It is important to remember that interior designers are not housebuilders like architects. Interior designers are given finished rooms whose interiors they have to design. For this reason, all interior design deals with “treatment of the room” and the Scandinavian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism and democracy paired with functionalism, which again is linked to the architectural tradition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored with respect for existing architecture and the qualities of past design. Many buildings have been thoroughly renovated with an eye to meeting new functions and modern requirements.The balance between maintaining the original distinctive architectural features and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can become a means of ensuring a uniformity of style and expression. 

Reference：

Judith Gura Thames & Hudson Ltd .Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century .2007-11 

Mike Roemer. INTERIOR AND FURNITURE DESIGN. Thames Hudson Press.2005

摘要北欧家具设计可以充分利用自然材料和绿色材料，主张简洁大方，在使用富有颜色的材料使家具的自然和灵性；可以根据生活的需要设计造型，使家具设计精巧细致；功能，必须强调经济性、实用性和舒适性；这些美学特征使北欧家具的设计吸引着更多的人。

毕业论文关键字：北欧设计，家具设计

斯堪的纳维亚设计是在20世纪30年代即已取得较大成就,并获得了国际声誉的设计风格。

就风格而言,斯堪的纳维亚设计是功能主义的,但又不像20世纪30年代那样严格和教条。几何形式被柔化了,边角被光顺成S形曲线或波浪线,常常被描述为“有机形”,使形式更富人性和生气。

　战前以包豪斯为中心的功能主义在20世纪40年代物质匮乏的困难条件下被广泛接受了论文网，但到了20世纪40年代中期，功能主义已逐渐包括了许多实际上和风格上的变化。这些变化离开了包豪斯纯几何形式和“工程”语言的美学,其中最引人注目的是斯堪的纳维亚设计。

早在1930年的斯德哥尔摩博览会上,斯堪的纳维亚设计就将德国严谨的功能主义与本土手工艺传统中的人文主义融会在一起。在1939年的纽约国际博览会上,又确立了“瑞典现代风格”作为一种国际性概念的地位。经过20世纪40年代一段艰苦的时期之后,斯堪的纳维亚设计在20世纪50年代产生了一次新的飞跃。其朴素而有机的形态及自然的色彩和质感在国际上大受欢迎。在1954年米兰三年一度的国际设计展览中,斯堪的纳维亚设计展示出了全新的面貌,参展的瑞典、丹麦、芬兰和挪威都获得了很大成功。