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Shen, Lindsay. "Robert S. Lorimer : interiors and furniture design." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/10393.
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Chapter 1, entitled "The Scottish Tradition", builds on the early twentieth-century consensus that Lorimer had resuscitated a moribund Scottish tradition of design. While critics have examined the Scottish roots of Lorimer's architecture, the native sources of his furniture design have received little corresponding attention. This section aims to demonstrate the ways in which Lorimer's interest in historical Scottish architecture and woodwork informed his interior and furniture design. In particular, his use of vernacular and regional forms is juxtaposed with the revival of traditional types and motifs he shared with contemporary designers. Complementing a concern with indigenous design is Lorimer's interest in continental antique furniture. Lorimer's personal collection, and those of his clients, may be identified as formative in the development of his design. Chapter 2 examines the main sources, against the social background of Scottish furniture and interior design during the period. The circumstances of the commissions discussed here reveal Lorimer's combination of the roles of architect and interior designer, the focus of Chapter 3 on Lorimer's wide-ranging activities at Balmanno Castle, Perthshire. Chapter 4 seeks to redress the balance between Lorimer as traditionalist and agent for reform, particularly in the area of design education. It will be argued that his own design innovations were secondary to the latter achievement. His attitudes to industrial design and handcraft are considered here, which leads to the final chapter on workmanship. This section is comprised of an in-depth study of Lorimer's working relationship with the executants of his designs; the variant use of handwork and machinework is discussed, and finally some attempt is made to discern and acknowledge the peculiar contributions of designer and workmen.
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Winfield, Reg. "A tendency to grace : the furniture and interiors of E.W. Godwin." Thesis, Bucks New University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274066.
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Bailey, Justin Gray. "Facets, segments, bends and swells: an approach to designing and making in three dimensions." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3044.
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An exploration into the possibilities of surfaces as three dimensional forms through abstraction and movement. Through manipulation and the transition from two dimensional and three dimensional surfaces become adaptable for use as functional objects, furniture and spaces as they come together to create designed compositions based on scale, material, fabrication process and meaning. The following writing hopes to present a working statement of methodology for design across the three-dimensional design spectrum, from small objects, to furniture prototypes, to architectural and interior scale concepts.
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Gower, Beverley Michael. "Craft idealism as an influence on design : with particular reference to furniture and interiors." Thesis, Cape Technikon, 1989. http://hdl.handle.net/20.500.11838/1322.
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Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.
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Weston, Catherine. "The ownership and use of Welsh vernacular furniture : a comparative analysis of three nineteenth century interiors." Thesis, Bucks New University, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714466.
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Ahmed, Aminath Sawsan. "‘Nobody puts Baby in a corner’ : A critical response to apartments and furniture designed based on modernistic ideals." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6927.
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My study challenges the status quo that seems to exist in the design of modern apartments, which is heavily influenced by the modernistic movement that flourished in early 20th century. Modernists strived to create a just and equal society, by challenging the social order and the traditional hierarchical system. The architecture of the time reflected these ideals and ultimately resulted in simplistic and repetitive designs that often formed box like interiors with standardised furniture. Consequently, these designs are detached from the individualism of the inhabitants, forcing people to sit, sleep, dine and socialise in a predefined space in a prescribed manner. My project is an artistic intervention to the BOX - the soulless interior of modern apartments. My aim is to explore and imagine alternative ways of existing within the box and push the boundaries of how we conduct daily activities in the living space.
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Schilling, Andrew A. "Hinged Things: Concerning the Interior(s) of Eileen Gray." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092669500.
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Dias, Bruno Silva. "Mobiliário e arquitetura moderna brasileira: a contribuição da loja de móveis Branco & Preto (1952 a 1970)." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/326.
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Previous issue date: 2013-07-29Fundação de Amparo a Pesquisa do Estado de São Paulo
This research provides an overview of the architecture and the furniture produced in Brazil since the early twentieth century, giving prominence to the modern mobile Brazilian produced between the 1950s and 1970s and the bourgeois residential architecture. It also has as a basis to analyze production articulated this same furniture and modern residential architecture in São Paulo. At that time, the company formed by architects Store Branco & Preto and the new political moment that permeated the national scene encouraged the insertion and led to the consolidation of the modern ideas in São Paulo. This production meant by the contribution of the furniture store Branco & Preto, a synonym of partnership and cooperation, to act as a mediator of the interrelationship between the mobile and residential architecture itself. The overall goal is to demonstrate and characterize the necessary relationship between modern architecture and furniture produced during the stated period, which was provided by the dissemination and assimilation in Brazil's modernist ideas and practices. The furniture designed these years came from a line produced with refinement and excess ornaments and consisted of an inseparable element of the expression of that architecture. Thus, the research assumes that the relationship between the interior spaces and architectural shell found in the furniture of the main supports of expression forefront. Moreover, it is inevitable considering the fact that the furniture expresses cultural values, aesthetic, economic and social aggregates, themes that enrich and make it complex to its specific characteristics and artistic influences, as well as production techniques. The issues raised will be evidenced by reconstituting, through drawings and models Branco & Preto Store located in Rua Vieira de Carvalho, the reconstructions of the halls of residence and the residence of Roberto Aflalo Pacaembu - designs of architects Plinio Croce and Roberto Aflalo 1955 in reconstructions of the living room of the house Maria Luisa and Oscar Americano 1952 and the first floor of the residence, 1956 Jardim America - both designs of architect Oswaldo Arthur Bratke, besides the development of drawings and models of mobile unpublished authored by members of store.
A presente pesquisa traça um panorama da arquitetura e do mobiliário produzido no Brasil desde o início do século XX, dando destaque para o móvel moderno brasileiro produzido entre as décadas de 1950 e 1970 e para a arquitetura residencial burguesa. Tem também como base analisar a produção articulada desse mesmo mobiliário e da arquitetura residencial moderna paulistana. Naquele período, a sociedade formada pelos arquitetos da loja Branco & Preto e o novo momento político que permeava o cenário nacional incentivaram a inserção e levaram à consolidação do ideário moderno em São Paulo. Essa produção significou, mediante a contribuição da loja de móveis Branco & Preto, um sinônimo de parceria e cooperação, ao atuar como mediadora da inter-relação entre o móvel e a arquitetura residencial propriamente dita. O objetivo geral é evidenciar e caracterizar a relação necessária entre a arquitetura moderna e o mobiliário produzido no período supracitado, que foi proporcionada pela disseminação e assimilação no Brasil do ideário e das práticas modernistas. O mobiliário projetado nesses anos vinha de uma linha produzida com requinte e excesso de ornamentos e consistia em elemento indissociável da expressão daquela arquitetura. Sendo assim, a pesquisa parte do pressuposto de que a relação entre os espaços internos e a casca arquitetônica encontrava no mobiliário um dos principais suportes de expressão de vanguarda. Ademais, é inevitável considerarmos o fato de que o mobiliário expressa valores culturais, estéticos, econômicos e sociais agregados, temas que o enriquecem e tornam complexas as suas características específicas e influências artísticas, bem como as técnicas de produção. As questões levantadas serão evidenciadas com a reconstituição, através de desenhos e maquetes da loja Branco & Preto localizada na Rua Vieira de Carvalho, nas reconstituições das salas da residência de Roberto Aflalo e da residência Pacaembu projetos dos arquitetos Plínio Croce e Roberto Aflalo de 1955, nas reconstituições da sala de estar da residência Maria Luisa e Oscar Americano de 1952 e do primeiro pavimento da residência Jardim América de 1956 ambos projetos do arquiteto Oswaldo Arthur Bratke, além do desenvolvimento de desenhos e maquetes de móveis inéditos de autoria dos membros da loja.
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Soros, Susan Weber. "E.W. Godwin : secular furniture and interior design." Thesis, Royal College of Art, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262784.
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Toledo, Patrícia de Moura e. Silva. "O design de interiores em hostels: manifestações da individualidade em quartos compartilhados de hostel." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5803.
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Esta dissertação discorre a respeito da manifestação da individualidade no espaço do quarto compartilhado de hostel, a partir dos conceitos e fundamentos do design de interiores aplicados. A pesquisa foi motivada pelo questionamento: “como se manifesta a individualidade nos quartos compartilhados de hostel e quais os elementos do design de interiores são responsáveis por potencializarem esta manifestação? ” Portanto, teve-se como principal objetivo, compreender como se dá a individualidade no espaço do quarto compartilhado de hostels. Tratou-se de uma pesquisa de natureza básica, exploratória e de caráter qualitativo quanto à abordagem do problema. A coleta de dados se deu tanto a partir de um levantamento bibliográfico quanto de uma pesquisa de campo. Ao final da pesquisa, constatou-se que a utilização do design de interiores, através de categorias como, mobiliário, leiaute e equipamentos, contribui diretamente na delimitação e identificação da manifestação da individualidade nos quartos compartilhados de hostels. Sobretudo, identificamos o habitáculo da cama como o elemento de maior representatividade da manifestação da individualidade. Além de se apresentar como um importante instrumento para compreensão da dinâmica entre indivíduo e espaço.
This dissertation discusses shared rooms individuality space, that is revealed in a hostel, from concepts and fundamentals of interior design. The research was promoted by the request: “how individuality is shown in hostel shared rooms and which elements of interior design are able to stimulate this demonstration?” To understand how the individuality in hostel shared rooms is shown, is the principal aim of this research. It is a basic and quality feature task, related with the approaching. The data collection took place from a bibliographic survey as well a field research. At the end, we come to a conclusion that the delimitation and identification showing individuality, is stimulated directly, by the usage of the interior design concepts and theories through elements as furniture, layout and equipment in hostel shared rooms besides revealing an important appliance to have individual dynamic comprehension.
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Piknová, Marcela. "Podnikatelský plán prodeje ekologických a zdravotně nezávadných produktů." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150053.
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Thesis on business plan Ecointerier is to assess the feasibility and viability of a project to create a new company. Another detecting factor is capital intensity of foundation and of the company's operations. The company has to deal with sale of paper furniture and original interior accessories that are also environmentally friendly. In the business plan is applied approach called "business minimalism" and other innovative approaches. The focus is placed on the marketing and use of contacts, new materials, with free capacities of advertising industry. The result is to check the amount of necessary expenses, the profit and minimizing upfront investments. It shall be considered whether it is realistic and profitable business to operate while at work.
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Ortega, Cristina Garcia. "Lina Bo Bardi: móveis e interiores (1947-1968) - interlocuções entre moderno e local." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-20092010-092353/.
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A pesquisa objetiva estudar o design de móveis e os interiores concebidos por Lina Bo Bardi entre 1947 e 1968, período em que a arquiteta desenvolve projetos que são produto de sua experiência na Itália e no Brasil. Sob esta perspectiva, a investigação de um período anterior a seu traslado para o Brasil é fundamental para resgatar fatos históricos, políticos e sócio-culturais, como também os postulados modernos, a predisposição dos arquitetos de estender suas funções ao design de mobiliário e o advento do neo-realismo italiano que fazem parte da formação de Lina Bo. Imbuída deste contexto e no desejo de configurar uma identidade brasileira, Lina Bo Bardi realiza uma observação antropológica um atento olhar na busca de temas locais que concilia aos conceitos modernos internacionalizados. Ela considera materiais, técnicas, tradições, costumes, natureza, arte, artesanato ou pré-artesanato, cultura e sociedade do país que adota. Esta conduta traduz, para sua arquitetura, interiores e mobiliário, vários tipos de integração edificação e entorno, interior e exterior, móvel e ambiente, vernáculo e móvel, arte e povo , muitas vezes constituindo uma inequívoca mimética, não só entre a arquitetura e seu habitat, como, também, entre o design de móveis e os de elementos da terra. É relevante destacar o desenvolvimento desta postura que confere ao móvel e, conseqüentemente, ao ambiente, uma feição peculiarmente moderna com um caráter de brasilidade, oferecendo uma importante contribuição à nossa cultura material.The objective of the research is to study the design of the furniture and interiors that were conceived by Lina Bo Bardi between 1947 and 1968, a period during which the architect developed projects that were the result of her experiences in Italy and Brazil. From this perspective the investigation into a period prior to her arrival in Brazil is fundamental when it comes to recovering the historical, political, social and cultural facts, as well as the modern postulates, the predisposition of architects to extend their functions to designing furniture and the rise of Italian neo-realism, all of which form part of the background of Lina Bo. Heavily influenced by this context and with her desire to shape a Brazilian identity Lina Bo Bardi observes in an anthropological way takes a close look in her search for local themes which reconciles the modern internationalized concepts. She considers the materials, techniques, traditions, customs, nature, art, handicrafts or pre-handicrafts, culture and society of the country she adopted. This transfers various types of integration buildings and their surroundings, interiors and exteriors, furniture and the environment, the vernacular and furniture, art and the people -, into her architecture, her interiors and her furniture, which often constitute an unequivocal mimicry, not only between the architecture and its habitat, but also between the design of furniture and the elements from the land. It is important to highlight the development of this posture that provides the piece of furniture and consequently the environment with features that are particularly modern and with a sense of Brazilianity, thus making an important contribution to our material culture.
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Stephens, Stanton. "Charles and Ray Eames : furniture, architecture, interior design, film and photography." Thesis, De Montfort University, 1991. http://hdl.handle.net/2086/4252.
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Pickford, Sophia Elizabeth Ogilvie. "The French renaissance château interior : furniture, religious objects and book ownership." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612734.
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Pierce, Allen Carl. "Blurred lines: reinvestigating the design possibilites of architecturalized furniture and furniturized architecture in contemporary housing." Thesis, Georgia Institute of Technology, 2014. http://hdl.handle.net/1853/51855.
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Blurred LInes seeks to reopen discussion of the scale and interrelation of architecture and furniture, traditionally conceived. It traces the recent history of furniture and architectural making from the high-point of the “built-in” through the manufacturing age, questioning the corresponding stratification of our immediate built environment into building, infill and objects. Engaging modernist and contemporary criticism, it explores a return to unified building in which the architecture might well become the furniture and vice-versa, erasing built hierarchy and asynchronicity. The paper describes lessons learned from modern masters of the discipline from Adolf Loos to Nader Tehrani and attempts to identify key formal, spatial and constructional considerations in the successful integration and “blurring” of this line. All of this comes to bear in the establishment of design experiments to be carried out in studio, testing the possibilities and viability of the paper's theoretical models.
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Nilsson, Jonaz. "Requirements for wood-based lightweight panels intended for furniture and interior use." Licentiate thesis, Linnéuniversitetet, Institutionen för skog och träteknik (SOT), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-72069.
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Introduction: Throughout many parts of the world, forests exist in one form or another. And for the timber from these forests to be used, it must be processed by, for example, sawing into planks and dried. Studies have shown that profits for the forest owners increase from beneficial processing of these raw materials. An efficient use of this raw material is to process it into lightweight panels. Some general incentives for using lightweight constructions are: economical, technical and environmental. Some general weaknesses with sandwich constructions are more sensitive to impact and bumps, risk for delamination, harder to make fastenings, and more sensitive to the concentration of point loads. This work aims to increase the knowledge of properties and design of wood based lightweight panels used for interiors and furniture. The intention with this knowledge is that it can contribute to the development of lightweight panels. Material and method: A lightweight panel of cross glued sandwich type and a cross-glued multi-layered panel with densified face sheets have been used as an example to investigate and understand which parameters are crucial for a lightweight panel, made of wood. The lightweight panel of sandwich construction has been studied to consider the changes of shape brought about by moisture, as well as which mechanical properties this panel has, with a focus on creep deformation. Two methods for reducing the moisture-generated shape changes so as to increase the shape stability of the panel have also been studied. The methods are crossgluing and thermal treatment of the wood material. In the investigations of the panels, primarily quantitative methods in the form of empirical tests have been used. Some numerical simulations describing the moisture-generated shape changes and stresses that arise in the investigated lightweight panels were also made. Results and discussion: Cross-gluing of a multi-layered panel and also for the lightweight panel used in this study is a way to reduce the movement in the panel, generated by moisture. The drawbacks with this method are that stresses occur in the panels when the moisture change, and this can lead to a decrease in the shape stability of the panel. Thermal treatment can also be used to decrease the moisture-generated movement in wood, and in this way increase the shape stability of the product. In those cases where the empirical experiments were combined with numerical simulations, there was good agreement between the experimental and the numerical results. With the lightweight panels a weight reduction was achieved from 307 to 540 kg/m3 compared with a solid beech wood panel. The creep deformation of the lightweight panel was better or comparable for 6 of the 8 studied groups, compared to solid beech wood panel. The study also show that is possible to adapt the mechanical properties through its design of this lightweight panel.
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Nilsson, Josefin A. "Juvenile birch in Sweden : Selected stem characteristics for interior and furniture applications." Licentiate thesis, Linnéuniversitetet, Institutionen för skog och träteknik (SOT), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89178.
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In response to the furniture industry’s growing demand for raw material, large volumes of juvenile silver birch and downy birch stems available from pre-commercial thinning operations in Sweden’s forests could offer solutions. However, such stems are not currently used on an industrial scale, and most research conducted on birch stems in general has neither focussed on young trees nor the potential use of the central stem part around the tree pith. The resulting lack of knowledge about the juvenile part of birch wood thus requires additional information about the material properties of birch, which could encourage its use for various purposes in the furniture and other industries. The initial literature review performed for this thesis has highlighted some properties of juvenile birch required for its use as a furniture material, as well as identified topics concerning the physical characteristics of juvenile birch about which knowledge is currently limited. Consequently, the objectives of this thesis were to explore some characteristics of juvenile birch—bark thickness, wood-to-bark bonding ratio after drying, variations in the density and width of growth rings, and anatomical growth response to fertilisation—in order to increase the knowledge. The material studied came from mixed birch and Norway spruce stands at two sites in southern Sweden, namely Asa and Toftaholm. The birch stems were naturally regenerated silver birch and downy birch, with breast height diameters between 30 and 83 mm. Fertilised and unfertilised silver birch trees were sampled at Toftaholm, whereas unfertilised stems of silver birch and downy birch were sampled at Asa. The characteristics of stems from the pith to bark (radial direction) and along the stem (longitudinal direction) were measured. The wood-to-bark bonding ratio on downy birch after drying was calculated as the percentage of the stem circumference with full contact between the wood and bark, while oven-dry density and basic wood density for silver birch were determined by using the water displacement method. The impact of ring width on wood density was statistically analysed, and an image analysis of the wood anatomy was conducted to elucidate their relationship. Amongst the results, bark thickness along the stem had the highest deviation in the section closest to the stump. Moreover, the wood-to-bark bonding ratio after drying measured for juvenile downy birch seemed to depend more on the stem’s diameter than the sampling height along the stem. Such results are relevant for processors seeking to estimate the volume of wood under the bark. The wood-to-bark bonding ratio was highest for diameters between 30 and 39 mm, and neither did that relationship correlate with the sampling height along the stem. Variation in wood density in the radial and longitudinal directions in juvenile silver birch suggested that such density negatively correlated with growth rate (ring width). That relationship held true for stems at each site and between the sites, irrespective of management or growing conditions. As expected, mean wood density was lower in fertilised trees than in unfertilised ones, and towards the bark, radial density increased more in trees that grew more slowly. At the same time, variation in longitudinal density in young silver birch trees was low. Quantitative wood anatomy studies confirmed that the fertilised juvenile birch had younger cambia, thinner cell walls, and fewer vessels per mm2 than unfertilised trees in the same diameter class. Overall, the knowledge generated in the study may facilitate the industrial use of juvenile birch stems and wood in interior and furniture applications. The role of wood anatomy in determining the mechanical performance of juvenile birch stems should be further examined, however, to possibly reveal new opportunities for the use of juvenile birch.Det finns ett växande behov av råvaror till möbelindustrin. Stammar av juvenil vårtbjörk och glasbjörk finns tillgängliga i stora volymer från röjning i svenska skogar. För närvarande finns det inget storskaligt industriellt nyttjande av det virket. Bättre kunskap om dess virkesegenskaper kan öppna upp möjligheterna till olika användningsområden. Dock har en majoritet av den befintliga björkforskningen ofta exkluderat studier av innersta veden närmast kärnan, vilket resulterat i en låg kunskapsnivå om det juvenila virket. I den inledande litteraturstudien i denna uppsats belyses vilka krav som ställs på materialegenskaperna i möbelvirke. Vidare identifieras befintliga kunskapsluckor i fysiska och mekaniska egenskaper för juvenil björk. Målet med denna uppsats är därför att utforska några egenskaper, såsom barktjocklek, barkvidhäftning efter torkning, densitet och årsringsbreddsvariation samt hur gödsling kan påverka vedanatomin. Materialet kom från blandskogsbestånd med gran och björk i Asa och Toftaholm i Götaland. Björkarna var självföryngrad vårtbjörk och glasbjörk och stammarna hade en brösthöjdsdiameter mellan 30 och 83 mm. I Toftaholm var en del av beståndet gödslad respektive ogödslad vårtbjörk. Från Asa togs stammar av både vårtbjörk och glasbjörk. Virkesegenskaper och dess variationer i stammens radiella och longitudinella riktning studerades. Vidhäftningen av barken till veden efter torkning bedömdes procentuellt på omkretsen av ändträet. Relativ torrdensitet och rådensitet mättes. Påverkan av årsringsbredd på veddensitet analyserades statistiskt och vedanatomin studerades med mikroskop och bildanalys för en vidare förståelse av dess samband med gödsling. Resultaten gällande barktjocklekens variation visade att den nedre delen av stammen hade störst medelavvikelse. Dessa resultat kan vara relevant information för vidareförädling efter avbarkning. Barkens vidhäftning till veden efter torkning mättes på juvenil glasbjörk. Det visade ett visst samband med stamdiameter där den högsta vidhäftningen fanns på stammarna med en diameter mellan 30 och 39 mm. Sambandet var däremot inte korrelerat till stamhöjden där provet togs. Densitetsvariation i radiell och longitudinell riktning studerades för juvenil vårtbjörk. Densiteten hade en svag negativt korrelation till årsringsbredd. Detta samband sågs både inom bestånd och mellan bestånd med olika tillväxtförhållande samt skötsel. Medeldensiteten för virket var, som förväntat, lägre i de gödslade träden jämfört med de ogödslade. I den radiella riktningen hade det senvuxna virket en högre faktor på densitetsökningen. Den longitudinella densitetsvariationen i unga vårtbjörkar var låg. Kvantitativa vedanatomistudier bekräftade att ungdomsveden i gödslad vårtbjörk hade en lägre kambiumålder, tunnare cellväggstjocklek och färre kärl jämfört med ogödslade träd med samma diameter, resultat som tidigare påvisats för mogen björk. Sammanfattningsvis kan resultaten från den här uppsatsen förbättra kunskapen och därmed underlätta för en industriell användning av juvenila björkstammar inom inredning och möbler. Dock bör vedanatomins påverkan på de mekaniska egenskaperna för juvenila björkstammar studeras vidare. Det kan möjliggöra nya användningsområden för juvenil björk.
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Ohlsson, Victor. "Estetik- Designelement ur historien och en designers val." Thesis, Linköpings universitet, Carl Malmsten - furniture studies, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-120710.
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I detta examensarbete har jag använt en designers formrepertoar och materialpalett och inspirerats av andra formgivares sätt uppdatera redan befintliga former. De produkter jag använt mig av är ett Parson bord och en lampfot. De material jag använd är kalkad ek, flock och rostfritt stål. Före, under och efter min formgivningsprocess har jag reflekterat över den mer övergripande frågan vad det är som gör något vackert, estetisk tilltalande. I arbetet har jag kommit fram till att det går att ta redan befintliga former och, genom designprocessen och valen man gör som designer, att göra de till sina egna.
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Kovařík, Martin. "Antropometrický výzkum dospělé populace a jeho aplikace v oblasti interiéru a architektury." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-233233.
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This thesis focuses on research in the field of anthropometric measurements of the adult population, its history, basic concepts and research itself, conducted under the author’s leadership of the NIS project at the Mendel University in Brno. The research results and its application in the field of interiors and furniture should be used to revise the architectural patterns and standards dealing with the relations on the axis between man – interior – furniture. It describes the relations of individual parameters, a person's height and weight, their development depending on age and sex, compares the height curve growth in Czech population and in Europe. The results of the work should serve as a basis for revising the existing typological principles and standards with regard to new results; in conclusion the author proposes conceptual changes of the fixed schemes in relations of man and interior.
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Zhang, Meng Jie. "Relaxační prostor v interiéru." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240591.
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The chair is designed for people who need their own peaceful space to hide and relax. The chair is put together with pentagonal shapes which ergonomically houses the human body. The geometrical structure allows the user to feel protected and cosy, almost immune to the outside world. The chair is made of oak wood and it fits for busy hotels, airports, offices and libraries.
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Jones, Robin Douglas. "The empire of things : furniture of nineteenth century Ceylon (Sri Lanka) and the production of British culture." Thesis, Southampton Solent University, 2001. http://ssudl.solent.ac.uk/689/.
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This thesis describes and interprets furniture produced in Ceylon (Sri Lanka) between c. 1800 and 1900 as part of a cultural 'dialogue' of everyday objects between Europe and Asia. By synthesizing the research methods of furniture history and material culture, the present work examines Ceylonese furniture within the context of the society in which it was produced and used. For the first time, the range of furniture produced on the island during the nineteenth century is categorized and defining characteristics of such furniture are outlined. In addition, and again for the first time, consumption of furniture in Ceylon during this period is examined and the place of these artefacts within the production of Western cultural practices is explained. Specifically, this thesis also contributes to an understanding of the history of Ceylon by interpreting the acquisition and use of western-style furniture by the indigenous social elite as part of the production of anglicized life-styles on the island. The present work contributes to debates centred on colonialism and culture by historicizing and localizing the furniture of the island. Such furniture, it is argued, in addition to its use value, reproduced European refinement and civility in the domestic interiors of Ceylon; in this way furniture, despite its quotidian nature, is taken to be expressive and constitutive of the colonial relationship between the British and Ceylonese. Through analysis of archival data, examination of the furniture itself and interpretation of the communicative capacities of these artefacts, explanation of the empirical and symbolic is combined in a new understanding of a substantial, but overlooked, part of the object-world of nineteenth century Ceylon. Through the process of developing and using a new conceptual framework for the interpretation of colonial furniture produced in Asia, a contribution is made to the study of furniture history and, more specifically, items of furniture from Ceylon are interpreted as materializations of human behaviour and constitutive elements in the production of culture.
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Bielak, Britta. "Second Skin." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3583.
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Reason for writing. The space of confusion and possibility where the practices of art and design collide seems to be in a constant amoebic state. This place of shared influence and growth seems to pervade not only the intersection of these two disciplines, but within interior design, the intersection of people and space. How can the boundaries between an interior space and it’s inhabitants be as richly embedded with tension and opportunity as the edges where art and design meet? Like art and design, how can a space and it’s visitors interact to affect one another?
Problem + Methodology: This project explores these questions in a context mindful of their origin: The Virginia Museum of Fine Arts. The design proposal of inserting a fashion wing into the VMFA’s existing context evolves from research and process work across art, design, and architecture, from the scale of the building to the scale of a seat.
Results + Implications: The challenge of creating public space that can be just as responsive to and influential over it’s inhabitants as private space seems resolved through the navigation of movement and moment. Finding value in an unscripted discovery of a space and the ownership of private experiences, offers a way to feel engaged with and connected to a space that doesn’t rely on object ownership or territorial comfort. This solution does rely, however, on inhabitants capable of being present and responsive to their environment, allowing other visitor’s interactions with the space and their individual path through the exhibits to affect their perceptions of and connectedness with the design.
23
Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.
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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
24
Graf, Henriette. "Die Residenz in München : Hofzeremoniell, Innenräume und Möblierung von Kurfürst Maximilian I. bis Kaiser Karl VII. /." Thesis, München : Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen, 2002. http://www.gbv.de/dms/bs/toc/357840089.pdf.
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Bailey, Justin Gray. "The Airliner : capturing the essence of experience in visual form." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1540.
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By breaking design down from a whole composed of individual parts, I work to create user experiences derived from spaces and the objects within them. These spaces and objects are brought together in their relationship with the human presence. By translating an experience into a physical environment, I, as a designer, am afforded the opportunity to introduce my own perception into the minds of others who enter the space.
In working with the idea of creating an experience as visual form, I wanted to create a space that evoked an experience we don't get in our everyday lives, a feeling of ascending into flight. Human designed environments have the ability to transport us from our current surroundings and into a unique environment that can affect us not just visually, but emotionally and physically through multiple senses of perception.
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Wetterqvist, Sara. "Marbling Totem : En möbel för berättelser." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3661.
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CASTRO, GABRIELA VARANDA DE. "INTERIOR DESIGN AND CONSUMPTION: THE PERCEPTION OF THE SOCIAL AND ENVIRONMENTAL ASPECTS IN FURNITURE AND DECORATIVE OBJECTS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13338@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOTodo projeto de design que promete mudanças deve, afinal, comunicar-se de uma maneira eficiente com seu público. E todo projeto sustentável deve tornar clara a sua sugestão de transformação da sociedade. Mais que modelar formas e funções, designers criam idéias e propostas, que seus consumidores ou usuários finais percebem ou não. Portanto, esse novo valor simbólico conferido pelo design, aqui neste trabalho chamado de valor sustentável, deve ser visto como uma oportunidade para comunicar uma idéia, uma proposta de mudança social e cultural, que precisa ser percebida, do ponto de vista do consumo. Para verificar como produtos de design sustentável se comunicam com seu público, esta dissertação apresenta uma pesquisa bibliográfica e um trabalho de campo realizado junto a um grupo de trinta consumidores de móveis e objetos decorativos, de três lojas de decoração da cidade do Rio de Janeiro. Uma pesquisa qualitativa, composta de uma entrevista em profundidade, e uma pesquisa quantitativa, utilizando a técnica da análise conjunta, foram aplicadas junto aos consumidores, para avaliar a percepção do valor sustentável em peças decorativas e verificar sua eficiência como agente transformador e facilitador de mudanças.
Every design project that promises changes must, after all, establish an efficient communication with their public. And all sustainable projects should make clear their suggestion of transformation of the society. More than modeling forms and functions, designers create ideas and proposals, which their customers or end users perceive or not. Therefore, this new symbolic value given by design, here in this paper called sustainable value, should be seen as an opportunity to communicate an idea, a proposal of cultural and social change, which needs to be perceived, in terms of consumption. To verify how products of sustainable design communicate with their public, this dissertation presents a bibliographical research and a field research carried out among a group of thirty consumers of furniture and decorative objects, from three decoration stores of the city of Rio de Janeiro. A qualitative research, consisting of an in-depth interview, and a quantitative research, using the conjoint analysis technique, were applied to consumers, to assess the perception of the sustainable value in decorative pieces and verify its effectiveness as a transforming agent and changes facilitator.
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Källeskog, Jessika. "Boundaries of Matter : The experience of space and object through the abstract to the tangible." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4101.
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Boundaries and Matter - The intangible and the corporeal A space dedicated to contemplation in a public realm With a philosophical approach to the topics I aim to absorb the dynamics in the meeting between the intangible and the physical. In the urban contemporary environment that we live in I see a need for a physical context that contrasts the flow of information and inputs that we are exposed to.From this point of view I have created a concept of a space for contemplation, as a reply for both visual as well as mental boundaries that connects both the abstraction of the mind to the corporeal. The perception of our surroundings is an acknowledgment and a consciousness of our senses. In our everyday life we are constantly surrounded by a flow of impressions. To contrast this I have created a space where you can calmly travel inward & outwards without being disturbed by the constant flow of information. This project departs as a statement towards the intense frequency of information inputs in our contemporary surrounding, the stressful act to manage our mental boundaries for what we let in and what we leave out. Through this project I wanted to define the abstract spectra of inspirations in the design-process of how I relate to form and the surroundings. Mapping it, formulate and gestalt it. Defining the boundaries to what I see as the scenery of the project. Taking the broad turns of the process leading me to collect bits and pieces from various sources and apply these thoughts in a secondary phase to the actually form-giving. Turning the abstract ideas to a space and an object, interpret in two different manners to a pavilion for contemplation and an idea of seating furniture. Throughout the process I balance the two poles through reflection from a philosophical angle that I follow up with the sensibility for the tactile sensors in how one perceive a physical object. Leading through historical values and ideas tied towards the spatial dimensions and the various scales in handling space and object. Using the materiality to create a connection to the body and wrapping up to embrace as a protective shield around the body. With the gestalt of a boundless space within given dimensions that are not obvious or sharply defined, to instead become an extension of your mind and body. As you become the centre of the space, your thoughts are the boundaries and the spatial dimensions are framing the action.
29
Kavaliauskaitė, Ieva. "Transformuojami baldai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070110_140029-85811.
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Transformable Furniture
Master’s Degree Work
The theme of the Master’s degree work - “Transformable Furniture” – is a topical issue these days, because the problem of irrational and tasteless furniture as well as interiors still exists.
After analysing theories of the development of contemporary material environment as well as philosophical and artistic theories and attitude through the prism of the art and science proportion, the conception of the art playfulness, tendencies of the development of furniture and interior installations, assortment and principles of the creation and art conception as well as ergonomic laws, declared by the Functionality, the Constructivism, the concept of the Master’s degree work was formed, theoretical description was prepared and the universal, transformable furniture of 98 sq. m., designed for the interior was created; it enables to plan the dwelling space rationally and creatively.
The project is composed from eleven main objects with continuous transformable modifications of the furniture for individual space. The project is presented on fourteen plane-tables with detailed schemes of each object, visualisations of their position in the interior. Three-dimensional models of each object are presented following a chosen scale of M 1 : 10.
After the analysis of theoretical sources and their application in the project, the conclusions were made: transformable furniture enables to form the mobile as well as playful individual space... [to full text]
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Grušaitė, Raimonda. "Modulinis baldas "Domino"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100902_234702-68190.
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Didėjantis mūsų gyvenimo tempas, dažniausiai nepalieka laiko poilsiui, bendravimui su artimaisiais, laikas tampa deficitu. Visi priversti skubėti, todėl vis labiau populiaresni tampa dizaino sprendimai, padedantys taupyti brangų laiką, sudarantys galimybę produkto vartotojui pačiam tapti kūrėju formuojant aplinką. Tai paskatino sukurti universalų baldą, lengvai transformuojamą. Šis kūrinys tarnaus ne tik kaip baldas poilsiui, atsipalaidavimui, bet atliks ir žaidybiškumo funkciją, lavins loginį mastymą ir vaizduotę. Bakalauro darbo pavadinimas „ DOMINO“. Tai modulinis transformuojamas baldas, kuris susideda iš 17 dalių. Pagrindas – lagamino formos dėžė, kuri gali transformuotis į minkštasuolį, staliuką su 16 minkštų odinių pagalvėlių, tinkantį laisvalaikio praleidimui, poilsiui, arba tarnauti kaip žaidybinė priemonė. Šį modulinį baldą lengvai galima transformuoti į lagaminą, tai sudarys galimybę jį patogiai transportuoti, panaudoti išvykose, ar poilsiaujant. Šis baldas puikiai tiks tiek mažose tiek didesnėse erdvėse, ar gamtoje. Spalvins komplekto sprendimas juodojo šokolado ir dramblio kaulo spalvos oda, tokį sprendimą lėmė tai, kad šios spalvos tradiciškai naudojamos šiame žaidime, tarpusavyje dera, nėra reiklios, todėl lengvai įsikomponuoja į aplinką, yra raminančios. Šis baldas puikiai tiks ir paaugliams ir suaugusiems.The increasing pace of our lives often leaves no time to relax and communicate with our family and friends and time becomes a deficit. Therefore we can see increasing popularity of design solutions that help to save valuable time, allowing the user to become himself a product designer in shaping his own environment. This led to the creation of universal furniture which is easily transformed. This creation will serve not only as a piece of furniture for relaxation but will have fuctions of entertaintment and will develop his owner's logical thinking and imagination. The title of this Bachelor's work is "Domino". The object of this work is a transformed modular furniture, which consists of 17 parts. The base of this furniture is suitcase which could be transformed into an armchair and a table with 16 upholstered leather pads, suitable for leisure, relaxation, or serve as a playful tool. This modular furniture could be easily transformed back to the suitcase, this fuction will be convenient to transport it and use during travels. This piece of furniture will suit both for small and large spaces as well as outdoors. Decision for the colour of the furniture was taken in regard of colours traditionally used in the game. Furthermore colours match each other and has calming features, also such combination of the colours is not demanding, so it could be easily integrated to environment. This furniture will be good for both adults and juveniles.
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Marques, Déborah Caramel. "Mobiliário doméstico e as apropriações do moderno: a divulgação dos interiores residenciais nos periódicos especializados e ilustrados (1930-1955)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08022019-114233/.
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Esta pesquisa trata das discussões em torno da apropriação do mobiliário dito moderno, no período de 1930 a 1955, a partir de matérias e anúncios publicitários publicados nas revistas ilustradas A Cigarra e O Cruzeiro, e nas revistas de arquitetura Acrópole e A Casa. A partir de textos e imagens divulgados por esses periódicos, com a finalidade de apresentar questionamentos estéticos e funcionais relativos ao uso de móveis domésticos, incluindo o seu arranjo no espaço da casa, analisamos o fenômeno social de difusão dos móveis modernos, trazendo à tona a diversidade de apropriações dos preceitos modernistas e à constituição de noções correlatas, como conforto, domesticidade e bom gosto decorativo.This research deals with the discussions about the appropriation of the furniture called modern, from 1930 to 1955, from articles and advertising published in the illustrated magazines A Cigarra and O Cruzeiro, and in the architecture magazines Acrópole and A Casa. Using texts and images published by these journals, we have the purpose of presenting aesthetic and functional questions regarding the use of domestic furniture, including their arrangement in the home space. We analyze the social phenomenon of diffusion of modern furniture, bringing up the diversity of appropriations of modernist precepts and the constitution of related notions such as comfort, domesticity and decorative taste.
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Buyukpamukcu, Hande. "Design Considerations In Children Bedroom Furniture Of Preschool Period With An Analysis Of Today." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/12604931/index.pdf.
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In this thesis, the design considerations of a healthy and stimulating bedroom environment for preschool period children are analyzed. In order to build up a multipurpose environment, the development of the preschool children, necessary items of furniture and the related design concepts are discussed. General design criteria are determined to constitute a guide for a children bedroom environment of preschool period. Under the light of these data, a research is conducted to analyze today&rsquos children furniture market in Turkey.
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Nyström, Erik. "Interpretations of reality : a design exploration on the ambiguous." Thesis, Konstfack, Industridesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5817.
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Is there possibly a way design can make us reflect upon and acknowledge multiple realities? Our perceptions are so individually rooted that we can practically say that we experience multiple realities. Depending on which senses we use and what previous experiences we have, we explore our physical world in such a way that one could say that it’s a reality of it’s own. By exposing ourselves to multiple realities we not only learn more, we also diminish our generalisations within that field. Through the objects presented in the project, I question how aesthetics and functionality can stimulate new views and experiences, opening up how we perceive the world in different ways. Thus giving us different associations of what objects come to mean to each and everyone - our subjective reality. The project resulted in three proposals which are related to the private home, but has been given a costume of ambiguity to connect with viewers and users on a more individual plane. Who do you see in the mirror? Is it a table, or is it actually an instrument? Does our previous experiences reveal in how we interact with objects?
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O'Saben, Margaret. "MODs: collaboration and play in design." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1596.
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Located in Richmond, Virginia, MO Design is a small design/build company founded by Molly O’Saben. Ms. O’Saben received her bachelor’s degree in Craft & Material Studies and her master’s in Interior Environments from Virginia Commonwealth University. MO Design was founded in 2010 with a team of fellow alumni from VCU.
We make objects that inspire inventiveness. Our reconfigurable components offer our clients the unique ability to adapt their environments to life’s ever-changing needs.
We make MODs: Make your Own Designs.
Our products are for people who appreciate efficient spaces, are open to exploring possibilities, and like to play. Just as Legos have uniform connections providing a myriad of options for building, our MODs offer the same versatility in a serious adult form. Use our building blocks to make a table, chair, or custom wall unit. When your needs change, dismantle your chair and rebuild it into a bookcase. We make objects that challenge the client to investigate. With exploration of their needs and implementation of their design comes a sense of accomplishment. We want to create this feeling of pride through working hard at play. MODs serve the needs of young and old, differing personalities, multiple demographics and help keep the world green with each reconfiguration.
OUR MISSION: to bring the pride of making back to the individual.
We design, build, and distribute our products. Our company designs components that offer versatility to our customers. MODs are block-like pieces that joint together using tradition mortise and tenon construction. The components we make can be reconfigured like puzzles, providing hours of entertainment for all ages. For our more conservative customers we make MOD PODs: a collection of MODs packaged and sold with assembly instructions to make a specific piece.
MO Design also offers MOD Design Services. We can build a custom office, living room, or children’s bedroom with our products based on your unique specifications.
We design to produce options, reduce waste, and create fun in the process. Our clients purchase products based on quality, versatility, and sustainability. Our products challenge how we see furniture – from monolithic, singular objects to dynamic tools for living. Small spaces need flexibility and the proper pieces are essential to an organized environment.
Our products offer the: • opportunity for individuals to create custom designs. • ability to customize products without needing expensive, dangerous tools. • potential for growth with new designs that continue to connect to original parts. • enhancement of human needs, both physical and emotional. • excitement of exploration, collaboration, and play. • versatility to compliment any lifestyle, from highlighted piece to a closet storage system. • manageability of a product that can be moved and manipulated by a single person.• a challenge to our current product cycles: buy, use, and discard.
So, lets play with MODs!
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Bayer, Ulku. "The Use Of Design Consultancy For Companies Producing Furniture On Contract Basis: The Case Of A Medium Sized Company In Turkey." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607150/index.pdf.
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Contract furniture which is manufactured depending on the client’
s design or specification requirements on a contract basis is executed in small and medium sized furniture companies in Turkey. This one-of-a-kind production organization provides component manufacturing opportunity to furniture SMEs via subcontracting. In this study, the use of design consultancy is investigated to understand how it should be used in the current organization, in order to implement this production system efficiently. This study also examines contract furniture production to have foresight for the development of furniture SMEs in Turkey. In a literature review, the generic context of contracting activities in relation to design activity is investigated. Methods of design consultancy use in product development processes are searched. Design consultancy in construction industry is examined Data about design and production capabilities of Turkish furniture SMEs is collected. Production planning processes of a contract furniture company was investigated and discussed in a case study. These two groups of data were compared in order to drive conclusions.
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CHENG, JOHN PEIJON. "HOME FASHION: A CONCEPT OF CREATING HOME FURNISHING PRODUCTS USING FASHION THEORY AND DESIGN PROCESS." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1052937178.
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Lang, Caleb M. "One-Room House." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134412178956.
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PONTUAL, Julice Almendra Freitas Mendes de Carvalho. "Moradia, mobiliário e interior doméstico recifense: um processo de transformação do cenário doméstico nas décadas de 1950, 1960 e 1970." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17373.
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O cenário doméstico é resultado do conjunto composto por: moradia, mobiliário e interior doméstico, atrelados ao contexto sociocultural, tecnológico e econômico do seu tempo. Entretanto, apesar do esforço dos arquitetos modernistas em pensar a moradia, seu mobiliário e interiores como um produto único, são comuns os estudos que analisam as moradias, o mobiliário e os interiores domésticos como objetos desassociados. Tal fato tem gerado historiografias fragmentadas, o que ficou claro em vasta pesquisa bibliográfica realizada para elaboração desta tese. Diante disto, esta tese pretende gerar um panorama das principais transformações do cenário doméstico - moradia, mobiliário e interior doméstico - recifense nas décadas de 1950, 1960 e 1970 à luz dos acontecimentos emblemáticos de seu contexto sociocultural, econômico e tecnológico.
The domestic scene is the result of the set consisting of: housing, furniture and domestic indoor, linked to socio-cultural, technological and economic context of their time. However, despite the efforts of modernist architects to think the housing, its furnishings and indoors as a single product, the studies are common analyzing the houses, the furniture and domestics indoor as disassociated objects. This has generated fragmented historiography, which was clear in extensive literature research conducted for the preparation of this thesis. Therefore, this thesis aims to create a panorama with all the factors involved in Recife domestic scene of the 1950s, 1960s and 1970s, which involves: the housing, its furnishings, the domestic indoor and contextual paradigmatic events.
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Svahn, Daniel. "A New Paradigm : A Designer’s Quest for Material Reuse and Upcycling." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7268.
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In a time of growing consciousness around sustainability and an early paradigm shift when it comes to circular systems for furniture and interiors, as an aspiring designer, I need and must adapt accordingly within my field and creative practice. In this project, I have worked with the immense material waste that is going on, especially focusing on furniture and interiors, within the public and private sectors as well as in office environments, where this is a big issue. Guided by the United Nations Global Goal No 12 - Responsible Consumption and Production, I have experimented with, to me, new ideas for systems that deal with the upcycling and repurposing of “old” and/or discarded pieces of furniture and the material they are made from. To see what I can make of it to prolong the lifecycle and give the material a new purpose, function, and value. In my process I have acted both as an interior architect and a furniture designer but also as a sculptor and craftsman since the predetermined “waste” material I have worked with demanded a reversed design process than what a “normal” one would look like for a commercial project. The result is a series of new furniture designed and made from waste material, revisioned by me through a mix of art and design, to see how I as a designer of furniture and interiors can develop and find my path in this and to help formulate the new design paradigm and aesthetics for future circular and sustainable furniture and interior solutions that is underway.
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Lidmila, Jan. "Interiérový mobiliář." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2015. http://www.nusl.cz/ntk/nusl-232426.
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Visually simple collection of interior equipment, consisting of the design table, light and chair made from wood. Specifically from oak. Designed with the modern aesthetic and technological principles.Collection is designed for a particular company and this design respects their technological facilities and requirements.
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Hjort, Ebba. "Responding Objects – Poetic Design and Healing Spaces." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7837.
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Today's social climate and working environments expose us to excessive expectations and demands and more and more people are diagnosed with stress-related illnesses. My degree project is an investigation of poetic design, healing spaces and fatigue syndrome and the importance of adapted health care environments that strengthen treatment and recovery. My mother has fatigue syndrome, she has been ill for over six years, and she still has severe symptoms that probably never fully will go way. So, the purpose of this project is, on the one hand an attempt to get a deeper understanding of her situation, and on the other, to shed some light on this illness that is getting more and more common, especially amongst women. Research shows that spending time in nature has healing effects for those with mental illness. Using my definition of poetic design as a method, I have transposed qualities of nature into an indoor environment that reconnects to humans deep and genetic relationship to nature. I am proposing a new type of health care space with a much-needed holistic approach. Focus is on treatments such as mindfulness, basal body awareness and yin yoga as well as different kinds of therapy and activities in a space close to nature. A holistic space including a garden, an indoor space and a piece of furniture that are designed to respond to the non-measurable and invisible symptoms of fatigue syndrome.
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Brand, Adele. "DiD Warehouse." Diss., University of Pretoria, 2003. http://hdl.handle.net/2263/29811.
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The warehouse will be seen as an outlet of décor elements and designer furniture as well as of South African and international décor shops and designs. A showroom of designer furniture (of well-known designers like Rietveld, Graves, Gehry, etc.) for the public and interested and affected parties will be provided. All the different functions must be integrated and the interaction between various designers and different décor elements will form an important aspect of the warehouse. DiD Warehouse must facilitate innovation and welcome new talents among collaborators along with the "design consumer", an informed and sensitive buyer who, by setting in motion a buying project of his own, is transforming distribution. Even retailers will have to change their attitude, and get rid of the "museum store" concept, that is, a space where the objects on display cannot be touched. The warehouse should be seen as an event place, which has a give-and-take relationship with the life and culture of the city and which attracts the visitor, plying him with emotions and services over and above a simple exchange of merchandise and money over a counter. Growth of any kind brings with it an ability to keep changing, doing away with moldy prejudices to make room for the new. Transformation, movement and lightness are, in the end, the words that best sum up the character of what the designer warehouse must be in the future. Time, scale and functional differences must be solved through the design and planning of spaces. The building will be seen as a "container". South African and international influences, as well as space perceptions of the Post-Modernist era, must be incorporated to set a precedent for the warehouse. A true South African influence and modern style will be reflected through the architecture. The furniture and décor elements will form part of the building and architecture, and must complement each other. DiD Warehouse will house historical and current designer furniture and décor elements, to ensure prospects, possibilities and opportunities for designers of the future. Local designers will get exposure to the international design industry, and a standard for each design and designer will be set. Differences versus similarities must positively reflect the diversity of South African and international design. Import and export of designer furniture and décor are going to be very important aspects in the administration and economical management of the warehouse. The architecture and interior design of the warehouse will complement each other and create the same feeling, that of inspiration, creativity, modern design, imagination, reality and exclusivity. a designer masterpiece as well. Every well-known architect has designed a piece of furniture in his/her life The building will reflect its function and the activities within the façade and architecture, and will aim to be time and the relationship between architecture and designer furniture is very important and dynamic. One of the most important functions of the building will be to launch careers and test ideas. The exterior (architecture and façade) will set a standard for what is inside the building and the warehouse will aim to set a precedent for future furniture development in South Africa. The building will strive to be a very important catalyst in generating designer décor and furniture. There is a demand for steady retail, which will revive the industrial and export sector. South Africa remains the powerhouse of the continent and medium to long-term prospects are good. This means that deals that can be successful today will become that much more attractive in the future. The warehouse must encourage other designers to make conscious use of design as a factor in the competitive process. Precedents will be the platform of the final product. The building must be adaptable and flexible to accommodate continuous changes in technology, fashion and the changing environment and way of living of each person. It must be flexible in terms of more possibilities, greater prospects and better investments. Young entrepreneurs must have the opportunity to show their designs. The warehouse will be educational in a theoretical, practical and visual way. Furniture design courses will be held from time to time as well as exhibitions held by entrepreneurs and "young-up-and-coming" designers. That will create contrasts in price and experience. The aim of the thesis is to design a modern designer furniture and décor warehouse (situated in a security business park) to fulfill the needs of the community and industry; to investigate well-known architects and furniture designers theoretical approaches and philosophy towards design; to ensure that DiD Warehouse will be one of its kind in South Africa; to set a market for our local talent and to reflect diversity in today's modern designer furniture and décor; to showcase local and international design for the public and to give everyone easy access to and from the building; and finally, to create a place (warehouse) from another century, not of the past but of the future - based on human relationships, master intelligence, respect and loyalty; which will hold the key to our future in design - the rediscovery of compassion.Dissertation (MArch (Prof))--University of Pretoria, 2003.
Architecture
unrestricted
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Boyd, Kelly Elizabeth. "Mme. de Pompadour: Self Promotion and Social Performance through Architecture and the Decorative Arts." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/90.
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The structure of this thesis relies on the physical locations of Mme. de Pompadour. Although the chapters are roughly chronological, beginning with her arrival at Versailles in 1745 and ending with her death in 1764, this work makes no attempt to comprehensively chronicle the entirety of her involvement in the decorative arts. Rather, it focuses on several specific aspects of her patronage, with the goal of illuminating her social position and public image, and how she worked to control the two. Chapter One deals with the first rooms Mme. de Pompadour inhabited, from 1745-1750. These upper apartments characterize her early attempts to convey meaning through décor and to shape social interactions within a constructed environment. Chapter Two follows Mme. de Pompadour’s move downstairs, to the lower apartments in 1750. This move parallels an important evolution in her role at court and seeks to explore how her newly political functions were expressed through these interior spaces. Chapter Three is more expansive, examining three architectural projects undertaken by Mme. de Pompadour and Louis XV on her behalf, over the course of her nineteen years at court. These independent homes represented an opportunity for Mme. de Pompadour to actively work to change public perception of herself and her role, an opportunity that she did not waste.
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Ahmad, Wassem. "Contribution à une meilleure maîtrise des processus créatifs en co-conception : cas de l'ameublement en architecture d'intérieur." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0281/document.
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Deux cents personnes participantes, issues de secteurs variés, ont composé trois champs d'expérimentations différent(e)s, afin de tester l'hypothèse de l'application des méthodes d'ingénierie dans le domaine de la conception du meuble, ainsi que dans celui de l'architecture d'intérieur. Nous avons obtenu un résultat concluant par rapport à l'analyse de la problématique, à l'utilisation de la méthode TRIZ dans le domaine de l'architecture d'intérieur, et à l'étude de la conception d'un meuble. Les étudiants sont parvenus à concevoir un espace complet doté de meubles spécifiques. La qualité des artefacts (58 artefacts), estimée par plusieurs experts, induit que la transformation des méthodes de la créativité dans le domaine de conception du meuble est une hypothèse envisageable. La dimension culturelle du projet, liée à l'application de ces méthodes en partenariat avec des étudiants étrangers de plusieurs universités du design de l'espace, est un argument décisif pour le soutien des méthodes de créativité en tant que source pédagogique et professionnelle du premier ordreTwo hundred participants from different sectors have made three different experiments (s) to test the hypothesis of applying the methods of engineering to the field of furniture design, as well as the interior design. We obtained a conclusive result from the analysis of the problem, by using the TRIZ in the field of interior design, and by studying the design of furniture. Students are able to design a complete space with specific furniture. The Quality of artifacts (58 artifacts) which are estimated by several experts have induced that the transformation of methods of creativity in the field of furniture's design is a possible hypothesis. The cultural dimension of the project, related to the application of these methods in cooperation with foreign students from several universities of space design, is a compelling argument for supporting creativity's methods as an educational and professional source of the first order
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RORIZ, JÚNIOR Laudemiro. "A INFLUÊNCIA DA VOLUMETRIA ARQUITETÔNICA NO DESIGN DE MOBILIÁRIO CONTEMPORÂNEO (ESTUDO DE CASO: O TRABALHO DE AUGUSTO THOMÉ)." Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tde/2801.
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Previous issue date: 2008-09-22The present work consists of the result of a research, whose objective age to identify the historical and stylistic influences that act in the furniture of designer Augusto Thomé, who got his architectural formation and acts professionally in Goiânia. The region of the city and its outskirts are furniture polar region of national representation. The study of the history of the city, in its foundation and marked moment of its growth, which happened with the construction of Brasília, it was necessary for the agreement of the lines traced in design of Thomé. In Goiânia, characteristics of art déco in the urbanistic plant, in monuments and historical buildings, dated of its foundation, and the modernist monumentalism of Brasília, they determine the formal references of the associations between volumes, plans and lines that generate the identity of the creation of Thomé. The architectural and furniture conceptions of these moments, analyzed in a world-wide context of influence on our culture, are gifts here, as parts of the formation of our social values and aspirations of development.
O presente trabalho constitui-se no resultado de uma pesquisa, cujo objetivo era identificar as influências históricas e estilísticas que atuam no mobiliário do designer Augusto Thomé, que obteve sua formação arquitetônica e atua profissionalmente em Goiânia. A região da cidade e seus arredores são pólo moveleiro de representatividade nacional. O estudo da história da cidade, na sua fundação e momento mais marcante de seu crescimento, que aconteceu com a construção de Brasília, foi necessário para o entendimento das linhas traçadas no design de Thomé. Em Goiânia, características do art déco na planta urbanística, em monumentos e prédios históricos, datados de sua fundação, e o monumentalismo modernista de Brasília, determinam os referenciais formais das associações entre volumes, planos e linhas que geram a identidade da criação de Thomé. As concepções arquitetônicas e moveleiras desses momentos, analisados em um contexto mundial de influência sobre a nossa cultura, estão aqui presentes, como partes da formação dos nossos valores sociais e aspirações de desenvolvimento.
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Mallari, Joy, and Roine Penttilä. "Design för möbler i framtidens förskola – Ett möbelset som främjar lärandet." Thesis, KTH, Hållbar produktionsutveckling (ML), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-255891.
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Målet med detta examensarbete var att ta fram ett koncept på möbelset som passar in i framtidens förskolor, samt att leverera CAD-modeller och tillverkningsunderlag. Detta möbelset skall enligt en kvantitativ definition kunna främja för lärandeförmågan hos användaren, med tanke på funktion, säkerhet, och tillgänglighet. Uppgiften startades med Furneas initiativ att ta sig in på möbelmarknaden i Mellansverige och Stockholmsområdet med en ny produkt som kan möta de behov som kännetecknas av framtidens hållbara förskolor. Arbetet gjordes i fyra olika faser; planering, faktainsamling, genomförande, och analys. I planeringsfasen fastställdes strukturering och metodik av hela arbetet. I faktainsamlingsfasen gjordes litteraturstudier med avseende på pedagogiska inriktningar, miljö, säkerhet, ergonomi, och material. Det gjordes även intervjuer av förskolepedagoger angående nuvarande användning av bord i förskolan, och på företag rörande möbeltillverkning och förskolor. Genomförandefasen använder den insamlade datan för att skapa en funktionsanalys och kravspecifikation på möbelns design, och sedan komma fram med koncept på möbelsetet. I fasen ingår även att konstruera koncepten med CAD och 3D-printing. Analyser användes för att få fram konceptet som bäst möter användarens behov och modifiera konceptet till det slutgiltiga resultatet. För detta används sållningsmatriser, simuleringsprogram för att göra hållfasthetsberäkningar, samt DFMEA, en felorsaksanalys för produktutveckling. Resultatet av detta arbete presenteras med figurer och beskrivningar av möbelsetet.The aim of this thesis was to develop a concept for a furniture-set that fits in with the preschools of the future, as well as to deliver CAD models and manufacturing documentation. According to a quantitative definition, this furniture should be able to promote the learning ability of the user, regarding function, safety, and accessibility. The task was started at Furnea's initiative to enter the furniture market in central Sweden and the Stockholm area with a new product that can meet the needs that are characterized by future sustainable preschools. The work was done in four different phases; planning, fact collection, implementation, and analysis. During the planning phase, structuring and methodology of the entire work was established. In the fact-finding phase, literature studies were conducted regarding educational orientations, environment, safety, ergonomics, and materials. Interviews of pre-school educators regarding the current use of tables in the preschool, and on companies concerning furniture manufacturing and preschools, were also conducted. The implementation phase uses the collected data to create a functional analysis and requirement specification for the furniture design, and then come up with a concept on the furniture. The phase also includes constructing the concepts with CAD and 3D printing. Analyses were used to bring out the concept that best meets the user's needs and modify the concept to the result. For this purpose, screening matrices, simulation programs for making strength calculations, and DFMEA, an error cause analysis for product development, were used. The result of this work is presented with figures and descriptions of the furniture.
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McDavitt, Wallin Frida. "Sandhagen 2 : A project about reusing materials as a way to rethink how architecture can be produced." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7275.
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In 2020, the meatpacking district of Stockholm (Slakthusområdet) is at the beginning of a period of change. A lot of its buildings are being demolished, or at least gutted, to transform a historical area of industry into a more urban district of housing, offices, trade, and services along with new parks and squares (Stockholms Stad, 2020). This thesis project is specifically about the first building that was torn down as part of the development of the area, Sandhagen 2. We should consider our condemned buildings a precious resource and extract from them rather than from the earth. In every house there is invested energy which is lost the day it is demolished but there is also something else that is lost other than precious resources. The research aims to highlight the importance of reuse not from the more obvious sustainability point of view, but as something that can be aesthetically motivated. The method involves a dissection of Sandhagen 2, extracting interior architectural elements without excessive alterations, and making an organized taxonomy. The taxonomy is then rearranged into a new spatial composition. How can a space be created from a taxonomy defined by an interior architect? How does a material’s earlier life add or take away potential in its future life? The proposal is a strange space where the tension created by reuse is completely between the elements themselves, a result of having to become the conventional parts of architecture that complete a space; steps, something to sit on, floor, partitions.
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Malečková, Kateřina. "Architektonická studie sakrálního objektu Brno - Líšeň." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414268.
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The topic of this diploma thesis is design processing of a new sacral building in Brno-Líšeň district. It is a plot in the middle of a panel building between the health centre building and the building of the Salesian Youth Center, so-called Salesko. The Salesian community, which will use the building the most, has been waiting for the realization of this building for many years. The key theme is the creation of spaces enabling people to meet for worship, celebrations and social events. The design is processed by two interconnected operations - the building of the Church of the Descent of the Holy Spirit and the building of clergy house. The basic composition consists of three cubic masses - the entrance, the main liturgical space and the clergy house. The bell tower is the height dominant feature which indicates the sacral function of the building. The project consists a set of buildings with two above-ground floors and a basement in the entrance part of the church. This project also mentions the solution of open spaces around the plot and their conversion into quality public areas, marginally. The sacral space is to become a place that welcomes and takes in its visitors and gives them the feeling of safety. Inside this building, people will find peace, support and undestarstanding, so they may leave with the feeling of being a better person.
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Schmidle, Elisabeth Breuhaus de Groot Fritz August. "Fritz August Breuhaus." Tübingen [u.a.] Wasmuth, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2837085&prov=M&dokv̲ar=1&doke̲xt=htm.
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