Contemporary Heritage from Bauhaus Spirit infused with Chinese Living Culture: A Primary Exploration on Wang Dahong’s Furniture Design

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<p>王大閎先生的家具設計很長時間都掩蓋在他那迷人的建築空間底下，為人所忽略，家具其實也是空間設計的一部分，甚而與空間相互襯托，共同形塑空間的質感與氛圍。王大閎一共為自己的三座自宅設計了49件家具，本文以王大閎1964年高峰時期的建築作品虹廬為例，藉由自宅內幾件重要家具設計根源的耙梳與討論，希望釐清並確認王大閎如何以廣義的包浩斯精神，包括幾位涉及家具設計的建築師，如密斯、布魯爾的設計概念為現代構架，再依此去補捉或斟酌家具形式背後的華人傳統氛圍或細節。本文研究目的是在整理並分析王大閎的家具設計，探討其對華人家具現代化的貢獻。</p> <p> </p><p>Mr. Wang Dahong’s furniture design has been overshadowed underneath his charming architectural space, and has been neglected for a long period of time. Furniture is, indeed, a part of the space design and even complements the space itself to shape the character of the space together. He designed 49 pieces of furniture for his three owned residences. By exploring and discussing the origins of the ideas in his design from several iconic pieces, taking the residence “Honglu”, second of the three and completed during the peak of his practice, as an example, we hope to clarify and confirm how Wang Dahong broadly utilized the Bauhaus spirit, the framework formed by those architects who also designed their own furniture, such as Mies van der Rohe and Marcel Breuer. Wang Dahong further embedded the traditional Chinese atmosphere/details into his furniture design. This article intends to reveal Wang Dahong’s furniture and its impact, with potentially unprecedented contribution to modernizing Chinese furniture design.</p> <p> </p>