Journal articles on the topic 'Furniture design. Furniture making'

This paper puts forward the basic principles and contents of surveying and mapping of Chinese traditional furniture. Through research and physical test, it proposed the methods and surveying and mapping processes of three dimensional scanning surveying and mapping. So that the technology of furniture’s surveying and mapping, protection, production and design has been further improved, thus making traditional furniture culture and modern advanced manufacturing technology spread and develop better.

morphological semantics is an important theory of kansei engineering. Making an analysis of psychological feeling of modern furniture by using molding semantics, pointed out that the awareness of modern furniture in material, shape, structure, color quantization scheme, which make the design of furniture products more in line with the need for user’s cognition, and provide effectiveness for furniture products’ design as well as manufacturing, make furniture to meet people to use the functional requirements and satisfy people’s aesthetic desire.

Bamboo material has excellent properties and is suitable for making bamboo furniture. Bamboo furniture is a traditional form of furniture made from bamboo with a low degree of industrialisation. The diverse development methods and profound cultural meanings behind bamboo furniture should be further explored to strengthen inheritance and innovation. This paper first summarises the characteristics and development status of bamboo furniture via a brief literature review. Then, through case studies and questionnaire surveys, the aesthetic trends of modern bamboo furniture design were analysed, and various ideas for innovation were proposed. The mode and path of the future development of bamboo weaving were discussed from the perspective of accelerating modernisation. To achieve sustainable development of bamboo furniture, to promote bamboo culture, and to enable bamboo enterprises to establish a good brand image, it is necessary to use the interactive design platform to coordinate the relationship between users, enterprises, and producers, and to grasp the balance between traditional craftsmanship and modern design and manufacture through modern advanced manufacturing technology and parametric design.

Purpose The purpose of this paper is to implement the combined approach of Decision Making Trial and Evaluation Laboratory (DEMATEL) and system dynamic (SD) for examining the impacts of several elements on the implementation of green supply chain management (GSCM) practices in the furniture industry concerning the amount of wood waste resulted and the demand of wood materials. Design/methodology/approach The paper develops an SD-based model by using four approaches, i.e., “demand of furniture”, “raw material”, “revenue of furniture industry” and “the implementation of green supply chain management (GSCM) practices”. Findings The simulation results have shown that the best conditions occur in the fourth scenario or a combined scenario. This scenario can guarantee a decrease in need of wood and discarded wood waste due to the use of wood waste for raw material by some industries. This scenario can thus increase the share of wood waste used as raw materials. Research limitations/implications The first limitation of this study is on the calculation of the amount of wood, which has used the data of wood products obtained from the Central Java Provincial Agency of the Environment and Forestry. This calculation has not taken into account the forest area degradation. Second, the demand for furniture has been converted from the historical data of domestic and foreign sales. Third, the model used in this study has not considered the decrease of the production cost and the increase of the profit gained by the wooden furniture small- and medium-sized enterprises that use the wood waste as part of their raw material. Practical implications This research provides essential insights into the context of implementing the policies to increase the implementation of GSCM practices. Originality/value This research can make a difference in two aspects. First, it has tested policies, not in isolation. It has simultaneously tested various combinations of policies because the furniture industry can be seen as a system with complex relationships among the elements. Second, this study can broaden scientific insights related to the use of the DEMATEL method in the SD methodology.

Cane based furniture business is one of the least researched areas in Bangladesh. The purpose of the present study is to appraise socio-economic conditions and business policy of cane based furniture in the study area of Sylhet city, Bangladesh. The study reveals that 57% of cane furniture enterprises is small, 36% is medium and 7% is large in size. The average investment, production and profit range around Tk. 2, 80,000, Tk. 2,21,916 and Tk. 22,500 respectively per enterprise. Sofa, chair and rocking chair are the most demanded and profitable items. The study also reveals that 51% of entrepreneurs are suffering from shortage of capital and raw materials, whereas 35% are suffering from unskilled labor and adequate transportation facilities. High price due to high cost, low demand, archaic and common design, less promotion are the major problems of cane furniture. The study suggests that entrepreneurs should create demand for cane furniture among all classes of people through proper promotional programs, newest design, adding new features, improving quality and making the product available to all over the country through proper distribution. Government should patronize this industry by giving financial and institutional supports.Journal of Business and Technology (Dhaka) Vol.10(1) 2015; 93-108

BACKGROUND: Because of wrong sitting position, children have back-pain and related musculoskeletal pain (MPD). Due to inappropriate designed class furniture by not taking into account the children’s anthropometric measurements have negative effect on children musculoskeletal systems. The impact of the COVID-19 pandemic crisis has changed the furniture industry’s production trends. OBJECTIVE: This study aimed to develop a new fuzzy based design of ergonomic-oriented classroom furniture for primary school students considering the measured anthropometric dimensions of students’ safety, health, well-being, i.e. ergonomic criteria, socio-psychological aspect and post-COVID policies. METHODS: In the study 2049 number of primary school students are assessed considering COVID-19 pandemic policies and their static anthropometric dimensions were measured between 7-10-year-old (between 1st-4th grade students) and descriptive statistics of children among their ages and genders are calculated; mean, standard deviation, percentiles. The data collected from the students were analyzed quantitatively by using Significance Analysis: Mann-Whitney U test statistic, t-test, Regression Analysis and one-way ANOVA. In the study interviews with experts are performed and fuzzy mathematical model (by using fuzzy-AHP, fuzzy-TOPSIS and fuzzy-VIKOR) is developed to calculate Turkey’s three schools’ furniture. RESULTS: Results showed statistically significant differences between two genders. And it is observed that the seating bench height is too high for primary school students and lower than the height of the classroom’s blackboard from the floor. Fuzzy Multi Criteria Decision Making Method’s (FMCDM) results show that primary school students’ ergonomic classroom furniture should be mainly designed by considering “COVID-19 Criteria”, “Ergonomic Criteria” and “Socio-Psychological Aspect”. Students’ existing seating benches and tables are changed by considering post-COVID policies/protocols, Ergonomic Criteria and Socio-Psychological Aspect. And a new seating bench/chair and table’s dimensions is proposed in the study. CONCLUSIONS: Children study at school for long periods and their activities involve long periods of time on their desks in schools. As per the results of the study, it can be concluded that school management must consider the genders, ages of students and take into account the post-COVID policies/protocols while procuring the classroom furniture. The COVID-19 pandemic is the single largest event to have affected children globally in their access to school in recent times; estimates suggest that over 85%of the world’s total enrolled learners, 1.5 billion children and youths, have been affected. The coronavirus pandemic also creates dramatic changes for the school furniture.

Purpose – The purpose of this paper is to explore the viability of the ecological furniture niche markets in Greece and Cyprus. More specifically, the authors investigate the current demand on ecological furniture, business strategy and planning in introducing eco-furniture products in Greek and Cypriot market. Finally, particular emphasis lays on the analysis of the barriers regarding decision making of Greek and Cypriot enterprises in order to incorporate ecological furniture into their current activities. Design/methodology/approach – Based on three distinguished hypotheses, the study seeks to draw attention to the critical factors which will impact decision making on such products development within the severe crisis. Using a prototype questionnaire, specifically structured for the aim of the research, the authors collected data from 36 Greek furniture enterprises, 25 Cypriot ones and 24 sectoral experts and relevant institutes in Greece and Cyprus. The questionnaires were selected in 2012, which were further elaborated and statistically analyzed with SPSS ver 17.0 after they were tested for their content and construct validity, managing to verify the hypotheses. Findings – The study reveals an increasing sensitivity for environmental issues and an effort to combine it with the emergent green markets. Green strategies can lead to significant competitive advantages for Greek and Cypriot furniture firms, especially after the recovery of the long-lasting recession. Furniture manufacturers believe that environmental issues are tightly related to consumer behaviors and social image, expose a real interest for the environment and consider green strategies as a major way to differentiate. The firms of the sample focus on raw material and processes adapted to suit environmental requirements. On the other hand, these issues constitute major barriers to apply such strategies together with business risk and the lack of knowledge regarding the requirements of environmental sustainability. Research limitations/implications – The research bears certain limitations such as the sample size and the fact that results are based mainly on perceptions of entrepreneurs/managers. Thus, there are certain questions on objectivity and generalizability. Furthermore, the market aspect is examined through the lens of the entrepreneurs and experts and not the consumers themselves. Practical implications – The present research explores the why and how furniture companies turn green constituting a useful basis to encourage close collaborations of companies to academia, design and research centers introducing eco-friendly practices and relevant innovations. It contributes to the field of sustainable entrepreneurship and the micro-level understanding of micro- and small companies’ reaction to this phenomenon focussing on the furniture industry. It can act as a catalyst toward the development of extensive networking among the furniture sector in both countries, which assists the diffusion of information as well as of a pertinent culture on eco-products and the development of new business models in the sector. Social implications – A major contribution is that it can constitute a useful basis for policy makers at governmental and institutional level in both Greece and Cyprus to propose solutions to critical issues such as sector survival, crisis – survival, unemployment, along with environmental care and awareness. It can further encourage close collaborations of companies to academia, design and research centers for the sustainable development of the sector through eco-friendly practices and relevant innovations. Originality/value – The research is the first to question the significance of eco-conscious strategies for furniture firms at national level in Greece and Cyprus. It seems that it has indirectly contributed to eco-furniture culture development, since it has caused a fruitful brainstorming among sectoral entrepreneurs and offers solutions to the existing “cul-de-sac.”

Today, the inheritance and protection of national culture become increasingly prominent. The findings can be seen that worship plays an important role in Wa nationality through the analysis of Cow Head and Wooden Drum in Wa’s totem worship. Combing with the design of specific cases and Wa’s totem worship, at the same time, extracted the national elements, furniture product design have been carried out. According to the aesthetic demand modern people and human body size scale, the design started which is not only good to realize national culture inheritance and protection, but also will push modern furniture design into the market. It is a good way to inherent and protect national culture, meanwhile, making a profit and reward.

Behavioral finance is an area or sub-discipline of behavioral economics that examines the real financial behavior and decision-making of people, including the knowledge of psychology and sociology. The objective of this paper was to identify and investigate the impact of significant cognitive, psychological and emotional factors affecting the financial decision-making of the shareholders of woodworking and furniture manufacturing and trading enterprises. This could lead to the design of decision-making concepts which take into account not only cognitive but also psychological and emotional factors and their influences on decision-making process, which could positively affect the sustainable development of the aforementioned types of enterprises. The mapping of the addressed issue was carried out by means of an empirical survey in the practice of the Slovak woodworking and furniture manufacturing and trading enterprises in the form of a questionnaire. The results of the survey were evaluated by descriptive, graphical and mathematical-statistical methods. Conclusions and recommendations were formulated based on the identification of key behavioral aspects (knowledge, security, freedom and sadness), the implementation of which could contribute to eliminating negative deviations and errors in the financial decision-making process of shareholders of woodworking and furniture manufacturing and trading enterprises.

Archaeological remains of the Iranian culture show the rich culture and traditional arts in this country, which is derived from the ancient Persian traditions and commandments of Islam and attends to all of aspect of human life. Dining table is one of the home key products that gathers family members up, in order to keep intimacy among them, whether there is any sign of tradition and culture of the Iranian-Islamic, and it has setting ergonomic problems. This paper has came out of the practical studying in the furniture designing domain and is trying to cover the gap of presenting of Iranian art and culture in current designing of furniture market. By making use of library as well as field research, by employing interaction design principles using questionnaire, personal interview and observation manners, design criteria are obtained and finally, the premier design with details is presented.

Despite the ban on use of plastic paper bags, large amounts of plastic litter still exist in our environment. Plastic bottles form a greater percentage of the litter. The growth of the consumer market for cosmetics and soft drinks which are usually packaged in plastic containers continues to give rise to plastic pollution. To maintain the quality of the environment while achieving sustainable development plastic litter could be viewed as raw and innovative materials for making new items. Plastics can be recycled and made into furniture, ornamental products, and building blocks among others. This paper describes how recycling plastic waste into products of plastic sheets and blocks is conducted for multi-purpose use. The resultant sheets and blocks can be designed to have slots and extensions on the edges such that they allow interlocking the same way concrete interlock blocks work. The sheets and blocks can be used to make furniture, office partitions, and interior design. The sheets for furniture making can be craftily decorated with beads while they are still in molten state to produce ornamental furniture. This can be achieved through arranging beads in molds before introducing the molten polymers into them. The plastic blocks and sheets can also be used to make swimming pools and fish ponds. Heating temperature and oxidation should however be monitored to prevent degradation of the polymers. The resultant products are durable, attractive and affordable.

Dissemination of algorithms for decision-making aiding in the design of furniture and other products made of lignocellulosic materials in the scientific literature. The issue of the proper selection of dimensions of the designed products can be supported with the use of mathematical algorithms built into CAD systems. There are many such algorithms, they have their specificity and areas of application. The article lists a dozen or so of the most popular algorithms of this type, and then checks their prevalence in the scientific literature on furniture design. The result is a point the method (group of methods) that best takes into account the specific features of lignocellulosic materials. The main conclusion is that the most popular algorithms are: the ε-constraint method, genetic algorithms and artificial immune systems. The most popular is the ε-constraint method.

Small and Medium Enterprises (SMEs) have a role in the economy in Indonesia. The furniture business is a form of SME which included in the small handicraft industry, according to statistics reported by Bandung data, the number in 2017 was 711 company. This industry produces large amounts of wood waste only a few reprocesses it into something of added value. This study aims to make sustainable handicraft products that use wood waste as a material to support business continuity amid the pandemic. This article is one of the results of applied research with a focus on small and medium enterprises that espouse sustainable design programs with an approach to making recycled products. This study uses the dwimatra nirmana method with the Participation Action Research (PAR) approach. The result of this research is a craft prototype made from wood waste from the residual production of furniture. Keywords: craft, dwimatra, recycle, waste.AbstrakUsaha Kecil Menengah (UKM) memiliki peran penting dalam perekonomian di Indonesia. Usaha furnitur adalah salah satu bentuk UKM yang termasuk kedalam Industri kecil kerajinan, menurut statistik yang dilansir data Bandung, jumlahnya pada tahun 2017 adalah 711 pelaku usaha. Dalam praktiknya industri ini menghasilkan limbah kayu yang jumlahnya besar dan sedikit yang mengolahnya kembali menjadi sesuatu yang bernilai tambah. Penelitian ini bertujuan untuk menghasilkan produk kerajinan berkelanjutan yang menggunakan limbah kayu sebagai bahan dasar untuk menopang kelanjutan usaha ditengah masa pandemi. Artikel ini adalah salah satu hasil penelitian terapan dengan fokus usaha kecil menengah yang mendukung program sustainable design dengan pendekatan pembuatan produk daur ulang. Penelitian ini menggunakan metode nirmana dwimatra dengan pendekatan Participation Action Research (PAR). Hasil dari penelitian ini adalah prototipe kerajinan berbahan baku limbah kayu dari sisa produksi UKM furnitur. Kata Kunci: daur ulang, dwimatra, kerajinan, limbah. Authors:Teuku Zulkarnain Muttaqien : Universitas TelkomHardy Adiluhung : Universitas TelkomReferences:Dyanrch. (2015). Definisi Dwimatra Dan Trimatra.www.dyanrch.weebly.com (diakses pada 16 Oktober 2020).Hanum, F. (2018). Pemanfaatan Kembali Limbah Potongan Kayu Menjadi Material Furnitur Melalui Pendekatan Social Entrepreneurship. Integritas, 90(2), 84-90.Pambudi, R. (2020). Komunitas Kresek Solo Jangan Tunggu Terinspirasi, Tapi Bergerak Untuk Menginspirasi. www.greeners.co (diakses pada 16 Oktober 2020). Perdana. (2018). Dosen ISI Pamerkan Kreasi Limbah Kayu di Milan. www.radarsolo.jawapos.com (diakses pada 16 Oktober 2020).Rakhman, F. (2018). Komunitas di Lombok Ini Perangi Sampah Dengan Daur Ulang. www.mongabay.co.id (diakses pada 16 Oktober 2020).Rakyat, P. (2016). Produk Limbah Kayu Indonesia Laris di Pameran Furnitur Eropa. www.kemenperin.go.id (diakses pada 16 Oktober 2020).Thabroni, G. (2018). Nirmana Dwimatra Unsur, Asas, Contoh & Penjelasan Lengkap. www.serupa.id (diakses pada 16 Oktober 2020).Thabroni, G. (2018). Unsur-Unsur Seni Rupa & Desain; Diperkuat Pendapat Ahli. www.serupa.id (diakses pada 10 November 2020).Muttaqien, T.Z. (2020), “Proses Pembuatan Meja Dwimatra”. Hasil Dokumentasi Pribadi: 04 Februari 2020, Universitas Telkom.Muttaqien, T.Z. (2020), “Proses Pembuatan Meja Dwimatra”. Hasil Wawancara Pribadi: 16 Oktober 2020, Universitas Telkom.

AbstrakUD. Mitra Abadi dalam proses produksi produk furniturenya memiliki kendala terkait pembuatan komponen furniture berdimensi silindris oleh karena keterbatasan alat. Sering kali pesanan konsumen tidak luput dari desain furniture yang menuntut beberapa bagian komponennya berdimensi silindris seperti kaki meja dan ornamen lain. Pembuatan komponen furniture berdimensi silindris tersebut membutuhkan mesin bubut (lathe) khusus kayu. Program pengabdian ini beriorentasi membuat alat bubut kayu dengan biaya ekonomis baik pembuatan dan operasional, dilengkapi dengan meja (table lathe) agar lebih ergonomis, dan mempertimbangkan aspek keamanan (safety) operasionalitas dari alat. Selain itu, dilakukan edukasi kepada UD. Mitra Abadi sebagai mitra terkait teknik operasi permesinan dan perawatan (maintenance) dari alat tersebut. Edukasi teknik operasi permesinan dan maintenance dari alat perlu dilakukan mengingat keterbatasan wawasan oleh mitra mengenai alat table lathe yang dibuat tersebut. Program pengabdian ini tidak hanya menghasilkan luaran berupa alat saja namun diharapkan mitra mampu mengoperasikan alat tersebut secara baik dan benar dan mampu melakukan maintenance ringan secara mandiri agar dapat menunjang produksi produk furniturenya dalam memenuhi permintaan dari konsumen. Kata kunci: table lathe, ekonomis, ergonomis, safety, maintenance AbstractUD.Mitra Abadi in the production process of its furniture products is related to the manufacture of furniture components with cylindrical dimensions due to tools limitations. Often consumers do not order from furniture designs that require several cylindrical dimension components such as table legs and other ornaments. The making of cylindrical dimension furniture components requires special wood lathe. This program is oriented to make wood lathe with low costs of development and operational, also is equipped with a table (lathe table) to make it more ergonomic, and consider the safety aspect of tool operation. In addition, education to UD. Mitra Abadi related to machining operation and maintenance techniques of the tools. Education about the machining operation and maintenance techniques of the tools need to be done, it is because partner of this progam is limited in knowledge about this tools. This dedication program not only produces output consisting of tools, but it is expected that partner of this program able to operate this tools with correctly and able to do some minor maintenance independently in order to support the production of furniture products to meet customer demand.Keywords: table lathe, economical, ergonomic, safety, maintenance

The paper material is a kind of green eco-friendly material, economic, practical and colorful, having various species. With the development of modern technology development of making paper, traditional paper material has different characteristics. This article aims to research the paper material and apply the environmental-friendly material to the adornment design. It can be applied and innovated not only in interior decoration wallpaper, but also in smallpox decoration and furniture material.

PurposeThis study aims to propose a novel approach to developing an interactive and immersive virtual environment for design communication in the furniture, fixture and equipment (FFE) sector. The study further investigates its effectiveness in enhancing the design communication and coordination between the stakeholder.Design/methodology/approachQuasi-experimental research was adopted involving 12 FFE professionals, designers and end-users in single-group pre-test-post-test design. The tests were performed primarily to ascertain the impact of the application of interactive virtual reality on delivering furniture design selection and coordination tasks. Further interviews were used to elicit participants' views on the functionality and usefulness of the proposed approach.FindingsThe findings indicate that an interactive immersive virtual FFE environment: enhances the productivity of the design team through a collaborative virtual workspace offering a synchronised networked design testing and review platform; reduces the time required for the stakeholders to comprehend the design options and test those; enhances the design communication and quality of the design and encourages the collaborative culture in the industry; improves the design satisfaction of the stakeholders; and finally, requires significantly less time for design decision-making when compared to traditional methods.Research limitations/implicationsFuture studies should incorporate space planning concepts and explore non-experimental methodologies in a real-life FFE project setup.Practical implicationsThe proposed approach provides opportunities for enhanced interpretation of design intent in FFE as well as efficiency in design selection and coordination tasks when compared with conventional two-dimensional methods of communication.Originality/valueThis study proposes a step change in the way furniture design is communicated and coordinated through an immersive virtual experience. Previous studies have not addressed the issue of impact on design coordination instead focussed on marketing and sales.

Along with modern science and technology developing quickly, Remote control technology is in our life. The combination of machine and remote control technology is also bringing infinite fascination and convenience to our life. In the paper, remote control technology is applied to furniture-tea table, and making the tea table mobile according to hominine injunction. The whole figure of tea table is to apply motility element-sphere; the motion and swerve of tea table is to imitate structure of motorcar; in order to space saving, the worktable of tea table is to apply contact design.

Purbalingga mempunyai keunggulan ketersediaan kayu yang tinggi, kondisi tanah yang kebanyakan pegunungan sangat mendukung tumbuhnya kayu keras, hampir setiap desa memiliki jumlah tanaman keras yang melimpah. Beberapa perusahaan kayu lapis dan mebelair juga banyak menginvestasikan dibidang produksi kayu lapis dan barecore di beberapa kawasan di purbalingga. UKM mebelair, kayu lapis dan kusen membutuhkan tenaga kerja yang cukup banyak, tidak membutuhkan pendidikan formal, sehingga terbuka pengentasan tenaga kerja secara umum. UKM pengrajin mebelair dan kusen kayu di Desa Sangkanayu, Kecamatan Mrebet, Kabupaten Purbalingga, membuat model berdasarkan pesanan lokal, tidak mengikuti trend furniture terbaru, memiliki kesulitan pada pembentukan model radius dan lengkung, finishing kurang halus dan waktu yang lama. Kayu dengan lubang dan tidak simetris biasanya tidak digunakan sebagai produk kusen/furnitur, limbah kayu dalam bentuk potongan secara umum tidak dimanfaatkan, padahal volume kayu limbah pada pembentukan mencapai kurang lebih 30% dari bahan baku. UKM mebelair belum memiliki pengetahuan pembentukan kayu dari limbah untuk menjadi produk kerajinan. Disamping itu pengetahuan manajeman usaha, pengelolaan keuangan, dan metode pemasaran produk juga masih rendah hanya menunggu pelanggan, mengakibatkan UKM sulit berkembang, persaingan harga antar UKM. Permasalahan pembentukan dengan menggunakan limbah kayu dan bahan baku dalam bentuk potongan digunakan untuk pembuatan kerajinan. Pembentukan ditingkatkan dengan kemampuan untuk membentuk lengkung menggunakan cutting vertical/bendsaw, untuk percepatan pembelahan menggunakan mesin TTG circle cutting. Teknologi yang diterapkan untuk pemanfaatan limbah kayu akibat kerusakan lobang, tidak lurus, akan diubah menjadi produk bernilai ekonomis tinggi, unik dengan epoxy wood resin. Metode pembentukan produk kusen dan mebelair dari kayu (limbah) akan memberikan alternatif untuk meningkatkan nilai tambah dan pendapatan, keuntungan lainnya penggunaan epoxy juga meningkatkan daya tahan, anti rayap dan bernilai ekonomis tinggi, berpotensi memiliki brand merk yang khas. Untuk penguatan manajemen, UKM dikenalkan administrasi keuangan, dan strategi pemasaran produk secara online. Solusi diatas diharapkan akan meningkatkan daya saing dan produktifitas UKM, desain produk baru dengan memanfaatkan limbah kayu untuk menjadi produk dinding kayu, dan produk epoxy wood resin, akan meningkatkan pendapatan UKM.Kata kunci: epoxy wood resin, wooden wall, circle rotary.AbstractPurbalingga has the advantage of high wood availability, the condition of the land that is mostly mountainous strongly supports the growth of hardwood, almost every village has an abundance of perennials. Several plywood and furniture companies also invested heavily in the production of plywood and barecore in several areas in Purbalingga. Furniture furniture, p lywood and sills need a lot of workforce, do not need formal education, sothere is a general elimination of labor. UKM of furniture and wood frame craftsmen in Sangkanayu Village, Mrebet Subdistrict, Purbalingga Regency, make a model based on local orders, do not follow the latest furniture trends, have difficulty in forming radius and curved models, less smooth finishing and long time. Holey and asymmetrical wood is usually not used as a frame / furniture product, wood waste in the form of pieces is generally not utilized, even though the volume of waste wood at the formation reaches approximately 30% of the raw material. Mebelair UKM has no knowledge of wood formation from waste to become handicraft products. Besides that, business management knowledge, financial management, and product marketing methods are also still low, just waiting for customers, which makes it difficult for SMEs to develop, price competition among SMEs. The problem of formation by using wood waste and raw materials in the form of pieces is used for making crafts. Formation is enhanced by the ability to form curves using vertical cutting/bendsaw, for acceleration of cleavage using circle cutting machine. The technology applied to the utilization of wood waste due to damage to the hole, not straight, will be converted into high economic value products, unique with epoxy wood resin. The method of forming frame and furniture products from wood (waste) will provide an alternative to increase added value and income, other benefits of using epoxy also increase durability, anti termites and high economic value, potentiallyhaving a distinctive brand brand. To strengthen management, SMEs are introduced to financial administration, and online product marketing strategies. The above solution is expected to improve the competitiveness and productivity of SMEs, the design of new products by utilizing wood waste to become wood wall products, and epoxy wood resin products, will increase the income of SMEs.

The main purpose of this project is to design and develop an assisting tool in manufacturing of rattan handicraft. Rattan is a non-timber forest resource which has a variety of functions in the making of handicrafts and furniture. The production of rattan handicraft typically carried out using manual and traditional methods. However, there are some problems to be faced by the craftsman in making the handicrafts such as the time constraints for the creation of products, due to the difficulty in term of the size, and the pain in the hands while making the handicraft products. Therefore, assisting tools or devices in manufacturing of rattan handicraft are needed to solve the problem. The methods used are questionnaire survey, CATIA software for RULA analysis and SolidWork software for FEA analysis.

There are many roles that design can play in organisations. It can be source of good marketing strategy, and designer by himself can be a promotional tool for a company. Thanks to those actions companies can gain publicity, media attention and good PR.On the second level, design can be perceived as ‘process of making things better’. In this case companies can achieve more effective product development process, new tools and technologies.On the third level we have the situation when designer work alongside with company managers with the whole business concept. At this level, designers’ work looks more like a brand consultant, a strategist. In this approach design should be reflecting certain brand name and brand values.As our study presented, Swedish companies operate on those two, higher levels, while Polish still limit the scope of design. We strongly believe, that Polish companies, as they gain more experience with design activities, will be more likely to perceive design in this more mature approach. In the meantime, presenting best practices from companies from other, more mature countries could be a good way of promoting design as a strategic asset rather than promotional tool. We believe that in order to fasten this process, Polish companies should as follows:1. Work more often with external and foreign designers;2. Expand the area of designer responsibilities in companies;3. Place the responsibility for design in hands of professional design managers.

Global warming and climate change are the most pressing issues in the world. This is the inevitable result of human beings pursuing a better quality of life and materials. If the green design concept is used in the design and manufacture of products, the impact of production on the environment will be greatly reduced. Because of this, green product design assessment and improvement activities play an important role in achieving the 2030 sustainable development goals. Product design is the forefront of the entire product development process, and it plays a very critical role. The purpose of this study is to develop a decision-making model for helping decision makers to evaluate and improve the performance of product design systematically. The model combines the design standard of the iF world design guide and multi-attribute decision-making methods. First, the DEMATEL-based analytic network process is used to establish the influential relationship and weights of attributes. Next, the VlseKriterijumska Optimizacija I Kompromisno with aspiration-level method is used to obtain the gap between each evaluation attribute and the aspiration level of each design. Finally, this evaluation result uses the influential network relationship map (INRM) to propose various improvement strategies with causal influence. This study uses products from a Taiwanese furniture design company as an empirical case, which is a leading brand and benchmark in Taiwan’s furniture industry. The research results show that the proposed model can help decision makers to choose the most appropriate design scheme (i.e., the design with the smallest gap from expectations); designers can also improve the gap between product design and expectations.

We design an "Extreme Living Product", and through varieties of designing techniques including ambiguous space, clever storage, magic unit type, magic furniture, etc. Making it meet a family of three's basic and decent life demand only with the area of 20 sq.m. Compared with the currently popular single apartment about 40 sq.m on the market which is targeted at single or newly married couples, it is lower in total price, richer in function, wider in applicable objects.

The paper discussed on the relationship between employer branding and employee engagement among employees in selected furniture retailers in Malaysia. This study also looks into the state of employees’ engagement and gender differences in their engagement towards their organization. Furniture retailing falls under the retail trade industry that contributed about RM35.7 billion to Malaysia GDP in 2017 with expected growth of 8.7 percent. However, the industry suffers an average yearly employee turnover rate of 13 percent. Amid this high turnover, the raising question is can popularity of employers’ branding can result in employee engagement leading to their retention in the organisation. 350 respondents were chosen randomly and 120 (30%) respondents had given feedback on the personally administered questionnaires. The result revealed that there is significant relationship between employer branding and employee engagement. The study also indicated that work challenging is the most important variable which led to drive the employee engagement. Consequently, there is significant difference between male and female in terms of engagement. Organisation, hence may consider leveraging employee engagement which may lead to retaining their employees. Future research may consider researchers to pursue a longitudinal method of research design across a variety of firm-sizes and industries that would be more significant in making generalizations.

One of the excellent products from Situbondo regency is wooden handicraft product so easy furniture business we meet. Waste wood pieces are the remnants of wood pieces in the form of boards or small pieces that can still be seen form. Wooden board consisting of pieces of wood can be utilized into various objects used in the interior of a room. In addition to adding functionality from waste wood pieces, wooden waste board can also add aesthetic value on an object. This is because the board has different characteristics compared to ordinary wooden boards. Activities that have been done include interior design training, interior making from waste wood pieces, Business Management Training and Employee Motivation Program on UKM Meubel Heni and UKM Meubel Kyky. For 6 months the partners' activities are provided with continuous facilitation and training to produce a table of waste wood products and grow entrepreneurial spirit in all partners.

Redesigning the already existed thing is a common practice in the world of design. This study objectively conducted to produce a fresh new look and commercially bargaining product of furniture in addition to pursue current aesthetic needs. This study focuses on reconstructing the Borobudur chair, a typical form of chair inspired from the 8th century Borobudur temple reliefs, which theoretically does not follow modern art. This proposes a traditional conceptual approach called wangun (beauty) inspired by the wisdom of local Javanese culture, which is termed as Ngowahi Rupa (the change of form). Ngowahi Rupa does not change the 'inner structure' of an object, the changes occur only at the 'outer structure' level. There were two distinctive chairs being redesigned in this study, the first type of chair can accommodate one person only, and the other accommodates three people. Both types of chairs constitute of a complete structure of chair such as the legs, seat stands, and backrests, which in the sense of wangun conceptually termed telu-teluning atunggal. The Ngowahi Rupa furniture making process not only demands visual aspects, but also the concept of the creative industry. The concept was applied in redesigning the Borobudur chair that synergically in accordance with the rapidly developed creative industries in Indonesia. The results of redesigning the old-type of chair objectively contribute to the advance of current furniture industry and trend, both in Indonesia and abroad, in addition to maintaining the excellence of the creative industry with regard to the economic concern.

What can mean Iranians life, is identity thats comes from their rich culture and its roots refer to native Iranians customs and Islam commands. Family in Iran is the basic and main element in the society that because of keeping Iran identity and culture, should attention to its essential requires. Keeping close and effective relationships among Iranian family members can be achieved by designing recreational spaces for spending Leisure. The main purpose of this paper is designing urban furniture for families resting and serving a meal in the urban space. Unfortunately in the current product there is not any sign of Iran-Islamic costume and culture. By making use of library as well as field research by employing questionnaire, personal interview and observation manners as interaction design tools, design criteria are obtained and finally, the premier design with details is illustrated.

<p class="Abstracttext-VITRUVIOCxSpFirst">The predominance of drawing as a mean to create and represent architecture, whether in an educational setting or in professional practice, has had a profound influence on the design process. Drawings are so much a part of that process that they can often be mistaken for architecture itself. But drawings are not architecture, rather they are tools to create and control.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">Historically, drawings greatly contributed to the establishment of the profession of architect inaugurated by the Italian Renaissance. They became the means by which architects gained control over design and by extension over the construction process. Control of the design process eventually moved from the hands of the master builders to architects’ pencils.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">The long-held monopoly of drawings in architecture has perpetuated a structural disconnect between design process and the “making of things”. The heavy reliance on drawings has lead to tendencies for abstraction, repetition, self reference and a diminished sense of genuine innovation.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">Design/build as an alternative delivery method focuses on a more intuitive approach based on the creative powers of manual labor and the interaction of the designer with the material world. This methodology has the advantage to re-engage a generation of student increasingly invested in a world of virtual stimuli with the physical materiality of things and promote the creative value of Homo Faber. By “making things” students are designing. A hands-on approach would also meet the needs of a student body who responds well to active learning pedagogy.</p><p class="Abstracttext-VITRUVIOCxSpLast">This paper will present a series of recent furniture design/build exercises where students designed and furniture and small building prototypes with limited reliance on drawings. We will discuss how subjects such as structures, material sourcing and construction detailing can be transposed from various courses and applied to design/build projects. We believe that a pedagogy based on physical experimentations could infuse energy throughout curricula no matter the course subject.</p>

Generally, furniture industry apply make to order in production systems and job shob (batch) in flow production. To produce a number of products with a uniform design of the required tools in the form of jig. Problems occurred at one of the furniture industry is the high sets up time due completion of the jig for use. Damaged Jigs, no precision, and unavailable jigs become the main reason for set up time be longer. The impact of time disrupted production and production targets are not reached. These problems can be overcome with management tools so that the tool/jig is ready for use in times of need. Using the tool management long setup time can be reduced because equipment is not ready for use and storage techniques by replacing the jig into removing the clamp handle can minimize the need of storage space. The settings storage location having regard to the level of usage can accelerate the process of supply to jig machining settings that the setup of jig include storage layout using the principles of popularity, making the procedure management of the jig in the room. The results obtained that with tool management setup time can be reduced to 61.17%.

AbstractIn the process of making bedsteads, Plato claimed, makers look towards the ‘idea’ of the bed. But what is that idea? Two candidates come to mind: shape and purpose. The fact that we identify objects of very different shape, not even involving a bedstead, as beds seems to render purpose conceptually superior. But, then, what is a bed’s purpose? An obvious response appears tobe: lying down and sleeping. Yet, first, beds are not needed for that. Secondly, precisely when a bed is slept on, it is not perceived as a design object. Thirdly, beds constitute a kind of existential furniture, associated with giving birth, making love, suffering illness and dying. All such issues humans really care about, however, are strikingly indifferent towards the design of beds. As elsewhere, the maxim that form follows function fails. Design thinking might rather make headway when beds are conceived of as peculiar spaces within spaces.

The design office of Charles and Ray Eames was a collaborative, interdisciplinary, multimedia affair linking Hollywood, the State Department, universities, the corporate sector and international fairs during the height of the Cold War. Bringing together design, furniture, cutting-edge technology and experimental, avant-garde informed-multiscreen projections, the Eames Office operated as a humanities/IT/media/arts lab. For the 1964 World’s Fair, the Eameses created ‘The Information Machine’ for IBM. The techniques of display and experimental juxtaposition of images, sound and new media capacities later migrated to the many ‘happenings’ following in the wake of Allan Kaprow’s medial and performative experiments. The Eames Office crafted for the 1964 World’s Fair a vision of global change and possibility grounded in avant-garde visual techniques and aesthetics that continue to constitute a specific globe crafted by the US Cold War military-industrial-university-entertainment complex that remains the grounds for our current collective nomos.

Purpose The purpose of this paper is to present the state-of-the-art E-commerce logistics in supply chain management by investigating worldwide implementations and corresponding models together with supporting techniques via furniture industry. Design/methodology/approach Typical E-commerce logistics companies from North America, Europe, and Asia Pacific are comprehensively investigated so as to get the lessons and insights from these practices. Findings Future technologies like Internet of Things, Big Data Analytics, and Cloud Computing would be possibly adopted to enhance the E-commerce logistics in terms of system level, operational level, and decision-making level that may be real time and intelligent in the next decade. Research limitations/implications This paper takes the furniture industry for example to illustrate the E-commerce logistics and supply chain management (LSCM). Other industries like electronic appliance industry are not considered. Practical implications Opportunities and future perspectives are summarized from practical implementations so that interested parties like E-commerce and logistics companies are able to get some guidance when they are contemplating the business. Social implications E-commerce is booming with the development of new business models and will be continuously boosted in the near future. With large number of enterprises carrying out E-commerce, logistics has been largely influenced. Originality/value Insights and lessons from this paper are significant for academia and practitioners for considering E-commerce LSCM.

This article presents some considerations and perspectives on the issue of how to deal with rooms, spaces, places, and bodies informed by psychodynamic theory and practice. The armchair and the famous couch in the classic psychoanalytic arrangement, and the serious occupation with chairs in group relations and group analysis (circles and spirals, all the chairs of the same kind, no special chair for the group convenor) indicate that space and furniture are important. The reluctance to experiment with space and settings may signify that important areas may need to be investigated. This article presents a number of basic concepts that we apply and further develop to capture the impact of space and design on social and organisational dynamics in the network society and the interplay between conscious and unconscious motives in space and design: container; projective space; presenting oneself; staging and being staged; destruction and creativity; the making of culture and history and the house; the senses; and the organisation of memory.

Purpose This study aims to analyze the innovations introduced, with reference to enterprise resource planning, in the Italian wood–furniture sector, focusing attention on the COSMOB S.p.A. case study, identifying how this small company tried to exploit the advantages offered by the introduction of new digital technologies to remain competitive in the context of the accredited Test Laboratories in the furniture industry. Design/methodology/approach The research has been developed with a qualitative approach. The study is a conceptual development and it uses exploratory interviews to create a single case study of COSMOB. The case study was developed with the realization by the researcher of a long period of support to the company’s Quality Manager, and periodic bi-monthly interviews for an update of their perceptions on the development of the activity. Findings The need for rapid decision-making processes, the management of high volumes of data and the need for inter- and intra-organizational connection had a critical relief in company’s decision to adopt the integrated software. As for the main problems related to its adoption, these were the duration of the implementation of the operation, the complexity of the system and its limited adaptability. Originality/value The value of the paper relies on the development of an in-depth company case study, where the researcher supported the implementation of the system for the entire activity, obtaining therefore, a qualitative base of information that cannot be obtained through limited interviews.

PT NURTIWI is a manufacturing company engaged in the field of furniture that is growing using the accounting information system based Zahir Accounting application, to facilitate the company in decision making. So the author's goal is to analyze and design the information system by making supporting data in the process of input data into accounting information system based Zahir application in the form of Microsoft Excel in order to facilitate the director or employees of the company in making decisions to determine company policy to be taken. In his research the authors used a qualitative approach with descriptive research design, focusing on the systematic explanation of the facts obtained when the research was conducted. The result of SIA analysis applied by PT NURTIWI still has weakness especially in purchasing and supply part, delay in recording of supplier's debt card, and repayment of trade payable, stock card, general journal no grouping of production cost between raw material cost, factory overhead cost and direct labor cost insert per item code. The lack of manpower within the company raises the Administration and Finance in the company’s administrative process to experience delays. Keywords: Decision Making, Reconstruction, Accounting Information Systems, Zahir Accounting

In today's business and academic arenas, design is more and more viewed as an important strategic resource. In fact, over the last couple of years, we have seen a real explosion in business and research literature that see scholars and companies alike trying to continuously link design to innovation and business strategy. With this paper, our intent is to understand how companies can take better advantage of this strategic resource, and in particular develop a set of organisational guidelines that can support them in this quest. To accomplish this, we analysed the innovation processes of a set of leading design driven companies in the furniture industry to identify how they develop product innovations. What we found is that they adopt particular practices and innovation approaches by collaborating with a series of interpreters; moreover they structure themselves in what we have defined as linguistic network that can vary according to specific configurations. The focus of this paper is therefore on defining and making explicit the characteristics of the linguistic network able to improve a company's capabilities to access diffused knowledge about socio-cultural models and increase the "exposure" toward context evolutions.

Sengon (Falcataria moluccana (Miq.) Barneby & J.W. Grimes) is a Leguminoceae plant that is useful as material for making panel wood, furniture wood and trees that can rehabilitate critical land. Sengon seeds experience a period of dormancy and need to be managed. The purpose of this study is to determine the effect of temperature 600C and 50% H2SO4 concentration and soaking time on sengon seed germination. A complete randomized design (CRD) with two factors were used as research design. The first factor was the air temperature treatment of kontrol (A1), 60o C (A2), 50% H2SO4 (A3) and which consisted of 3 levels of treatment. The second factor was soaking time (T); T1: 35 minutes, T2: 8 hours. The results showed that the best combination of treatment and immersion time for all germination parameters of sengon seed is soaking seed at 60o C water for 8 hours Key words: Temperature water, H2SO4, Paraserianthes falcataria, germination

The socialist industrial designs displayed in Czechoslovakia’s EXPO ’58 pavilion spoke a visual language understood on both sides of the Iron Curtain, making the pavilion a site of common ground between East and West. The showcase was also a point of convergence between Czechoslovak visual artists and Communist Party authorities who engaged in complex political negotiations in the years after Stalin’s death. Visual artists vied for liberation from socialist realism’s constraints, although they kept their demands within limits to avoid risking Party backlash. Communist Party leaders wanted domestic stability and saw improving the living standard as a tactic for insuring popular support. They increasingly perceived industrial design to be a visual-arts activity with special promise. Well-designed furniture, textiles, glass, ceramics and other consumer goods could generate state income useful for raising the living standard at home and earning hard currency abroad. The Party needed the designers’ cooperation to achieve efficient, attractive production within the command economy. In the Brussels showcase communist authorities compromised with visual artists helping to insure the latter’s support and success, demonstrating that culture in postwar Czechoslovakia was not merely imposed ‘from above’ by omnipotent authorities but could be the outcome of multidirectional negotiations between various competing interests.

Anthropometry is a part of ergonomics that specifically studies body size which includes linear dimensions, as well as content, also includes areas of size, strength, speed, other aspects of body movement.Chairs are furniture that functions as seats, with the demands of the public for the design of chairs, many innovations have sprung up for the manufacture of chairs, the comfort factor is the most served in the process of making chairs, one of which is the lecture chair.The research subjects in this study were undergraduate students at a tertiary institution in East Java with male and female sex, with an age range of 18-25 years. As a result, for Hips Width The size of the seat width used is 36 cm (95th percentile) so that large people can fit when occupying a chair, for Back Height The height of the chair is 57 cm (5th percentile) so that people with small body postures can sit comfortably without difficulty, for Knee Length The length of the knee is 61 cm (95th percentile).

Seeking a more flexible and efficient production, additive manufacturing (AM) has emerged as a major player in the industrial field, streamlining the fabrication of custom tangible assets by directly 3D printing them. However, production still takes too long due to printing, but also due to the product design stage, in which the customer works together with an expert to create a 3D model of the targeted product by means of computer-aided design (CAD) software. Skipping intermediate agents and making customers responsible for the design process will reduce waiting times and speed up the manufacturing process. This work is conceived as a first step towards that optimized AM model, being aimed at bringing CAD tools closer to clients through an enhanced user experience, and consequently at simplifying pre-manufacturing design tasks. Specifically, as an alternative to the traditional user interface operated with the keyboard and mouse duo, standard in CAD and AM, the paper presents a comprehensive multi-touch interaction system conceived as a customer-centric human-machine interface. To depict the proposed solutions, we adopt furniture manufacturing as a case study and, supported by a CAD-like software prototype for 3D modeling of custom cabinets introduced in a previous work of the authors, we assess our approach’s validity in terms of usability by conducting in-lab and remote user studies. The comparison between the designed multi-touch interaction and its desktop alternative yields promising results, showing improved performance and higher satisfaction of the end-user for the touch-based approach, that lay the groundwork for a smarter factory vision based on remotely-operated AM.

AbstractAs was the case with silversmiths (Note 3), many more cabinet-makers were wcrking in Amsterdam during the second half of the 18th century than in any other city in the Dutch Republic, the names of 195 of them being now known as opposed to 57 in The Hague and 32 in Rotterdam (Note 2). Most of those 195 names have been culled from the few surviving documents of the Guild of St. Joseph in Amsterdam, to which the cabinet-makers belonged (Note 4), supplemented by other sources, such as printed registers of craftsmen and shopkeepers (Note 6). Another important source is the newspaper the Amsterdamsche Courant with its advertisements placed by craftsmen themselves, with notices of sales, bankruptcies, lotteries and annual fairs and with advertisements concerning subsidiary or related trades. Since these advertisements were directed at the consumer, they often contain stylistic descriptions such as are not found elsewhere. Moreover, they aford valuable clues to archival material. Hence an investigation of all the advertisements from the years 1751-1800 has formed the basis for a study of Amsterdam cabinet-making, some results of which are presented here. Such a study is doomed largely to remain theoretical. The records can hardly ever be linked with surviving pieces, as these are virtually always anonymous since Amsterdam cabinet-makers were not required to stamp or sign their work. Moreover, only a few pieces of Dutch 18th-century furniture have a known provenance, so that it is only rarely possible to link a piece with a bill or another document and identify its maker. Thus it is not yet possible to form a reliable picture of a local Amsterdam style, let alone embark on attributions to individual makers (Note 8). In this light special importance may be attached to two commodes of the third quarter of the century which are exceptional in that they bear a signature, that of Andries Bongen (Figs. 1, 2, Notes 10, 11). These commodes, being entirely French-inspired, illustrate a specific and little-known aspect of Amsterdam cabinet-making. French furniture was so sought after in Amsterdam at that period that in 1771 a strict ban was imposed on its importation in order to protect local cabinet-makers (Note 12). It had begun to be imitated even before that and the commodes by Bongen exemplify this development. Andries Bongen, who was probably born in Geldern, south of Cleves and just east of the border of the Dutch Republic, is first recorded in Amsterdam in May 1763 on his marriage to Willemina, daughter of the smith Lambert van der Beek. He registered as a citizen on 5 July 1763 and became a master cabinet-maker some time between March 1763 and March 1764 (Note 19), so that, accordirtg to the Guild regulations, he must previously have trained for two years under an Amsterdam master (Note 20). At the time of his marriage he was living in St. Jorisstraat, but by the end of 1766 he had moved to Spui and between 1769 and 1771 he moved again, to Muiderpleinlje. When he and his wife made their will in 1772, their possessions were worth something under 8000 guilders (Note 23). This suggests that the business was quite flourishing, which seems to be confirmed by the fact that Bongen received a commission from the city of Amsterdam in 1771. Two more pieces were made for the city in 1786 and 1789, but in the latter year Bongen was declared bankrupt. The inventory of his possessions drawn up then (see Appeytdix) shows how parlous his conditions had become, his goods being valued at only 300 guilders. The reference to a shop indicates that Bongen sold his own furniture, although he had no stock to speak of at that point. The mention of eight work-benches, however, sugests that his output had previously been quite large. This is confirmed by the extent of his debts, notably that to the timber merchant Jan van Mekeren (Note 27). Other creditors included 'Rudolfeus Eyk', who probably supplied iron trelliszvork for bookcases and the like (Note 28), and the glass merchants Boswel en Zonen (Note 29) No debtors are listed and the only customer who can tentatively be identified is a 'Heer Hasselaar' who might be Pieter Cornelis Hasselaer (1720-95), several times burgomaster of Amsterdam between 1773 and 1794 (Note 30). Bongen died three years after his bankruptcy, at which time he was living in Nieuwe Looiersstraat. He appears to have continued working as a cabiytet-maker up to his death and his widow probably carried on the business until her own death in 1808, but nothing is known of this later period. The clearest insight into the character of part of Bongen's output is aforded by the advertisement he placed in the Amsterdamsehe Courant of 4 December 1766, describing three pieces of furniture 'in the French manner'. This is the first announcement by an 18th-century Amsterdam cabinet-maker of work in the French style. Bongen mentions two commodes decorated with floral marquetry, a technique which had flourished in Amsterdam in the late 17th and early 18th centuries (Note 34), but which had largely fallen into disuse on the advent around 1715 of a more sober type of furniture with plain walnut veneers on the English model (Note 36). In France a form of floral marquetry reappeared in the 1740s, being further developed in the following decade under the influence of Jean-François Oeben (1721-63). From the late 1750s there are indications of the presence of pieces of French marquetry furniture in the new style in Amsterdam (Notes 42, 43). The earliest explicit description of floral marquetry appears in a sale catalogue of 5 June 1765 (Note 44), while in another of 25 March 1766 (Note 46) many French pieces are detailed. Obviously, then, Bongen was endeavouring to capture a share, of this new market. The reappearance of elaborate marquetry on Amsterdam-made furniture was the result of a desire to emulate the French examples. The two commodes described in Bongen's advertisement can be identified with the one now in Amsterdam (Fig.2) and the one sold in London in 1947 (Fig.1). The latter still had more of its original mounts at the time nf the sale (Fig. 4) and the two probably formed a pair originally. The unusual fact that they are signed indicates that Bongen intended them to serve as show-pieces to demonstrate his skill at the beginning of his career (cf. Note 51, for another craftsman from abroad who began his career in Amsterdam by similarly advertising a spectacular piece). The commode in Amsterdam, with all its original mounts, demonstrates most clearly how close Bongen came to French prototypes, although his work has many personal traits nonetheless. In the marquetry the vase on a plinth on the front and the composition of the bouquets on the sides are notable (Fig.5), as are the large, full-blown blooms. The carcase, made entirely of oak, is remarkably well constructed and has a heavy, solid character. The commodes are outstanding for the complete integration of the marquetry and the mounts, in the manner of the finesl French furniture. The mounts presenl a problem, as it is not clear where they were made. They do not appear to be French or English, but one hesitates to attribute them to Amsterdam, as it is clear from documentary material that ornamental furniture-mounts were hardly ever made there in the second half of the 18th century. The mounts advertised by Ernst Meyrink in 1752 (Note 53) were probably still of the plain variety of the early part of the century and there is no further mention of mounts made in Amsterdam in the Amsterdamsche Courant. Once, in 1768, the silversmith J. H. Strixner placed an advertisement which refers to their gilding (Note 55). There is virtually no indication either of French mounts being imported and there is little Dutch furniture of this period that bears mounts which are indisputably French. In contrast to this, a large number of advertisements from as early as 1735 show that many mounts were imported from England, while among English manufacturers who came to sell their wares in Amsterdam were Robert Marshall of London (Note 60), James Scott (Note 61), William Tottie of Rotterdam (Note 62), whose business was continued after his death by Klaas Pieter Sent (Note 64), and H. Jelloly, again of Rotterdam (Notes 66, 67). It seems surprising that in a period when the French style reigned supreme so many mounts were imported from England, but the English manufacturers, mainly working in Birmingham, produced many mounts in the French style, probably often directed expressly at foreign markets. On the two commodes by Bongen only the corner mounts and the handles are of types found in the trade-catalogues of the English manufacturers (Figs. 7, 8, Notes 65, 70). The corner mounts are of a common type also found on French furniture (Note 71), so they doubtless copy a French model. The remaining mounts, however, are the ones which are so well integrated with the marquetry and these are not found elsewhere. Recently a third commode signed by Bongen has come to light, of similar character to the first two (Fig.3). Here all the mounts are of types found in the catalogues (Figs.7-10, Note 72). Apparently Bongen could not, or did not choose to, obtain the special mounts any more, although he clearly wanted to follow the same design (Fig. 6). This third commode was undoubtedly made somewhal later than the other two. The marquetry on it is the best preserved and it is possible to see how Bongen enlivened it with fine engraving. Because this piece is less exceptional, it also allows us to attribute some unsigned pieces to Bongen on the basis of their closeness to it, namely a commode sold in London in 1962 (Fig.11, Note 73) and two smaller, simpler commodes, which may originally have formed a pair, one sold in London in 1967 (Fig.12, Nole 74) and the other in a Dutch private collection (Figs.13, 14). The first one has a highly original marquetry decoration of a basket of flowers falling down. On the sides of this piece, and on the front of the two smaller ones, are bouquets tied with ribbons. These were doubtless influenced by contemporary engravings, but no direct models have been identified. The construction of the commode in the Netherlands tallies completely with tltat of the signed example in Amsterdam. The mounts are probably all English, although they have not all been found in English catalogues (Fig.15, Note 76). A seventh commode attributable to Bongen was sold in Switzerland in 1956 (Fig.16, Note 77). It is unusual in that walnut is employed as the background for the floral marquetry, something virtually unknown in Paris, but not uncommon on German work of French inspiration (Note 78). That commodes constitute the largest group among the furniture in the French style attributable to Bongen should cause no surprise, for the commode was the most sought after of all the pieces produced by the ébénistes not only in France, but all over Europe. Two other pieces which reveal Bongen's hand are two tables which look like side-tables, but which have fold-out tops to transform them into card-tables, a type seldom found in France, but common in England and the Netherlands (Note 80). One is at Bowhill in Scotland (Figs.17, 19, 20), the other was sold in London in 1972 (Fig.18, Note 79). The corner mounts on the Bowhill table, which probably also graced the other one originally, are the same as those on the two small commodes, while the handles are again to be found in an English catalogue (Fig.21, Note 81). What sounds like a similar card-table was sold at auction in Amsterdam in 1772 (Note 82). In Bongen's advertisement of 1766 mention is also made of a secretaire, this being the first appearance of this term in the Amsterdamsche Courant and Bongen finding it necessary to define it. No secretaire is known that can be attributed to him. A medal-cabinet in the form of a secretaire in Leiden (Figs.22, 23) hasfloral marquetry somewhat reminiscent of his work, but lacking its elegance, liveliness and equilibrium. Here the floral marquetry is combined with trompe l'oeil cubes and an interlaced border, early Neo-Classical elements which were first employed in France in the 1750s, so that this piece represents a later stage than those attributable to Bongen, which are all in a pure Louis xvstyle. Virtually identical in form to the medal-cabinet is a secretaire decorated solely with floral marquetry (Fig. 24, Note 87). This also appears not to be by Bongen, but both pieces may have been made under his influence. The picture we can form of Bongen's work on the basis of the signed commodes is clearly incomplete. His secretaire was decorated with '4 Children representing Trade', an exceptionally modern and original idea in 1766 even by French standards (Note 88). His ambitions in marquetry obviously wentfar beyondflowers, but no piece has yet beenfound which evinces this, nor is anything known of the Neo-Classical work which he may have produced after this style was introduced in Amsterdam around 1770. Bongen may perhaps have been the first Amsterdam cabinet-maker to produce marquetry furniture in the French style, but he was not to remain the only one. In 1771 and 1772 furniture in both the Dutch and French mode was advertised for sale at the Kistenmakerspand in Kalverstraat, where all furniture-makers belonging to the Guild of St. Joseph could sell their wares (Note 89). The 'French' pieces were probably decorated with marquetry. Only a small number of cabinet-makers are known to have worked in this style, however. They include Arnoldus Gerritsen of Rheestraat, who became a master in 1769 and sold his stock, including a 'small French inlaid Commode', in 1772, and Johan Jobst Swenebart (c.1747 - active up to 1806 or later), who became a master in 1774 and advertised in 1775 that he made 'all sorts of choice Cabinet- and Flower-works', the last term referring to furniture decorated with floral marquetry. Not only French types of furniture, but also traditional Dutch pieces were now decorated with French-inspired marquetry,for example a collector's cabinet advertised in 1775 by Johan Jacob Breytspraak (c.1739-95), who had become a master in 1769-70; a bureau-bookcase, a form introduced in the first half of the century probably under English influence (Note 100), exhibited in 1772 (Note 99); and a display cabinet for porcelain supplied, though not necessarily made, by Pieter Uylenburg en Zoon in 1775 (Notes 101, 102). Even long-case clocks were enriched with marquetry, witness the one advertised by the clock-maker J. H. Kühn in 1775 and another by him which was sold by auction in Edam in 1777 (Note 104). The latter was, like the bureau-bookcase exhibited in 1772, decorated with musical instruments, again a motif borrowed from France, where it was used increasingly from the 1760s onwards (Note 105). A clock signed by the Amsterdam clock-maker J. George Grüning also has a case with marquetry of musical instruments. This must date from about 1775-80, but its maker is unknown (Fig. 25, Notes 106, 107). All four of the Amsterdam cabinet-makers known to have done marquetry around 1770 came from Germany and all were then only recently established in Amsterdam. In fact half of the 144 Amsterdam cabinet-makers working in the second half of the 18th century whose origins it has been possible to trace came from Germany, so the German element was even stronger there than in Paris, where Germans comprised about a third of the ébénistes (Note 108) and where they had again played an important role in the revival of marquetry. None qf the four in Amsterdam was exclusively concerned with marquetry. Indeed, for some of them it may only have been a secondary aspect of their work. This was not true of Bongen, but he too made plain pieces, witness the four mahogany gueridons he made for the city of Amsterdam in 1771 or the two cupboards also made for the city in 1786 and 1789 (Notes 111, 112).No marquetry is listed in his inventory either. Perhaps fashions had changed by the time of his bankruptcy. Such scant knowledge as we have of Amsterdam cabinet-making between 1775 and 1785 certainly seems to suggest this. In the descriptions of the prizes for furraiture-lotteries, such as took place regularly from 1773 onwards (Note 114), marquetry is mentioned in 1773 and 1775 (Notes 115, 116), but after that there is no reference to itfor about tenyears. Nor is there any mention of marquetry in the very few cabinet-makers' advertisements of this period. When the clock-maker Kühn again advertised long-case clocks in 1777 and 1785, the cases were of carved mahogany (Notes 121, 122). Certainly in France the popularity of marquetry began to wane shortly before 1780 and developments in the Netherlands were probably influenced by this. Towards the end of the 1780s, however, pieces described as French and others decorated with 'inlaid work' again appear as prizes in lotteries, such as those organized by Johan Frederik Reinbregt (active 1785-95 or later), who came from Hanover (Note 128), and Swenebart. The latter advertised an inlaid mahogany secretaire in 1793 (Note 132) and similar pieces are listed in the announcement of the sale of the stock of Jean-Matthijs Chaisneux (c.1734-92), one of a small group of French upholsterers first mentioned in Amsterdam in the 1760s, who played an important part in the spread of French influence there (Note 134). In this later period, however, reference is only made to French furniture when English pieces are also mentioned, so a new juxtaposition is implied and 'French' need not mean richly decorated with marquetry as it did in the 1760s. In fact the marquetry of this period was probably of a much more modest character. A large number of pieces of Dutch furniture in the late Neo-Classical style are known, generally veneered with rosewood or mahogany, where the marquetry is confined to trophies, medallions on ribbons, geometric borders and suchlike. A sideboard in the Rijksmuseum is an exceptionally fine and elaborately decorated example of this light and elegant style (Fig. 26) None of this furniture is known for certain to have been made in Amsterdam, but two tobacco boxes with restrained marquetry decoration (Fig.27, Note 136) were made in Haarlem in 1789 by Johan Gottfried Fremming (c.1753-1832) of Leipzig, who had probably trained in Amsterdam and whose style will not have differed much from that current in the capital. Boxes of this type are mentioned in the 1789 inventory of the Amsterdam cabinet-maker Johan Christiaan Molle (c.1748-89) as the only pieces decorated with inlay (Note 138). In the 1792 inventory of Jacob Keesinger (active 1764-92) from Ziegenhain there are larger pieces of marquetry furniture as well (Note 139), but they are greatly in the minority, as is also the case with a sale of cabinet-makers' wares held in 1794 (Note 141), which included a book-case of the type in Fig.28 (Note 142). Similarly the 1795 inventory of Johan Jacob Breytspraak, one of the most important and prosperous cabinet-makers of the day, contains only a few marquetry pieces (Note 144). The 1793 inventory of Hendrik Melters (1720-93) lists tools and patterns for marquetry, but no pieces decorated with it (Note 145). Melters seems to have specialized in cases for long-case clocks, the Amsterdam clock-maker Rutgerus van Meurs (1738-1800) being one of his clients (Note 146). The cases of clocks signed by Van Meurs bear only simple marquetry motifs (Note 147). The Dutch late Neo-Classical furniture with restrained marquetry decoration has no equivalent in France; it is more reminiscent of English work (Note 148). The pattern-books of Hepplewhite and Sheraton undoubtedly found their way to the Dutch Republic and the 'English' furniture mentioned in Amsterdam sources from 1787 probably reflected their influence. However, the introduction of the late, restrained Neo-Classical style in furniture was not the result of English influence alone. Rather, the two countries witnessed a parallel development. In England, too, marquetry was re-introduced under French influence around 1760 and it gradually became much simpler during the last quarter of the century, French influences being amalgamated into a national style (Notes 150, 151). On the whole, the Frertch models were followed more closely in the Netherlands than in England. Even at the end of the century French proportions still very much influenced Dutch cabinet-making. Thus the typically Dutch late Neo-Classical style sprang from a combirtation of French and English influences. This makes it difficult to understand what exactly was meant by the distinction made between ;French' and 'English' furniture at this time. The sources offer few clues here and this is even true of the description of the sale of the stock of the only English cabinet-maker working in Amsterdam at this period, Joseph Bull of London, who was active between 1787 and 1792, when his goods were sold (Notes 155, 156).

ABSTRAK. Pada Program Studi Arsitektur salah satu proses kegiatan yang penting adalah kegiatan perancangan dengan beberapa tahapan antara lain membuat konsep, rancangan gambar dua dimensi dan tiga dimensi dan pembuatan maket. Kegiatan tersebut dilakukan di studio gambar dengan penataan dan bentuk pengelolaan desain ruang kuliah yang khusus. Pada saat sebelum pandemic desain ruang kuliah studio hanya didasarkan pada aktivitas di dalam kegiatan perancangan.Pada saat pandemic covid 19 sekarang ini mengharuskan sebuah desain ruang kuliah studio yang bisa menyesuaikan dengan kebutuhan protokol kesehatan untuk memutus rantai penyebaran virus. Metode yang digunakan adalah deduktif kualitatif dengan menggambarkan kondisi ruang kuliah studio dan penyebaran kuesioner kepada para mahasiswa melalui pengisian kuesioner online. Hasil dari penelitian ini adalah analisis desain penataan perabot ruang kuliah studio berdasarkan protokol kesehatan antara lain pada fasilitas fisik meliputi dimensi, desain wujud konfigurasi, desain pembatas antar kursi. Dimensi baru yang dihasilkan berdasarkan pertimbangan new normal adalah keefektifan sebesar 31,5% dengan jarak antar kursi minimal 1 meter. Sedangkan desain wujud konfigurasi yang paling optimal adalah tipe rectangle. Pada desain pembatas antar kursi dihasilkan desain partisi yang berfungsi menghalangi droplet antar mahasiswa dan dosen di dalam ruangan. Untuk sirkulasi dan sign diberikan tanda pada ruang kuliah studio agar arah masuk dan keluar tidak berpapasan. Dengan dihasilkannya desain ruang kuliah studio yang optimal di program studi arsitektur yang sesuai dengan kondisi pandemic covid 19 maka diharapkan akan tercapai peningkatan mutu pembelajaran juga bisa tetap mendukung program pemutusan mata rantai virus covid 19. Kata kunci:perabot, studio, arsitektur, new normal ABSTRACT. One of the essential activity processes in the Architecture Study Program is a design activity with several stages, including conceptualization, two-dimensional and three-dimensional drawing designs, and making mock-ups. This activity is carried out in a drawing studio with a particular arrangement and management of lecture room designs. Before the pandemic, the design of studio lecture rooms was only based on activities in design activities. At the time of the current Covid 19 pandemic, it requires a studio lecture room design that can adapt to health protocols' needs to break the chain of the spread of the virus. The method used is qualitative deductive by describing the studio lecture room conditions and distributing questionnaires to students through online questionnaire filling. This study analyses the design of studio lecture room furniture based on health protocols, among others, the physical facilities, including dimensions, configuration design, and barrier design between chairs. The new size produced based on the new normal considerations is the effectiveness of 31.5% with a minimum distance of 1 meter between seats.Meanwhile, the most optimal configuration design is the rectangle type. In the divider design between chairs, a partition design is produced, which functions to block droplets between students and lecturers in the room. For circulation and sign is given a warning in the studio lecture room so that the entry and exit direction does not cross. With the production of an optimal studio lecture room design in an architecture study program following the conditions of the Covid 19 pandemic, it is hoped that an increase in the quality of learning will be achieved and can continue to support the program to break the Covid 19 chain link. Keywords: furniture, studio, architecture, new normal

Overall visibility plays a key role in the safety of pedestrians. Despite its importance, verifying the right provisioning of sufficient available sight distances among pedestrians and vulnerable road users (VRUs) is not a prevalent practice. On top of that, the pursuit for more sustainable modes of transportation has promoted the establishment of different shared mobility services which are prone to increase walking and, thus, the number of pedestrians and other VRUs in urban settings. With the intention of verifying how car-centered designs perform for non-motorized users, a 3D procedure that evaluates the visibility of pedestrians and other users is presented and applied to specific cases in Madrid, Spain. The proposed solution employs virtual trajectories of pedestrians with mobility impairments and without them, cyclists, and personal transportation device riders. Their visibility was assessed around the functional area of urban intersections, including zones where possible jaywalking practices might occur. The evaluation was performed three-dimensionally, making use of LiDAR data, GIS tools, and 3D objects. Results show the impact of street furniture location on visibility, the distinctive influence of vegetation on the lines of sight of each observer, and how design parameters that were intended to improve motorized traffic could affect VRU.

Indoor air quality (IAQ) is one of the main topics in which governments are focusing. In healthcare facilities, several studies have reported data analysis and case studies to improve users’ health. Nowadays, although many studies have been conducted related to the biological and physical risks, the chemical risks have been less investigated and only in some specific functional areas of the hospitals. Starting from some systematic reviews and research works, this paper aims to list the best healthy practices for an adequate IAQ in inpatient wards. In particular, the decalogue lists the strategies related to chemical pollution, starting from design and management, with a focus on (a) localization of hospitals and inpatient rooms, (b) hospital room, (c) microclimatic parameters, (d) ventilation systems, (e) materials and finishing, (f) furniture and equipment, (g) cleaning products and activities, (h) maintenance and (i) management activities, and (l) users and workers. The multidisciplinary approach emphasizes the need for interdisciplinary knowledge and skills aimed to find solutions able to protect users’ health status. The design and management decision-making, ranging from the adequate choices of construction site and hospital exposure, finishing materials, cleaning and maintenance activities, etc., which can affect the IAQ must be carried out based on scientific research and data analysis.

Objective: This review of empirical literature focuses on the design of operating rooms (ORs) by investigating the physical environmental features of ORs associated with patient and staff outcomes. Background: Many ORs built more than 30 years ago remain operational today. However, most are inadequately designed to handle the equipment, processes, and people that a contemporary OR needs to accommodate. However, the evidence base for designing ORs has been sorely lacking, and little guidance exists on how OR design can improve safety and performance outcomes. Method: A literature search was conducted using PubMed and the university’s linked databases. The inclusion criteria included peer-reviewed journal articles that reported some aspect of the physical environment of ORs along with outcomes. The study included empirical studies as well as nonempirical best practice papers. Results: This literature review uncovered 211 articles. The main themes that emerged include OR design-related factors, ventilation, temperature and humidity, acoustical environment, lighting, and materials. Some environmental threats to patient safety in the OR include frequent door openings, clutter, poor air quality, surface contamination, and noise. Further, staff performance and satisfaction were impacted by factors such as the OR layout and equipment and furniture ergonomics. Conclusion: This literature review provides an overview of the research organized into design-focused topic areas to support decision-making by architects and designers. This article highlights gaps in the research and identifies areas where best practice and design assumptions need to be evaluated using rigorous design research.

Purpose – The purpose of this paper is to offer an exploratory investigation of students' use of informal learning spaces for their studies at the University of Sheffield. Previous research has mainly focused on formal learning spaces such as libraries and lecture theatres, but there is an increasing recognition of the value of informal learning spaces such as coffee bars. Design/methodology/approach – Questionnaires, observations and interviews were the sources of data for the study. The research approach particularly looked at how students used informal learning spaces and what their perceptions of the spaces were. Findings – Analysis showed that students found that the background atmosphere greatly influenced their choice of study location and that technological devices were only used sparingly. Students adapted their study habits to fit the learning spaces that they liked. Originality/value – Although, attention is often paid to the furniture and colour schemes in libraries, this article makes librarians consider the importance of all sensual stimuli in making libraries warm, friendly and homely spaces. The “Model of Zengagement” was developed to show how stimuli from the background atmosphere influences' students' study experience.

Purpose The purpose of this paper is to assist a manufacturing firm in designing the closed-loop supply chain network under risks that are affecting its supply quality and logistics operations. The modeling approach adopted aims at the embedding supply chain risks in a closed-loop supply chain (CLSC) network design process and suggests optimal supply chain configuration and risk mitigation strategies. Design/methodology/approach The method proposes a closed-loop supply chain network and identifies the network parameter and variables required for closing the loop. Mixed-integer-linear-programming-based mathematical modeling approach is used to formulate the research problem. The solutions and test results are obtained from CPLEX solver. Findings The outcomes of the proposed model were demonstrated through a case study conducted in an Indian hospital furniture manufacturing firm. The modern supply chain is mapped to make it closed loop, and potential risks in its supply chain are identified. The supply chain network of the firm is redesigned through embedding risk in the modeling process. It was found that companies can be in great profit if they follow closed-loop practices and simultaneously keep a check on risks as well. The cost of making the supply chain risk averse was found to be insignificant. Practical implications Although the study was conducted in a practical case situation, the obtained results are not indiscriminate to the other circumstances. However, the approach followed and proposed methodology can be applied to many industries once a firm decides to redesign its supply chain for closing its loop or model under risks. Originality/value By using the identified CLSC parameters and applying the proposed network design methodology, a firm can design/redesign their supply chain network to counter the risk and accordingly come up with planned mitigation strategies to achieve a certain degree of robustness.

Purpose – The purpose of this paper is to identify the lean manufacturing implementation challenges in small and medium enterprises (SMEs). The study is based on experiences of the Finnish furniture and boating sectors. The paper outlines the overall characteristics of the studied organizations and contrasts them with one of the most famous example of lean implementation – the Toyota Company. By comparing the different manufacturing environments as well as organizational characteristics, the potential challenges of lean adoption are outlined. Design/methodology/approach – The findings presented in this paper were achieved through the case study method. The research utilizes the deductive approach. Findings – The results present an assessment of the companies’ current situations. The results uncover their readiness for lean implementation and identify the challenges that might hinder lean implementation. Early identification of weaknesses will make companies more aware of their own capabilities. Moreover, it has potential for making them better prepared for lean implementation and more consistent in their process. Practical implications – The importance of addressing certain aspect of lean implementation in the specific context of SMEs characteristics might contribute to the successful implementation of lean. Originality/value – The author presents an original look at supporting companies in the process of adopting lean manufacturing.

As a unique aspect of the furniture design, the lovers’ furniture design which features and value are different from other furniture design is analyzed deeply. Through investigation on the demands and expressing methods of love, “expressing emotion by materials” is a conventional way of passing and expressing love to other people. The application of material on the design of lovers’ furniture is discussed based on a detailed introduction on the history state, classification, characteristics and design principles of the lovers’ furniture.