism, and returned from the patterned unification to the root of "humanity". Regarding the furniture of modernism, they excessive pursue for mechanism and neglect the origin of human nature and the cultural accomplishment. Therefore, this study is written to probe the time positioning of furniture. The research approaches of this creative study is divided into two parts: an investigation of references and actual examples of creation. The part about investigation of references includes the definition of furniture, development of the Chinese furniture, development of the Western furniture, visual form of post-modernist style and visual aesthetic form. As for the part of actual examples, it belongs to a creative presentation of furniture. This study takes ?-section design" as the basic form of the creative design. Through (1) the stage of idea (2)the stage of development (3)the stage of expression, the designs achieve the aims of design. And this study of furniture creation, what it holds are to take the visual form of post-modernist style as the main subject and take the furniture of "Music Family" as the theme of creation. Through thinking and transformation the shapes of different kinds of musical instruments, to create a series of furniture which not only can make someone feel the rhythms and vigor of music, but also be practical and interesting. There are 7 different kinds of creation items as follows: 1. Piano bench (3 seats) 2. Cello chair (1 seat) 3. Variations chair (2 separated 2-seat chairs) 4. Jazz drum*s table 5. Rhythmic cabinet for valuable products 6. Romantic S-shaped partition 7. Round concerto chair (1/4 arc * 4 seats)
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%2287NTNU0233022%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114115
Other Identifiers: 87NTNU0233022
Appears in Collections:學位論文

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