Journal articles on the topic 'Furniture, Oak'

oak veneer furniture with bleach treatment process, and by orthogonal test method of oak veneer bleaching factors were analyzed to determine the bleaching process parameters, that is a certain quality and a certain fraction of the mass fraction of sodium hypochlorite oxalic acid composition of oxidized bleach treatment is better.

Veneering of particleboard with ABS foil and natural oak veneer was performed using polyglycerol- and sucrose-based polyurethane adhesives. Bonding strength between veneer and underlying board was determined according to EN 312 standard. Developed adhesive formulations exhibited bonding strengths between coating material and underlying board exceeding the surface soundness of particleboard (cohesive failure between 50 % and 100 %). Higher adhesion was found for natural oak veneers. Reactivity of the studied adhesives was comparable to those for commercial adhesives used in furniture industry. It has been demonstrated that biobased polyols can be considered environmentally benign and efficient components of polyurethane adhesives for furniture industry.

Load-bearing capacity and characteristic forms of destruction of furniture joints made with rastex 15 and P-10 clamex fasteners. The study tested the relationship between the load and angular deflection in furniture joints. The tests were carried out for two types of fasteners and five types of materials: chipboard, MDF, hardwood plywood, glued pine boards and glued oak boards. The furniture joint samples contained two fasteners preloaded only with a bending moment (without application of shear forces). The results were converted per single fastener specifying: its maximal load capacity, 50 mrad (2.9°) limit deflection and rigidity coefficient. It was found that rigidity is a better structural property of the tested joint types than their load capacity. As far as rigidity is concerned, the most durable is the combination of oak glued board – rastex 15 fastener (13.2 Nm bending moment per fastener), while the least durable combination is chipboard – clamex P-10 fastener (4.8 Nm bending moment per fastener). Photographic documentation of damaged furniture joint samples was prepared and analysed. In case of chipboard and MDF combinations (where the load is determined by the combined material), the combined boards suffer a disastrous damage, while in combinations of plywood boards and pine or oak glued boards, (where the capacity is determined by the fastener), both clamex P10 and rastex 15 fasteners are damaged.

Abstract Nearly 25% of the eastern sawtimber inventories are of species classified as red oak. Over the last 20 yr, red oak has become the most commonly used hardwood in the production of furniture, kitchen cabinets, and millwork. However, differences in subspecies and growing conditions produce variations in color and texture of red oak lumber produced from timber grown in Northern, Appalachian, and Southern regions. In the late 1980s, users of hardwood lumber began to pay higher prices for red oak lumber from the Northern hardwood region. By 1995, grade 1 Common Northern red oak was selling at prices nearly 40% higher than for similar Southern red oak. This paper examines Northern, Appalachian, and Southern green and air-dried prices for three major grades of red oak lumber, and relates these changes to regional differences in the red oak resource and growing conditions and changes in the industries that use red oak lumber. The results of this analysis should be useful in evaluating the profitability of precommercial thinning and other short-term management practices used to increase the value of red oak sawtimber. North. J. Appl. For. 14(4):173-177.

Abstract A mathematical model and a numerical approach for the computation of the specific energy consumption, which is needed for warming up of flat furniture elements before their lacquering, have been suggested. The approach is based on the integration of the solutions of a non-linear model for the calculation of the nonstationary 1D temperature distribution along the thickness of subjected to unilateral convective heating furniture elements. With the help of a self-prepared software program, computations have been carried out for the determination of the change in the specific energy, which is consumed by oak furniture elements with an initial temperature of 20 °C, moisture content of 8 %, thickness of 16 mm, and length of 0.6 m, 1.2 m, and 1.8 m, during their 10 min unilateral convective heating by hot air with temperature of 100 °C and velocity of 5 m·s−1.

The article considers the psycho-emotional state of a person, which depends on the surrounding furniture, in this case, on its color scheme. Wood surrounds us everywhere and always, how does it affect us? Which wood is better in structure, in ease of production? What are the qualities of wood? And the main question is, what effect does wood furniture of different species have on us and how does it affect our health? We tried to find out these questions in our article. For the manufacture of furniture, it is necessary to use wood of a thin structure, which can be subjected to processing and apply a beautiful finish. Oak wood is suitable for the manufacture of bent furniture. It has large vessels and is well bent due to large vessels, while the wood fibers are not destroyed. At the end of the first year, students of the Forestry Faculty with a profile in furniture design and woodworking technology undergo practical training in the Vosmodrev workshop, gaining maximum knowledge about wood as a material for the manufacture of various types of products, processing and processing - production technologies. A very important factor is the color scheme, which is selected by the creators of the latest examples of the furniture industry for the emotional state of a person. It is important to consider which color causes which emotion - positive or negative.

Abstract Lever began acquiring old furniture in the 1870s and 1880s, first of all buying early English oak and then eighteenth-century French furntture. During the 1890s he turned to the Engltsh etghteenth century, and by 1900 was committed to forming an historically representatice collection ofEnglish furniture - the material equivalent of the various published histories that began to appear in the 1890s and 1900s. Several of the stylistic 'chapters 'were presented in period rooms, both in his houses and in the Lady Lerer Art Gallery. The major influence on Lever's career as a collector was the artist, dealer, collector and champion of British art, James Orrock , who saw furniture as an integral part of the British artistic achievement. Lever took this approach even further, seeking out mastetpieces of English cabinet-making that could vie with French furniture as works of art. At the same time he borrowed the moral clothing of the Vernacular Revival, paying lip-service to its cult of the ordinary object to endorse his deep-seated belief that art was good for people. It was this conviction, combined with his conrersion to Orrock's cause that led in 1913 to the foundation of the Lady Lever Art Gallery: the English furniture collection, selected by Lever from his own much larger holdings, remains one of the most important in public hands, and the late eighteenth-century marquetry is unrivalled.

Abstract Northern red oak (Quercus rubra L. syn. Q. borealis F. Michx.) is a valuable broadleaved tree species originating from the eastern half of the USA and Canada. It was introduced to Europe in 1691 and currently covers over 350 000 ha, being found all over the continent, except the coldest part of Scandinavia. It is a fast-growing and valuable broadleaved tree due to its ecological characteristics, good wood properties and high economic value. Northern red oak prefers deep, loose, moderately humid and acid soils, without compact horizons and of at least moderate fertility. It does not grow well on dry, calcareous soils as well as waterlogged or poorly drained soils. It is either naturally regenerated using a group shelterwood system or planted using seedlings of European provenance, collected in certified seed stands. As northern red oak is light-demanding, its management should be ‘dynamic’ and includes heavy interventions (cleaning–respacing and thinning from above), in order to minimize crown competition between the final crop trees. These should produce large diameter trees for valuable end uses (e.g. veneer, solid furniture, lumber, etc.) within a rotation period generally of 80–100 years. The necessity for pruning (both formative and high) depends on the stand stocking at establishment, the subsequent silvicultural interventions as well as the occurrence of forking. The adaptation potential of northern red oak to predicted climate change, especially drought, seems to be higher than for European native oaks, the importance of the species is expected to increase in the future.

The strength comparative analysis of furniture joints made of various materials. The influence of the load on the angular deformation of the furniture joint samples made of various materials was studied. The tests were carried out for six types of furniture materials: chipboard, MDF, hardwood plywood, glued pine wood, glued oak wood and HPL and for three types of fasteners with different ways of fixing in connected elements: shape-thread, expansion-expansion and expansion-thread way of anchoring in material of boards. The joint samples were loaded with a bending moment only (without inducing transverse loadings). The maximum load capacity and load capacity at the 3° (0.052 rad) sample rotation was measured and then the stiffness coefficients were calculated. Considerable differences were found between HPL and others lignocellulosic materials. Expansion fasteners offer incredibly low joint rigidity. This was observed for all tested furniture materials, from soft (chipboard) to very hard (HPL). Expansion connectors work better in soft lignocellulosic materials than in hard materials. The main advantage of expansion fasteners, in comparison to shape-thread fasteners, is its low visibility in the joint and the technological ease of assembly. On the other hand, thread-shaped connectors offer much greater strength and stiffness of joints.

The article is dealing with wood dust particle size problem in consideration of their fire and explosion. The aim of the thesis is statistical evaluation of wooden particles of Palisander (Jacaranda Mimosifolia) and Oak (Quercus robur L.). The samples were taken from the operation of the production furniture, in which dust is formed during the technology. Measurement was carried out by laser analyzer. Measurements were carried out on samples in specific time interval. Values, which were acquired, were evaluated of characteristics of the Weibull Distribution and treated in statistical program. It has been found by means of measurement and evaluation that sample of Palisander (Jacaranda Mimosifolia) has finer grain than sample of Oak (Quercus robur L.), therefore the has greater assumption to the creation of fire and explosions in process at the wood processing. We note in comparison with other sizes of wood particles, that the percentages are comparable.

For ages, furniture makers have been using various methods to accelerate the natural process of wood aging, in order to achieve a more sophisticated colour and to provide a uniform appearance for furniture parts replaced during restoration. Nowadays, wood aging is popular due to its aesthetic value associated with naturally aged wood, which can be enjoyed in conjunction with favourable mechanical properties of contemporary wood. Methods of wood surface modification used in wood aging can be divided into mechanical ones, consisting in changing the structure of wooden surfaces (eg. sanding, brushing, paint rubbing or structuring with chisel or other tools) and chemical ones, involving the use of chemical substances to change the colour of wood (eg. greying; application of lye, paint or wood stain; and ammonia fuming). The purpose of our study was to determine the influence of traditional wood modification techniques used in furniture-making − such as: structuring, whitewashing, rubbing, greying, dyeing with potassium permanganate solution and ammonia fuming − on the aesthetic and resistance properties of wooden surfaces (colour, gloss, roughness, abrasion resistance and resistance to scratches). Tests were performed on wood species most frequently used in Poland to produce artificially weathered wood: Scots pine (Pinus sylvestris L.) and common oak (Quercus Sp).

AbstractThe ongoing preference for dark colours in parquet and furniture is a driving force for colour modification of bright wood species. The treatment of oak wood with gaseous ammonia (fuming) leads to dark colours, but residual ammonia in the wood may lead to bonding failures with resins, odour nuisance and thus customer complaints. The focus of the present paper is the determination and emission of remaining ammonia in fumed oak. A fast and convenient approach based on Fourier transform infrared-attenuated total reflectance (FTIR-ATR) spectroscopy was developed to replace the currently applied time-consuming and complex determination procedures. The integrated area of the infrared (IR) region between 1575 and 1535 cm−1shows a relationship with the coefficient of determination (R2=0.76) to the residual ammonia content determined by the micro-chamber/thermal extractor (μCTE) method. The prediction accuracy was further improved by partial least square regression calculations. Promising models with high R2(0.85), low root mean square error of cross-validation (RMSE-CV=1.08%) with five principal components were established and already integrated successfully into the production as input control. FTIR-ATR spectroscopy proved to be a simple and fast predictive method to estimate residual ammonia in fumed oak.

The Etruscan Domus of the Dolia remained hidden until 2009, when archaeological excavations began in the Etruscan–Roman district of Vetulonia (Southern Tuscany). Based on the classification of the archaeological materials recovered, the destruction of the Domus and the Etruscan city of Vetulonia was traced back to the 1st century BC. The highly various and precious materials recovered inside the Domus revealed the richness of the building and its inhabitants. With this study, we present the anthracological analyses from the Domus of the Dolia. Wood charcoals were recovered from different house rooms, which had different functions based on the archaeological evidence. The tree species employed for the construction of the roof of the building were deciduous and semi-deciduous oak wood (Quercus sect. robur, Quercus sect. cerris) and silver fir wood (Abies cf. alba). Evergreen oak wood (Quercus sect. suber), boxwood (Buxus sempervirens), beech wood (Fagus cf. sylvatica), maple wood (Acer sp.) and cherry wood (Prunus cf. avium) were adopted for the furniture and furnishings of the house. Moreover, wood charcoal fragments of fruit trees belonging to the family of Rosaceae were identified, documenting a possible garden inside the court of the house. The study shows the use of the local tree species primarily. The silver fir wood and beech wood were likely sourced from the nearby (roughly 60 km) Mount Amiata.

In this study, control samples of pine (Pinus slyvestris L.), beech (Fagus orientalis L.) and oak (Quercus petreae L.) species were obtained by using fi ber reinforced finger corner joints. Teknobont 200 epoxy and polyvinyl (PVAc) adhesives were used as glue. Bearing in mind the critical loads that may affect their use, experimental samples were tested under diagonal loads. Experimental samples were also analyzed by a computer program using the finite element method (FEM). Finally, experimental data were compared with the results of FEM. The comparisons clearly showed that experimental results and finite element solutions (SAP2000 V17) including semi-rigid connections are in good agreement. As a structural analysis program in furniture engineering designs, FEM can be preferred in terms of reliability and cost.

This research evaluated the planing performance of bamboo scrimber boards at three feed speeds and three cutting depths and used two methods to assess the finished surfaces. A macroscopic grade assessment was made according to ASTM D 1666-87 for visible planing defects. The other assessment was a microscopic scale roughness test measuring surface average roughness in terms of GB/T 12472. The visible results showed that the finished surface quality of bamboo resulted mainly in Grades and , with the main defect being torn grain. The two evaluations method showed consistent results in surface quality that the highest percentage of Grade was counted and the lowest roughness value occurred. Compared with the hardwood Sawtooth oak widely used in furniture industry in China, planning quality of bamboo scrimber board is better in terms of roughness.

Abstract Forest industry professionals have expressed concern about physical scarcity and diminishing quality in veneer logs of the preferred species, contradicting USDA Forest Service inventory results that report an expanding resource base. This study examined factors, influencing economic supply of select white oak, select red oak, hard maple, ash, black cherry, and black walnut veneer logs in the Lake States, Illinois, and Indiana. Increased competition due to international demand is placing additional pressure on available inventory. Changing demographics are acting to reduce supply as nontimber land uses increase in importance. Industry professionals were queried to quantify their perception of scarcity and determine which factors they consider most important. The dominant perception is that quality is decreasing. Profitable architectural and panel grade veneer logs are perceived to be diminishing while furniture grade veneer logs are not. Quantity is perceived to be decreasing in the large and medium diameter classes but increasing in the small diameter classes. Expectation is for future real prices 10 yr hence to increase between 20-30%. Factors for the perceived scarcity ranking highest in importance were increased international demand, previous high grading, landowner mistrust of loggers, and increased environmental regulations. Respondents agreed that the world demand for eastern hardwoods is strong and will continue to grow. North.J. Appl. For. 16(3):160-166.

Abstract This study aims to determine the impacts of dovetail angle for dovetail joints on the diagonal compression strength of box-type furniture corner joints prepared in different woods, with different dovetail angles, and with different adhesives. For this reason, after drilling joints of 75°, 78°, 81°, 84°, and 87° on Oriental beech, European oak, Scotch pine, and medium-density fiberboard (MDF) samples, a diagonal compression test was applied on corners glued with polyvinyl acetate (PVAc) and polyurethane (Desmodur-vinyl trieketonol acetate [D-VTKA]) according to the ASTM D1037 standard. The highest result for dovetail diagonal compression strength was observed in the samples of Oriental beech (0.321 N mm−2), while the lowest was found in the samples of MDF (0.154 N mm−2) for wood types. With respect to adhesives, D-VTKA yielded the best results (0.268 N mm−2), while PVAc gave the worst results (0.252 N mm−2). Regarding angle types, the best result was obtained from the samples at 84° (0.302 N mm−2) and the worst from the samples at 75° (0.207 N mm−2) for dovetail joints. For the interaction of wood type, adhesive, and dovetail angle, the highest diagonal compression strength was found in the samples of Oriental beech + 81° + D-VTKA (0.445 N mm−2), while the lowest value was observed in MDF + 78° + D-VTKA (0.128 N mm−2). In conclusion, the angles and adhesives have significant effects on the corner joints of box-type furniture.

In this study, natural linseed oil, hard wax oil, and hard wax, commonly used as finishes for wooden furniture and parquet, were used for surface finishes on Turkey oak wood (Quercus cerris L.), thermally modified at temperatures of 175 °C and 195 °C for 4 h. Several resistance surface properties were investigated. The mechanical resistance properties of all surface finishes were very much allied to interactions between the finish and the type of substrate. The adhesion strength and impact resistance decreased if higher temperature was used for thermal modification of the substrate. The surface hardness and the resistance to abrasion were high and increased slightly with increasing temperature during thermal modification of wood. It was also found that surface adhesion, hardness and resistance to impact were very much related to interactions between the coating film and the substrate. The resistance properties of finishes, such as resistance to cold liquids and mold, were mainly influenced by the type of the surface finish. The resistance to cold liquids increased in the order: surface finish with hard wax < linseed oil < finish system of linseed oil + hard wax oil. The lowest resistance to cold liquids showed up in condensed milk and sanitizer. Resistance to Aspergillus niger and Penicillium purpurogenum was relatively weak, however apparently improved during the first 7 days of the fungal test; the surfaces were covered with a lower distribution density of fungal mycelium after 21 days of the fungal test. Individual surface performances of oil and wax-based surface finishes on native wood were different from thermally modified wood.

Abstract Between 1963 and 2005 hardwood lumber production in the eastern United States increased by more than 50%. Production more than doubled in the northeastern and north central regions while increasing by less than 25% in the southeastern and south central regions. Increased lumber production in the northern regions was facilitated by an expanding sawtimber inventory, relative high volumes of select oak species and hard maple, an expanding kitchen cabinet industry, increased exports, and increased lumber demand by the pallet industry. Hardwood lumber production in the south central region was correlated with hardwood flooring production. When flooring production declined between 1963 and 1982, south central lumber production declined. After 1982 flooring production increased and hardwood lumber production in the south central region followed. By contrast, lumber production in the southeastern region has been tied to the fortunes of the wood and upholstered furniture industries. As furniture imports increased, the demand for lumber by these industries first stagnated and then declined. As a result, lumber production in this region declined between 1982 and 2005. Today, much of the commodity product portions of hardwood-demanding industries are facing international competition. By contrast, a driver of growth in hardwood lumber demand seems to be smaller manufacturers producing custom and semicustom products. These new industries tend to purchase higher-quality lumber but can use a variety of species. Therefore, states or regions with high volumes of timber and a broad composition of species have the greatest potential for future growth in hardwood lumber production.

The bonding of wood with assembly adhesives is crucial for manufacturing wood composites, such as solid wood panels, glulam, furniture parts, and sport and musical instruments. This work investigates 13 hardwoods—bangkirai, beech, black locust, bubinga, ipé, iroko, maçaranduba, meranti, oak, palisander, sapelli, wengé and zebrano—and analyzes the impact of their selected structural and physical characteristics (e.g., the density, cold water extract, pH value, roughness, and wettability) on the adhesion strength with the polyvinyl acetate (PVAc) adhesive Multibond SK8. The adhesion strength of the bonded hardwoods, determined by the standard EN 205, ranged in the dry state from 9.5 MPa to 17.2 MPa, from 0.6 MPa to 2.6 MPa in the wet state, and from 8.5 MPa to 19.2 MPa in the reconditioned state. The adhesion strength in the dry state of the bonded hardwoods was not influenced by their cold water extracts, pH values, or roughness parallel with the grain. On the contrary, the adhesion strength was significantly with positive tendency influenced by their higher densities, lower roughness parameters perpendicular to the grain, and lower water contact angles.

This study describes the exploitation of wood waste (Pinus spp.) in the form of sawdust and shavings generated during the production of furniture and artisanal items in a community in the state of Michoacán, western Mexico. A process is described to densifying this raw material, to produce solid-type biofuel briquettes that can be used to satisfy the need to generate low-power heat for residential sectors. Briquette production involved six stages: (a) gathering samples of sawdust and shavings from artisanal workshops in the community; (b) proximal characterization of the samples; (c) elaborating the briquettes; (d) physicochemical characterization of the briquettes; (e) evaluation of the physical-thermal combustion of the briquettes; and (f) an economic evaluation of briquette production to determine viability. Finally, we performed a comparative analysis of the energy, economic, and environmental indicators of the briquettes produced and conventional pine and oak firewood (Pinus spp., Quercus spp.) in the study community. The results show the viability of using biomass residues to make briquettes, which are efficient, economic and easy to make and use.

The primary aim of this research is to develop thermoset composites reinforced with cotton fibres extracted from textile waste. These composites are mainly targeted to replace timber in its application for furniture items and in some visible and non-visible automotive components. The pre-consumer cotton textile wastes such as cutting waste, in garment manufacturing, and defective fabrics were converted into the fibrous form called ‘shoddy’, using rag-tearing technique. The fibrous web of shoddy was produced using the carding machine. This web was used for developing thermoset composites as a reinforcement material. The thermoset composites with four different fibre volume fraction values, namely 0.1, 0.2, 0.3 and 0.4 were developed using compression moulding technique. The developed composites were characterised by mechanical properties, dynamic mechanical properties, thermal degradation behaviour and water absorption behaviour. The mechanical properties of the composites were found comparable with that of commercial wood. These composites can be used to develop a dashboard panel. The composites developed in this research have shown low water diffusion coefficient values as compared with pine, oak and linden wood.

The objective of this study was to characterize black locust ( Robinia pseudoacacia L.) wood on the basis of its physical and mechanical properties. The results are compared with those reported in the literature for English oak ( Quercus robur L.), teak ( Tectona grandis L. f.), and afzelia ( Afzelia sp.), since black locust is likely to be used for the same purposes as the former species. The variations between sites, trees, and radial positions in the trunk were also studied. The physical and mechanical properties of black locust wood were evaluated on clear wood specimens taken from 27 trees distributed over five sites in Wallonia (Belgium) according to Belgian and French standards. Most of the black locust’s mechanical properties are higher than those of oak and teak. The black locust is classified as a “mid-heavy” (734 kg·m–3) and “half-hard” (5.22) wood type with very high resilience (17.2 J·cm–2), modulus of elasticity (15 700 MPa), and tensile strength in static bending (138 MPa). Its resilience is exceptional, higher than that of teak and afzelia, while its modulus of elasticity and bending strength, which surpass those of teak, are comparable with those of afzelia. Black locust shows high total volumetric shrinkage (16%), placing it in the “nervous” class, average tangential (8.8%) and radial shrinkage (5.5%) as well as average axial compressive (63 MPa) and splitting strength (17.8 N·mm–1). No technological incompatibilities would prevent the use of this wood for many value-added purposes (floor, deck, exterior woodwork, and furniture); however, significant shrinkage makes it necessary to condition the wood to its service moisture.

Abstract The eastern hardwood resource contains numerous species that differ in grain, color, texture, and workability. Because the value of hardwoods is derived from appearance, these variations in physical attributes can cause the price for identical grades of hardwood lumber to vary by as much as 600% between species. As a result, there is incentive for primary processors to harvest certain species more intensively than others, which could affect long-term forest composition. This article introduces the concept of relative utilization to augment the infrequently published annualized growth-to-drain ratio and examines the relative utilization of 13 eastern hardwood species on a national and regional basis. An analysis of relative utilization coefficients developed from primary and secondary data showed that black cherry, red oak, hard maple, and yellow-poplar were relatively overutilized, while the gums, hickory, and beech were underutilized. Relative utilization has varied by species over time due to changes in furniture styling and the ability of industry to substitute species. Shade-tolerant species such as hard and soft maple are regenerating faster than shade- intolerant species, resulting in increased long-term supply even if current sawtimber volumes are relatively overutilized. North. J. Appl. For. 18(2):37–41.

The aim of this paper was to determine the particle size composition of wood dust emission from CNC milling of natural wood and medium-density fiberboard (MDF) and evaluate the associated occupational exposure risks. The paper is focused on some of the most commonly used materials in the woodworking and furniture industry, i.e., solid wood (beech, oak, and spruce) and composite materials (MDF panels). In addition to the influence of the machined material, the effect of the technical-technological parameters, namely, feed speed and depth of cut on the particle size distribution, was also investigated. The selected values of the technical-technological parameters used in this study followed the common work practice in small wood processing companies. The particle size distribution was evaluated by using sieve analysis of samples from the total mass of collected wood dust. The results demonstrated that machining of natural wood is characterized mostly by the formation of coarse dust fractions (2 mm–1 mm sieves), whilst the processing of MDF was associated with generation of fine dust fractions with a size below 100 μm. The results obtained can be used for optimizing the technological programs of CNC milling machines, thus, reducing the occupational exposure to harmful wood dust emissions in the wood-processing industry.

Abstract A new woodchips-ZrO2 biosorbent (W-ZrO2) was synthesized using wood residue material generated from the oak tree (Quercus robur) during furniture manufacturing. Biosorbent was tested for the simultaneous removal of both chromium (Cr) ions: Cr(III) and Cr(VI), in the binary component solution. Biosorbent characterization was performed by scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier transform infrared spectroscopy (FTIR) and X-ray diffraction analysis (XRD). To define optimal process parameters for simultaneous removal of both Cr species, effects of pH, temperature, sorbent dosage and Cr ions concentration on the sorption process were investigated. Sorption of Cr ions onto W-ZrO2 was highly pH-dependent. Optimal pH for simultaneous removal of both Cr(III) and Cr(VI) ions is 4.0 with removal efficiency over 99.5 % in both cases. Equilibrium experimental results are the best fitted by the Langmuir sorption isotherm model. The maximal sorption capacities of the biosorbent for simultaneous removal of Cr(III) and Cr(VI) ions in binary-component system are 16.18 and 83.52 mg g−1, respectively. The present study shows that using wood residue material to produce a low-cost sorbent can effectively decrease the water pollution simultaneously removing both chromium species from water and also reduce wood waste and increase reuse/recycling options.

Thermally modified wood is widely used in the woodworking industry, as it has increased resistance to environmental factors (humidity, temperature). The effect of high temperature on wood causes a decrease in water adsorption by reducing the available free hydroxyl groups of carbohydrates. The reduction in hygroscopicity contributes to the treated material size stability, as swelling and shrinkage are mainly associated with the phenomena of absorption and water desorption. The study of natural weathering always takes many years. Therefore, to study the resistance of thermodified wood to environmental influences, artificial weathering is used - modeling of external factors (cyclic change of UV light and moisture). The effectiveness of the thermodified veneer use as a material for lining the furniture facades which working in different temperature and humidity conditions was established. The values of moisture and water absorption on the samples of oak veneer, which have previously undergone the heat treatment process, have been determined. It was found that the samples of oak veneer gained the most moisture from the environment in the first two days. The weight of unmodified veneer increased by 0.06 g, similar results showed veneer modified at temperatures of 160 and 190 °C. Thermodified veneer at a temperature of 250 °C for the first two days gained twice less. By the end of the experiment (next 11 days), the samples of ordinary and modified veneer at all temperatures absorbed the same amount of moisture. Untreated veneer and thermodified at temperatures of 160 and 220 °C absorbed 50-66 % of its initial weight, and modified at 250 °C – 20-36 %. Control samples of veneer during the determination of water absorption gained 98 % of the initial weight. Samples modified at 160 °C – 10, 20, 30 min showed the best result – reducing the value to 94 %, 93 % and 91 %. There is a slight improvement in water absorption after exposure to temperature 220 °C for 10, 20, 30 min – 91 %, 91 % and 90 %. Values water absorption at the level of 90 %, 89 % and 86 % were recorded in veneer samples modified at 250 °C.

This paper should primarily lead to a targeted expansion of the database dealing with bending characteristics, and thus help to understand the static and dynamic bending strength depending on the direction of external forces. Wood is very often used in the structural elements of buildings and wood products (e.g., furniture), in which there is both a static load, and in many cases a dynamic load, whilst the direction of loading is usually not considered. Specifically, the paper focuses on determining the bending strength and impact strength of seven economically-important wood species in the Czech Republic. The research includes not only the above-mentioned strength characteristics, but also the elastic characteristics, i.e., the static modulus of elasticity, and the dynamic modules of elasticity determined using the ultrasound and resonance methods. The procedure was methodologically in accordance with the valid harmonized standards or the usual methodological regulations. The most significant finding can be considered that the largest difference of the mean values of impact strength in the radial direction to the tangential direction was recorded for spruce wood, namely 50.3%. Slightly smaller differences were observed for larch wood, i.e., 41.2%. Minor differences of around 20% were recorded for beech, ash and oak wood. A difference with the opposite trend was recorded for birch wood rather than for the above-mentioned woods, namely −9.5%. Linden wood showed almost no difference (−0.8%). With regard to static bending strength, it was found that the largest difference (radial/tangential) was recorded for oak wood, i.e., 7.9%, while smaller differences were found for linden wood amounting to 6.6% and birch 4.7%. For spruce, larch, beech and ash wood, these differences are negligible. Another finding is that the dynamic modules of elasticity are greatly overestimated compared to static modules of elasticity. In the case of the examined wood of coniferous trees, these differences were up to a maximum of 20%. For wood of wood species with a diffuse-porous structure of wood, the differences were more pronounced, i.e., the range of 36% to 68%, and for wood species with a ring-porous structure in the range of 21% to 43%.

A timber market occupies a very particular position within the economic reality. Trading of commodities such as precious timber is, indeed, strongly conditioned by the carrying capacity and the silvicultural potential of the forest ecosystem. Timber markets in Poland are characterized by a controlling position of the State Forests, and one of the possible forms of wood sale is the system of submission. A submission usually implies that small quantities of wood with unusual features are being offered to a specific group of customers. The paper presents the sale results and prices of veneer wood commercialized in submission systems and in other forms of timber sale in the territory of Krosno during the years 2000−2019. It is one of the oldest submission markets in Poland, where the most expensive log ever in Poland was sold (13,000 USD/log—close to 7000 USD/m3). The Regional Directorate of State Forest (RDSF) of Krosno is located in the south-eastern part of Poland and manages a forest area of approximately 400,000 hectares. Annual timber harvesting amounts to 2 million m3, of which less than 2000 m3 annually is allocated to the submissions. The data cover a 20-year continuous time series and allow tracing changes in the wood volume offered to the market, the species population structure, and price trends for individual species. The data are being discussed against the background of the economic situation and in relation to the average prices obtained from other methods of sale. Beech was the most sold, but the demands for oak and sycamore appeared to be particularly high during the period of observation. The unity prices can be very variable even for wood from the same species, especially for sycamore. The prices are generally demand-driven and show strong influences from furniture industries and fashion. A rising demand for high quality timber and logs of big dimensions has been noticed. The submission system results in substantial economic benefits for the forest management and the region as a whole.

Wood is the raw material of the wood industry, which is used in the form of solid wood or in the processed form. Occupational exposure to wood dusts occur during processing and woodworking. The highest levels of wood dust concentrations in the work environment were recorded in the furniture and carpentry industries. The number of workers exposed to wood dust in Poland estimated during WOODEX project (2000-2003) amounted to 310 000, of which 79 000 workers were exposed to wood dust at concentrations < 0.5 mg/m3, 52 000 workers at concentrations: 0.5 ÷ 1 mg/m3, 63 000 workers at concentrations: 1 ÷ 2 mg/m3, 72 000 workers at concentrations: 2 ÷ 5 mg/m3 and 44 000 workers at concentrations > 5 mg/m3. According to data from selected sectors of the economy in Poland in the years 2001-2005, developed in collaboration with the Chief Sanitary Inspectorate at the Institute of Occupational Medicine in Łódź, the arithmetic mean value of inhaled wood dust concentrations in the wood and wood products sector (excluding furniture) was 2,08 mg/m3. This concentration was calculated on the basis of 8 602 measurements. In the case of hardwood dust, exceeded values of NDS at worksites were reported in more than 20% of the measurements, whereas in case of softwood – in less than 10% of measurements. Exposure to hardwood dust (mainly oak and beech wood) or in mixture with conifer species (softwood) is correlated with nasopharyngeal adenocarcinomas, whereas non-neoplastic respiratory symptoms, excluding asthma, are not correlated with the specific type of wood. Occupational asthma is most often the result of action of the biologically active compounds present in some wood species (both hardwood and softwood). One of the better-known species of wood and source of knowledge about occupational asthma is the dust of red cedar wood. Both dust hardwood and softwood may impair clear airway, resulting in chronic lung disease. The health effects of exposure to wood dust concern the upper or lower respiratory tract depending on the size of the wood particles. Occupational exposure to wood dust causes: chronic bronchitis, rhinitis and conjunctivitis and skin irritation, also allergic skin reactions. Spirometry has shown the reduction of the lung function index as a result of mechanical or chemical irritation of the lung tissue. It should be noted that changes in pulmonary function and the occurrence of occupational asthma was found in the woodworking industry workers, mainly employed in furniture industry (with no history of atopy) at concentrations below 1 mg / m3 of wood dust. A review of the studies in humans and in experimental animals show that wood dusts exhibit mutagenic and genotoxic effects. Analysis of DNA taken from people with cancer of the paranasal sinuses, employed in exposure to wood dusts showed mutations, mainly in the gene k-ras, which is one of the most frequently activated oncogenes in human cancers. Furthermore, h-ras mutations in adenocarcinoma patients, chromosomal aberrations in carpenter peripheral blood lymphocytes, damage to DNA strands in rats' hepatocytes, increase in micronuclear frequency in cells of mouse intestine and rats' nasal epithelium have been found. Based on results of epidemiological studies, including case-control studies showed the relationship between the incidence of the nose and paranasal sinuses cancer and the exposure to the wood dust. The risk of adenocarcinoma was a significantly higher compared to the risk of squamous cell carcinoma. The International Agency for Research on Cancer concluded that there was sufficient evidence of carcinogenicity of wood dust in humans and assigned them to Group 1 - a substances with proven carcinogenic effects in humans. The Commission of the European Union has included works related to exposure to hard and mixed wood dusts to technological processes classified as carcinogenic to humans (Directive 2004/37 / EC) and has established a BOELV value for the inhalable wood dust fraction on a level of 5 mg/m3 indicating that if there is a mixture of hardwood dust with other wood dusts then NDS refers to the total wood dust present in the mixture. SCOEL Scientific Committee resigned from the division into hard and soft wood and proposed the exposure limit value for wood dust, taking into account not only its irritating effects on upper and lower respiratory tract but also carcinogenicity (inhalable fraction: 1 mg/m3, total dust 0.5 mg/m3). The health effects of exposure to wood dust and the socio-economic conditions have alsobeen considered by the Committee on Safety and Health at Work (ACSHW), which has proposed a BOELV value for hard wood dusts of 3 mg/m3, taking into account that the lower value would result in the closure of many companies, mostly small, employing 1 to 9 employees. Establishment of the hygienic standards of wood dust is complicated by the fact that we never expose to the wood dust itself. At the same time, we are exposed to naturally occurring chemicals in wood (most of them are irritating and sensitizing). In addition, the biological fraction (bacteria, mold) found in wood dust, mainly fresh, as well as wood preservatives such as organic solvents or formaldehyde, increase the health risk. Another variable considered when assessing risk associated with exposure to wood dust is the particle size emitted during wood processing, which varies according to the type of wood and its treatment. Aerodynamic diameter of the particles is generally in the range of 10 to 30 m, which classifies them into an extra thoracic fraction (penetrating head area) or thoracic fraction (penetrating the trachea bronchial area). Percentage of respirable fraction is usually 15 ÷ 20%. When setting the NDS value for wood dusts, data from a cross-sectional survey of 161 people employed in wood dust exposure in 54 furniture companies were used. Nasal patency was examined after exposure to mixed wood dust at a low concentration (0.17 ÷ 0.74 mg/m3), mean (0.74 ÷ 1.42 mg/m3) and high (1.42 mg/m3). With regard to nasal patency before commencement of the work, exposure to medium and high concentration of wood dust significantly increased nasal congestion, reduced nasal cavity capacity and reduced nasal cross-sectional area as a result of 4-7 hours exposure. There was a statistically significant relationship between the concentration of wood dust and the nasal obstruction grade determined by the method of acoustic rhinometry and the subjective assessment. These symptoms also occurred when the dust concentrations were small, but these symptoms were not statistically significant. Furthermore, patients in the control group had significant differences in nasal passivity before commencement of work compared to the post-work period, thus undermining the observed changes at low concentrations (0.17 ÷ 0.74 mg/m3) of wood dust. Taking into account the above data as well as socioeconomic factors discussed with wood industry representatives in Poland, the Interdepartmental Commission on NDS and NDN at its 84th meeting on 4 November 2016 adopted a concentration of 3 mg/m3 for the maximum permissible concentration (NDS) for the inhalable fraction of all wood dust. Socioeconomic considerations were also taken into account in determining the BOELV value for the inhalable wood dust fraction (3 mg/m3) in the European Union. The adoption of this value without distinction for hard and soft wood is a compromise between current NDS values for wood dust with the exception of dust oak and beech (4 mg/m3) and beech and oak dust (2 mg/m3). The proposed value of NDS is at the level proposed by the European Commission for BOELV for the hard wood dust inhalable fraction (3 mg/m3), which takes into account socio-economic conditions of enterprises. Due to the fact that wood dusts have been shown to be carcinogenic, mutagenic and cause pneumoconiosis, the determination of NDSCh values is unjustified. It is proposed to mark the wood dust notation: "Carc. – category 1 carcinogen, according to the classification of the International Agency for Research on Cancer and, by reason of possible sensitization, the letter "A ".

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).

AbstractThere is no lack of literature on Hendrik Willem Mesdag (1831-1915) in his capacity of an art collector. Most of it focuses on the collection in the museum which the painter built in The Hague in 1886 and presented to the nation in 1903 (note 1). Little or no attention has hitherto been paid however to the large collection of fine and decorative art that was kept at the time of Mesdag's death on July 10 1915 in his house, which adjoined the museum. The greater and most important part of this collection was eventually sold in New York in 1920 and thereafter dispersed. It is not known what criteria Mesdag applied in consigning items from his collection to the museum or keeping them in his home. No clear-cut distinction can be made between the kind of objects in his house and the museum. In both locations the tone is set bv the Barbizon and Hague Schools. Concerned about the future of his most prestigious creation, the enormous Panorama of Scheveningen, better known as the Mesdag Panorama, Mesdag set up a limited company in 1910 for the purpose of maintaining and exploiting the Panorama and the building that housed it. He gave the shares to his future heirs. Under the terms of his Will, his house and its contents were to pass to the Panorama shareholders on his death. The nation had the first option to purchase, which suggests that Mesdag wanted his house and a major part of his private collection to go along with the museum. Since there was a war on, the government regarded the purchase as imprudent. Part of the inventory was sold among the family, but the most important items were put up for auction. The auctioneer Frederik Muller & Cie compiled an illustrated catalogue. Before it was ready, however, the American art dealer J. F. Henson made an offer for the whole collection. The auction was cancelled, and the catalogue was published in a limited edition of 125 numbered copies (note 3 1). After the war most of the collection was shipped to America and auctioned in New York. A completely new catalogue was printed for the occasion (note ; 35). The said catalogues and a series of photographs of the interior convey an impression of the size and quality of the collection in Mesdag's home. There Mesdag left an important collection of paintings and drawings from the Barbizon School, including fourteen drawings by Millet (figs.4 and 5). Antonio Mancini is amply represented in the museum with fifteen paintings and pastels, but that is a mere fraction of the total number of works by Mancini amassed by Mesdag. He naturally possessed a large amount of his own work, as well as paintings and drawings by other artists of the Hague School (figs. 6 and 7). His collection of 17th-century masters was less important. Even so, Mesdag had a marked preference for Dutch 16th and 17th-century artefacts, witness the oak panels, furniture and other items of decorative art in his studio (fig. 2), a taste he shared with painters like Bosboom, Weissenbruch and Jacob Maris (fig. 9). Some of the furniture was quasi Gothic or quasi Renaissance, with ornate fittings and a profusion of carving, in keeping with the 19th-century notion of these styles. The most advanced aspect of Mesdag's collection was a collection of modern china from the Rozenburg factory, designed by Colcnbrander.

The ruin is a building, whose shape is deformed and decoration have suffered significant loses. So the viewer’s attention is attracted by the ideological message of ruins, which is always different from the set of meanings of the complete edifice, and often contradicts it. This is clearly seen in the case of sacred buildings. In the 16th and 17th centuries Roman Catholic writers claimed, that the ruins of pagan temples in Rome are monuments of the ancient Roman Empire’s power, but their current state clearly shows the defeat of paganism and triumph of Christianity. The prelates thought that it was necessary to take care of the ruins, but they should not be rebuilt. Protestant writers in the British Isles took a similar attitude to the local ruins of monastic temples, seeing in them a clear manifestation of the fall of the “papist religion” and the triumph of Protestantism. During the French Revolution, remains of the ruined churches were consciously preserved as monuments of the decline of Christianity and the triumph of the new cult of reason. So rejection of the religion granted protection to ruins of sacred buildings. However the religious indifference growing in many communities causes problems with determining the place of such ruins in public space. Reducing them to the role of bizarre "street furniture" (eg the church of Saint-Livier in Metz), causes their ideological neglection, often contributes to their material destruction. Preventing such situation seems to be an important challenge for conservators dealing with the problem of "permanent ruin".

ABSTRACT Reconstituted wood panels are widely used in various branches of the wood industry, such as in the furniture sectors and various segments of urban and rural construction. In Brazil, agricultural and forestry residues are abundantly generated, making feasible the study, development and application of alternative and sustainable materials, produced from the use of these wastes. The aim of this study was to produce high-density homogenous panels with wood residues of Pinus elliottii and oat hulls (Avena sativa), pressed with two types of adhesive, castor oil-based polyurethane and melamine formaldehyde, and to evaluate the physical performance of these panels. The physical performance of the panels was evaluated based on the ABNT NBR 14810: 2006, ANSI A208.1: 1999 and BS EN 312: 2003 standards. Analysis of variance (ANOVA) was performed to test the influence of the factors percentage of oat hull, percentage of adhesive and type of adhesive, and the interactions between these factors on the physical properties of the panels. The results indicated physical properties, in some treatments superior to the requirements stipulated by the consulted standards. It was concluded that the panels produced with the castor oil-based polyurethane adhesive showed better physical performance when compared with the panels produced with the melamine formaldehyde adhesive.

Aim of the study: This paper aims to valorize the wood of Quercus faginea Lam. for high quality end uses (e.g. furniture) by studying growth and quality properties using mature trees. Age trends in tree-ring width and wood density are shown and the main factors responsible for variations in tree-ring width and wood density within and between trees are investigated. Area of study: The study site is in the center of Portugal within the natural species distribution area.Material and methods: Radial samples from ten mature trees were collected at 6 heights (from base to 9.7 m) and prepared for X-ray microdensity.Main results: Wood density showed high values, ranging from 0.868 g/cm3 to 0.957 g/cm3. Wood density decreased from pith to bark and with stem height. Cambial age showed a linear relationship with wood density and most of the variation in wood is explained by age. Intra-ring and axial within-tree homogeneity was good.Research highlights: Mature trees of Q. faginea showed high wood density and a high potential for high quality end uses, comparable to other oaks. Wood density is influenced by cambial age and tree-ring width. Wood quality may be improved by tree growth rates adjustment e.g. through an adequate tree stand density (e.g. thinning operations).

Abstract Ring-porous hardwoods such as oak are in high demand for furniture-making, cooperage, flooring, and construction. However, evaluating the quality of such timber is difficult and time consuming, and simpler tests are required. Models for predicting as many mechanical properties as possible, based on easier-to-determine mechanical tests, may help. In this study, the hardness, modulus of elasticity, bending, compression, and impact bending strength parallel to grain were tested on defect-free laths obtained from a sample of 42 oak trees. The relationships between the variables were investigated. Three models that relate the resistance to axial compression with bending strength and stiffness (R2>0.55; P<0.01) are proposed for defect-free oak timber. Selection of models mainly depended on the bias, which was highly variable among the models tested. The prediction models proposed in the international standard EN 384:2004 for structural dimension timber are not suitable for small clear wood specimens, especially in very elastic woods. The relative independence of hardness and impact bending strength as regards the other mechanical properties is also demonstrated.

Background. Furniture making industries are small scale businesses that commonly use organic solvents. There has been minimal focus on the health effects of this chemical hazard on the nervous system among furniture makers in Nigeria. Objectives. The present study aimed to assess the association between organic solvents exposure and neurobehavioral status of furniture makers, using electronic technicians as a comparison group. Methods. A comparative cross-sectional study design was employed. A sample size of 108 was calculated for each group. A semi-structured interviewer-administered questionnaire was used to obtain data on the socio-demographic variables and use of personal protective equipment (PPE). A proforma was developed to collect neurobehavioral assessment data. A checklist was used to assess the furniture makers' workshops. Air was sampled from all of the workshops in both the study and comparison groups to determine the concentration of total volatile organic compounds (TVOCs). Results. The use of PPE was poor in both the study and comparison groups, with no significant difference between them (34.4% and 37.7% respectively). Total volatile organic compound and formaldehyde (HCHO) concentrations were significantly higher at the furniture makers' workshops compared with electronic technicians (p&lt;0.001) for both chemicals. The 8-hour time-weighted average of TVOC was also higher in the furniture makers' workshops (4.4±0.6 mg/m3) compared with the control group (0.3±0.3 mg/m3). The neurobehavioral symptoms score was significantly higher among the study group relative to the comparison group (p&lt;0.001). There was a significant difference in the outcome of the auditory verbal learning test, total recall (p=0.005), and delayed recall (p=0.003). There was no significant association between solvent exposure index and findings from the simple reaction time test Conclusions. Poor compliance with the use of PPE among furniture makers may increase their exposure to organic solvents. There were more neurobehavioral changes in the furniture makers with a higher exposure index. Measures are needed to educate artisans about workrelated chemical hazards and ensure compliance with basic occupational safety and hygiene standards. Participant Consent. Obtained Ethics Approval. Ethics approval was obtained from the Health Research and Ethics Committee of the Institute of Public Health, Obafemi Awolowo University (IPH/OAU/12/1049). Competing Interests. The authors declare no competing financial interests.

The newly opened Alan Gilbert Learning Commons (AGLC) provides a flexible learning space catering to students from across the University of Manchester With over 1000 study spaces, ranging from informal to formal, enclosed to open, complimented by state of the art innovative technology, the AGLC is an attractive central hub for students to visit anytime of the day and night. However, the Library's vision for the AGLC travels far beyond the physical space and seeks to engage with students at a much deeper level enhancing and developing their learning. To this end, the AGLC was a driver for the library to deliver its own unique training programme and open learning materials in support of the learning and development needs of all students, irrespective of academic discipline. This is achieved through collaboration and partnership between the current providers across campus, with the Learning Commons providing a central focus for a wide range of activity, to exemplify the best of what the University of Manchester can offer to enhance the student learning experience. This paper describes the development of the Learning Commons, from planning to launch, in particular highlighting how ‘the learning' was put into the learning commons. It will illustrate some of the ways in which the Learning Commons joins up existing and newly developed activity from across the campus to proactively encourage and support engagement with learning as well as providing a physical space that students really want to learn in. It will describe the current open training programme and this is now being developed further from a pedagogic perspective and through partnerships with other skills providers across the University to enhance the AGLC offer and to ensure effective integration of student skills provision. The Alan Gilbert Learning Commons (AGLC) is the newest library service at the University of Manchester and opened in October 2012. The £24 million investment in the space is part of a wider strategy at the University to invest in the student experience. The facility provides flexible learning space and caters for students from all parts of the university. There are over 1000 study spaces, ranging from informal to formal, enclosed to open, complimented by state of the art innovative technology. Learning has always been in mind when building the AGLC and the design encourages this through materials and technology in the space and flexible and formative furniture and learning opportunities. The infrastructure also supports learning, it is a 24/7 building 244 days of the year with excellent wifi coverage both indoors and in the outside garden space. There are power points wherever possible and room to put in more, 30 group rooms which encourage learning across distance with as well as in a specific PC cluster that encourages students to use that software as a collaboration tool. The furniture is flexible and reconfigurable, with whiteboards and digital screens integrated throughout the building. No spaces are labelled instead students have the flexibility to make them their own. Even the quiet areas are not labelled, but depend on the students to decide where and exactly how quiet an area might need to be. This allows the building to flexibly support the students with whatever their needs are at the time, serving them best as they shape the space around them. The building aims to inspire students; there are creative concepts commissioned throughout the building to inspire those studying and working in the space. Student's artwork adorns the walls and glass in the building, and there are distinguished alumni tiles in the entrance area which all show students they don't just learn in this space but stand on the shoulders of giants. There are quotes from the great and the good of Manchester engraved into the solid oak panels that adorn the stairwells. There are 25 bespoke Nobel Laureate chairs associated with the University of Manchester intended to enthuse and inspire students to aspire to equal greatness. There is also a dedicated flexible training room in the building with laptops, clickers, a touch screen TV, stackable chairs and tables and a coffee machine and biscuits to encourage our students to want to be in this environment. The AGLC is an attractive central hub for students to visit anytime of the day and night. It is at the heart of the campus, opposite the main library, students union and University visitors centre. However the learning part of the building goes beyond the physical. Students and staff from across the University acted as consultants to ensure that the University tapped into the needs of its students and it became clear that a key area was supporting academics and schools to help them with developing student skills. Academic support provision at the University was not consistent. This clear need led to the creation of a learning development team dedicated to developing an open training programme that would support these areas of learning. This team delivers its own unique training programme of open learning materials in support of the learning and development needs of all students, irrespective of academic discipline. In fact the idea of these not being subject aligned is extremely important to the programme, none of the training is school aligned and any student is able to come to any session, interdisciplinarity is encouraged and exploration into the thoughts of someone from a different mindset expected. The training offer is achieved through collaboration and partnership between the current providers across campus, with the AGLC providing a central focus for a wide range of activity, to exemplify the best of what the University of Manchester can offer to enhance the student learning experience. The programme develops and delivers training and workshops that are new ,innovative, and following a facilitative model, covering topics from Academic Writing to Presentation Skills to Interview and Job Searching. It brings together the expertise and best practices already available on campus with the library acting as a bridge between the students' needs and the wider university resources. The goal is not to duplicate already existing resources, or create a parallel programme, but to create training that links students to the resources they need, wherever they happen to be provided. Going forward, what is really exciting is that this is part of a wider context, a Manchester vision. At the University of Manchester there is clearly a skills agenda. The University of Manchester has recently announced its "vision" for 2020, a vision that includes the sort of skills development currently being created by the library. Students at the university will be expected and encouraged to investigate beyond the strict content of their degree programmes and invest time in developing a broader and more varied set of skills than is traditionally expected. To achieve this goal, the partnerships across the university become key, an opportunity to demonstrate both the resources available and the multitude of ways the skills and knowledge acquired at university can impact a student after they have left. The open training programme (My Learning Essentials) allows students to self-select workshops and resources they use. There are online learning resources, formal workshops and informal face-to-face components. The workshops are designed to give students the tools they need to be more successful learners, not answers. With this goal in mind, we can invite students from all degree programmes to attend the workshops and learn from each other, as the process is often broadly transferable no matter the specific content. It may be that our students don't suffer from a skills gap, where they don't know "how" to do something, but that they are not sure "what" to do. Given examples and guidance (but not answers), they will be able to use the skills they have to acquired during their time at University to attack problems far beyond their time in their degree programmes. This also changes the conversation around the skills agenda. It is not about identifying what is wrong; instead, it is about students' ability to self-evaluate and improve-whatever their starting point. Feedback is used from students and staff (and data gathered from registers) to understand which workshops should be offered and how the resources are being used. This helps develop the most appropriate resources and also works to target groups that appear to be under-served. One of the key components of student success with feedback (and, in fact, with the student experience) is understanding how to move forward and improve. These workshops, because they focus on process, allow students to answer the question of "what next?" that makes feedback (and other support resources) most useful. The offer during the Spring of 2013 was deliberately kept minimal in order to assess both student demand and the optimal timing and design of the programme. The workshops that were developed covered areas from academic writing to presentation skills and also included an employability emphasis led by a partnership with the careers division at the university, focusing on CVs, interview skills and job search techniques. In all, twenty one workshops were delivered to nearly 300 students in a twelve week period. This was a soft pilot, so minimal marketing was done, but attendance rates were generally very high, with, on average, over 60% of students signing up then attending a session. September 2013 saw a fuller launch, there are now 17 different titles delivered and take up has been considerable. In October 2013 My Learning Essentials saw 429 students, a significant increase and 97% of attendants found the sessions useful. The programme does not intend to replace skills support in schools (there is not enough resource in the library to help every student that needs this support), but will work to improve it across the University. In this sense, the workshops, online provision, work with faculties and work with other partners will add up to more than the sum of its parts. Expertise of the entire university will be drawn upon to deepen the student experience and create a unique and innovative programme that goes beyond skills support and actively impacts learning. Much of the work has involved seeking partnerships with other service providers across the university and inviting them to create workshops and become an active part of the open training programme. The courses delivered on this programme are open to all students at the university, regardless of year, degree programme or postgraduate or undergraduate designation. These workshops and training sessions allow the students to evaluate and self-select areas where they feel they need support or have an interest in improving or learning. This structure moves the focus from a top-down remedial model to one where students are encouraged to explore the options and resources available to them at university, providing pathways for success that go beyond the traditional content studied during a degree.

If thinking about home necessitates thinking about “place, space, scale, identity and power,” as Alison Blunt and Robyn Dowling (2) suggest, then thinking about home themes in popular music makes no less a conceptual demand. Song lyrics and titles most often invoke dominant readings such as intimacy, privacy, nurture, refuge, connectedness and shared belonging, all issues found within Blunt and Dowling’s analysis. The spatial imaginary to which these authors refer takes vivid shape through repertoires of songs dealing with houses and other specific sites, vast and distant homelands, communities or, less tangibly, geographical or cultural settings where particular relationships can be found, supporting Blunt and Dowling’s major claim that home is complex, multi-scalar and multi-layered. Shelley Mallett’s claim that the term home “functions as a repository for complex, inter-related and at times contradictory socio-cultural ideas about people’s relationships with one another…and with places, spaces and things” (84) is borne out heavily by popular music where, for almost every sentiment that the term home evokes, it seems an opposite sentiment is evoked elsewhere: familiarity versus alienation, acceptance versus rejection, love versus loneliness. Making use of conceptual groundwork by Blunt and Dowling and by Mallett and others, the following discussion canvasses a range of meanings that home has had for a variety of songwriters, singers and audiences over the years. Intended as merely partial and exploratory rather than exhaustive, it provides some insights into contrasts, ironies and relationships between home and gender, diaspora and loss. While it cannot cover all the themes, it gives prominence to the major recurring themes and a variety of important contexts that give rise to these home themes. Most prominent among those songs dealing with home has been a nostalgia and yearning, while issues of how women may have viewed the home within which they have often been restricted to a narrowly defined private sphere are almost entirely absent. This serves as a reminder that, while some themes can be conducive to the medium of popular music, others may be significantly less so. Songs may speak directly of experience but not necessarily of all experiences and certainly not of all experiences equally. B. Lee Cooper claims “most popular culture ventures rely upon formula-oriented settings and phrasings to attract interest, to spur mental or emotional involvement” (93). Notions of home have generally proved both formulaic and emotionally-charged. Commonly understood patterns of meaning and other hegemonic references generally operate more successfully than alternative reference points. Those notions with the strongest cultural currency can be conveyed succinctly and denote widely agreed upon meanings. Lyrics can seldom afford to be deeply analytical but generally must be concise and immediately evocative. Despite that, this discussion will point to diverse meanings carried by songs about home. Blunt and Dowling point out that “a house is not necessarily nor automatically a home” (3). The differences are strongly apparent in music, with only a few songs relating to houses compared with homes. When Malvina Reynolds wrote in 1962 of “little boxes, on the hillside, little boxes made of ticky-tacky,” she was certainly referring to houses, not homes, thus making it easier to bypass the relationships which might have vested the inhabitants with more warmth and individuality than their houses, in this song about conformity and homogeneity. The more complex though elusive concept of home, however, is more likely to feature in love songs and to emanate from diasporal songs. Certainly these two genres are not mutually exclusive. Irish songs are particularly noteworthy for adding to the array of music written by, or representational of, those who have been forced away from home by war, poverty, strife or other circumstances. They manifest identities of displacement rather than of placement, as studied by Bronwen Walter, looking back at rather than from within their spatial imaginary. Phil Eva claims that during the 19th Century Irish émigrés sang songs of exile in Manchester’s streets. Since many in England’s industrial towns had been uprooted from their homes, the songs found rapport with street audiences and entered popular culture. For example, the song Killarney, of hazy origins but thought to date back to as early as 1850, tells of Killarney’s lakes and fells, Emerald isles and winding bays; Mountain paths and woodland dells… ...her [nature’s] home is surely there. As well as anthropomorphising nature and giving it a home, the song suggests a specifically geographic sense of home. Galway Bay, written by A. Fahy, does likewise, as do many other Irish songs of exile which link geography with family, kin and sometimes culture to evoke a sense of home. The final verse of Cliffs of Doneen gives a sense of both people and place making up home: Fare thee well to Doneen, fare thee well for a while And to all the kind people I’m leaving behind To the streams and the meadows where late I have been And the high rocky slopes round the cliffs of Doneen. Earlier Irish songs intertwine home with political issues. For example, Tho’ the Last Glimpse of Erin vows to Erin that “In exile thy bosum shall still be my home.” Such exile resulted from a preference of fleeing Ireland rather than bowing to English oppression, which then included a prohibition on Irish having moustaches or certain hairstyles. Thomas Moore is said to have set the words of the song to the air Coulin which itself referred to an Irish woman’s preference for her “Coulin” (a long-haired Irish youth) to the English (Nelson-Burns). Diasporal songs have continued, as has their political edge, as evidenced by global recognition of songs such as Bayan Ko (My Country), written by José Corazon de Jesus in 1929, out of love and concern for the Philippines and sung among Filipinos worldwide. Robin Cohen outlines a set of criteria for diaspora that includes a shared belief in the possibility of return to home, evident in songs such as the 1943 Welsh song A Welcome in the Hillside, in which a Welsh word translating roughly as a yearning to return home, hiraeth, is used: We’ll kiss away each hour of hiraeth When you come home again to Wales. However, the immensely popular I’ll Take You Home Again, Kathleen, not of Irish origin but written by Thomas Westendorf of Illinois in 1875, suggests that such emotions can have a resonance beyond the diaspora. Anti-colonial sentiments about home can also be expressed by long-time inhabitants, as Harry Belafonte demonstrated in Island in the Sun: This is my island in the sun Where my people have toiled since time begun. Though I may sail on many a sea, Her shores will always be home to me. War brought a deluge of sentimental songs lamenting separation from home and loved ones, just as likely to be parents and siblings as sweethearts. Radios allowed wider audiences and greater popularity for these songs. If separation had brought a longing previously, the added horrors of war presented a stronger contrast between that which the young soldiers were missing and that which they were experiencing. Both the First and Second World Wars gave rise to songs long since sung which originated in such separations, but these also had a strong sense of home as defined by the nationalism that has for over a century given the contours of expectations of soldiers. Focusing on home, these songs seldom speak of the details of war. Rather they are specific about what the singers have left behind and what they hope to return to. Songs of home did not have to be written specifically for the war effort nor for overseas troops. Irving Berlin’s 1942 White Christmas, written for a film, became extremely popular with US troops during WWII, instilling a sense of home that related to familiarities and festivities. Expressing a sense of home could be specific and relate to regions or towns, as did I’m Goin’ Back Again to Yarrawonga, or it could refer to any home, anywhere where there were sons away fighting. Indeed the American Civil War song When Johnny Comes Marching Home, written by Patrick Sarsfield Gilmour, was sung by both Northerners and Southerners, so adaptable was it, with home remarkably unspecified and undescribed. The 1914 British song Keep the Home Fires Burning by Ivor Novello and Lena Ford was among those that evoked a connection between home and the military effort and helped establish a responsibility on those at home to remain optimistic: Keep the Homes fires burning While your hearts are yearning, Though your lads are far away They dream of home, There’s a silver lining Through the dark clouds shining, Turn the dark clouds inside out, Till the boys come Home. No space exists in this song for critique of the reasons for war, nor of a role for women other than that of homemaker and moral guardian. It was women’s duty to ensure men enlisted and home was rendered a private site for emotional enlistment for a presumed public good, though ironically also a point of personal hope where the light of love burned for the enlistees’ safe return. Later songs about home and war challenged these traditional notions. Two serve as examples. One is Pink Floyd’s brief musical piece of the 1970s, Bring the Boys Back Home, whose words of protest against the American war on Viet Nam present home, again, as a site of safety but within a less conservative context. Home becomes implicated in a challenge to the prevailing foreign policy and the interests that influence it, undermining the normal public sphere/private sphere distinction. The other more complex song is Judy Small’s Mothers, Daughters, Wives, from 1982, set against a backdrop of home. Small eloquently describes the dynamics of the domestic space and how women understood their roles in relation to the First and Second World Wars and the Viet Nam War. Reinforcing that “The materialities and imaginaries of home are closely connected” (Blunt and Dowling 188), Small sings of how the gold frames held the photographs that mothers kissed each night And the doorframe held the shocked and silent strangers from the fight. Small provides a rare musical insight into the disjuncture between the men who left the domestic space and those who return to it, and we sense that women may have borne much of the brunt of those awful changes. The idea of domestic bliss is also challenged, though from the returned soldier’s point of view, in Redgum’s 1983 song I Was Only Nineteen, written by group member John Schuman. It touches on the tragedy of young men thrust into war situations and the horrific after-affects for them, which cannot be shrugged off on return to home. The nurturing of home has limits but the privacy associated with the domestic sphere has often concealed the violence and mental anguish that happens away from public view. But by this time most of the songs referring to home were dominated once more by sentimental love, often borne of travel as mobility rose. Journeys help “establish the thresholds and boundaries of home” and can give rise to “an idealized, ideological and ethnocentric view of home” (Mallett 78). Where previously songsters had sung of leaving home in exile or for escape from poverty, lyrics from the 1960s onwards often suggested that work had removed people from loved ones. It could be work on a day-by-day basis, as in A Hard Day’s Night from the 1964 film of the same name, where the Beatles illuminate differences between the public sphere of work and the private sphere to which they return: When I’m home, everything seems to be alright, When I’m home feeling you holding me tight, tight, yeah and reiterated by Paul McCartney in Every Night: And every night that day is through But tonight I just want to stay in And be with you. Lyrics such as these and McCartney’s call to be taken “...home to the Mull of Kintyre,” singled him out for his home-and-hearth messages (Dempsey). But work might involve longer absences and thus more deepfelt loneliness. Simon and Garfunkel’s exemplary Homeward Bound starkly portrays a site of “away-ness”: I’m sittin’ in the railway station, got a ticket for my destination… Mundaneness, monotony and predictability contrast with the home to which the singer’s thoughts are constantly escaping. The routine is familiar but the faces are those of strangers. Home here is, again, not simply a domicile but the warmth of those we know and love. Written at a railway station, Homeward Bound echoes sentiments almost identical to those of (Leaving on a) Jet Plane, written by John Denver at an airport in 1967. Denver also co-wrote (Take Me Home) Country Roads, where, in another example of anthropomorphism as a tool of establishing a strong link, he asks to be taken home to the place I belong West Virginia, mountain momma, Take me home, Country Roads. The theme has recurred in numerous songs since, spawning examples such as Darin and Alquist’s When I Get Home, Chris Daughtry’s Home, Michael Bublé’s Home and Will Smith’s Ain’t No Place Like Home, where, in an opening reminiscent of Homeward Bound, the singer is Sitting in a hotel room A thousand miles away from nowhere Sloped over a chair as I stare… Furniture from home, on the other hand, can be used to evoke contentment and bliss, as demonstrated by George Weiss and Bob Thiele’s song The Home Fire, in which both kin and the objects of home become charged with meaning: All of the folks that I love are there I got a date with my favourite chair Of course, in regard to earlier songs especially, while the traveller associates home with love, security and tenderness, back at home the waiting one may have had feelings more of frustration and oppression. One is desperate to get back home, but for all we know the other may be desperate to get out of home or to develop a life more meaningful than that which was then offered to women. If the lot of homemakers was invisible to national economies (Waring), it seemed equally invisible to mainstream songwriters. This reflects the tradition that “Despite home being generally considered a feminine, nurturing space created by women themselves, they often lack both authority and a space of their own within this realm” (Mallett 75). Few songs have offered the perspective of the one at home awaiting the return of the traveller. One exception is the Seekers’ 1965 A World of Our Own but, written by Tom Springfield, the words trilled by Judith Durham may have been more of a projection of the traveller’s hopes and expectations than a true reflection of the full experiences of housebound women of the day. Certainly, the song reinforces connections between home and intimacy and privacy: Close the door, light the lights. We’re stayin’ home tonight, Far away from the bustle and the bright city lights. Let them all fade away, just leave us alone And we’ll live in a world of our own. This also strongly supports Gaston Bachelard’s claim that one’s house in the sense of a home is one’s “first universe, a real cosmos” (qtd. in Blunt and Dowling 12). But privacy can also be a loneliness when home is not inhabited by loved ones, as in the lyrics of Don Gibson’s 1958 Oh, Lonesome Me, where Everybody’s going out and having fun I’m a fool for staying home and having none. Similar sentiments emerge in Debbie Boone’s You Light up My Life: So many nights I’d sit by my window Waiting for someone to sing me his song. Home in these situations can be just as alienating as the “away” depicted as so unfriendly by Homeward Bound’s strangers’ faces and the “million people” who still leave Michael Bublé feeling alone. Yet there are other songs that depict “away” as a prison made of freedom, insinuating that the lack of a home and consequently of the stable love and commitment presumably found there is a sad situation indeed. This is suggested by the lilting tune, if not by the lyrics themselves, in songs such as Wandrin’ Star from the musical Paint Your Wagon and Ron Miller’s I’ve Never Been to Me, which has both a male and female version with different words, reinforcing gendered experiences. The somewhat conservative lyrics in the female version made it a perfect send-up song in the 1994 film Priscilla: Queen of the Desert. In some songs the absentee is not a traveller but has been in jail. In Tie a Yellow Ribbon round the Ole Oak Tree, an ex-inmate states “I’m comin’ home. I’ve done my time.” Home here is contingent upon the availability and forgivingness of his old girl friend. Another song juxtaposing home with prison is Tom Jones’ The Green, Green Grass of Home in which the singer dreams he is returning to his home, to his parents, girlfriend and, once again, an old oak tree. However, he awakes to find he was dreaming and is about to be executed. His body will be taken home and placed under the oak tree, suggesting some resigned sense of satisfaction that he will, after all, be going home, albeit in different circumstances. Death and home are thus sometimes linked, with home a euphemism for the former, as suggested in many spirituals, with heaven or an afterlife being considered “going home”. The reverse is the case in the haunting Bring Him Home of the musical Les Misérables. With Marius going off to the barricades and the danger involved, Jean Valjean prays for the young man’s safe return and that he might live. Home is connected here with life, safety and ongoing love. In a number of songs about home and absence there is a sense of home being a place where morality is gently enforced, presumably by women who keep men on the straight and narrow, in line with one of the women’s roles of colonial Australia, researched by Anne Summers. These songs imply that when men wander from home, their morals also go astray. Wild Rover bemoans Oh, I’ve been a wild rover for many a year, and I’ve spent all my money on whiskey and beer… There is the resolve in the chorus, however, that home will have a reforming influence. Gene Pitney’s Twenty-Four Hours from Tulsa poses the dangers of distance from a wife’s influence, while displaying opposition to the sentimental yearning of so many other songs: Dearest darlin’, I have to write to say that I won’t be home anymore ‘cause something happened to me while I was drivin’ home And I’m not the same anymore Class as well as gender can be a debated issue in meanings attached to home, as evident in several songs that take a more jaundiced view of home, seeing it as a place from which to escape. The Animals’ powerful We Gotta Get Outta This Place clearly suggests a life of drudgery in a home town or region. Protectively, the lyrics insist “Girl, there’s a better life for me and you” but it has to be elsewhere. This runs against the grain of other British songs addressing poverty or a working class existence as something that comes with its own blessings, all to do with an area identified as home. These traits may be loyalty, familiarity or a refusal to judge and involve identities of placement rather than of displacement in, for instance, Gerry and the Pacemakers’ Ferry Cross the Mersey: People around every corner, they seem to smile and say “We don’t care what your name is, boy. We’ll never send you away.” This bears out Blunt and Dowling’s claim that “people’s senses of themselves are related to and produced through lived and metaphorical experiences of home” (252). It also resonates with some of the region-based identity and solidarity issues explored a short time later by Paul Willis in his study of working class youth in Britain, which help to inform how a sense of home can operate to constrict consciousness, ideas and aspirations. Identity features strongly in other songs about home. Several years after Neil Young recorded his 1970 song Southern Man about racism in the south of the USA, the group Lynyrd Skynyrd, responded with Sweet Home Alabama. While the meaning of its lyrics are still debated, there is no debate about the way in which the song has been embraced, as I recently discovered first-hand in Tennessee. A banjo-and-fiddle band performing the song during a gig virtually brought down the house as the predominantly southern audience clapped, whopped and stamped its feet. The real meanings of home were found not in the lyrics but in the audience’s response. Wally Johnson and Bob Brown’s 1975 Home Among the Gum Trees is a more straightforward ode to home, with lyrics that prescribe a set of non-commodified values. It is about simplicity and the right to embrace a lifestyle that includes companionship, leisure and an enjoyment of and appreciation of nature, all threatened seriously in the three decades since the song’s writing. The second verse in which large shopping complexes – and implicitly the consumerism they encourage – are eschewed (“I’d trade it all tomorrow for a little bush retreat where the kookaburras call”), is a challenge to notions of progress and reflects social movements of the day, The Green Bans Movement, for instance, took a broader and more socially conscientious attitude towards home and community, putting forward alternative sets of values and insisting people should have a say in the social and aesthetic construction of their neighbourhoods as well as the impacts of their labour (Mundey). Ironically, the song has gone on to become the theme song for a TV show about home gardens. With a strong yet more vague notion of home, Peter Allen’s I Still Call Australia Home, was more prone to commodification and has been adopted as a promotional song for Qantas. Nominating only the desire to travel and the love of freedom as Australian values, both politically and socially innocuous within the song’s context, this catchy and uplifting song, when not being used as an advertisement, paradoxically works for a “diaspora” of Australians who are not in exile but have mostly travelled for reasons of pleasure or professional or financial gain. Another paradox arises from the song Home on the Range, dating back to the 19th century at a time when the frontier was still a strong concept in the USA and people were simultaneously leaving homes and reminiscing about home (Mechem). Although it was written in Kansas, the lyrics – again vague and adaptable – were changed by other travellers so that versions such as Colorado Home and My Arizona Home soon abounded. In 1947 Kansas made Home on the Range its state song, despite there being very few buffalo left there, thus highlighting a disjuncture between the modern Kansas and “a home where the buffalo roam” as described in the song. These themes, paradoxes and oppositional understandings of home only scratch the surface of the wide range of claims that are made on home throughout popular music. It has been shown that home is a flexible concept, referring to homelands, regions, communities and private houses. While predominantly used to evoke positive feelings, mostly with traditional views of the relationships that lie within homes, songs also raise challenges to notions of domesticity, the rights of those inhabiting the private sphere and the demarcation between the private and public spheres. Songs about home reflect contexts and challenges of their respective eras and remind us that vigorous discussion takes place about and within homes. The challenges are changing. Where many women once felt restrictively tied to the home – and no doubt many continue to do so – many women and men are now struggling to rediscover spatial boundaries, with production and consumption increasingly impinging upon relationships that have so frequently given the term home its meaning. With evidence that we are working longer hours and that home life, in whatever form, is frequently suffering (Beder, Hochschild), the discussion should continue. In the words of Sam Cooke, Bring it on home to me! References Bacheland, Gaston. The Poetics of Space. Boston, MA: Beacon Press, 1994. Beder, Sharon. Selling the Work Ethic: From Puritan Pulpit to Corporate PR. London: Zed Books, 2000. Blunt, Alison, and Robyn Dowling. Home. London: Routledge, 2006. Cohen, Robin. Global Diasporas: An Introduction. London: UCL Press, 1997. Cooper, B. Lee. “Good Timin’: Searching for Meaning in Clock Songs.” Popular Music and Society 30.1 (Feb. 2007): 93-106. 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Damned Whores and God’s Police: The Colonization of Women in Australia. Harmondsworth: Penguin, 1975. Walter, Bronwen. Outsiders Inside: Whiteness, Place and Irish Women. London: Routledge, 2001. Waring, Marilyn. Counting for Nothing: What Men Value and What Women Are Worth. Wellington, NZ: Allen & Unwin, 1988. Willis, Paul. Learning to Labor: How Working Class Kids Get Working Class Jobs. New York: Columbia UP, 1977. Citation reference for this article MLA Style Varney, Wendy. "Homeward Bound or Housebound?: Themes of Home in Popular Music." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/16-varney.php>. APA Style Varney, W. (Aug. 2007) "Homeward Bound or Housebound?: Themes of Home in Popular Music," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/16-varney.php>.