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Furniture Design Pdf

PDF | Maximizing reader insights into the principles of designing furniture as wooden structures, this book discusses issues related to the. Standard Dimensions for. Furniture Design. Page 2. 2. The Average Human Adult Figure. Page 3. 3. Tables. Page 4. 4. Page 5. 5. Page 6. 6. Chairs. Page 7. 7. it's easy to move. materials. Pine, oak wedge and wingnut fastenings. 5 presented by swedish wood furniture | contemporary design inspiration. 4 pho to. Kris.

United States Dept. Because of their great knowledge of interior design and their sensitivity to the subject matter, they have created the most comprehensive source book for the field ever. The editors spent three years bringing this volume to fruition, culling the best project drawings by outstanding designers to illustrate much of the subject matter and tapping their own anthropometric expertise to address space planning and special function areas. They also address the importance of historic influence on present-day design with an impressive review of period furniture and interior details. All of these things have produced a reference work of such scope and inclusiveness that the reader will be relieved of many hours in the pursuit of details and information, time saved that can be used for more innovation and creativity in developing solutions for client needs. The authority and abundance of this book are a testimony to the maturation of this profession of ours and to the editors' appreciation and understanding of its importance. My pleasure in being invited to write part of the Foreword swiftly changed to respect and, in turn, awe at the scope and depth of this book. To say that it is an encyclopedic compilation and mass of information is obvious. But it is especially and uniquely user-friendly. It presents the written and illustrative data without a trace of pedantry ; it meets a real need in our interior designer professional resources. The editors' effort, dedication, and patience, sustained during a period of over three years, are truly heroic. An astonishing number of hours of input have pro- duced a reference of incalculable value. I offer the same cautionary advice mentioned in the Preface : If the book is a wonderfully comprehensive reference and support for interior design standards, historical material, suggested plan and design criteria, and regulatory limitations, it is not-it will never be-a subsitute for the inspired, creative design act, for imaginative solutions are always driven by new cultural conditions, programs, and functional require- ments. So to all you designers: Continue to spin your dreams, but do not stray far from this great resource.

The editors' effort, dedication, and patience, sustained during a period of over three years, are truly heroic. An astonishing number of hours of input have pro- duced a reference of incalculable value.

I offer the same cautionary advice mentioned in the Preface : If the book is a wonderfully comprehensive reference and support for interior design standards, historical material, suggested plan and design criteria, and regulatory limitations, it is not-it will never be-a subsitute for the inspired, creative design act, for imaginative solutions are always driven by new cultural conditions, programs, and functional require- ments. So to all you designers: Continue to spin your dreams, but do not stray far from this great resource.

Lawrence J. Its primary goal is to provide, within a single reference, information that typically is found dispersed throughout a multitude of sources, including manufacturers' catalogs, technical literature, books dealing with historic styles, and documents and drawings from various projects. This handbook can be used by the small and medium-size interior design or architectural firm to establish an instant reference library of design data and details by providing a broad selection of detail types and techniques.

In addition, the large firm will be able to substantially augment and modify an existing library of details. Perhaps the most unique feature of this handbook is the vast array of construction and woodwork details reproduced directly from actual working drawings contributed by some of the nation's leading interior design and architectural firms.

It is this that makes the handbook particularly useful to the interior designer, architect, and student alike. This book consists of five sections. The first, entitled Planning and Design of Interior Spaces, deals with residential, office, hospitality, and retail spaces in terms of the relevant planning, design, and detailing data specifically associated with each. The second section, entitled Construction Details and Finishes, deals with various basic interior construction components associated with most interior spaces.

These components include partitions, wall openings, wall finishes, floors and floor finishes, doors, ceilings, stairs, fireplaces, and lighting. Details relevant to each component have been contributed by practicing interior designers and architects as well as manufacturers.

PDF Catalogs | Sherrill Furniture

The third section, entitled Architectural Woodwork, deals with standard joinery and casework details, customized woodwork details, cornices and mouldings, and furniture hardware. The fourth section, entitled Specialties, deals with various specialized areas of equipment, systems, furnishings, and decoration, including signage and graphics, audio-visual systems, window treatments, and accessories.

Information for these subject areas is drawn from manufacturers, suppliers, and designers. The fifth section, entitled General Reference Data, provides the most comprehensive set of time-saving reference materials found in handbooks of this type, including tables, charts, formulas, and planning guidelines. Of particular interest to the architect, interior designer, and facility manager are tables that can be easily used to determine carpet and wall covering yardage.

Charts and drawings relative to human factors and planning standards are also provided. It should be noted that since the details and other information pre- sented in this book have been compiled from so many different sources, it is difficult to ensure that all the data are entirely accurate or appropriate ; for example, in some instances planning guidelines may reflect minimum acceptable standards and not necessarily ideal or preferred standards.

In other instances the details indicated may have been perfectly adequate in the context of the total building design of which they were a part, but they may well require modification to re- flect design conditions and the reader's intended use.

For many of his architectural projects, Mies designed specific furniture pieces.

Download or browse the Orme catalogues.

The Bauhaus furniture style was principled with clean, crisp lines and geometric patterns, usually constructed of modern technological materials such as glass, steel, and plastics.

The furniture pieces Mies designed were considered modern in style, and they usually express senses of belongings to his architecture. His furniture is known for fine craftsmanship, and a mix of traditional luxurious textures such as leather combining with modern chrome frames.

He also employed cantilevers in supporting structure and the supported surfaces to enhance the feeling of lightness created by delicate frames. The pavilion was also called the Barcelona Pavilion. It was used as the national pavilion for Germany and was officially used for the Spanish Royalty to oversee the opening ceremonies of the exhibition. The Barcelona Pavilion was a representative piece in modern architecture because of the simplistic form of free plan, and also for its spectacular use of extravagant materials, such as marble, red onyx, and travertine.

Mies designed the iconic Barcelona chair and stool specifically for the pavilion. According to Mies, the pavilion was going to be bare, without any trade exhibits. The lack of accommodation would enable him to treat the pavilion as a continuous space, and blur the boundary of inside and outside. Mies van der Rohe: Architecture and Design in Stuttgart, Barcelona and Brno. Skira, Building desire: New York: Abingdon [UK]; New York: Routledge, Key Building of the Twentieth Century. Norton and Company.

The intersection of the two curves created a compressed forms of curvilinear X structure. See Figure 4 Such simple shape could be derived from the ancient Egyptian folding stools to the nineteenth century neoclassical seating. The cantilevered seat and the back of the original chairs were upholstered in white kid leather with welt and button details. Mies patented the design elements in the s to Germany, Spain, and the United States.

The Barcelona chair was manufactured in the United States and Europe in limited production from the s to the s. In , Mies ceded his rights and his name on the design to Knoll Studio, which was a design firm founded in New York City. Although Knoll Studio claimed to be the current licensed manufacturer and holder of all trademark rights to the Barcelona chair, a large replica market continued.

ISBN Barcelona Chair. An authentic piece should be 30 inches high, 30 inches deep, and Every piece is also labeled with an individual production number with a corresponding certificate of identification and authenticity. The stainless steel frame is hand-welted and hand rubbed to a mirror finish from a single hide, using only high quality Spinney beck leather.

The cushions are upholstered with 40 individual panels cut, and were handled to follow the curved structure but not a hard pound of cushion. See Figure 6 The leather should feel soft and supple, instead of rigid and thick. It should also be matte; shiny leather is often a sign of a fake chair. The version produced by Knoll Studio is upholstered using twenty individual panels, cut and hand-welted then tufted with matching buttons whereas cheaper copies are simply one piece and pleated.

See Figure 7 It was the very first manufacturer, which produced the Barcelona chair in the Barcelona Pavilion.

It had eight seat and seven back leather straps with two buttoned leather removable upholstered cushions. The Tugendhat couple was very fond of the Barcelona chair when they visited the World Exposition, and requested Mies to design a modern piece of furniture for their house as well.

She developed her talents as a painter and designer of furnishings, textiles, and also architecture. Gray started off her career in lacquer repair, lacquer design, and interior decorating in which she designed furniture and accessories.

In the early s, Gray created lacquered screens, architectural paneling, and extravagant furniture in the Art Deco style, which were characterized by rich colors, bold geometric shapes, and lavish ornamentation.

RESIDENTIAL

She explored decorative surfaces with luxurious materials, such as lacquer and glass. Under the influence of Le Corbusier, Gray became a proponent of modernism by the mid s, and turned her attention mainly to architecture afterwards. Being in a relationship and collaborated with the Romanian architect and architecture critic Jean Badovici, Gray designed a summerhouse for themselves in , named E Eileen Gray: Her Life And Work.

The form was considerably open, with floor-to-ceiling windows facing the sea. Gray designed her most iconic piece of furniture for this house; it was the circular glass E table. The top was 2. In photographs of the House of E, the E table was shown being used next to a bed. In fact, the table was originally designed for one of her sisters who fancied of eating breakfast in bed.

Nevertheless, the its adjustable function made it a very multifaceted piece that can be used where it is best needed. One can heighten the glass table top up to just under a meter above the floor. The table can be placed in a bedroom next to the bed, or be a side table in the living room, carrying coffee cups or magazines.

Only three original examples made for the House E in the s have survived. Two of them were sold in auction in ; one was acquired by the Centre Georges Pompidou, Paris, while the other one was obtained by the Vitra Design Museum in Weil-am-Rhein.

Design and Architecture, Taschen, Besides that the E table is included in the permanent collection of the Museum of Modern art in New York, the worldwide license holder of the furniture belongs to Aram Designs Ltd, made in Italy. An authentic piece should have the Eileen Gray signature stamp on the inside of the outer upright tube.

The frame of the authorized edition is only ever produced in chromium plated steel tube with the choice of a crystal clear, glass, smoked parsol glass, or black lacquered steel top. The small protuberance appeared on the top of the handle and on the height-adjusting bracket were small details not to be neglected; those features have not changed since the table was first put into production by Eileen Gray and Zeev Aram in the mid s. Despite of the table E, there were many of her other works expressed a combination and a gradual change of her Art Deco style to modernism.

Isamu Noguchi — Isamu Noguchi was a Japanese American artist and landscape architect known for his sculpture and public works including several mass-produced lamps and furniture pieces.

He also designed various stage sets for Martha Graham productions. Noguchi started his early artistic career as a sculptor apprentice to Gutzon Borglum, who was known as the creator of the Mount Rushmore National Memorial.

In in Paris, he started a seven-month assistantship with Brancusi, and gained his footing in stone sculpture. The sets of biomorphic creations can also be seen in his few furniture designs. In , he started a contacting relationship with Herman Miller, a major American manufacturer of office furniture, equipment and home furnishings based in Zeeland, Michigan. Founded in , the company, however not until the s started relationships with multiple modernist designers and debuted a line of modern furniture.

The Goodyear design featured an organic form with a sculptural rosewood base, and a kidney shaped glass balancing upon three points grown from the base. See Figure 14 The design team at Herman Miller was impressed by the biomorphic form of the Goodyear table, and recruited Noguchi to design a similar table also with a freeform sculptural base and a biomorphic glass top for interior use in residential and office environments.

The Noguchi Table was similar to the Goodyear table. The base was consisted of two identical components carved from solid walnut; one part is reversed and connected to the other by a pivot rod The shape of the two wooden supports produces a self-supporting and stable base, allowing the heavy glass to place on top without the use of connectors.

The base was originally produced in materials of Walnut, Birch, and Cherry. Ebonized Walnut was later reissued.

It is important to note that cherry bases were made only during the first year when the table was on the market, and have been highly sought since. Classic Herman Miller. Atglen, Pennsylvania: Schiffer Publishing. The authentic version from U. Only the cherry tables are truly the rare collectibles, but they do not show up for sale except at high-end auctions. The Noguchi table is simple in its design and made it difficult to tell if a piece of it is an authentic or a fake at glance.

There is one popular production made by Modernica and retails for only USD. To avoid trademark infringement, they applied a thicker glass for the top, and differed the overall dimensions from the original by a quarter-inch here and a half-inch there. Considering the price, the Herman Miller version is indeed superior in many ways. For example, the authentic piece is made of solid hardwoods; while most fake ones use cheaper woods, particleboards, or veneer.

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