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Coffee table-böcker eller praktverk – begrepp, attityder och arbetssätt : Djupintervjuer med grafiska formgivare och förlagsanställda / Coffee table books or Luxury works – terms, attitudes and the work process : In-depth interviews with graphic designers and employees at publishing housesSäll, Esmeralda, Sörbom, Anna January 2014 (has links)
Åtta semi-strukturerade djupintervjuer genomfördes i syfte att kartlägga svenska formgivares och förlagsanställdas strategiska och kreativa arbetsprocess samt olika attityder vid arbetet med praktverk och coffee table-böcker. Dessa böckers termer och definitioner diskuterades även, samt boktypens förut-sättningar och utmaningar på marknaden. I denna rapport presenteras funna teman rörande dessa tankemönster och attity-der, samt en generell beskrivning av arbetsprocessen. Produktionen av coffee table-böcker och praktverk fanns vara komplex på grund av att den involverade många personer, tog lång tid i anspråk, var kost-sam och hade relativt små vinstmarginaler vilket därmed kunde förenas med vissa risker. Respondenterna upplevde generellt arbetet som spännande, roligt och givande.Studien belyser även förekomsten av en viss diskrepans vad gäller associationerna till termerna ”coffee table-bok” och ”praktverk”. Coffee table-böcker ansågs främst av de förlagsanställda ha ett innehåll av lägre kvalitet jämfört med det hos ett praktverk. / Semi-structured, in-depth interviews with eight Swedish graphic designers and employees at publishing houses were carried out with the purpose of mapping the strategic and creative work process of producing Coffee table books and Luxury works (Swedish praktverk), as well as respondents attitudes towards these processes.The three main steps identified in the process are presented and compared to results in previous studies. The production of these books was found to be complex due to the number of people involved, the time required, the costs involved and the relatively small profit margins. All of which increase the exposure to certain risks. The re-spondents however found the work to be exciting, enjoyable and fulfilling.In addition to this the study discovered the inconsistency between the definition of “Coffee table book” and “Luxury work” and what was found to be the com-monly accepted understanding of these. This applied particularly to the term “Coffee table book,” where some respondents associated the term to a lower standard of literature. The terms and definitions of these books will be dis-cussed as well as the market condition described by the respondents.
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O papel do livro de mesa na sociedade do espetáculoSilva, Francisco Sérgio Barbosa da 28 April 2014 (has links)
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Previous issue date: 2014-04-28 / The object of this research work is to study the tabletop book and its role in the
market. The tabletop book, also known as the coffee table book, belongs to a generic category
of works that are marked, first, by their esthetic characteristics and by the use that is made of
them. Since they have appealing titles, and artistic and luxurious finishing, they become
products to be admired and appreciated, and are displayed prominently, instead of arranged,
even hidden, on bookshelves. Thus, they function as part of a device for socio-cultural
acknowledgment, promoting and revealing those who put the books on display. That feature
leads us to the thesis that these works are the editorial symbol of their times, the so-called
society of the spectacle (DEBORD). In a world accustomed to the hyper-production of
images, we are interested in investigating to what point the works that are notable for their
visual and physical impacts can contribute to the discussion regarding print/digital
reproduction, considering that tabletop books are basically are justified by their body and
not only by their contents, and they might cease to exist, if put into a form other than what
is currently used. This study deals with the following main themes: a) insertion of the object
in modern/contemporary society, in light of media and cultural phenomena (ADORNO,
AGAMBEM, BAUDRILLARD, DEBORD, DELEUZE, ECO,FOUCAULT, FLUSSER,
JAMESON, LIPOVETSTKY, McLUHAN, PERNIOLA, WILLIAMS); b) insertion of the
object in the historiography of books and of the editorial market (BURKE, CHARTIER,
DARNTON, EPSTEIN, SCHIFFRIN, THOMPSON): c) treatment of the book as a product
that is symbolic (BOURDIEU), fetishistic (HAUG, RÜDIGER), and of specific value
(BENJAMIN, GORZ); d) use of the body concept, based on Bodymedia Theory (KATZ
and GREINER). In order to show how tabletop books came into existence and became
established, a case study was done of one of the world-renowned publishing companies that
best represents this category, Germany s TASCHEN, known as The king of the coffee table
book . The state of the art of the polemics regarding the current transformations of the
editorial market does not deal specifically with tabletop books, despite being a phenomenon
of today s society, which is on display in homes, reception areas, stores, and style and
decoration publications / Esta pesquisa tem como objeto de estudo o livro de mesa e seu papel no mercado.
Livro de mesa, também chamado de coffee table book, pertence a uma categoria genérica de
obras que se destacam, primeiramente, pelas características estéticas e pelo uso que se faz
delas. Por serem títulos chamativos, com acabamento artístico e luxuoso marcante, tornam-se
produtos de apreciação e até culto, ficando expostos em lugar de destaque, em vez de
acomodados em estante. Funcionam, assim, como parte de um dispositivo (AGAMBEM) de
reconhecimento sociocultural, promovendo e revelando quem os expõem. Tal característica
nos impulsiona a trabalhar com a hipótese de que essas obras são o símbolo editorial do seu
tempo, a dita sociedade do espetáculo (DEBORD). Num mundo de hiperprodução de
imagens, nos interessa investigar em que medida as obras que se notabilizam pela visualidade
e fisicalidade podem contribuir para a discussão sobre o impresso/digital, considerando que os
livros de mesa se justificam, fundamentalmente, pelo corpo, e não apenas pelo conteúdo,
deixando de existir em outra forma que não seja a atual. Este estudo articula os seguintes
eixos temáticos: a) inserção do objeto na sociedade moderna/contemporânea, à luz de
fenômenos midiáticos e culturais (ADORNO, AGAMBEM, BAUDRILLARD, DEBORD,
DELEUZE, ECO, FOUCAULT, FLUSSER, JAMESON, LIPOVETSTKY, McLUHAN,
PERNIOLA, WILLIAMS); b) inserção do objeto na historiografia do livro e do mercado
editorial (BURKE, CHARTIER, DARNTON, EPSTEIN, SCHIFFRIN, THOMPSON): c)
tratamento do livro como produto simbólico (BOURDIEU), fetichista (HAUG, RÜDIGER) e
de valor específico (BENJAMIN, GORZ); d) uso do conceito de corpo a partir da Teoria
Corpomídia (KATZ e GREINER). Para mostrar como os livros de mesa surgiram e se
consolidaram, foi realizado o estudo de caso de uma das editoras mundialmente conhecidas
que melhor representam essa categoria, a alemã TASCHEN, tida como The king of coffee
table book . O estado da arte da polêmica sobre as transformações atuais do mercado editorial
não contempla especificamente o livro de mesa, apesar de ser um fenômeno da sociedade
atual, em destaque em casas, recepções, lojas e editoriais de estilo e decoração
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DESIGN AV HÖJ- & SÄNKBART SOFFBORD : Utvecklingsarbete mot Tenzo ABHolmström, Anders, Gaversjö, Pontus January 2018 (has links)
In a world that only spins faster and where information is available in abundance, the need to multi task has grown bigger than ever before. The need to eat or work from the sofa is growing, while the trends say that the coffee table should be low. This conflict of interest forces people to make a choice, following the trends or being able to easily multi task from the sofa. Or do they have to? The thesis work described in this report may provide a solution to the problem. The work consists of 10 credits and is carried out by two students as a final stage of the bachelor’s degree in Industrial Design Engineering at Luleå University of Technology. The work is carried out in collaboration with the furniture manufacturer Tenzo AB. Tenzo is a, privately owned, Swedish furniture manufacturer with a business idea aimed at trendy furniture in the international market, according to Tenzo (2018), 95% is exported to Europe and major retailers in France, Germany and Switzerland. The goal has been to develop a conceptual lift top coffee table. With a user-centered design process, the user was involved continuously throughout the work, during a workshop and in interviews with the goal of exploring the question ”What is important in a coffee table?”, in evaluative interviews and in Virtual Reality (VR) to test the concepts and ideas. The final concept embraces a more classical table shape than the lift top tables available on the market today, but is also developed with future trends in mind. The trends identified are colors with more hue than the bright pastels we see today, rounder and softer shapes than the boxynes observed among today’s lift top coffee tables, and that the light wood is replaced by darker woods. The color options presented give the table both the ability to melt into an environment or stick out and demand presence in the room.
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