Este trabalho aborda a evolução do móvel seriado para fins residenciais no Brasil, notadamente produzidos com painéis de madeira reconstituída. O período abrangido é o mesmo da utilização efetiva destes painéis que vai de meados do século XX até os dias atuais. O enfoque do estudo centra-se na origem e desenvolvimento dos painéis bem como seus elementos de revestimento ou acabamento; a passagem do sistema de produção do móvel de artesanal para o industrializado, com as descrições básicas de suas etapas produtivas atuais e o sistema de comercialização comumente empregado neste tipo de móvel, bem como as novas formas alternativas, apontando os fatores que direta ou indiretamente interferiram no aspecto formal dos produtos. Analisa o estágio em que a atividade de design se encontra neste setor e sua posição perante os demais elementos intervenientes. Por fim, o trabalho enfatiza a efetiva contribuição dos painéis de madeira reconstituída na consolidação e aprimoramento do setor moveleiro, colaborando na implantação de processos racionais de produção em larga escala, os quais puderam proporcionar o acesso do mobiliário a praticamente todas as faixas da população. / This study focuses on the evolution of home furniture in Brazil, mainly those manufactured with wood based panels used in serial production systems. The period covered is the same as the effective usage of such panels, i.e., since mid-twentieth century to the present days. It concentrates on the origin and development of the types of panels and their coating or finishing alternatives, the switching of furniture production systems from artisanal craft to the large-scale production lines, the basic descriptions of the current stages of production and marketing systems commonly used for this kind of furniture, as well as new alternatives, pointing out factors that directly or indirectly have interfered in the formal appearance of the products. It also analyzes the current stage of the practical usage of design in this sector and its position regarding other elements involved. Finally, this study emphasizes the effective contribution of wood based panels in the consolidation and improvement of furniture industry, collaborating with the implementation of rational processes of large-scale production, which could allow the access to the furniture market to virtually all income classes.

This item was digitized as part of the Million Books Project led by Carnegie Mellon University and supported by grants from the National Science Foundation (NSF). Cornell University coordinated the participation of land-grant and agricultural libraries in providing historical agricultural information for the digitization project; the University of Arizona Libraries, the College of Agriculture and Life Sciences, and the Office of Arid Lands Studies collaborated in the selection and provision of material for the digitization project.

In the immediate aftermath of the Second World War, many of the British government’s attempts to rebuild the social order and improve standards were experienced through design. This was true not only in the home and in the workplace, but also in the everyday civic environment of the street. Ensuring that objects as ubiquitous as lampposts, litterbins and parking meters adopted the visual language of modern design – while at the same time, remaining inconspicuous - was perceived as being vitally important by the authorities concerned. For it was through such objects that Britain’s new social and cultural agenda was given physical expression, and Good Design was deliberately introduced into people’s everyday lives. Yet for a category of object designed to be ignored, postwar street furniture prompted considerable debate. For some members of the public, the new designs were grotesque, and represented a defacement of the country and its landscape’s individual character. While for others, modern street furniture design was a means of civilizing Britain’s streets. The design of these objects also drew strong feelings from the groups involved with its improvement, including central and local government, the Council of Industrial Design and other state-advisory bodies, manufacturers, and civic groups. Sometimes this multi-layered group worked to improve the design of street furniture together, and sometimes in opposition. This thesis is concerned with the critical reception of street furniture design in postwar Britain, and the debate these objects prompted. It emerges out of an interest in the systems and structures underpinning design culture, and a belief that reading the banal built world expands our knowledge of how political power works. Rather than prioritise the designed objects themselves or the intentions of those responsible for producing them – such as the designers and manufacturers – the thesis will expand the debate to include the wide variety of contemporary viewpoints that were expressed, both in public and private, in response to the promotion, dissemination and design of modern street furniture. Extending the discussion beyond the official design narrative to other, equally important voices reflects a more accurate picture of the process through which street furniture was discussed, understood and even determined during this period. Using extensive primary material from archives, contemporary periodicals and newspapers, and interviews with street furniture designers practicing in the postwar period, the five chapters of this thesis address the different arguments employed by the multiplicity of voices active in the debate. While many of these arguments focused on dichotomies - between old and new, local and central, modern and traditional - the thesis contends that postwar dissent over street furniture was informed by wider debates about Good Design, design’s relationship to high and low culture, its social and moral responsibilities, and taste. The dominance of such themes throughout the thesis reflects the wider social context of the period, which witnessed considerable changes to the authority of its institutions and cultural hierarchy, as well as more timely debates about power, influence and class in the shaping of public life.

I mitt examensarbete jag har analyserat två olika skapandeprocesser, en konceptuellt grundad med fokus på hur skulptören Berlinde De Bruyckere arbetar och så den vi designstudenter lär oss under våra studier på Malmstens som har sin grund i Jan Landqvist bok ”Vilda idéer och djupodlande analys, Om designmetodikens grunder”.    Målet med denna analys har varit att hitta ett arbetssätt där jag finner trygghet och självförtroende som formgivare. Genom intervjuer med alumner från Malmstens möbeldesignprogram har jag fått förståelse för hur en som student kan arbeta efter examen. I framtagningen av mina möbler har jag haft min utgångspunkt i den moderna uppfattningen av rumsavdelning och avskärmning eller då kanske mer bristen på den. Då öppen planlösning och sociala ytor blir allt mer populärt i hemmen och där öppna kontorslandskap syns på var och varannat kontor har jag tagit fram två produkter som ställer sig frågande till just detta. Är det verkligen lika trevligt att leva utan väggar i vardagen som det är till fest? Finns det kanske en anledning till att vi ser fler och fler textila möbler och ”rum i rummet”-möbler på möbelmässan riktade mot öppna kontorslandskap för att skapa avskildhet? De möbler jag formgivit är en konceptuell rumsavdelare med utgång i ett konstnärligt arbetssätt. Rumsavdelaren är i form av en tratt som förstärker ljud, både önskade och oönskade. Här har jag jobbat i snabbt tempo och litat på min intuition inom god form. Min andra produkt är vad jag kallar ”En personlig sfär”. Här har jag använt mig av det arbetssätt jag lärt mig på Malmstens med informationsinsamling och skissetapper.  Ett till större det teoretiskt arbete där ens beslut ifrågasätts. Den ”personliga sfären” är tänkt att finnas i kontorsmiljö där man vill vara en del av rummet med inte bli störd av det som händer i ens direkta närhet.  Jag har genom mitt arbete kommit fram till att det arbetssätt som jag känner mig mest trygg med är en kombination av den process som lärs ut vid Malmstens och den mer fria, den konstnärligt grundade. Jag har också kommit fram till att den metod som lärs ut på skolan gett mig en grund utifrån vilken jag kan göra mina egna vägval. / In my thesis, I have analyzed two different creative processes, the first one with a conceptual basis with a focus on how the sculptor Berlinde The Bruyckere work. The second one is based in design methods that we design students learn about during our studies at Malmsten that has its basis in Jan Landqvist book “Vilda idéer och djupodlande analys, Om designmetodikens grunder”.  The goal of this analysis was to find a way of working where I find safety and confidence as a designer. Through interviews with alumni from Malmstens furniture design program I have an understanding of how a student can work after graduation. In the development of my furniture, I’ve had my starting point of the modern perception of the room service and the foreclosure or then maybe more the lack of it. When the open-plan living and social spaces are becoming more popular in homes where open plan offices is visible on each every other office, I have developed two products that is concerned about just that. Is it really as nice to live without walls in everyday life as it is to the party? Is there perhaps a reason why we are seeing more and more textile and furniture “room within a room” commercial furniture at the furniture fair targeted to open offices to create privacy? The furniture I have designed is a conceptual room divider with the output of an artistic work. Room divider is in the form of a funnel that amplifies sound, both wanted and unwanted. Here I have been working in the fast paced and trusted my intuition in good shape. My second product is what I call “A personal sphere”. Here I have used the approach I learned at Malmsten with information gathering and sketching stages. One of the major theoretical work which even decisions questioned. The “personal sphere” is supposed to be in the office environment where you want to be a part of the room to not be bothered by what happens in one’s immediate vicinity. I have through my work come to the conclusion that the approach that I feel most comfortable with is a combination of the process that is taught at Malmsten and more free, conceptually founded. I have also come to the conclusion that the method taught at the school provided me with a basis on which I can make my own choices.

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Oh, the good old metro stations! No matter how much we change, how much our society changes, they all look pretty much the same. We walk down the stairs, grab a coffee on the way, pass the gates, get to our platform and then we wait. But what if? What if it wasn’t like that? What if we could decide not to rush down to the platform, but instead enjoy the few minutes we have, before being drawn back to our daily life, in a nice, entertaining environment? A place for everyone to enjoy, not just those who own a metro card. After all, a station is still a public space, isn’t it?

The thesis titled Zbynek Hřivnáč and Interior Design of the 1950s to the 1970s attempts to map all the most important aspects of this discipline in the former Czechoslovakia and specifically to bring important design, interior, artistic and architectural projects in which it appears still lesser known name of architect and designer Zbynek Hřivnáč. On the evolution of exceptionally prolific architect and interior designer Zbynek Hřivnáč we demonstrate basic tendencies and historical facts that played in the design of interiors its essential role. Zbynek Hřivnáč here, however, does not act as a true art solitaire, but rather as a link of individual described projects that are mostly, with a few exceptions, has been involved in a large team of professionals including architects, engineers, designers, craftsmen and ultimately especially artists. Zbynek Hřivnáč here as a very important figure in the background of the great names of history of Czech architecture such as Karel Filsak, Jan Šrámek or Jan Bočan and some more. On each project, we will be able to know the different roles of this creator ranging from implementation through equal cooperation with their colleagues to studio work in large architectural ateliers. All this takes place against the background of stylish and historical development of...

The start point of this project is the research of single person household. According to a presentation from the Swedish government, in Sweden, the family structure is changing as time goes by. After 40 years, there will be more than 40% of household are single person households. In addition, The project aims to create a sharing furniture, which used in living room, for young single person households. By using this furniture, they can enjoy the time being alone at home and also enjoy the leisure time with others, for example, through the Swedish social phenomena - fika. The delineation of study and research of my project is furniture design towards single person households and fika. The theories I applied include sustainability, life cycle, human needs, and design methodologies. Sustainable design put sustainable development theory into the design process, let the ecological environment and economic development connected as an the reciprocal causation. It lead to the use of energy resources effectively, and reduce the environmental pollution to the lower degree. To achieve sustainable design theory, each steps within product life cycle need to be considered in a sustainable development way. Sustainable design principles not only refer to the design process, also stressed in engineering process, the production process, the sales process, the use process, the storage process, the maintenance/repair process and retirement process, to reduce resource consumption, to build a new production and consumption oriented concepts to achieve sustainable design. The main practical methodology within the entire project and process is participatory design. Participatory design encourages all the users to directly design by using the simple tools, then do creative jobs by themselves and make own improvements during the process of practice. Furthermore, the participatory design can promote the users to realize the true value of designers, and finally they can also enjoy the conveniences which are brought by these designs.

Orientador: Marco Antonio dos Reis Pereira / Banca: Luis Carlos Paschoarelli / Banca: Ivaldo De Domenico Valarelli / Banca: João Eduardo Guarnetti dos Santos / Banca: Tomas Queiroz Ferreira Barata / Resumo: Com a crescente escassez de recursos naturais e a demanda por soluções sustentáveis na fabricação de produtos, o bambu revela-se como alternativa eficaz para produção de artefatos nos mais variados segmentos. Sua versatilidade, propriedades físico- mecânicas e estética já foram estudadas em diversas pesquisas, sendo possível encontrar no mundo todo excelentes exemplos de sua aplicação. No Brasil esse material ainda é pouco explorado e são raras as referências sobre métodos de beneficiamento do bambu, principalmente em sua versão laminada colada, quando nos referimos à obtenção de resultados estéticos e que atendam às demandas comerciais. O desenvolvimento de técnicas aplicáveis ao design torna-se fundamental para revelar o bambu como madeira alternativa viável para produção de móveis e atrativa para as necessidades simbólicas de consumo. A presente pesquisa tem como objetivo desenvolver metodologias para a obtenção de novas tonalidades de bambu laminado por meio de tratamento térmico. Primeiramente apresentando uma revisão teórica sobre os aspectos da sustentabilidade no design, na indústria e no consumo; sobre as vantagens do bambu enquanto matéria-prima e sobre o tratamento térmico. Em seguida, foram apresentados os procedimentos experimentais que passaram pela colheita e processamento dos colmos para a obtenção de ripas laminadas, tratamento térmico, obtenção de massa específica, testes de flexão estática e parametrização das cores obtidas. Os resultados apresentaram diret... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: With the growing scarcity of natural resources and the demand for sustainable solutions in the manufacture of products, bamboo proves to be an effective alternative to the production of artifacts in the most varied segments. Its versatility, physicomechanical properties and aesthetics have already been studied in several pieces of research and, it is possible to find excellent examples of its application worldwide. In Brazil, this material is still little explored and there are rare references about bamboo processing methods when we refer to the aesthetic results and that meet commercial demands, especially in its laminated glued version. The development of techniques applicable to the design becomes fundamental to reveal bamboo as a viable alternative wood for furniture production and attractive to the symbolic consumption needs. The present research aims to develop methodologies to obtain new shades of laminated bamboo glued by heat treatment. Firstly, presenting a theoretical review on the sustainability aspects of design, industry and consumption; on the advantages of bamboo as a raw material and on the heat treatment. After that, the experimental procedures were presented, which went through the harvesting and processing of the stalks to obtain laminated slats, thermal treatment, obtaining of specific mass, tests of static flexion and parameterization of the colors obtained. The results presented guidelines capable of assisting in the development of products in thermo - ... (Complete abstract click electronic access below) / Mestre

In this thesis I seek to investigate in the physical expressions of waiting spaces, with a particular focus on Arlanda Airport outside of Stockholm. With increased mobility in society, non-places like this where the users mainly wait, will plausibly continue to develop. At the same time, the act of waiting is threatened as it is being affected by other functions such as logistic, operational and commercial interests. Challenging an archetypal relationship between the human body and the traditional waiting space, this thesis presents a diverse concept in architecture for waiting. I have, in this work, focused on the gap between the built environment and human bodies. A gap that generates form and questions the prioritized spatial values of our time.   With “Outlaw Behavior” I emphasise the relationship between human and the act of waiting to offer a new way of experiencing a non-place. It could be suggested that contemporary architecture’s focus on transit spaces has led to the primacy of commercialism, meaning “time killing”. Thus, architecture for waiting tends to miss opportunities for wider exploration and diversified experiences beyond the generic, universal waiting area. The goal of the project is to create a spatial value of waiting, which in a fast-paced society challenges and questions the way our time is being consumed.