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"Chair design Exhibitions."
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Max Lamb : Exercises in seating
\"One of the most exciting designers working today, Max Lamb (b. 1980) has received international acclaim for his innovative experiments with materials, craft, and technology. Drawn to the form of the chair and its relationship to the human body, Lamb has explored many different inventive outcomes in his ever-evolving Exercises in Seating project. This book investigates over a decade of creative practice with a focus on his interest in seating--from stone thrones to wood chairs and enameled-steel stools. In Lamb's own words, \"A seat is very simple in function, but very complex in the many different characters, forms, and ideas it can express.\" Both retrospective and forward looking, this volume--created in collaboration with the artist--is the most thorough investigation of Lamb's work to date and features an exclusive interview with noted artist Ryan Gander in which the designer discusses his creative processes and goals\"-- Provided by publisher.
Book
Application of TRIZ Innovative System Method in Rapid Assembly of Folding Chairs
This design activity is an innovative method of rapid assembly system for folding chairs. The research methods used in this study included literature analysis, TRIZ the method, human factors engineering (HFE), universal design, and IPA. First, the design of the folding chair and the layout of the literature related to the chair are analyzed. The contradiction matrix was used in the TRIZ method to find the principle of invention and analyze it, to provide a reference for the innovative design of folding chairs, and then use the relevant literature on materials to help design and select materials quickly. Next, the chair is assembled and unfolded and universal design is applied to design it into an acceptable product, causing it to be more popular. The human–machine interaction with HFE makes the design of rapid assembly and the design of folding chairs faster and safer. Finally, the IPA method is used to understand the subjective feelings of customers on the products of this research and the satisfaction and importance are used as the basis for evaluation; a two-dimensional matrix graph is drawn. After drawing a simulation using drawing software, it is compared with the traditional folding chair and the research results are as follows: (1) Quick unfolding function: use the pull ring upwards and it naturally unfolds downwards by gravity. (2) Quick folding and storage function: use the foot pedal, single-foot operation, and the folding chair can be quickly stored. (3) Rapid transportation and unfolding function: The chair back can be connected with other chair backs and has the functions of quick unfolding and quick storage, so as to realize the quick placement of the folding chair. This design activity realizes the preliminary design concept and design simulation of the product design through a systematic and innovative method. Through this design activity, we can understand the problems existing in product improvement before product development, so as to conduct market research and production cost assessment in the actual mass production later, and further reduce the cost of product design improvement.
Journal Article
Swedish interiors in Paris, 1925
On the acquisition of furniture by the Swedish architects Uno Åhrén (1897-1977) and Carl Bergstein (1879-1935) by the Nationalmuseum, Stockholm, this article recalls the significance of the Exposition international des arts decoratifs et industriels modernes à Paris in 1925 for Swedish design. The authors note the international impact of the Swedish Pavilion, focusing particularly on an interior by Åhrén which came to be regarded as exemplifying a Swedish version of Art Deco, and a chandelier of bronze and cut glass by Bergstein. They conclude with observations on the relative neglect of Swedish design by the Nationalmuseum after the Paris Exhibition, suggesting that a broad shift in focus towards social and political aspects of design in the country and the ideals of the modern movement influenced the museum's collecting policy.
Journal Article
Furniture and Artwork as Paradoxical Counterparts in the Work of Donald Judd
A study of the links between the furniture produced by American sculptor and artist Donald Judd, and his artworks. Initially Judd fabricated his own art pieces, but had no interest in the actual process and hired outside firms to produce his metal pieces to his exacting specifications. Early bookshelves are reminiscent of his 'Stacks' pieces, with individual units of shelves which could be arranged in a similar way to 'Stacks'. Judd wanted the viewer to both look at and understand his works as a single process, without a metaphysical interpolation of interpretation. His furniture, like his art, poses questions about its identity, as to whether it is furniture or art, and precisely what its functional identity is. Judd managed his furniture production more as a small business operation, developing new designs which were fabricated by small workshops, and his artwork and furniture pieces were made by different companies, mainly as a matter of convenience, so that neither would be overwhelmed when he was preparing for an exhibition. Because Judd was neither trained as an architect or a designer, his furniture has not established a status where it is collected by major art and design museums, and is most likely to be appreciated by those who already are familiar with his art. Critics seemed confused by his furniture, which was perceived as artwork rather than usable pieces; the conventional division between furniture and fine art has led to them being under-represented in the public arena.
Journal Article
'OAKBEAMS', AN IMPORTANT TWENTIETH-CENTURY FURNITURE COMMISSION
The article records the original furnishing by Crossley and Brown and others of \"Oakbeams\" in Southgate, north London, and the remodelling of a number of the interiors by Gordon Russell Ltd in the early 1930s. The 1920s \"Tudor style\" house with many late Arts and Crafts-influenced features was designed by Paul Badcock and C. C. Makins for G. Robert Cole to house furniture that can now be found in a number of important museums in the UK: the process of its dispersal in the late 1960s and early 1970s, and its current location, is considered in the article, as is the choice of Gordon Russell Ltd for the interior remodelling, a commission that played an important part in keeping the firm in business. The focus of the article is the wide range of furniture selected by the client, from the traditional furnishings in keeping with the house's design to the more progressive modernist-inspired schemes for the study, dining room and lounge. This furniture had a relatively short domestic existence before being promoted to the status of museum exhibits, and the unique nature of the interiors and their place in the history of 20C furniture is examined. (Quotes from original text)
Journal Article
The Social Rise of the Orkney Chair
In the 1890s, a new market was created for the Orkney straw-backed chair, which hitherto had been a vernacular product used largely in the homes of its makers on the Orkney Islands in the north of Scotland. This article discusses the standardization of the Orkney chair and its rapid acceptance into the houses of the British aristocracy and middle classes through the agency of the Scottish Home Industries Association. Within eleven years of its first display at an international exhibition the Orkney chair had inspired close copies and brand-new related designs made in the Netherlands by the Dutch firm of John Uiterwijk and Chris Wegerif. Its social rise was thus followed by geographical diffusion. This article also analyses the roles of the maker and of the promoter of an unusual item of furniture which has provided work for craftspeople in Orkney for over 100 years.
Journal Article