Morphological analysis points and lines of neo-classical furniture design

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The design of classical furniture should also pay attention to the form. The so-called form is the external expression of furniture, so the furniture shape is composed of several basic elements: a little, line, face, body and space. We found that the jog line (one-dimensional space), the line motion into the surface (two-dimensional space), the surface movement into the body (three-dimensional space), multiple individuals constitute a flexible space, space involves 4 or multi-dimensional space problems .

Point of furniture styling

Point in the shape of furniture is size, direction, and even volume, color, texture and texture, in the furniture to play highlights, focus, center, auxiliary and other effects. It is widely used in the design of mahogany furniture. It can be used not only as a functional structure but also as part of the decorative composition. For example, the hardware fittings of the handles, door handles, locks and other furniture on the drawers of the cookware are presented in the form of dots according to the overall furniture facet, which is a functional accessory commonly used in furniture design. In the design of furniture design, we can use the various performances of "point" to apply it properly and achieve good results.

As shown in Figure 1, this picture is from the work of Mr. Wang Shizhen, "The Ming Dynasty Furniture Treasures". For some reason, the pictures in the book have the effect of the color of the latching pieces. What does this picture effect give us? His scale and scale details are in place, but he feels that he is not mental, and the difference is worse on the lever. Figure 2 is the use of software to restore the color of the latch bar, the effect is highlighted, giving a finishing touch. Therefore, the latch rod here not only functions as a functional structure, but also an important design element. It can be seen that when we design classical furniture, a point often affects the overall situation, affecting success or failure, that is, the so-called details determine everything.

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Let's look at a few more examples. In Figure 3, there are different styles of north and south official hat chairs. The decorative patterns of the backboards are different, but one thing in common is that even the texture of the rightmost piece of the beech wood backboard Its visual center is on the center of the backrest, about the position of the golden section, giving people a mental feeling of anger and anger. Similarly, when designing, we should also pay attention to the basic laws in art and grasp the artistic beauty of furniture.

Furniture molding line

In the definition of geometry, a line is a trajectory of point movement. The straight movement and spatial composition of the line can express the shape of the furniture and express emotion and beauty, momentum and strength, personality and style. The line is expressive, and the performance characteristics of the line mainly vary with the length of the line type, the thickness, the state, and the position of the movement, thereby creating different feelings in people's visual psychology and giving them various personalities. In the development of the world furniture, the Baroque style, the Rococo style, and the hot-bend plastic chairs of Denmark's Aalto and the organic furniture of Saarinen are examples of the successful application of curvaceous shapes in furniture.

The use of traditional Chinese furniture in the line is also very extensive and flexible. Most of the different spiritualities expressed by the furniture are realized through the subtle changes of the line. We can even say that the traditional Chinese furniture art is the art of the curve.

Let's take the most classic Ming style photon of the tooth plate as an example to analyze how many subversive changes in the mahogany furniture design can be brought about by the subtle changes in the curve. Such as

Figure 4

The leftmost row of sketches is a medium-sized, relatively typical dental plate curve. The four sets of sketches on the right side of Figure 4 are the different effects of the subtle changes in the plate curve.

In group A, the curvature of the tooth head changes. A1 is a small curvature, and a sharp curve appears to be a right angle. A2 is a larger arc and the curve is more round and round. The dental plate effect of group A is manifested in the mahogany furniture of the world. As shown in Figure 6, this squat head is very sharp and seems to be deliberately not chamfered, but the overall coordination is very good. This sharp slab does not feel too awkward, but is coordinated with the rest of the furniture. We saw this squat head straight up, the straight stalk under the squat, and the square leg, the curvature of the curve in the leg is also small. All the parts of this piece of furniture are unified and developed in the direction of the square, so the whole seems to be coordinated and unified, which makes people have a tough and rigorous visual experience. It seems that the designer has not worked hard on this work. If you add a traditional wishful cloud head to the legs, the contrast of the straight line curve is too strong. If you are too eye-catching, you won't be able to blend. It can be seen that in the design of Chinese mahogany furniture, there is no one-size-fits-all curve. Only the details are integrated in the overall coordination, which is the most suitable curve.

Group B is the change in the length of the head and the strip. B1 is the length of the head and the length of the strip is B2. The change of the B-plate is mainly determined by the length and height of the furniture. The different lengths of the dental plate and the tooth are coordinated with the length and height of the furniture. High-profile furniture, the teeth should be stretched to fit the long body. When the body moves toward the long distance, the span is large, and the hoisting head will become longer, and the short-side stalk will become longer. Some furniture that feels well-balanced coordination has been added to the rational analysis of the designer.

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