桃園市立大溪木藝生態博物館

J16搖椅 設計師 | 漢斯·韋格納 (丹麥) 設計時間 | 1944品牌 | FDB家具廠 (丹麥)規格 | 寬62 x 深95 x 高107公分材質 | 山毛櫸.紙繩J16 Rocking ChairDESIGNER．Hans J. Wegner (Denmark) DESIGNED．1944MANUFACTURER．FDB Møbler (Denmark)DIMENSIONS．W62 x D95 x H107cmMATERIALS．Beech, paper cordJ16搖椅(J16 Rocking Chair)是漢斯·韋格納（Hans Wegner）於1944年為丹麥消費者合作社聯合會（FDB）設計的經典作品，融合了傳統與現代的設計理念。這款搖椅受到英式溫莎椅（Windsor Chair）和美國震教徒（Shakers）家具的影響，以簡潔而流暢的線條展現了北歐設計的精髓。J16搖椅的特點在於注重人體工學設計，圓弧椅背提供背部良好支撐，適切的扶手與編織座椅增強了舒適性與實用性，讓使用者即使長時間使用也能感到放鬆。手工製作的橡木或山毛櫸木材質，結合堅固的結構與編織座椅，確保其耐用性；此外，許多家庭會為椅子加裝頭枕或靠墊，進一步提升舒適性，多年來J16搖椅已成為許多丹麥家庭日常生活中的重要物件。因簡潔、實用的特質，J16搖椅呈現出丹麥設計的核心價值。也正因如此，它成為了永恆的經典之作之一，並在全球家具設計中產生了深遠的影響。The J16 Rocking Chair, designed in 1944 by Hans Wegner for the Danish Consumers’ Cooperative Society (FDB), is a classic piece that marries traditional and modern design concepts. Influenced by the English Windsor chair and American Shaker furniture, it uses simple, flowing lines to embody the essence of Scandinavian design.What sets the J16 Rocking Chair apart is its emphasis on ergonomics. Its gently curved backrest provides excellent support, while well-proportioned armrests and a woven seat enhance both comfort and functionality, allowing users to relax even during prolonged sitting. Crafted from solid oak or beech and combined with a sturdy woven seat, the chair ensures durability and longevity. Many families further customize the chair with headrests or cushions, making it a cherished part of everyday life in Danish homes.With its simplicity and practicality, the J16 Rocking Chair encapsulates the core values of Danish design. Its timeless appeal and enduring influence continue to resonate throughout the world of furniture design.

7號椅設計師 | 阿納·雅各布森 (丹麥)設計時間 | 1955品牌 | 弗里茨·漢森 (丹麥)規格 | 寬51 x 深56 x 高77.5公分材質 | 山毛櫸模壓膠合板.金屬.布料The Series 7™ ChairDESIGNER．Arne Jacobsen (Denmark)DESIGNED．1955MANUFACTURER．Fritz Hansen (Denmark)DIMENSIONS．W51 x D56 x H77.5cmMATERIALS．Beech moulded plywood, metal, wool3107型椅（Model 3107 Chair），被暱稱為7號椅（The Series 7™ Chair）， 是丹麥建築師阿恩·雅各布森（Arne Jacobsen）設計的模壓膠合板系列作品中，最廣為人知的一件，也是銷售量很高的作品之一。7號椅的模壓膠合板曲面設計，椅面與椅背的弧度都向內彎曲，提供出色的舒適度，且因為是由九層模壓膠合板製成，中間夾合兩層織品。此件為布料裝襯版本，更加提升柔軟性與舒適度。The Model 3107 Chair, popularly known as the Series 7™ Chair, is among the best-known and most commercially successful works by Danish architect Arne Jacobsen. As part of his series of molded plywood designs, it stands out for its gracefully curved seat and backrest—both subtly bending inward to provide remarkable comfort.Constructed from nine layers of molded plywood with two textile layers sandwiched within, the chair achieves a refined balance of strength, flexibility, and ergonomic support. The version on display, upholstered in fabric, further enhances its softness and comfort, underscoring the enduring appeal of this Danish modern classic.

施特曼椅 設計師 | 赫里特·里特費爾德 (荷蘭)設計時間 | 1963品牌 | 斯貝克準 (荷蘭)規格 | 寬49.7 x 深44.7 x 高70公分材質 | 橡木Steltman ChairDESIGNER．Gerrit Rietveld (Netherlands)DESIGNED．1963MANUFACTURER．Spectrum (Netherlands)DIMENSIONS．W49.7 x D44.7 x H70cmMATERIAL．Oak抽象與簡化是荷蘭風格派（De Stijl）（1917-1931）主張的兩大命題：將複雜的造型簡化至幾何，使平面、直線與矩形成為主要表達符號。荷蘭建築師赫里特·里特費爾德（Gerrit Rietveld），正是代表人物之一。施特曼椅（Steltman Chair）是里特費爾德創作的最後一件作品，1963年受海牙珠寶商施特曼（Steltman）委託製作，作為珠寶店提供給客人的座椅。施特曼椅由線條與平面構成，無論從哪個角度看，造型都十分搶眼，並有扶手在左邊及右邊的兩個版本，當兩張椅子成對擺放置時，就像是雙人沙發一樣，為珠寶店客人增添了互動及想像空間。最初的施特曼椅由白色皮革包覆，在1964年里特費爾德去世後，荷蘭家具品牌斯貝克準 （Spectrum）推出了全橡木版本。如今，施特曼椅已有真皮、羊毛氈、橡木原色、橡木染黑及橡木洗白等不同版本提供選擇。Abstraction and simplification were two core principles of the Dutch De Stijl movement (1917–1931), which sought to reduce complex forms into geometric elements, using planes, straight lines, and rectangular shapes as key expressive symbols. Among the leading figures of this movement was the Dutch architect Gerrit Rietveld.The Steltman Chair was Rietveld’s final work, commissioned in 1963 by the Steltman jewelry store in The Hague to offer seating for its customers. Constructed from lines and planes, the chair’s form captivates from every angle. Produced in two versions—one with the armrest on the left, the other on the right—pairing them side by side creates a sofa-like arrangement, fostering interaction and imaginative engagement among patrons.Originally upholstered in white leather, the Steltman Chair was reintroduced by the Dutch furniture brand Spectrum in an all-oak version following Rietveld’s death in 1964. Today, it is available in a variety of finishes and materials, including leather, wool felt, natural oak, black-stained oak, and white-washed oak.

基亞瓦里三拱椅 設計師 | 不詳 設計時間 | 1950-1960年代品牌 | 弗拉泰利·萊瓦吉 (義大利)規格 | 寬43 x 深44 x 高89公分材質 | 櫻桃木.山毛櫸.藤Chiavari Chair Tre ArchiDESIGNER．UnknownDESIGNED．1950s-1960sMANUFACTURER．Fratelli Levaggi (Italy)DIMENSIONS．W43 x D44 x H89cmMATERIALS．Cherry, beech, cane1807年，義大利基亞瓦里（Chiavari）鎮的工匠朱塞佩·加埃塔諾·德斯卡爾茲（Giuseppe Gaetano Descalzi），因受到法式家具啟發，決心設計一張輕便、堅固且實用的椅子。德斯卡爾茲運用精湛的車床工法雕刻出具曲面變化且線條流暢的圓柱構件，使得椅子保有足夠的結構強度，但視覺上又顯得輕巧具裝飾性。椅面採用精細的籐編，提供良好支撐力，並增添了秀麗的美感。整體造型優雅，結構精巧，用料穠纖合度。由於用途廣泛且搬運便利，基亞瓦里椅（Chiavari Chair）迅速在世界各地流行，成為基亞瓦里鎮的特產，並以該小鎮命名。當地也有許多工坊及設計師製作類似形式的椅子，如：基亞瓦里三拱椅（Chiavari Tre Archi ）。如今，基亞瓦里椅依舊頻繁出現在西方國家重要場合中，且不同顏色也代表不同用途，白色及原木色常見於婚禮場合；而在正式宴會上，則多使用金色或銀色版本。In 1807, inspired by French furniture, the Italian craftsman Giuseppe Gaetano Descalzi from the town of Chiavari set out to create a chair that was lightweight, sturdy, and practical. Employing exceptional lathe-turning techniques, Descalzi sculpted elegantly contoured cylindrical components, ensuring that the chair retained ample structural strength while appearing visually light and decorative. Its seat, finely woven in cane, provided excellent support and added a delicate beauty. The result was an elegant, precisely constructed piece, perfectly balanced in its choice of materials.Because of its versatility and ease of transport, the Chiavari Chair quickly rose to global popularity, becoming a signature product of its namesake town. Local workshops and designers also produced similar styles, such as the “Chiavari Tre Archi ”. To this day, the Chiavari Chair remains a frequent presence at important events in Western countries. Different colors serve different purposes: white and natural wood tones are common at weddings, while gold and silver versions often grace formal banquets.

遊獵椅 設計師 | 卡爾‧克林特 (丹麥)設計時間 | 1933品牌 | 魯德.拉斯穆森 (丹麥)規格 | 寬57 x 深57.5 x 高82公分材質 | 梣木.帆布Safari ChairDESIGNER．Kaare Klint (Denmark)DESIGNED．1933MANUFACTURER．Rud. Rasmussen (Denmark)DIMENSIONS．W57 x D57.5 x H82cmMATERIALS．Ash, canvas卡爾‧克林特（Kaare Klint）的遊獵椅（Safari Chair）靈感來自美國探險家馬丁和歐薩·約翰遜（Martin and Osa Johnson）夫婦在非洲探險時拍攝的照片，照片中出現了類似英國軍隊使用，輕便、可拆卸的軍事行軍椅－魯爾基椅（Roorkee Chair）。克林特將魯爾基椅改良，更強調簡化、便於攜帶與易移動。1933年首次亮相的遊獵椅無須工具即可輕鬆拆卸，並可收納為一束，非常適合旅行使用。遊獵椅最初是由丹麥著名的魯德·拉斯穆森（Rud. Rasmussen）家具廠生產，克林特與他們的長期合作始自1926 年，當時克林特與建築師伊瓦爾·本特森（Ivar Bentsen）合作，將皇家弗雷德里克斯醫院（Det kongelige Frederiks Hospital）改建為丹麥藝術與設計博物館，現為丹麥設計博物館（Designmuseum Danmark）。魯德·拉斯穆森家具廠為博物館製作了大量家具，並延續克林特的設計風格。Kaare Klint’s Safari Chair drew inspiration from photographs taken by American explorers Martin and Osa Johnson during their expeditions in Africa. In these images, they captured a lightweight, portable, and easily dismantled British military campaign chair known as the Roorkee Chair. Klint refined this design, emphasizing simplicity, portability, and ease of movement. When the Safari Chair debuted in 1933, it could be assembled or taken apart effortlessly without any tools, and compactly bundled for travel use.Originally produced by the renowned Danish furniture manufacturer Rud. Rasmussen, the Safari Chair emerged from a long-standing collaboration with Klint that began in 1926. At that time, Klint and architect Ivar Bentsen were involved in converting the Royal Frederiks Hospital (Det kongelige Frederiks Hospital) into what is now the Designmuseum Danmark. Rud. Rasmussen supplied numerous pieces of furniture for the museum, helping to perpetuate Klint’s design legacy.

406號扶手椅 設計師 | 阿爾瓦·阿爾托 (芬蘭)設計時間 | 1939品牌 | 阿爾泰克 (芬蘭)規格 | 寬72 x 深60 x 高87公分材質 | 樺木模壓膠合曲木.棕色編織帶Armchair 406DESIGNER．Alvar Aalto (Finland)DESIGNED．1939MANUFACTURER．Artek (Finland)DIMENSIONS．W72 x D60 x H87cmMATERIALS．Bent birch lamination plywood, linen"406號扶手椅（Armchair 406）誕生於1930年代末期，因採用結構纖薄的樺木模壓膠合板，挑戰了當時木質家具設計的傳統觀念；懸臂式設計和優雅的S形扶手被認為是突破地心引力的奇蹟。設計師阿爾瓦·阿爾托（Alvar Aalto）在此款設計中，結合了現代主義與自然主義，將木質材料視為表達芬蘭民族特性的方式，並在具有人文關懷的現代主義背景下，緩解了功能主義過於生硬的美學。406號扶手椅的設計成功得益於模壓膠合板的延展性，此技術也吸引了同時期設計師馬塞爾·布魯爾（Marcel Breuer）和布魯諾·馬特森（Bruno Mathsson）的關注，為推動以人為本的現代主義美學，致力探索木材技術應用的潛力。其設計理念在二戰後迅速發展為斯堪的納維亞風格的重要表現，影響持續至今。阿爾托在設計406號扶手椅的同時，也為1939年在紐約舉行的世界博覽會設計芬蘭館（Finland Pavilion），當時公眾已逐漸熟悉這種新興的斯堪的納維亞風格，並在戰後迅速地影響全球各地的設計。The Armchair 406 emerged in the late 1930s, challenging conventional notions of wooden furniture design through its use of thin, molded birch plywood. Its cantilevered structure and elegant S-shaped armrests were hailed as a gravity-defying marvel. In this design, Alvar Aalto combined modernist principles with a naturalistic sensibility, embracing wood as a medium to express Finnish national identity and softening the austere aesthetics of functionalism with a more humanistic approach to modernism.The success of the Armchair 406 was owed largely to the flexibility afforded by molded plywood, a technique that also drew the attention of contemporaries like Marcel Breuer and Bruno Mathsson. Together, these designers explored the potential of wood technologies to support a human-centered modernist aesthetic. After World War II, this design philosophy rapidly evolved into the hallmark of the Scandinavian style, whose influence remains enduring.As Aalto was designing the Armchair 406, he was also creating the Finland Pavilion for the 1939 World’s Fair in New York, a time when the public was becoming increasingly familiar with this emerging Scandinavian style—a style that would soon shape global design in the postwar era.

LCW 休憩椅  設計師 | 查爾斯和雷·伊姆斯 (美國)設計時間 | 1946品牌 | 維特拉 (德國)規格 | 寬55 x 深64 x 高67公分材質 | 梣木模壓膠合板LCWDESIGNER．Charles and Ray Eames (USA)DESIGNED．1946MANUFACTURER．Vitra (Germany)DIMENSIONS．W55 x D64 x H67cmMATERIAL．Ash molded plywood1940年代初期，查爾斯·伊姆斯（Charles Eames）和雷·伊姆斯（Ray Eames）夫婦來到洛杉磯，由於查爾斯曾在米高梅製片廠(Metro-Goldwyn-Mayer Studios)擔任佈景設計師，擅長將材料創新靈活運用，夫婦倆因此開始模壓膠合板家具的設計實踐。。1945年，伊姆斯夫婦成功設計DCW（Dining Chair Wood, 木製餐椅）和LCW（Lounge Chair Wood, 木製休憩椅）系列模壓膠合板家具。LCW由5塊複合板材組成，伊姆斯夫婦藉其將現代設計帶入美國市場，尤受年輕家庭青睞。伊姆斯夫婦最初嘗試以一整片完整片狀的模壓膠合板，經彎曲後構成椅面與靠背，但由於銳角彎曲時易造成材料斷裂，最終改為坐面和靠背分開，再以優雅的弧形脊柱將其相連。伊姆斯夫婦將LCW連接處增加減震橡膠強化堅固與舒適度，以適應不同使用者的體型需求。此設計的成功也造就伊姆斯夫婦事業的重大轉折，並為二戰後美國年輕家庭提供時尚且實用的家具選擇。In the early 1940s, Charles and Ray Eames arrived in Los Angeles. Charles’s previous experience as a set designer at Metro-Goldwyn-Mayer (MGM) Studios had honed his skill in the creative use of innovative materials. Building on that expertise, the couple embarked on experiments in molded plywood furniture design.By 1945, the Eameses had successfully developed the DCW (Dining Chair Wood) and LCW (Lounge Chair Wood) series of molded plywood furnishings. Composed of five layers of laminated wood, the LCW brought modern design into the American market and found particular favor among young families. Initially, the Eameses tried to form the seat and backrest from a single curved sheet of molded plywood. However, the sharp bends required caused the plywood to crack. They ultimately resolved this by separating the seat and backrest and then elegantly joining them with a sculpted, curved spine.They further enhanced comfort and durability by introducing shock mounts—small rubber attachments at the connections—ensuring that the chair would adapt well to various body types. This innovative approach not only marked a significant turning point in the couple’s career but also offered practical, stylish furniture options to postwar American households.

PP550 孔雀椅 設計師 | 漢斯·韋格納 (丹麥)設計時間 | 1947品牌 | PP家具廠 (丹麥)規格 | 寬79 x 深76.5 x 高105公分材質 | 梣木.紙繩PP550, The Peacock ChairDESIGNER．Hans J. Wegner (Denmark)DESIGNED．1947MANUFACTURER．PP Møbler (Denmark)DIMENSIONS．W79 x D76.5 x H105cmMATERIALS．Ash, paper cord設計於1947年的PP550孔雀椅（PP550,  The Peacock Chair），是漢斯·韋格納（Hans Wegner）早期的代表作之一。其設計靈感源自17世紀的英國溫莎椅（Windsor chair），韋格納將扶手支柱連接至椅面下的橫桿，增強結構穩定性；梳狀椅背與背部接觸部分增寬，提升倚靠舒適度；椅腿與椅面連接處添加楔片，強化接合穩定性；椅下連桿接榫處以球形設計，增加結構強度外，並呈現出輕盈外觀。PP550孔雀椅於1947年丹麥哥本哈根工匠公會展覽（The Copenhagen Cabinetmakers’ Guild Exhibition）首次亮相時，設計師芬．尤（Finn Juhl）便以「孔雀」形容這款椅子，名稱因此沿用至今。PP550孔雀椅原由丹麥家具商約翰內斯漢森（Johannes Hansen）生產製造，1990年代初結束營業後，改由PP家具廠（PP Møbler）繼續生產至今。Designed in 1947, the PP550, known as the Peacock Chair, is one of Hans Wegner’s early landmark pieces. Inspired by the 17th-century English Windsor chair, Wegner introduced structural and ergonomic refinements: he connected the armrest spindles to the horizontal under-rails for added stability, broadened the contact area where the comb-like backrest meets the user’s back for enhanced comfort, and reinforced the joint between the legs and seat with wedges. Additionally, the spherical tenons at the lower crossbars not only strengthened the overall structure but also conveyed a visually light and airy appearance.When the PP550 Peacock Chair debuted at the 1947 Copenhagen Cabinetmakers’ Guild Exhibition (the Danish name is Snedkerlaugets Møbeludstilling), designer Finn Juhl remarked that the chair resembled a peacock spreading its feathers—hence its enduring name.Originally produced by Danish furniture maker Johannes Hansen, the chair’s production was taken over by PP Møbler after Hansen’s workshop closed in the early 1990s. Today, the Peacock Chair remains a celebrated icon of Danish modern design.

伊姆斯休憩椅和腳凳 設計師 | 查爾斯和雷·伊姆斯 (美國)設計時間 | 1956品牌 | 維特拉 (德國)規格 | 寬85 x 深138 x 高80公分材質 | 胡桃木模壓膠合板.金屬烤漆.皮Eames Lounge Chair and OttomanDESIGNER．Charles and Ray Eames (USA)DESIGNED．1956MANUFACTURER．Vitra (Germany)DIMENSIONS．W85 x D138 x H80cmMATERIALS．Walnut molded plywood, metal, leather670號休憩椅（models 670）與671號腳凳（models 671），又稱伊姆斯休憩椅和腳凳（Eames Lounge Chair and Ottoman），是20世紀最具代表性的設計之一。查爾斯·伊姆斯（Charles Eames）和雷·伊姆斯（Ray Eames）夫婦設計這款椅子時，從英國傳統俱樂部椅中汲取靈感，他們希望打造出「如捕手使用多年的棒球手套」般，溫暖且舒適的椅子，並將奢華感融入現代設計。雖然伊姆斯夫婦長期致力於平價家具設計，但這款休憩椅與腳凳，卻成為他們在精品市場中的經典之作。670號休憩椅由頭靠、靠背與坐面三個部分組成，採用五層模壓膠合板結構，外覆雙層紅木或胡桃木單板。胡桃木版本以其深色木紋的溫暖色調及優雅氣質，受到現代設計愛好者的青睞。這款椅子還採用了標誌性的減震墊設計，打造了優越的舒適性與穩定性。現今的伊姆斯休憩椅和腳凳由赫爾曼·米勒（Herman Miller）和維特拉（Vitra）生產，持續受到市場與收藏家的推崇，並已成為紐約現代藝術博物館（MOMA）、芝加哥藝術博物館（The Art Institute of Chicago）等知名博物館的永久收藏品，是歷久不衰的經典家具之作。The Model 670 Lounge Chair and Model 671 Ottoman, collectively known as the Eames Lounge Chair and Ottoman, rank among the most iconic designs of the 20th century. Drawing inspiration from the traditional English club chair, Charles and Ray Eames aimed to create a piece that, like a well-worn baseball mitt, would feel invitingly warm and exceptionally comfortable—an embodiment of luxury melded with modern design. Although the Eameses devoted much of their career to producing affordable furniture, this lounge chair and ottoman remain one of their most celebrated contributions to the high-end market.The 670 Lounge Chair is composed of three distinct sections—headrest, backrest, and seat—each formed from five layers of molded plywood adorned with two layers of rosewood or walnut veneer. The walnut version, in particular, is cherished by modern design enthusiasts for its rich, warm woodgrain and understated elegance. Additionally, the Eameses incorporated their signature shock mounts into the design, providing superior comfort and stability.Today, the Eames Lounge Chair and Ottoman continue to be produced by Herman Miller and Vitra and are still highly sought after by collectors and enthusiasts. They are held in the permanent collections of renowned museums such as the Museum of Modern Art in New York and the Art Institute of Chicago, ensuring their status as timeless classics in the history of modern furniture design.

西班牙椅 設計師 | 伯格·摩根森 (丹麥)設計時間 | 1958品牌 | 腓特烈西亞 (丹麥)規格 | 寬82 x 深62 x 高68公分材質 | 橡木.原色皮革The Spanish ChairDESIGNER．Børge Mogensen (Denmark)DESIGNED．1958MANUFACTURER．Fredericia (Denmark)DIMENSIONS．W82 x D62 x H68cmMATERIALS．Oak, leather1958年，丹麥家具設計師伯格·摩根森（Børge Mogensen）遊訪西班牙時，看到當地受伊斯蘭文化影響的傳統座椅而有所啟發，設計了著名的西班牙椅（Spanish Chair），其寬大的扶手是明顯的設計特色，可供使用者放置書本或飲料等生活物品，具高度實用功能。在保留實用特徵的同時，摩根森對椅子進行了簡約化的現代設計，去除了繁複的裝飾，賦予其簡潔、俐落的風格，體現了摩根森對於傳統材料的重視，及其簡約功能主義的設計理念。西班牙椅早期主要以結實耐用的橡木製作，這種木材結實耐用，並與皮革製成的座椅和靠背搭配，展現了粗曠的設計與精細的工藝。隨著設計的演變，胡桃木版本也被引入市場，為西班牙椅增添了不同的風味選擇。西班牙椅自1958年在丹麥哥本哈根工匠公會展覽（The Copenhagen Cabinetmakers’ Guild Exhibition）中首次亮相以來，都是由腓特烈西亞（Fredericia）公司製造，並持續受到設計愛好者和收藏家的喜愛，它不僅是摩根森代表作之一，也成為現代經典家具的象徵。In 1958, Danish furniture designer Børge Mogensen traveled through Spain, where he was inspired by the country’s traditional seating—pieces influenced by Islamic culture. This encounter led him to create the iconic Spanish Chair. Its wide armrests, a hallmark of the design, offer practical surfaces for placing books, drinks, and other daily items. While retaining these functional qualities, Mogensen simplified the form, stripping away ornate embellishments to give it a clean, streamlined look. This approach reflects Mogensen’s respect for traditional materials and his commitment to a minimalist, functionalist design ethos.Originally crafted from sturdy oak, the Spanish Chair paired this robust wood with leather seating and backrests, striking a balance between rustic aesthetics and refined workmanship. Over time, walnut versions were introduced, further expanding the chair’s appeal and stylistic range.Since its debut at the Copenhagen Cabinetmakers’ Guild Exhibition in 1958, the Spanish Chair has been produced by Fredericia. Beloved by design enthusiasts and collectors, it endures as one of Mogensen’s signature works and a symbol of timeless modern furniture design.

獵鷹椅 設計師 | 西古爾·雷塞爾 (挪威)設計時間 | 1970年代品牌 | 瓦特內家具廠 (挪威)規格 | 寬82 x 深80 x 高102公分材質 | 山毛櫸模壓膠合曲木.皮革.布料.金屬Falcon  ChairDESIGNER．Sigurd Resell (Norway)DESIGNED．1970sMANUFACTURER．Vatne Møbler (Norway)DIMENSIONS．W82 x D80 x H102cmMATERIALS．Bent beech lamination plywood, leather, metal挪威的家具設計與北歐其他地區相比，更加注重實用性及工業量產，這使得挪威家具形成了獨特的風格。西古爾·雷塞爾（Sigurd Ressel）1970年設計的獵鷹椅（Falcon  Chair）是當時挪威家具設計的代表作之一。這款椅子的最初原型是以金屬製成椅腳，皮革座椅由金屬扣環與框架連接，提供了如同吊床般的懸浮感，這種設計在當時大受歡迎。然而，由於金屬框架沉重且運輸不便，1974年，雷塞爾更新了設計，將原先的金屬椅腳替換為輕便的積層曲木，使獵鷹椅變得輕巧、且易於包裝與運輸。此舉大大拓展了市場接受度，尤其在美國、德國、日本等地，獵鷹椅的銷量隨即迅速增長。這款椅子的創新設計不僅具有出色的功能性，還展現了現代感和優雅的線條，成為挪威家具中的經典作品。Compared to other Nordic regions, Norwegian furniture design has historically placed greater emphasis on practicality and industrial-scale production, resulting in a distinctive style. Sigurd Ressel’s 1970 creation, the Falcon Chair, stands as one of the iconic examples of Norwegian furniture design from that era. The original prototype featured a metal base paired with a leather seat suspended from the frame by metal fittings, providing a hammock-like sensation of floating—a concept that proved immensely popular at the time.However, due to the metal frame’s weight and difficulty in transportation, Ressel revised the design in 1974 by replacing the metal legs with lightweight molded plywood. This modification made the Falcon Chair both lighter and easier to package and ship, significantly broadening its market appeal. Sales surged, particularly in the United States, Germany, and Japan. Beyond its superior functionality, the Falcon Chair’s innovative design exudes a modern aesthetic and elegant form, securing its place as a classic in the realm of Norwegian furniture.

築夢飛翔椅 設計師 | 黃俊傑 / Huang Chun-chieh (臺灣)設計時間 | 2012品牌 | 木之華 (臺灣)規格 | 寬66 x 深64 x 高93公分材質 | 黑檀.竹.籐Soaring Dreams ChairDESIGNER．Huang Chun-chieh (Taiwan)DESIGNED．2012MANUFACTURER．Billiance of Wood Limited (Taiwan)DIMENSIONS．W66 x D64 x H93 cmMATERIALS．Ebony, bamboo, rattan"這件名為築夢飛翔的休閒椅，從其名稱的三個關鍵詞「築」、「夢」、「飛翔」，便透露了其創作的深層意涵。「築」取自竹子的諧音。竹子自古以來象徵謙遜與堅韌，是中國文化中的重要材料。設計師黃俊傑運用竹子的彈性與可塑性，將其運用在築夢飛翔椅的圈背扶手及後椅腿結構上，展現竹材在家具設計中的可能性。其次，「夢」代表了創作者的設計理念：透過模組化結構的創新研發，改良傳統竹家具，打破單一材質的限制，並探索木、竹、藤等材料的混合應用。這是黃俊傑對創新和突破的夢想追求。最後，「飛翔」體現在築夢飛翔椅的結構設計上。其扶手如雙翅展開，寬大的座面與輕盈的椅腿，讓使用者如同乘風而行般，帶來自由與舒適的感受。此作品不僅具功能性，更透過設計語言傳遞了設計師「築夢飛翔」的理念，並展現了設計者在創新、文化意涵與設計美學上的整體追求。This lounge chair, named “築夢飛翔” (Building Dreams and Taking Flight), reveals its profound meaning through its three key concepts: “築” (to build), “夢” (dream), and “飛翔” (to soar).The character “築”(to build) is a homophone of “竹” (bamboo). Bamboo has long symbolized humility and resilience in Chinese culture and has served as an essential material since ancient times. Designer Huang Junjie leverages bamboo’s natural flexibility and adaptability to form the chair’s circular backrest and rear leg structure, thus illustrating the potential of bamboo in contemporary furniture design.Next, “夢” (dream) symbolizes the designer’s conceptual vision: by innovating modular structures, Huang refines traditional bamboo furniture, pushing beyond the limits of any single material. This exploration of wood, bamboo, and rattan in tandem represents the designer’s pursuit of innovation and creative breakthroughs.Finally, “飛翔” (to soar) is expressed through the chair’s structural design. Its armrests unfold like outstretched wings, and with a spacious seat and lightweight legs, the user can experience a sense of floating on air, feeling both freedom and comfort.This piece not only serves its functional purpose but also conveys the designer’s overarching theme of “Building Dreams and Taking Flight,” embodying innovation, cultural resonance, and aesthetic refinement in a harmonious, integrated form.Finally, ""飛翔"" or ""flight"" is represented in the chair's form. The armrests spread out like wings, and the wide seat and light legs create a sense of floating for the user, symbolizing freedom and lightness. This element completes the design, bringing Huang’s dream of ""building and flying"" to life.Together, these three aspects of the name convey the designer’s holistic vision, combining innovation, cultural symbolism, and a sense of aesthetic freedom.

Y4 休憩椅 設計師 | 陳奕夫 / Ifu Chen (臺灣)設計時間 | 2021品牌 | 路力家器具 (臺灣)規格 | 寬70.5 x 深77 x 高80.7公分材質 | 橡木.模壓膠合板.布料.不銹鋼Y4 ChairDESIGNER．Ifu Chen (Taiwan)DESIGNED．2021MANUFACTURER．Lo Lat Furniture & Objects (Taiwan)DIMENSIONS．W70.5 x D77 x H80.7cmMATERIALS．Bent lamination and molded plywood , oak, wool, steel路力家器具（Lo Lat Furniture & Objects）是臺灣知名的木家具品牌，專注於結合傳統工藝與現代設計，作品兼具美學與實用性。該品牌的代表作─燕椅，獲2017IFDA旭川國際家具競賽入選肯定，成為臺灣家具設計的代表之一。Y4休憩椅設計於2013年首次設計，並在2021年經過精修。這款椅子延續了該品牌Y系列的實木曲木工法，結合優雅曲度與不鏽鋼部件，展現剛柔並濟的結構美感。扶手經精細切削，帶來舒適手感；背墊採用弧形曲面，並融入符合人體工學的腰墊設計，為使用者提供出色的乘坐體驗。路力家器具以其創新設計與精湛工藝的追求，展現了對現代家具的深刻理解與實踐。Lo Lat Furniture & Objects is a renowned Taiwanese wooden furniture brand known for blending traditional craftsmanship with modern design, producing works that balance aesthetics and functionality. One of its signature pieces, the Swallow Chair, was honored as a finalist in the 2017 IFDA Asahikawa International Furniture Design Competition, distinguishing itself as a notable representative of Taiwanese furniture design.First conceived in 2013 and refined in 2021, the Y4 Lounge Chair continues the brand’s signature Y-series solid bentwood technique. It pairs graceful curves with stainless steel components, resulting in a structural beauty that fuses strength and softness. The armrests are finely sculpted for comfort, while the curved backrest incorporates ergonomically designed lumbar support, ensuring an exceptional seating experience.Through its innovative design approach and meticulous craftsmanship, Lo Lat Furniture & Objects demonstrates a profound understanding and realization of contemporary furniture design.

AX 扶手椅 設計師 | 彼得·赫維特和奧拉·莫爾加德·尼爾森 (丹麥)設計時間 | 1950品牌 | 弗里茨·漢森 (丹麥)規格 | 寬60 x 深55 x 高77公分材質 | 模壓膠合板.柚木.山毛櫸Ax  ChairDESIGNER．Peter Hvidt & Orla Mølgaard-Nielsen (Denmark)DESIGNED．1950MANUFACTURER．Fritz Hansen (Denmark)DIMENSIONS．W60 x D55 x H77cmMATERIALS．Bent lamination and molded plywood, teak, beech彼得·赫維特（Peter Hvidt）和奧拉·莫爾加德-尼爾森（Orla Mølgaard-Nielsen）是丹麥建築家具設計師組合，以融合現代設計美學與工業化生產技術聞名，他們的一些作品採用模壓膠合板技術製作，這種技術使家具更加輕便、堅固，並能達到優雅的設計效果。他們針對出口市場需要便於運輸與組裝便利的要求，做了模組化可拆卸家具的設計，並因美觀且組裝便利的特性，深受國際市場的青睞。1947年設計的AX扶手椅（AX chair），是赫維特和莫爾加德-尼爾森最具代表性的作品之一，由弗里茨·漢森（Fritz Hansen）生產製作。AX椅採用了源自戰時飛機製造技術的模壓膠合板技術，將多層木片經過膠合、彎曲和模具成型，讓椅子擁有符合人體工學的雙曲面坐面和靠背設計。AX椅也是丹麥首批組合式家具之一，其兩側支架、中央椅背與椅面可透過螺栓固定，這樣的設計不僅降低了運輸成本，也使其在國際市場上取得了顯著成功。赫維特和莫爾加德-尼爾森的設計風格結合了簡約、實用與工業化技術，對丹麥家具設計產生了深遠的影響。Peter Hvidt and Orla Mølgaard-Nielsen were a Danish architect-designer duo known for blending modern aesthetics with industrial production techniques. Their work often utilized molded plywood, a technology that enabled furniture to be lighter, sturdier, and more elegantly shaped. In response to the needs of export markets, where ease of transport and assembly were crucial, they developed modular, easily assembled furniture. These designs were both visually appealing and user-friendly, earning them considerable popularity on the international stage.The AX Chair, designed in 1947 and produced by Fritz Hansen, is one of Hvidt and Mølgaard-Nielsen’s most iconic pieces. It employed molded plywood techniques derived from wartime aircraft manufacturing, layering and bending thin sheets of wood into shape using adhesives and molds. The result was a seat and backrest with ergonomic, double-curved surfaces. As one of Denmark’s first examples of knock-down (KD) furniture, the AX Chair’s side supports, central backrest, and seat could be bolted together, reducing shipping costs and ensuring global success. The duo’s design style—marked by simplicity, functionality, and industrial innovation—had a profound and lasting impact on Danish furniture design.

21號搖椅 設計師 | 邁克·索耐特 (德國) 設計時間 | 19世紀後期品牌 | 索耐特 (德國)規格 | 寬52 x 深90 x 高88公分材質 | 山毛櫸曲木.藤No.21 Rocking ChairDESIGNER．Michael Thonet (Germany) DESIGNED．Late 19th centuryMANUFACTURER．Thonet (Germany)DIMENSIONS．W52 x D90 x H88cmMATERIALS．Bent beech, cane索耐特（Thonet）搖椅誕生於19世紀，創始人邁克·索耐特（Michael Thonet）在世時即設計了第一張搖椅，他過世後，索耐特公司繼續設計了許多類似的款式，成為搖椅的經典。21號搖椅（No.21 Rocking chair）延續了索耐特開創的彎曲木工藝，利用蒸汽技術將木材加熱後彎曲成流暢的曲線，體現了木材的美感，椅面及椅背結合了手工編織的藤面，使其不僅輕便、具有優雅的外觀，且結實耐用。這款椅子是工業化生產與手工藝結合的成功範例，代表了19世紀末期家具製造的革新。索耐特品牌的創新技術深刻影響了後來的許多設計師，尤其是主張現代主義的馬塞爾·布魯爾（Marcel Breuer），他們受到其技術的啟發，繼續將這項工藝應用於現代家具設計中。The Thonet rocking chair emerged in the 19th century. Michael Thonet, the company’s founder, designed the first rocking chair during his lifetime, and after his death, the Thonet company continued producing numerous similar models that became classics of the rocking chair genre.The No.21 Rocking Chair carries on the bentwood tradition established by Thonet, using steam-bending techniques to shape wood into smooth, flowing curves that highlight the material’s inherent beauty. Its seat and back incorporate hand-woven cane, making the chair not only lightweight and elegant, but also exceptionally durable. This piece stands as a successful example of merging industrial production methods with handcrafted artistry, reflecting the design revolution that took place at the end of the 19th century.Thonet’s innovative techniques left a profound impact on many designers who followed, notably Marcel Breuer, a leading figure of modernism. Inspired by Thonet’s work, they continued to apply these bending techniques to the creation of modern furniture designs.

夏克式搖椅設計師 | 不詳 設計時間 | 18世紀品牌 | 不詳 規格 | 寬63 x 深80 x 高102公分材質 | 櫻桃木.織帶Shaker Rocking ChairDESIGNER．UnknownDESIGNED．18th centuryMANUFACTURER．UnknownDIMENSIONS．W63 x D80 x H102cmMATERIALS．Cherry, linen 震教徒（Shakers）是18世紀由貴格會（Quakers）分支發展而來的基督教教派，以簡樸的生活方式和實用主義聞名，他們的家具設計作品，如：夏克式搖椅（Shaker Rocking Chair），以乾淨的線條、簡潔的外形和精細的工藝為特徵，實踐震教徒對實用性、耐用性與簡樸的追求。  震教徒的作品對現代家具影響深遠，特別是在強調功能與美學統一的理念上。許多現代主義思潮及設計師，尤其是20世紀的北歐風格和包浩斯學派（the Bauhaus School），從其家具設計中汲取靈感，進一步推動了簡約與功能主義的潮流。The Shakers were a Christian sect that branched off from the Quakers in the 18th century. Known for their austere lifestyle and pragmatic outlook, their furniture—such as the Shaker Rocking Chair—is characterized by clean lines, simple forms, and exquisite craftsmanship. These qualities exemplify the Shakers’ pursuit of utility, durability, and understated elegance.Their work had a profound influence on modern furniture design, especially in the way it emphasizes the seamless integration of function and aesthetics. Many modernist movements and designers, including those associated with Scandinavian design and the Bauhaus School in the 20th century, drew inspiration from Shaker furniture. This, in turn, propelled the global trend toward minimalism and functionalism in design.

明式螭虎靠背圈椅 製作年代 | 20世紀品牌 | 不詳 規格 | 寬89 x 深53 x 高100公分材質 | 雞翅木館藏號 | 2-063-02Ming Dynasty Style  Arm ChairPRODUCED．20th centuryMANUFACTURER．UnknownDIMENSIONS．W89 x D53 x H100cmMATERIAL．Chicken-wing woodOBJECT NUMBER．2-063-02「圈椅」的名稱源自其靠背，如一個圓圈的造形。在宋代，人們稱之為「栲栳樣」，「栲栳」是指用柳條或竹篾編成的大圓筐，因形似而得名。到了明代，《三才圖會》便將這類椅子稱為圓椅。清朝時期，《工部則例》記載了圈椅的製作方式，顯示其結構和形制與明式圈椅相比並無太大改變，並且這種設計至今仍在民間廣泛生產和使用。圈椅之所以在歷史上和現代都深受喜愛，主要是因其符合人體工學的設計：扶手自背部順勢而下，使用者雙手放置於扶手上，手肘能輕鬆倚靠，極為舒適。這張圈椅的設計簡潔大方，椅盤以上的立柱部分為圓形，以下則為外圓內方，結構樸素而不失雅致。椅子的正面及左右兩側安裝了刀牙條裝飾，整體以素雅為主，僅在靠背板和扶手間的小托角處有雲紋雕刻，這樣的設計可視為圈椅的基本形式，強調實用性與美感的平衡。The name “Round-Back Chair” comes from its circular backrest design, resembling a full circle. In the Song Dynasty, it was called ""Kaolao style,"" with ""kaolao"" referring to a large, round basket woven from willow or bamboo, named for its similar shape. By the Ming Dynasty, this chair style was termed a ""round chair"" in the Sancai Tuhui. The Qing Dynasty Ministry of Works Standards later documented the chair's construction, showing minimal changes from the Ming-style round-back chairs. This design remains widely produced and used today, cherished for its ergonomic comfort: the armrests curve naturally downward from the backrest, allowing users to rest their arms and elbows with ease.This round-back chair’s design is simple yet elegant. The uprights above the seat are circular, while below, they transition to an outer-round, inner-square form, lending a refined structure. The front and sides feature decorative sawtooth strips, with an overall understated style. Only a small cloud motif is carved between the backrest and armrest support, showcasing the basic form of the round-back chair—a harmonious balance of functionality and aesthetics.

黑檀雕刻螺鈿客廳椅製作年代 | 1980年代品牌 | 萬成木器行 (臺灣)規格 | 寬65 x 深66.5 x 高98.5公分材質 | 黑檀木.貝殼館藏號 | 2023.001.0094-003Arm ChairPRODUCED．1980sMANUFACTURER．Wancheng (Taiwan)DIMENSIONS．W65 x D66.5 x H98.5 cmMATERIALS．Ebony, inlaid with ShellOBJECT NUMBER．2023.001.0094-003這件作品充分展現了製作者的用心與工藝之美，從材料選擇到細部雕刻，無處不經過精心琢磨。此椅以貴重的黑檀木（烏木）製作，木料厚重且結構放大，雙面雕刻精美的花紋，讓椅子具備傳世的耐久性。為了讓觀眾更深入了解未上漆前的木材原貌，透視木材質地紋理的自然之美，並展示工匠追求完美、無瑕的手藝和專注精神，這件椅子被列為示範性的展品。此椅被稱為「客廳椅」，具有現代居家功能，椅面高度較低，座面寬敞，靠背傾斜度大，扶手高度降低，符合人體工學設計，提供了類似沙發的舒適坐姿。必要時可以加上輔助軟墊來增強舒適性，搭配的茶几也隨之降低了高度。結構上，此椅與傳統扶手椅有所不同。靠背與扶手使用卡子花和直札榫栽牢於坐屜，但整體的造型風格、束腰結構、鑲嵌螺鈿工藝等，仍遵循傳統家具的製作規範。椅子的搭腦部分和束腰下方雕刻了葡萄紋，延伸至兩側，增添了動態感。靠背板以實心板製成，鑲嵌蓮花與瓶花螺鈿，成為整張椅子的視覺焦點。椅背框架與扶手飽滿且有力，模仿藤節的造型，椅腳則採用三彎外翻獅爪代馬蹄腿，這是現代大溪太師椅的典型特色。This piece exemplifies the dedication and craftsmanship of its maker, with every detail meticulously considered, from material selection to intricate carvings. Crafted from precious ebony (blackwood), this chair features dense, substantial wood and finely carved double-sided patterns, giving it an enduring quality. To offer viewers insight into the natural beauty of unpolished wood grain and showcase the craftsman's pursuit of flawless artistry and focus, this chair is presented as a demonstration piece.Known as the “Living Room Chair,” it serves a modern home function with a lower seat height, wide seating area, reclining backrest, and lowered armrests for ergonomic comfort, providing a sofa-like seating experience. Additional cushions can be used to enhance comfort, with a complementary tea table of matching low height.Structurally, this chair differs from traditional armchairs. The backrest and armrests are secured to the seat frame with mortise-and-tenon joints, while the overall style, waist structure, and inlaid mother-of-pearl still adhere to traditional furniture standards.The headrest and lower waist area feature grapevine carvings that extend to the sides, adding a sense of movement. The back panel is solid, with mother-of-pearl inlays of lotus and vase motifs, serving as a focal point. The back frame and armrests are robust, mimicking rattan nodes, and the legs are fashioned with outward-turning lion paw feet, a characteristic feature of modern Daxi-style official's hat chairs.

高背官帽椅製作年代 | 20世紀品牌 | 不詳 規格 | 寬61 x 深51 x 高119公分材質 | 雞翅木館藏號 | 2-016Yoke Back ArmchairPRODUCED．20th centuryMANUFACTURER．Unknown DIMENSIONS．W61 x D51 x H119 cmMATERIAL．Chicken-wing woodOBJECT NUMBER．2-016官帽椅，又稱扶手椅，早於中國南北朝時期的敦煌壁畫中便可看到其扶手椅之初形。隨著唐宋時期的發展與改進，到宋代時，官帽椅的形制與結構已經基本確立。到了明朝，經過文人和匠師的審美提升，明式官帽椅以其優美的造型和柔和的線條成為中國古典家具中的典型代表之一，並延續至今，已有四、五百年的歷史。這件高靠背官帽椅選用纖細的木材，從搭腦、立柱、靠背板到扶手、聯幫棍、鵝脖和前後腿均運用了明式家具中慣用的柔婉曲線設計，視覺上呈現出高挑優雅的特質，展現了明式家具的靈動感與精緻工藝。本件椅子的特殊之處在於，它的搭腦採用了四出頭燈掛式的設計，而扶手則為南官帽式，這種搭腦四出頭但扶手無出頭的設計雖然在明代版畫中有見記載，但在實物中屬於罕見的製作手法，增添了這張椅子的稀有價值與歷史意義。The official’s hat chair, also known as the armchair, can be traced back to early depictions in Dunhuang murals from China’s Northern and Southern Dynasties. Through development and refinement during the Tang and Song Dynasties, the structure of the official’s hat chair became well established by the Song period. By the Ming Dynasty, scholars and artisans enhanced its aesthetic qualities, and the Ming-style official’s hat chair became a quintessential example of Chinese classical furniture, celebrated for its elegant shape and smooth lines. This design has endured for four to five hundred years and remains iconic today.This high-back official’s hat chair is crafted from delicate wood, featuring graceful curves in every component—from the headrest, columns, and back panel to the armrests, side stretchers, goose-neck supports, and legs—all hallmarks of Ming-style furniture. The chair’s tall, elegant form conveys the dynamic spirit and exquisite craftsmanship of Ming design.A unique aspect of this chair is its headrest, designed in the “four-outward protruding” lantern style, while the armrests follow the Southern official’s hat style without protruding ends. Although this combination was documented in Ming-era prints, it is rarely seen in actual furniture, adding to the chair’s rarity and historical significance.

吧檯椅 / Bar Chair製作年代 | 1980年代品牌 | 萬國傢俱藝品行 (臺灣)規格 | 寬57.9 x 深52 x 高107.8公分材質 | 紅木 館藏號 | 2023.001.0098Bar ChairPRODUCED．1980sMANUFACTURER．Wanguo (Taiwan)DIMENSIONS．W57.9 x D52 x H107.8 cmMATERIAL．RosewoodOBJECT NUMBER．2023.001.0098吧檯椅是點綴現代都會生活應運而生的新類型家具，製作者試圖將傳統圈背椅的意象結合吧檯椅的基本形式組構之餘，仍可看出其秉持著細緻的手工藝技法。本件坐具在保持傳統工藝精髓的同時，滿足了現代生活對實用性和美感的需求。製作者選用優質紅木材料，突顯了作品的質感與耐用性。這種選材不僅賦予家具更高的長久價值，也讓傳統與現代相結合的設計更具典雅之感。通過精湛的手工技藝，吧檯椅實現了既適合現代居家功能需求，又保持文化與歷史內涵的平衡。這件吧檯椅不僅在結構上考慮了人體工學需求，還成功地將傳統家具的設計特色融入當代生活，是一件具備市場潛力與文化價值的現代家具作品。The bar stool is a new type of furniture born to complement modern urban living. The maker sought to blend the traditional aesthetics of the round-back chair with the functional form of a bar stool, while still showcasing refined craftsmanship. This piece preserves the essence of traditional techniques, meeting the modern demand for practicality and beauty.Crafted from high-quality rosewood, the stool exudes both durability and elegance. The material choice not only enhances the furniture’s lasting value but also lends a sense of sophistication to this fusion of tradition and modernity. Through masterful craftsmanship, the bar stool achieves a balance between fulfilling contemporary household needs and preserving cultural and historical significance.This bar stool not only meets ergonomic requirements but also successfully incorporates traditional design features into modern life, making it a piece with both market potential and cultural value.