摘要
本文以马塞尔·布劳耶设计的钢管椅作为研究的切入点,探讨它在20世纪20年代、30年代、60年代以及当下,不同的文化和社会背景及意识形态下,是如何作为设计改革社会的工具、纳粹帝国繁荣进步的象征和一种有品位的文化资本而存在的。揭示了在与钢管椅相关的意义链中,几乎相反的意义是如何在同一个物体中出现,探索了其时间性和物质性的轨迹以及它所形成和塑造的多重位移。本文认为,正是由于这些家具是基于功能主义的合理化计算的结果,剥除了传统物品中人文、历史和心理的深度,呈现为一种单纯而赤裸的物,才使得不同意义的注入成为可能。这违背了作者的初衷却成就了其现代经典的地位。
This paper examines how the Marcel Breuer designed steel tube chair existed as a tool for designing a reformed society,a symbol of the Nazi empire’s prosperity and progress,and a tasteful piece of cultural capital in the 1920s,‘30s,‘60s,and in the present day,in a variety of cultural and social contexts and ideologies.Reveals how almost opposite meanings appear in the same object in the chain of meanings associated with the tubular steel chair,exploring the trajectory of its temporality and materiality,and the multiple displacements that it forges and is shaped by.The article proposes that it is the fact that these pieces of furniture are the result of rationalised calculations based on functionalism,stripped of the human,historical and psychological depths of traditional objects,and presented as a simple and naked object,that makes the infusion of different meanings possible.This defies the author’s original intention but achieves its status as a modern classic.
作者
闫丽丽
满锦帆
YAN Lili;MAN Jinfan
出处
《建筑师》
2024年第3期41-48,共8页
The Architect
基金
浙江省教育厅一般科研项目:《工匠文化视角下的高校工坊教育及应用价值研究》,(项目编号Y201941697)
《艺术高校新工科设计教育培养模式研究》(项目编号Y202249728)阶段性成果。
关键词
马塞尔·布劳耶
钢管椅
位移
物质文化
现代性
Marcel Breuer
Tubular steel chair
Displacement
Material culture
Modernity