桃園市立大溪木藝生態博物館

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.

J52溫莎扶手椅設計師 | 伯格·摩根森 (丹麥)設計時間 | 1944品牌 | FDB家具廠 (丹麥)規格 | 寬54.5 x 深60 x 高89公分材質 | 山毛櫸. 模壓膠合板J52 Windsor ChairDESIGNER．Børge Mogensen (Denmark)DESIGNED．1944MANUFACTURER．FDB Møbler (Denmark)DIMENSIONS．W54.5 x D60 x H89cmMATERIALS．Beech, molded plywood"溫莎椅（Windsor Chair）起源於18世紀英國，以簡約的木質結構與使用車床技術製作的椅背聞名。因輕便且實用的特性迅速風靡歐洲，並對許多設計師產生了深遠的影響，如：北歐現代家具設計師伯格·摩根森（Børge Mogensen），也由經典的溫莎椅設計中汲取了大量的靈感。J52溫莎椅在摩根森的詮釋下，將傳統的溫莎椅進行造型簡化與結構強化：椅背分為上下兩層，頂部背靠與經典溫莎椅的梳背設計相接，並穿過U 形彎曲的曲木構件與椅面相連；下部則採用工字型結構，穩固連接外張的椅腿。這樣的設計，大大提升了椅子的穩定性，有效避免了傳統溫莎椅常見的結構問題。The Windsor Chair originated in 18th-century England and is renowned for its simple wooden structure and lathe-turned backrest. Known for its lightweight and practical design, it quickly became popular across Europe and greatly influenced many designers. Among them was Scandinavian modern furniture designer Børge Mogensen, who drew substantial inspiration from this classic chair.Mogensen’s J52 Windsor Chair reinterprets the traditional Windsor form by simplifying its shape and reinforcing its structure. The backrest is divided into two layers: the upper portion connects with the classic comb-back design, extending through a U-shaped bentwood component to join the seat. The lower part adopts an I-beam structure to firmly connect the splayed legs. This design significantly enhances the chair’s stability, effectively addressing the structural issues commonly found in traditional Windsor Chairs.

18號曲木椅設計師 | 邁克·索耐特 (德國)設計時間 | 1876品牌 | 索耐特 (德國) 規格 | 寬41.2 x 深47 x 高87.5公分材質 | 山毛櫸曲木.藤No.18 Bentwood ChairDESIGNER．Michael Thonet (Germany)DESIGNED．1876MANUFACTURER．Thonet (Germany)DIMENSIONS．W41.2 x D47 x H87.5cmMATERIALS．Bent beech, cane19世紀中期，居住在德國萊茵河上游的邁克·索耐特（Michael Thonet）發起了一場椅子的量產革命。隨著歐洲中產階級崛起，對價格合理的家具需求激增，再加上奧地利工業技術的快速發展，索耐特開始探索新技術，以提升生產效率。他最初以製作畢德麥爾（Biedermeier）風格家具為主，將薄木片浸泡於膠水，再固定於彎曲模型。然而，因各地氣候差異，外銷的家具陸續發生脫膠問題，索耐特開始嘗試以蒸氣加工技術製作家具。1853年，索耐特引入機器，以蒸氣軟化木材，並用模具迅速固型生產組件，從而擴大了公司的規模；1858年，他推出第一款以實木曲木製作設計的簡潔作品－No.14曲木椅。No.14曲木椅由六個組件組合而成，並通過螺絲將其固定，是全球第一把工業化量產的椅子。而自1859年生產以來，No.14曲木椅的產量已經超過五千萬張，至今仍由德國索耐特（Thonet）公司生產。No.18曲木椅同樣以實木曲木作為框架，並搭配藤編椅面、金屬與木質配件製作，椅背的“髮夾”造型設計引人注目。No.18是索納特公司的外銷椅，南美洲的餐廳和咖啡館經常可以看到它的身影。椅子可以拆卸成單獨的部件，36把椅子可以裝入一個海運箱，方便大量出口長途運輸，之後再由當地的門市或經銷商進行組裝，這樣的運輸成本比完成組裝的家具節省許多。索耐特製作的曲木椅不僅是現代設計的經典，更見證了歐洲歷史的發展，約翰內斯·布拉姆斯（Johannes Brahms）、弗拉迪米爾·列寧（Vladimir Lenin）和阿爾伯特·愛因斯坦（Albert Einstein）都曾使用過，至今仍廣泛被使用於各種公共場所和家庭中。In the mid-19th century, Michael Thonet, based along the Upper Rhine in Germany, initiated a revolutionary approach to mass-producing chairs. As Europe’s middle class rose, demand for affordable furniture surged, further supported by rapid advancements in Austrian industrial technology. Thonet began to explore new production techniques to enhance efficiency.Initially, Thonet focused on crafting furniture in the Biedermeier style, using glued veneer that was fixed to curved molds. However, the glued joints proved susceptible to climate variations, causing issues in exported pieces. This led Thonet to experiment with steam-bending techniques.In 1853, Thonet introduced machinery that softened wood with steam and quickly shaped components in molds, enabling his company to expand. By 1858, he unveiled the first industrially produced bentwood chair, the iconic No.14. This chair consisted of six parts, held together with screws, making it the world’s first mass-produced chair. Since its launch in 1859, over 50 million No.14 chairs have been produced, and they continue to be manufactured by Thonet in Germany to this day.The No.18 chair, also crafted from solid bentwood, features a rattan seat and metal and wood accents. Its distinctive “hairpin” backrest is visually striking. The No.18 became Thonet’s export chair, often seen in restaurants and cafes across South America. Designed for efficient transport, the chair could be disassembled into individual parts, allowing 36 chairs to fit in a single shipping crate, which reduced transport costs significantly. Local stores or dealers would reassemble the pieces upon arrival, making it highly suitable for long-distance exports.Thonet’s bentwood chairs not only remain timeless icons of modern design but also embody a part of European history. Figures such as Johannes Brahms, Vladimir Lenin, and Albert Einstein once used them, and they continue to be widely found in public spaces and private homes worldwide.

PP503圓椅設計師 | 漢斯·韋格納 (丹麥)設計時間 | 1949品牌 | PP家具廠 (丹麥)規格 | 寬63 x 深52 x 高75公分材質 | 櫻桃木.皮革PP503, The ChairDESIGNER．Hans J. Wegner (Denmark)DESIGNED．1949MANUFACTURER．PP Møbler (Denmark)DIMENSIONS．W63 x D52 x H75cmMATERIALS．Cherry, leather丹麥家具設計師漢斯·韋格納（Hans Wegner）的作品深受中國明式家具的影響，特別是簡練的結構與彎曲扶手的優雅線條，更直接體現在韋格納的作品中，如：1943年的中國椅（PP56, The Chinese Chair）、1949年的Y字椅（CH24, Y Chair）。韋格納最具標誌性的作品是1949年，被世人稱為「The Chair」的圓椅，是最具代表的經典之作。這件作品首次亮相於1949年丹麥哥本哈根匠師公會（丹麥文Københavns Snedkerlaug）展覽，由家具廠約翰內斯·漢森（Johannes Hansen）展示藤椅面版本的JH501；1950年又推出了皮革椅面的JH503。同年2月，JH501在美國《Interiors》雜誌獲得全頁介紹，並帶來了大量的訂單，成為丹麥家具進軍國際市場的重要關鍵。JH501最初設計時，由於椅背及扶手是由三段木材組合而成，連接處木紋無法連貫，因此椅背以藤皮纏繞包覆的方式修飾；1950年推出的JH503改使用W型接榫設計，不僅增加膠合面積，結構更加穩固外，也美化了木紋不連貫的問題。JH501藤纏背的版本持續生產至60年代，家具廠約翰內斯.漢森於90年代初結束經營，韋格納將The Chair的生產交由PP家具廠（PP Møbler）延續。在美學上，「The Chair」是一種對傳統的創新，形式上可追溯至中國明式家具的影響，但韋格納去除多餘裝飾，突出結構美感，源於傳統而有所創新。PP503圓椅由12個組件組成，做工精緻從各個角度欣賞皆呈現線條流暢的視覺效果，尤其椅背與扶手的轉折尤為優美，完美展現韋格納的設計理念：“Et stykke møbel må aldrig have en bagside, det hele skal hænge sammen.”（一件家具不應該有背面，整體必須和諧連貫）。功能上，椅背的曲度提供良好支撐，兩側延伸至前端的扶手增加了包覆性與穩定性，讓這張椅子具備超凡的舒適感，廣受讚譽。「The Chair」在許多重要場合中曾被使用，如：1960年美國總統電視辯論會上，候選人尼克森（Richard M. Nixon）與甘迺迪（John F. Kennedy）所坐的椅子就是JH503；2009年哥本哈根聯合國氣候變遷會議，各國元首的座椅也同樣選用了這款經典之作（PP503）。Danish furniture designer Hans Wegner was deeply influenced by Chinese Ming Dynasty furniture, particularly the refined structure and elegant curved armrests. This influence is directly reflected in Wegner’s designs, such as the 1943 Chinese Chair (PP56) and the 1949 Y Chair (CH24). Wegner's most iconic work is the Round Chair, often referred to simply as ""The Chair,"" introduced in 1949 and celebrated as a classic masterpiece.The Round Chair debuted in 1949 at the Copenhagen Cabinetmakers’ Guild (Københavns Snedkerlaug) exhibition, where furniture manufacturer Johannes Hansen presented the rattan seat version, JH501. In 1950, a leather seat version, JH503, was introduced. That same year, JH501 received a full-page feature in the American magazine Interiors, resulting in a surge of orders and marking a pivotal moment for Danish furniture’s entry into the international market.In the original JH501 design, the backrest and armrest were crafted from three separate wood pieces, with visible joints where the wood grain did not align. To address this, the backrest was wrapped in rattan for a seamless look. The 1950 JH503 model introduced a W-shaped joint, increasing the glued surface area for enhanced stability and resolving the wood grain alignment issue. Production of the JH501 rattan version continued until the 1960s, and after Johannes Hansen’s company closed in the early 1990s, production of The Chair was passed on to PP Møbler.Aesthetically, The Chair represents an innovative take on tradition. While its form is inspired by Ming Dynasty furniture, Wegner removed any unnecessary ornamentation to emphasize structural beauty, making it a harmonious blend of tradition and innovation.The PP503 Round Chair comprises 12 components, each crafted with precision to create a visually harmonious effect from every angle. The elegant transitions between the backrest and armrests exemplify Wegner’s design philosophy: “Et stykke møbel må aldrig have en bagside, det hele skal hænge sammen” (“A piece of furniture should never have a backside; the whole must be harmonious and complete”). Functionally, the curve of the backrest provides excellent support, and the armrests, which extend forward, add stability and a sense of enclosure, making this chair exceptionally comfortable and highly acclaimed.The Chair has been used in numerous significant events. For example, it was the seat chosen for the candidates Nixon and Kennedy during the 1960 U.S. presidential television debate, and in 2009, it served as the chair for world leaders at the United Nations Climate Change Conference in Copenhagen (PP503)."

CH24, Y字椅設計師 | 漢斯·韋格納 (丹麥) 設計時間 | 1949品牌 | 卡爾·漢森和森 (丹麥)規格 | 寬56.5 x 深52 x 高72公分材質 | 橡木.紙繩CH24, Y ChairDESIGNER．Hans J. Wegner (Denmark) DESIGNED．1949MANUFACTURER．Carl Hansen & Søn (Denmark)DIMENSIONS．W56.5 x D52 x H72 cmMATERIALS．Oak, paper cord編號CH24的Y字椅（Y Chair），又稱祈願骨椅（Wishbone Chair），是丹麥家具設計師漢斯·韋格納（Hans Wegner）最廣為人知的作品之一，其設計靈感來自中國的明式圈椅。韋格納於1943年首次推出中國椅（PP56, The Chinese Chair）系列，歷經7年的轉化，誕生了線條更佳簡單、優美的CH24 Y字椅。Y字椅的名稱來自其極具特色的背部支撐，自椅面向上分叉的靠背巧妙連接弧形椅圈；椅圈由曲木構成，既是背靠、也延伸為椅子扶手，並與後椅腿相結合，展現Y字椅的優雅氣質；椅面由略有彈性的紙繩編織而成，進一步提升坐起來的舒適度。自1949年問世，Y字椅至今仍由卡爾·漢森和森（Carl Hansen & Søn）公司生產，深受大眾喜愛。The CH24 Y Chair, also known as the Wishbone Chair, is one of Danish designer Hans Wegner's most renowned works, inspired by the Chinese Ming Dynasty round-back chair. Wegner introduced his first Chinese Chair series (PP56) in 1943, and after seven years of refinement, the CH24 Y Chair emerged with a simpler and more elegant silhouette.The chair's name comes from its distinctive Y-shaped back support, which gracefully branches from the seat upward to connect with the curved backrest. The backrest, crafted from bentwood, serves as both a back and armrest, seamlessly merging with the rear legs to create an elegant appearance. The seat is woven from slightly flexible paper cord, enhancing the chair’s comfort. Since its debut in 1949, the Y Chair has been continuously produced by Carl Hansen & Søn, remaining a beloved choice for many.

標準單椅設計師 | 讓·普魯維 (法國)設計時間 | 1934品牌 | 維特拉 (德國)規格 | 寬42 x 深49 x 高82公分材質 | 橡木模壓膠合板.金屬烤漆Standard ChairDESIGNER．Jean Prouvé (France)DESIGNED．1934MANUFACTURER．Vitra (Germany)DIMENSIONS．W42 x D49 x H82cmMATERIALS．Oak moulded plywood, steel.標準單椅（Standard Chair）最吸引人的設計特色，便是由鋼管及鋼板組成的椅腿。設計師讓·普魯維（Jean Prouvé）曾是名鐵匠，對金屬的特性和耐用性不僅擁有深入的了解，更擅長將金屬與木材結合，應用於家具和建築設計上，標準單椅正是其具代表性的成功案例。當我們坐在椅子上時，主要核心軀幹下方的後椅腿會承受人體大部分重量，重視結構性的普魯維因此選擇使用寬鋼板作為後椅腿材料，並設計上寬下窄的三角造型，將椅子的負重有效傳導至地面；承重較輕的前椅腿則使用鋼管，形成圓弧和扁平兩種造型上的對比。普魯維巧妙地將結構限制轉化為強烈的視覺特色，使標準單椅輪廓更加獨特。除了金屬與木材結合外，普魯維也設計了塑膠椅面的版本－標準單椅 SP（Standard Chair SP）。The most captivating design feature of the Standard Chair is its legs, crafted from steel tubing and sheet steel. Designer Jean Prouvé, originally a blacksmith, had a deep understanding of the properties and durability of metal. His expertise in combining metal with wood in furniture and architectural design is exemplified by the success of the Standard Chair.When we sit in a chair, most of the weight from our core is supported by the rear legs. With a focus on structural integrity, Prouvé chose to use wide sheet steel for the rear legs, shaping them in a top-wide, bottom-narrow triangular form to efficiently transfer the weight to the ground. The front legs, which bear less weight, are made from steel tubing, creating a visual contrast between the rounded and flat shapes. Prouvé skillfully transformed structural requirements into striking visual elements, giving the Standard Chair a unique silhouette.In addition to the metal and wood combination, Prouvé also designed a plastic seat version—the Standard Chair SP.