Furniture design (Art History)

Bien que représentant un cas particulier, le Livre d'Echantillons Fol Est 489 constitue un bon exemple de la manière dont un recueil à destination d'un homme de l'art était composé au milieu du XVIIIe siècle. Éléments pratiques et didactiques y forment un vaste ensemble dans lequel le propriétaire pouvait puiser des idées et des formes, adaptables et combinables au gré de son imagination et des exigences de ses commanditaires. Il témoigne aussi du coût qu'un tel objet pouvait constituer, investissement assez onéreux pour un simple artisan. Il reflète, enfin, comment le goût de la période rocaille se diffusa dans les ateliers qui portèrent cette « mode » que Blondel fustige dans ses Cours d’Architecture.

Mudéjar pieces of furniture with bone inlay (taracea) were favoured by art critics during the second
half of the 19th century. The fact that the technique was heir to sophisticated Islamic culture as well
as the delicacy of the work helped its prestige. Antique furniture with solid wood inlay and block
inlay were desirable merchandise for antique dealers. The main collectors, like Eusebi Güell, placed
them together with other pieces of ancient and modern art, creating ‘a nice variety’. Furthermore,
the success of the technique led to its restoration, recreation, copy and forgery. Workshops, such as
those of Gaspar Homar and Miguel Sastre, built and restored furniture with these types of handwork,
commonly referred under the name of tarsia in the Catalan documents.
Keywords: inlay, bone, Barcelona, furniture, workshops, M. Sastre

Einrichtungsstil und Möbeldesign im Kontext bürgerlicher Selbstrepräsentation Wie man sich standesgemäß einrichtet, war im Kaiserreich eine zentrale Frage bürgerlicher Lebensführung. 'Wohnsüchtig' nannte Walter Benjamin das 19. Jahrhundert. Die neuen Kaufhäuser stellten komplette Wohnwelten aus, Einrichtungsratgeber und Wohnzeitschriften kamen auf. Erstmals wurden Möbel mit Maschinen in Serie produziert. Exemplarisch zeigt das Buch, welche Wahlmöglichkeiten Familien des bürgerlichen Mittelstands bei der Wohnungseinrichtung hatten. Aus einer interdisziplinären Perspektive untersucht die Studie, inwieweit sich Angebot und Nachfrage nach Möbeln und die neuen Produktionstechniken gegenseitig beeinflussten-stilistisch, technisch und preislich.

Статья знакомит с эволюцией проектных поисков Джо Понти,
художника, дизайнера, архитектора, издателя, сценографа, ос-
нователя и автора журналов «Домус» и «Стиль жилого дома»
(1941–1947). Его творчество сыграло огромную роль для ита-
льянской культуры и включает самые разные области, переда-
вая дух современности с особым вниманием к социальным по-
требностям и воспитанию нового вкуса, связанного с культурой
Средиземноморья.
The essay shows the evolution of the design research of Gio Ponti,
artist, designer, architect, publisher, stage designer, founder, director
and publicist of the «Domus» magazines (1929) and «Lo Stile
nella casa e nell ’arredamento» (1941–1947). His creative work has
gas played a tremendous role in the Italian culture, it concernes the
most varied disciplines, interpreting the spirit of modernity with attention
to the social needs and education of a new taste and is linked
to Mediterranean culture.
Ключевые слова: Джо Понти, журнал Домус, жилой интерьер,
итальянская архитектура и дизайн ХХ века, мебель.
Keywords: Gio Ponti, Domus magazine, dwelling interior, Italian architecture
and design of the XX century, furniture.

L'americano Charles Eames (1907-1978) è uno dei principali protagonisti del design per la poliedrica attività progettuale e comunicativa (dal disegno dei mobili a quello dei giocattoli, dall'allestimento di mostre all'attività di film-maker, dalla fotografia alla grafica pubblicitaria, dalle lezioni universitarie alle consulenze per il governo americano o indiano), per aver creato dei veri e propri archetipi del furniture design, per aver sempre perseguito una chiara impostazione del progetto. Insieme alla moglie Ray Kaiser (1912-1988) e ai numerosi collaboratori dell'Eames Office, egli ha composto un vero e proprio atlante del design, in cui creatività, senso del «gioco», libertà d'espressione e continua sperimentazione, su tecniche e materiali, non consentono una facile codificazione. Il presente contributo ne restituisce in sintesi la formazione intellettuale, le modalità della sua estetica, i rapporti con la cultura del tempo e i principali committenti, le opere principali.

In the 1930s Bristol furniture manufacturer Crofton Gane was a passionate promoter of modernist design. He built up a wide range of contacts and became a close friend of Bauhaus furniture designer and architect Marcel Breuer. He commissioned a variety of work from him including the Gane Pavilion for the Royal Agricultural Show in Bristol in 1936 regarded by Breuer as one of his most seminal buildings...

Malgré près de 80 ans de recherches depuis l’ouvrage d’Edmond Delaye,
le siège lyonnais connaît encore de considérables zones d’ombre et
d’incertitude. L’exemple de Claude Levet en fait partie. Nous ne savons
presque rien de lui en dehors de son état civil.

Des aménagements voulus par Napoléon III au château de Compiègne, plusieurs sont parvenus jusqu’à nos jours, soulignant l’attachement certain du souverain et de son entourage pour les séjours automnaux dans le palais isarien. Il est une réalisation cependant dont il ne reste pratiquement aucune trace, sinon quelques trop rares témoignages : le musée gallo-romain, établi dans la serre tempérée du château. Ce fait est d’autant plus dommageable que cette galerie d’étude, véritable cabinet d’amateur dédié aux fouilles archéologiques locales, a sans doute été l’apport le plus personnel, certes terriblement éphémère, de l’Empereur pour sa résidence compiégnoise. Marque toute intime en effet car s’il est bien difficile d’affirmer que Napoléon III fut un homme passionné par les arts, loin s’en faut, du moins son constant et profond intérêt pour l’histoire en général et l’archéologie en particulier est parfaitement établi.

MICHAEL THONET (1841-1934) and ALVARA ALTO (1898–1976), two brilliant designers. The first one was a talented craftsman-cabinet maker, and the other one was one of the most famous architects who integrated custom furnishings into his buildings and interior spaces. Regardless of their academic background or professional affiliation, these individuals are renowned for innovative furniture designs. Consider the viewpoints brought to furniture design by these individuals and the unique disciplinary qualities within the fields of applied arts, interior and industrial design. There are pronounced differences in the way architects and interior designers create a sense of place by designing, selecting, and locating furniture; in the way industrial designers seek to resolve industrial fabrication processes and integrate utility, human factors, and ergonomics in design; and in the way that artists are trained in their craft.

Many individuals and disciplines contribute to the body of knowledge of furniture design. Think about the influence that material properties, use, applied forces, the surrounding environment, and ergonomics have on furniture design. Reflect upon the historical, cultural, political, and societal conditions revealed in the way people sit, rest, work, and play, or the human factors research and anthropometric data on which furniture designers rely. Many factors should be considered when designing furniture. Most are situated within personal, cultural, disciplinary, and professional frames of reference. The primary intention of this seminar is to articulate how ideas, use, design process, materials, and fabrication methods contribute to furniture design. How to deal with manufacturing chairs, using solid wood and plywood. Difference and benefits from both materials which are still central themes in furniture production. It is the hope that this seminar will remain a useful survey for all, especially for design students and fabricators interested in furniture design.

(From the cover) Se è vero che da puro nutrimento il cibo si è presto trasformato in complessa e raffinata operazione che convoca gusti e intelligenze per assurgere allo status d’imprescindibile «linguaggio», il luogo domestico a esso dedicato, in adesione al codice culturale percepito come egemone, viene a rivestire un ruolo di non comune interesse. Dalla scoperta del fuoco in epoca preistorica fino alle modernissime realizzazioni della tecnologia e della domotica, queste pagine ne seguono l’evoluzione privilegiando lo studio dell’architettura e del design su scala europea e nordamericana e verificandolo nella lunga durata, negli studi sociologici, antropologici e di genere, nei riflessi letterari e cinematografici, nello sviluppo sorprendente del gusto e dei suoi artefici attraverso i secoli. È un perfetto microcosmo, lo spazio che chiamiamo cucina, contesto sempre in bilico tra stabilità e cambiamenti la cui vicenda, qui raccontata con ricchezza di fonti e affabilità narrativa, si intreccia significativamente alla storia delle gerarchie sociali e familiari, ai ruoli definiti e alla loro eloquente messa in discussione.

** Index
Introduzione
Ringraziamenti

La cucina

I.  Ambienti tradizionali
1. La cottura primordiale
2. Tetto e focolare
3. L'oziosa culina
4. Diete conventuali
5. Coquina versus cellerarium
6. La cucina dei forti
7. Zuppa e panbagnato
8. Cortesie per gli ospiti
9. Femine amorevoli e operose
10. La comoda cucina
11. La cucina secreta
12. Il regno degli uomini
13. L'immaginario culinario
14. Richiami etici
15. Casseruole francesi
16. La cucina dei Lumi

II. Trasformazioni borghesi
1. La cuciniera
2. Utopie democratiche
3. Assaporare il gusto
4. La cucina moderna
5. La cuisine de famille
6. Ognuno ha il suo posto
7. Su e giù per le scale
8. Ordine e moralità
9. La cucina vittoriana
10. Il futuro è qui
11. L'Economia domestica
12. La cucina del cottage
13. La workroom
14. Senza cucina
15. Cucine italiane unite
16. La camera chiara

III. Trappole funzionali
1. Verso la cucina progressista
2. Dinamiche spaziali
3. Kitchen Management
4. Mangiare in cucina
5. Il pragmatismo gestionale
6. Razionalità europee
7. La cella operativa
8. Microcosmi standard
9. Armadi sovietici
10. La consumatrice
11. Time-Motion Kitchen
12. Composizioni modulari
13. La cucina del Ventennio
14. Gastronomie antipassatiste
15. Prototipi italiani
16. Cucinare nel pranzo

IV. Stili di vita
1. Ricostruzioni
2. Nazionalismi
3. L'Easier Living
4. Cucine del domani
5. Trasparenti intimità
6. Cucine scandinave
7. Verso la modernizzazione
8. Cucine arredate
9. Cucine componibili
10. Utopie plastiche
11. Cocktail party e cuisine française
12. Guerra fredda in cucina
13. Casalinghe demistificate
14. Il campo di battaglia
15. Rosso in cucina
16. Environments trasgressivi

V. Indizi contemporanei
1. Il grande freddo
2. Loft kitchen
3. Essenzialità tedesca
4. Fra citazione e superdesign
5. La cucina intelligente
6. «Superwoman»
7. Caleidoscopi familiari
8. Fra High-tech, minimalismo e surplus
9. «Kitchen-plaza»
10. Tendenze variabili
11. Uomini in cucina
12. Genitori e figli
13. Cokitchen
14. Cucinare in ufficio

Un mondo che governiamo?

Riferimenti bibliografici
Indice dei nomi

In design analysis it is important to have a clear understanding of the
psychological condition of the user of a particular object. The unique
relationship between people and the objects they use could interpret their sociopolitical and cultural development through application of theories drawn from disciplines of history, archaeology, and anthropology. In a domestic environment apart from clothing and food, furniture can be 􀂯􀂚􀂝􀂼􀃗􀂯􀃵􀂝􀂚􀀃􀁿􀃒􀀃􀂻􀃁􀃒􀃗􀀃􀂨􀃎􀂝􀃍􀃜􀂝􀂼􀃗􀂵􀃬􀀃􀃜􀃒􀂝􀂚􀀃􀃁􀂒􀂱􀂝􀂓􀃗􀃒􀄯􀀃􀃦􀂭􀂯􀂓􀂭􀀃􀃌􀂝􀃁􀃌􀂵􀂝􀀃􀂻􀁿􀂯􀂼􀃗􀁿􀂯􀂼􀂝􀂚􀀃􀁿􀀃􀂓􀂵􀃁􀃒􀂝􀀃 relationship with. This has developed over the years to be questioned to a point as to why a person sits on a particular chair? Does it appeal to him?
Does this piece of furniture suit his lifestyle? Hence a constant conversation builds up between the object, user and the society. Sri Lanka, a country that has been under European dominance for many centuries has resulted in a scattered indigenous culture. Due to political changes, the social structure of society has drastically and selectively changed to what we know of, in present day as ‘caste’ to ‘class’. In such a social structure, objects began
􀃗􀃁􀀃􀂚􀂝􀃵􀂼􀂝􀀃􀃁􀂼􀂝􀅍􀃒􀀃􀃒􀂝􀂵􀂨􀀃􀃥􀁿􀂵􀃜􀂝􀄯􀀃􀁿􀂼􀂚􀀃􀃁􀂒􀂱􀂝􀂓􀃗􀃒􀄯􀀃􀃦􀂭􀂯􀂓􀂭􀀃􀃒􀂝􀃎􀃥􀂝􀂚􀀃􀁿􀀃􀃌􀃜􀃎􀂝􀂵􀃬􀀃􀂨􀃜􀂼􀂓􀃗􀂯􀃁􀂼􀁿􀂵􀀃 purpose, became commodities of commercial value. In such hybridization of 􀂓􀃜􀂵􀃗􀃜􀃎􀂝􀄯􀀃􀃒􀃁􀂓􀂯􀂝􀃗􀃬􀀃􀅋􀃁􀂒􀂱􀂝􀂓􀃗􀃒􀅍􀀃􀂚􀂝􀃵􀂼􀂝􀂚􀀃􀃗􀂭􀂝􀂯􀃎􀀃􀃁􀃦􀂼􀂝􀃎􀃒􀀃􀁿􀂼􀂚􀀃􀂚􀂝􀂓􀂯􀂚􀂝􀂚􀀃􀃗􀂭􀂝􀂯􀃎􀀃􀃌􀃁􀃒􀂯􀃗􀂯􀃁􀂼􀀃􀂯􀂼􀀃
􀃗􀂭􀂝􀀃􀂭􀂯􀂝􀃎􀁿􀃎􀂓􀂭􀂯􀂓􀁿􀂵􀀃􀂵􀁿􀂚􀂚􀂝􀃎􀄮􀀃􀁦􀂼􀂵􀂯􀂳􀂝􀀃􀁿􀀃􀃒􀃁􀂓􀂯􀂝􀃗􀃬􀀃􀃦􀂭􀂝􀃎􀂝􀀃􀃒􀃁􀂓􀂯􀁿􀂵􀀃􀂭􀂯􀂝􀃎􀁿􀃎􀂓􀂭􀃬􀀃􀃦􀁿􀃒􀀃􀂚􀂝􀃵􀂼􀂝􀂚􀀃 through inheritance and the state, commercial positioning of objects began
􀃗􀃁􀀃􀂯􀂼􀃸 􀂵􀃜􀂝􀂼􀂓􀂝􀀃􀃒􀃁􀂓􀂯􀁿􀂵􀀃􀂭􀂯􀂝􀃎􀁿􀃎􀂓􀂭􀃬􀄮􀀃􀀔􀃜􀃗􀀃􀃗􀂭􀂝􀀃􀃍􀃜􀂝􀃒􀃗􀂯􀃁􀂼􀀃􀂯􀃒􀀃􀃦􀂭􀂝􀃗􀂭􀂝􀃎􀀃􀃗􀂭􀂯􀃒􀀃􀂯􀃒􀀃􀁿􀀃􀂓􀃁􀂻􀃌􀂵􀂝􀃗􀂝􀀃 or partial transformation. Hence this study critically argues the above
notion considering furniture as a social apparatus, through the perspective of design analysis and material culture studies in order to identify the cultural transformation brought about through the revolution of furniture.

Understanding Sustainability as a group of practices that seek minimum negative impact on nature for maximum social benefit, this research aimed to produce Sustainable Design. In order to achieve sustainability, I had to choose a specific situation and a controlled place of production that would allow me to monitor the manufacturing process and predict the future of the designed pieces all the way to their decomposing back into nature. To achieve that, two places and two different materials were chosen: first, aluminum from the province of Quebec - Canada and second, wood from the State of Sao Paulo - Brazil.

Bakalářská práce si klade za cíl představit tvorbu designéra Miroslava Navrátila od prvních známých realizací přes úspěchy ve VNP v Brně až po pozdní návrhy pro podnik Bukóza Vranov nad Topľou. V rámci jeho portfolia je představeno 24 děl, které doprovází obrazová příloha a které jsou zasazeny do kontextu domácích i zahraničních realizací. Práce se dále zabývá otázkou kvality bydlení v socialistickém Československu a kontrastem mezi výstavními úspěchy a realitou běžného bytu československého obyvatelstva.
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The dissertation's main focus is to introduce the works of designer Miroslav Navrátil since his first known designs through his famous realizations for VNP in Brno up to late designs for the company Bukóza Vranov nad Topľou. The thesis contains a portfolio of 24 realizations, accompanied by a list of plates. Furthermore, his projects are introduced within the context of domestic and foreign furniture designs. The work also focuses on the successes and problems of housing in socialist Czechoslovakia and the contrasts between the design shown at the exhibitions on the one hand, and for ordinary households on the other.

Kniha Tvary, barvy, pohodlí: Nábytek Jitona doprovází stejnojmennou výstavu v Retromuseu Cheb (2018–2019) a  ve Wortnerově domě v Českých Budějovicích (2020), pořádanou Galerií výtvarného umění v Chebu a Alšovou jihočeskou galerií. Kniha poskytuje výklad o nábytkové produkci národního podniku Jitona z let 1951–1989 a snaží se rekonstruovat co nejširší okolnosti jeho vzniku: autorské podíly jednotlivých designérů, proměny sortimentu, vývoj nových typů a forem nábytku, podmínky zaměstnání v Jitoně, prezentační strategie a média či experimentální programy a jejich úspěch. Nábytek z Jitony byl váznamnou součástí celostártní i mezinárodní produkce sériového a sektorového nábytku, ale Jitona byla také vyhledávaným výrobcem originálních, často velmi progresivních mobiliárních souborů pro přední architektonické realizace (Sjezdový palác, Palác kultury, hotel Praha, vládní vila v Sezimově Ústí, ambasáda v Pekingu ad.). Jitona a její nábytek může díky dobře dochovanému podnikovému archivu ukázat, nakolik jsou platné přetrvávající představy o věčném nedostatku surovin i hotových výrobků na trhu, jak fungovala socialistická propagace různých výrobků pro domácnost, jak fungoval export do zemí sovětského vlivu i do zemí Západního světa. V pozadí jednotlivých témat, spojených s produkcí nábytku v jižních a západních Čechách, stojí otázka, zda Jitona vytvářela nové formy a udávala výrobní trendy Československého nábytkového designu, nebo se naopak vezla na módních vlnách a její produkce byla jen výsledkem působení „ducha doby“.

Colloque international. Collaboration entre le Centre André Chastel de l’université de Paris-Sorbonne et l’association Low Countries Sculpture:
"Le rôle de la sculpture dans la conception, la production, le collectionnisme et la présentation des arts décoratifs parisiens en Europe (1715-1815)"

Shaker furniture is a style of furniture that was made in America mainly in the nineteenth century. However, it has since been introduced in various other countries, and the style has been applied in modern design theory. This article classifies the (2) The industrial aspect in Section 1 contrasts with the pre-industrial aspect in Section 3. (3) The user's viewpoint in Section 2 contrasts with the craftsman's viewpoint in Section 3. The three phases are balanced and organized by each contrasts. This unity is appearing in the context of their cultural backgrounds; this is another aspect of diversity. Therefore, the three phases have two aspects of diversity and unity.

Proust has shown little interest in the decorative arts of his time, but his work bears the mark of the "submarine style" distinctive of Art nouveau. The low bookshelves with glass panes in the Grand Hôtel room at Balbec ― the symbol of À la Recherche’s unity, according to Georges Poulet in Proustian Space ― prove to be authentic witnesses of “modern style”. But what does “modern style” actually mean? À la Recherche includes five occurrences of the expression that could lead to misunderstanding. Contrary to a preconceived idea, it is not the English name for Art nouveau. This French coined anglicism refers to the international revival of the decorative arts at the beginning of the twentieth century, a fascinating but disturbing blend of aesthetics and social ideas. Proust detected at once and discreetly highlighted the cosmopolitan and "rastaquouère" (so to speak "métèque") inspiration of an ephemeral artistic movement contemporary with the Dreyfus affair. Enriched with an abundant and entirely original iconography, full of new discoveries and identifications, Rastaquarium brings back to life an epoch of which the novelist caught the essence. For the first time the whole question of decorative arts in À la recherche is fully tackled in all its ramifications, in a fascinating instance of the network of connections at the heart of Proust’s system.

Proust n’a manifesté que bien peu d’intérêt pour les arts décoratifs de son temps, mais son œuvre ponctuée d’aquariums est marquée par le «style sous-marin» caractéristique de l’Art nouveau. Les «bibliothèques vitrées» de la chambre de Balbec ― dans lesquelles Georges Poulet voyait le symbole de l’unité de l’œuvre ― se révèlent d’authentiques témoins du «modern style». Mais qu’est-ce que le «modern style»? L’expression, qui revient cinq fois dans À la Recherche du temps perdu, n’avait jamais vraiment été élucidée. Contrairement à une idée reçue, ce n’est en rien le nom anglais de l’Art nouveau. Cet anglicisme bien français désigne un renouveau international des arts décoratifs qui, mêlant esthétique et idées sociales, fascine et inquiète… Proust a parfaitement perçu et discrètement mis en valeur l’inspiration cosmopolite et «rastaquouère» d’un courant artistique dont le bref épanouissement coïncide avec les années de l’affaire Dreyfus. Enrichi d’une vaste iconographie, entièrement originale, fourmillant de trouvailles et d’identifications nouvelles, Rastaquarium fait revivre une époque dont l’écrivain a su capter l’essentiel. Toujours abordée de façon fragmentaire, la question des arts décoratifs dans la Recherche n’avait jamais été traitée dans son ensemble, seule manière de saisir les réseaux de correspondances si chers à Proust.


Table of Contents

Note sur l’iconographie – Remerciements – Abréviations

Rastaquarium

Qu’est-ce que l’Art « nouveau » ?

Le « modern style » n’est pas un style

Naissance d’une expression

Le mobilier des Proust

Le monde de Liberty

Contre Ruskin

1905 : « Sur la lecture »

La Femme inconnue de Lille et le Printemps par « Brown »

Le moment Maple

Bing !

Le « modern style » dans la Recherche

Les bibliothèques vitrées de Balbec

De la référence anglaise à la référence bavaroise : le Salon d’Automne de 1910

Style « sous-marin »

Le Royaume de Neptune ou la civilisation de l’aquarium

Le « modern style », agent de l’étranger

L’esthétique dreyfusarde

Siegfried n’est pas Samuel

Le règne de l’impur

Le style franco-sémitique

Une nouvelle croisade

Dreyfusards avant Dreyfus

Style rastaquouère

Bibliographie - Index nominum - Table des illustrations

In 1926 the Berlin architecture critic Adolf Behne received a photograph from Basel: depicted on it were four objects, prosaically arranged in a makeshift corner of a room. Entitled Co-op. Interieur, the photo had been sent by the architect Hannes Meyer who had composed the scene. Bearing the caption “Die Wohnung,” (The Apartment) the photo was published in the journal Das Werk, as the last of a series of images accompanying Meyer’s article “Die Neue Welt” (The New World). Behne used it almost simultaneously in an essay for the popular Berlin monthly magazine Uhu, commenting: “Extreme. A modern room, which will not be to everyone’s taste.”

As the two parallel publications of that year intimate, Meyer sought to position this motif of a sparsely furnished interior as the illustration of an idea. With the photo of a room, distinguished as much by the absence of people, objects, and spatial characteristics, as it is by the uniqueness of its design, he was articulating a radical, anti-bourgeois lifestyle: rather than serving to gratify needs shaped historically, architecture and design were now the means to overcome precisely these constraints.

What Behne interpreted as a matter of taste, constituted a general standard for Meyer. For Co-op. Interieur was not the draft of an interior design, but a manifesto for a different principle of living and thus for a new world. Featuring a critique of the image by Raquel Franklin, together with essays by Aristide Antonas and Pier Vittorio Aureli, this volume discusses how, by invaginating this new world into the corner of a room, the principles of collectivity and utility are represented as counterpoints to private property.

Esta dissertação visa recuperar e examinar criticamente a trajetória da empresa de móveis Mobilinea entre 1959 e 1975, considerando que foi uma das mais importantes do período no país, assumindo não apenas um papel de produtora de objetos, como também de promotora de certos estilos de vida. O primeiro capítulo pretende apresentar o contexto da produção moveleira no Brasil até a fundação da empresa, sua inserção no circuito de design brasileiro nos anos 1960 e 1970 e as histórias individuais de seus criadores e colaboradores. O segundo capítulo busca focalizar as principais características de seus produtos, assim como seus locais e formas de venda, evidenciando o modo como foram tratados enquanto parte de cenas domésticas completas. O terceiro capítulo exibe a presença da Mobilinea em publicações impressas durante o período estudado, analisando os diferentes discursos criados para cada público, elencando suas semelhanças e diferenças. Foi principalmente nestes espaços que a empresa divulgou seus valores, que incluíam formas de se ocupar e se comportar na casa, dando à mulher um papel de protagonismo na proposição e no consumo desses modos de morar.

This dissertation aims to uncover and critically examine the evolution of Mobilinea, a Brazilian furniture design company. During the period from 1959 to 1975 it was one of the most prominent firms in the country, not only as a producer of goods but also in terms of promoting certain lifestyles. The first chapter of the study presents the context of furniture production in Brazil until the founding of the company, its insertion in the Brazilian design circuit of the 1960s and 1970s, and the individual stories of its creators and collaborators. The second chapter has a focus on the key attributes of the products, as well as the promotional environments and sales approaches, highlighting them as components of domestic environments. The third chapter reviews the presence of Mobilinea in publications during the studied period, analyzing the different messages created for the target audiences, through charting out the similarities and differences.  It was mostly in this media that the company disseminated its values, which included ways of inhabiting and acting in the home, suggesting a leading role for women in developing and consuming these living styles.

Bu çalışma, iç mekân tasarımları ve mobilya tasarımlarındaki modern uygulamaları ile Cumhuriyet dönemi mimarlığında etkin bir rol alan Selahattin Refik'i konu edinmektedir. Tasarımlarında döneminin uluslararası sanat ortamının en yeni ve popüler sanatı Art Deco'yu uygulayan Selahattin Refik, iç mekân ve mobilya tasarımları ile Atatürk'ün de beğenisini kazanmış; tasarımları Cumhuriyet'in ilk yirmi yıllık döneminde etkili olmuştur. Bu çalışma özellikle onun Türkiye Cumhuriyeti'nin ilk Cumhurbaşkanlığı Konutu olan Atatürk Müze Köşkü'ndeki, Atatürk için düzenlediği Çalışma Odası'nın iç mekân ve mobilya tasarımlarına odaklanmıştır. Türkiye'nin özgün Art Deco sanatı uygulamalarının başında gelen Çalışma Odası, Selahattin Refik'in dönemin modern sanatını uygulamadaki özgünlüğünün ve yetkinliğinin yanı sıra Cumhuriyet'in iç mekânlara yansıyan modern kimliğini de örnekleyen öncü bir uygulama olmuştur.
This study presents the works of Selahattin Refik who played an active role in the Republican Era Architecture through his modern practices in interior architecture and furniture design. Practicing the most recent and popular art of his time, Art Deco, Refik also received the appreciation of Atatürk, and was influential in the first twenty years of the Republic. This study focuses on his interior and furniture designs for the 'Study Room' designed for Ataturk at the 'Ataturk Museum House which is the first Official Residence of the President of the Republic of Turkey. Pioneering original Art Deco practices of our country, the 'Study Room' has been an implementation that illustrates not only the originality and competency of Selahattin Refik in practicing the modern art of the era but also the reflection of the modern identity of the Republic on interior designs.

George Nelson (1908-1986) was one of the most intellectual architect of “good design” era and critic of American culture and industry. He had an important influence in the design and architecture culture with new dwellings, furniture, office design, exhibition design  projects. He was also a writer, art critic and journalist.

George Nelson (1908-1986) è stato il più intellettuale dei progettisti della stagione del good design del secondo dopoguerra ma anche coscienza critica della cultura e dell’industria statunitense. Ha avuto un’influenza determinante nel valorizzare alcune fra le principali personalità dell’epoca e nell’organizzare in modo innovativo la produzione industriale, ricalibrando la struttura interna dei sistemi di fabbricazione, packaging, pubblicità e vendita. Architetto e designer, ha messo a punto nuove tipologie dell’abitare, con residenze e attrezzature sperimentali; ha riformato quelle del furniture design e ha dato un contributo determinante all’office design. Altrettanto importante è la stata l’elaborazione e la promozione di una nuova cultura del progetto mediante un apporto critico e teorico che ha costellato, insieme all’intensa attività giornalistica, tutta la sua biografia. Gli allestimenti di padiglioni espositivi e di mostre internazionali hanno contribuito a manifestare un atteggiamento di grande apertura verso discipline diverse e a concretizzare una personale teoria della visione.

Ten years in the making, An Alternative Seventies: the last age of Radicalism is a revisionist look at design and styling in the 1970s and sets out to demolish the long-established fallacy that all is hideous from this decade. Diligent research and the author’s long-term interest in this radical period of cultural history has a revealed a lost world of bold and exciting design which in many ways is far less conservative than today’s post-Minimalist landscape. One of this survey’s central arguments is that once the political and societal reforming energy of the 1960s had been expended by about 1971, this nevertheless irrepressible momentum found alternative outlets in brazen design and for that matter also pioneering music during the 1970s. Early 1970s radicalism would then see its last chance saloon with Punk during 1976-78, a final act of defiance in the face of a second half of the decade return to conformity, a state of existence consolidated by the 1980s. 

An Alternative Seventies : the last age of Radicalism is a revisionist reading of 1970s design; based on a non-parodic appreciation, parody still being the mainstream perception of the decade. This survey strives to show that high-calibre design did emerge from a long misunderstood and still-underexplored decade in design history.

This book is probably the first ever attempt at identifying and codifying the formal traits of 1970s design from architecture to product design.

The 1970s might now be ‘in’ but if a developer can make money from a site, 1970s architecture and interior design faces very likely destruction, from London to Milan. This survey therefore aims to guide conservationists in terms of what to look for and then protect.

Abstract: After the Industrial Revolution, the need to shelter increasing population of metropolitan cities gave rise to fast construction of relatively narrow places with lower m². Narrow houses have gone under a continuous change and development process until today with developing technology. Inner equipment of narrow houses have equally been influenced by this change and development process due to the users' needs. The human beings are often inclined to adapt the environment to their own needs. House users also want to change their houses due to changing needs. Selection of inner equipment of houses are particularly influenced by factors such as the way residents use the house, social status, number of residents and usage area of the house. Restricted places are also the areas where our mental design limits face a challenge. The users expect the place to meet their basic daily needs including sleeping, resting, cooking, eating, bath/WC. Here a design problem occurs related to meeting the basic needs of users in a restricted area. Architect, inner architect or designer of the narrow house has to solve this problem through smart and appropriate solutions in inner equipment. Designer has to find solutions by taking into account comfort, like, economic status of the user as well as functionality and flexibility of inner equipment. The study deals with several questions such as " What are the factors that caused the rise of flexible, functional and changeable furniture? " and " How was furniture influenced by these factors throughout history? ".
Keywords: Transformable Furniture, Flexible Furniture, Functional Furniture, Narrow/Limited Space

DÖNÜŞEBİLEN MOBİLYANIN TASARIMLARIMLARINI ŞEKİLLENDİREN KAVRAMLAR˟
Özet: Özellikle Endüstri Devriminden sonra metropol kentlerde oluşan yoğun insan popülasyonunun barınma ihtiyacını kısa sürede çözmek için düşük m²'li ve hızlı üretilebilen konut üretimine gidilerek dar mekanların oluşumuna katkı sağlamışlardır. Dar konutlar günümüze kadar teknolojik imkânlarında artmasıyla sürekli bir değişim ve gelişim süreci içerisinde olmuştur. Bu noktadan hareketle dar konutun içerisinde yer alan iç donatı elemanları da kullanıcıların ihtiyaçları çerçevesinde değişim ve gelişim sürecinden aynı oranda etkilenmişlerdir. İnsan kendi ihtiyaçları çerçevesinde sürekli kendi çevresini değiştirme eğilimindedir. Konut kullanıcısı da sürekli değişen ve farklılaşan ihtiyaçlarına bağlı olarak kendi konutunu değiştirmek ister. Konutta yaşayan bireylerin veya bireyin konutu kullanma biçimi, sosyal statüsü, konutta yaşayan kişi sayısı, konut kullanım alanı gibi faktörler konutta kullanılan iç donatı elemanlarının belirlenmesinde etkin rol oynarlar. Kısıtlı mekânlar aynı zamanda zihinsel tasarım sınırlarımızı zorladığımız alanlardır. Kullanıcı gündelik yaşamda temel ihtiyacı olan yatma, dinlenme, yemek yapma, yemek yeme, banyo/WC gibi ihtiyaçlarının dar konut tarafından karşılanmasını beklemektedir. Zaten kısıtlı bir alana sahip konutun, bahsi geçen temel ihtiyaçların karşılanması için yetersiz olan mekânın ve kullanıcının ihtiyaçlarını karşılaması ile ilgili bir tasarım sorunsalı ortaya çıkmaktadır. Dar konutun mimarı, iç mimarı veya tasarımcısı bu kısıtlı alandaki iç mekân donatı elemanlarında akıllı ve yerinde çözümlerle kullanıcının ihtiyaçlarını çözmek durumdadır. Tasarımcı bu sorunlara çözüm üretirken kullanıcısının rahatlığını, konforunu, beğenisini ve ekonomik durumunun yanında iç donatı elemanının birden çok ihtiyacı içinde barındıracak fonksiyonelliği ve bu fonksiyonları kullanabilecek esnekliği içinde barındıran çözümler üretmek durumundadır. Çalışmada dar/kısıtlı mekânlarda bulunan iç donatı elemanlarının tasarımında göz önünde bulundurulan kavramlar neler olmalıdır? Bu kavramlar dar mekân iç donatı elemanlarının tasarımlarını nasıl şekillendirmiştir? Bunlar incelenecektir.
Anahtar Kelimeler: Dönüşebilen Mobilya, Esnek Mobilya, Fonksiyonel Mobilya, Dar/Kısıtlı Mekan

The 19th century fascination with culture and art of the Orient was revealed not only in painting and literature but also in interior design. Among oriental decorations one can single out a few style tendencies, with Moorish style inspired with art of Islamic countries as one of them. Fashion for this style affected both royal residences, public edifices and bourgeois apartments. Moorish style was applied in decoration of theatres, circuses, concert halls, casinos, restaurants, cafes, baths, swimming pools, and brothels as well. In private interiors oriental decoration was used in living rooms, billiard parlours, smoking rooms and bathrooms. Collector’s houses and artists’ ateliers too were arranged following Moorish mode. In the 19th century Moorish style was associated with ease, leisure and entertainment originated in Eastern countries; it also expressed fascinations, sentiments and memories of the Orient. Eastern ornaments encouraged irregular, asymmetric, bizarre and surprising arrangements, and combinations of various materials and colors. Interiors decorated this way created atmosphere of extraordinariness and wealth, and surrounded their owners with the impression of mystery or prestige.

In 1960, the renowned architect Philip Johnson championed Frederick Kiesler, calling him “the greatest non-building architect of our time.” Kiesler’s ideas were difficult to construct, but as Johnson believed, “enormous” and “profound.” Kiesler (1890–1965) went against the grain of the accepted modern style, rejecting rectilinear glass and steel in favor of more organic forms and flexible structures that could respond to the ever-changing needs of the body in motion.

In Elastic Architecture, Stephen Phillips offers the first in-depth exploration of Kiesler’s innovative and multidisciplinary research and design practice. Phillips argues that Kiesler established a new career trajectory for architects not as master builders, but as research practitioners whose innovative means and methods could advance alternative and speculative architecture. Indeed, Kiesler’s own career was the ultimate uncompromising model of a research-based practice.

Exploring Kiesler’s formative relationships with the European avant-garde, Phillips shows how Kiesler found inspiration in the plastic arts, experimental theater, early animation, and automatons to develop and refine his spatial concept of the Endless. Moving from Europe to New York in the 1920s, Kiesler applied these radical Dadaist, constructivist, and surrealist practices to his urban display projects, which included shop windows for Saks Fifth Avenue. After launching his innovative Design Correlation Laboratory at Columbia and Yale, Kiesler went on to invent new houses, theaters, and galleries that were meant to move, shift, and adapt to evolutionary changes occurring within the natural and built environment.

As Phillips demonstrates vividly, although many of Kiesler’s designs remained unbuilt, his ideas proved influential to later generations of architects and speculative artists internationally, including Archigram, Greg Lynn, UNStudio, and Olafur Eliasson.

https://www.amazon.com/Elastic-Architecture-Frederick-Kiesler-Research/dp/0262035731

This essay outlines the rise and fall of the school desk as a discursive idea. The belief in the school bench and the immobile student body arose from a superimposition of a number of discourses and practices: the unification of nation states, the emergence of industrialized mass-production, the idea of the norm, etc. In this discursive overlap, alternative models could hardly be formulated, indeed not even considered as a possibility. The discourse limited both the questions and the answers. As a result, the school building became much more than just a place where knowledge was transmitted. It mutated into a place for moral instruction, classification, separation and hierarchization. In a certain sense, the school can be seen as a microcosm of society, and in turn the school bench as a crystallization of the ideology of school in particular and of the disciplinary society as a whole.

A cabinet in the Philadelphia Museum of Art (accession number 1930-1-183), forms the subject of this study. It is an example of a distinctive style of furniture, surviving in large numbers in museum collections. Whilst recent research has demonstrated that the type flourished between about 1580-1620, many earlier historians of furniture identified the cabinets with the artistic achievements of the reign of Henri II. This is explained by the perceived relationship between these objects and the works of Jean Goujon—indeed, the latter’s name is often associated with the type.

This article approaches issues relevant to the type as a whole by tracing its historiography, and by closely examining the Philadelphia cabinet and its relationship to two others in the Musée du Louvre and St. Louis Art Museum. The identification of print sources for the relief carvings suggests some potential interpretations of the ‘meaning’ behind the decoration and possible links with other forms of decorative arts produced in France in the early seventeenth-century. The research offers new ideas and future directions of research for a familiar, yet only partially understood furniture type.

This is a longer and more detailed version of the essay Benton, T. (^2018). "E-1027 and the «drôle de guerre» " Rassegna di architettura e urbanistica: 46-61. Based on archive documents in the Getty Research Institute, the essay throws new light on the relationships between Le Corbusier, Eileen Gray and Jean Badovici. It casts doubt on many of the assumptions in Beatriz Colomina's 'War on Architecture' and 'Battle Lines' essays. It also seeks to understand why Le Corbusier painted his seven murals in E-1027 in 1938 and 1939 and what the reaction was.