Materialism and the masses are out of touch with the traditional furniture industry

After 30 years of development, the traditional furniture industry has made certain progress. In recent years, with the global economic downturn, the traditional furniture industry is facing a shrinking market and rising costs. In addition, traditional furniture is a labor-intensive industry, with low barriers to entry and expansion in previous years, resulting in overcapacity. Some of the deep-seated contradictions and problems that were once temporarily concealed by the traditional furniture industry during the period of rapid growth began to be gradually exposed.

Generally speaking, the development of the traditional furniture industry mainly has the problems of high dependence on materials, unreasonable structural transformation, and lack of innovation consciousness, which profoundly affects and restricts the development of the traditional furniture industry.

Materialism makes it out of touch with the public

In the development process of traditional furniture culture, huanghuali, red sandalwood, red rosewood and other materials have been used. The literati of the Ming Dynasty appreciated the Huanghuali furniture, because its “layered and stacked” texture embodies the literati's pursuit of nature and poetic life. Beginning in the middle of the Qing Dynasty, “Redwood” became popular as a substitute for rosewood. Nowadays, mahogany has become the official name of traditional furniture. In addition to function, mahogany furniture has become a status symbol.

Materialism confuses the concept of mahogany and traditional furniture, neglects the structure, craftsmanship and cultural value of traditional furniture, artificially devalues ​​the simple and natural folk crafts of daily life appliances, cuts off the characteristics of regional furniture materials, and has a complex aesthetic tendency. Bloated. Liu Zongyue, a famous Japanese folk art theorist, believes: "Only from the world of folk art can we find the beauty of nature, health and simplicity." The "hot" of mahogany furniture reflects certain social phenomena, if the illustrative furniture represents It is a noble and elegant literati culture. The mahogany furniture reflects the pursuit of colorful and secular culture. As a result, only a few people can consume it. The market is getting smaller and smaller, and it is slowly out of touch with the masses of consumers.

The development of the traditional furniture industry has formed the so-called "material dependence", which restricts people's subjective choices. Material traders play a pivotal role in them, and materials have become the "bottleneck" that restricts the further development of the industry. It is believed that with the constraints of resources and the enhancement of people's awareness of environmental protection, the core of competition for traditional furniture will not necessarily be limited to the material itself, but should pay more attention to design and craftsmanship in order to make the best use of materials and materials.

Simplified structure leads to low quality

In order to adapt to modern industrial production, production companies have generally modified the structure of traditional furniture. Some of these transformations were successful, and the production efficiency was improved while ensuring the strength; the rationality of some transformations was to be discussed and it took time to test; due to the large-scale advancement of such technological transformations, the traditional elements of furniture culture were weakened, resulting in quality. A low product appears.

Take the traditional shoulder-shoulder transformation as an example. The shoulder-shoulder is a common squat structure of the waist in traditional furniture. It is the part below the waist of the leg, cuts the 45-degree oblique shoulder corresponding to the toothed rod, and cuts the triangle. Blinking, snapping with the tongue of the toothed triangle. The slant shoulders are also provided with a "hanging pin" which is small and large and has a trapezoidal cross section, and cooperates with the notch opened on the back of the toothed strip. In this way, the weight and load-bearing of the panel itself are dispersed on the waist and the dental plate, and are transmitted to the legs and legs through the shoulders. The use of the hanging pin limits the movement of the member in the horizontal direction, thereby integrating the tooth strip and the leg.

Traditionally, multiple milling operations are required on the legs and feet, and the datum is not easy to determine. Therefore, in modern production, the original three-dimensional structure of the shoulders is often changed, and the teeth are grooved on the teeth and the legs, and the wedges and the legs are fixed by the wedges; some even separate the joints of the legs and the top surface, and are used in large quantities. Planting, relying on the adhesive to connect the panel and the waist. These practices save the material of the leg and foot parts, and the manufacturing process is simple, but mainly relies on the action of the adhesive, and loses the advantages of the three-dimensional connection of the traditional enamel structure. After the squeegee is folded, it will not be tightened and tightened. After the adhesive fails, the dental plate is easily pulled apart and is not easily repaired. This is a very headache for consumers.

Conceptual restraint leads to big debate on innovation

In the spread of cultural symbols, as people's love and pursuit of Chinese culture gradually warmed up, the structure of 榫卯 was widely used as a hidden symbol of Chinese culture. The application in design is not only for structure, but also for cultural resonance. However, there have always been different views on the innovation of traditional furniture. Some people think that the transformation of traditional furniture can not change its structure, can not use modern connectors; some people think that the internal structure of traditional furniture can be changed during the transformation process, but to maintain the appearance of the shape.

The author believes that in the process of forming traditional furniture, “change” is the theme, which is constantly developing and evolving in a gradual form. Due to the subdivision according to different markets, the structure of traditional furniture can be rationally modified.

But the transformation must first follow the tradition and use the ancient method to continue the old value. This part of the consumer hopes that traditional furniture can inherit the traditional shapes and crafts in an original way. Therefore, this production method is not for the purpose of production. It is suitable for making high-end furniture such as red rosewood, red sandalwood and huanghuali for the "woodphile" collection of mahogany. .

In modern society, people want their own items to have their own personality and characteristics. The custom-made characteristics of traditional furniture are in line with this demand. Manual customization can be tailored to the needs of customers in small batches and varieties, creating products of different styles and sizes.

Traditional furniture is a traditional industry. Under the new historical conditions, it is necessary to transform the mahogany furniture industry through technological innovation, mass production of antique furniture, and the development of new structures and special technical equipment for mahogany furniture to enhance industrial competitiveness. Drawing on the sturdy structure and styling characteristics of traditional furniture, using modern materials, innovative modern furniture with distinctive features and differentiation.

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