MD 27 Art and Courage In Future Furniture Design

bsrj, 2013

Background: A systematic and continuous product policy management is important for a company's competitiveness and the question is to what extent and in what way companies engaged in the furniture manufacturing sector actually apply them. Objectives: The objective of this paper is to explore to what extent the design profession is involved in the product policy and teams which define market properties of products in the furniture industry. Methods: In order to achieve the objectives of this paper, the Model for Exploring the Role of Design in Defining Market Properties and the Product Policy in the Furniture Industry has been devised. Two surveys have been conducted, measuring the level of involvement of the design profession in the product policy, as well as the involvement of designers in the work of teams which define market properties of products in the furniture industry. Results: The design profession is not systematically and continuously involved in the function of the p...

2021

This article is published in the International Journal of Art & Design (IJAD) Vol 2, Issue 3, May 2020

The mass media proclaimed the above as the new millennium began. Academics and professionals have been holding conferences about it for a while now. Designers themselves have insisted on it all along. But what, exactly, does that statement mean? A proliferation of hip hotels and award-winning potato peelers do not an era make. Because those of us who are part of the design profession are optimists, always on the lookout for how we can make our environment better, we’re eager to claim that the twenty-first century is, at last, the era of design, the time when design—and designers—have come into their own and taken power as a cultural force. But do we agree about what design is? To be sure, each designer has a unique vision and works in a unique way. Yet, we’re all part of one profession, and being a professional of any kind acknowledges that there is a common ground shared by its practitioners. Do designers know the coordinates and parameters of their profession? Do they realize what they must learn if they are to be successful designers in the twenty-first century? More important still, as professionals, do designers know what it means to do design?

3rd International Multidisciplinary Scientific Conference on Social Sciences & Arts Sgem 2016 Conference Proceedings, 2016

Design needs different methods in order to provide motion. Various methods are being tested in interior design, as in every discipline that involves the design activity. In this way; new relationships arise among products, processes, the user and the designer. In this study, “Do It Yourself’’ method, with a methodological study undertaken in the course of “Furniture Design II’’ in Anadolu University Faculty of Architecture and Design by Ass. Prof. Mehmet Ali Altın, has been addressed empirically. Scope of the study includes a furniture design process by the students in one academic term based on practice with “Do It Yourself - DIY’’ theme base containing production prototype. In “Do It Yourself – DIY’’ theme, it is essential to document the reply of a product designed or renewed in different scales to the question “How is it made?’’ as written, drawn, video, sound recording and the like. In the study carried out in this context, the results of the method revealed in terms of designed products, process, users and designers were explained.

Procedia Engineering, 2013

element for a contemporary chair design. Reviews of existing study on relation between novel, augmented, and copied designis used as a basis for establishing a distinctive Sarawak image in the Malaysian furniture industry through the approach of methodology of industrial design. The research opportunities are focus on a number of significant disparities that have restricted the development of competitive furniture designs from Sarawak in particular. These importance of good design, uncertainty on user needs, and inappropriate use of critical design elements. The introduction of pioneered material species; despite providing new alternative to materials, adds further disparities to new furniture design and development as more resources will need to be allocated for design management, development, testing and validation. This article provides an academic perspective on the contribution of industrial design to both innovation and performance. This perspective can be referred and adapted by the furniture industry player in Sarawak to establish a formal furniture design framework that emphasis industrial design, which could enable them to compete in the local and international market.

Housing Architecture and Design From the Past for the Future, 2021

Sanat akımlarının mimarı, iç mekan ve mobilyaya yansımaları

This thesis explores the question: What are the significant emotional connections between consumers and their furniture, and how do designers engage with this? Due to the nature of the question it has been necessary to explore literature across various different faculties. Therefore the literature review covers a wide spectrum of research and methodologies exploring the significance of the psychological factors (especially emotions) in the designing and consuming of furniture.

de Vere, I. (2008) Trends and technology: using furniture design to inform a rigorous design education process, New Perspectives in Design Education,the 10th International Conference on Engineering and Product Design Education (E&PDE08), UniversitatPolitècnica de Catalunya, Barcelona, Spain, 2008

Teaching furniture design is both a means to an end, and a vehicle for supporting othereducational agendas. Whilst students may be learning skills specific to a particularvocation; in reality a furniture design project can also be utilised to support thedevelopment of a palette of skills essential to any design discipline. Furniture design isan ideal tool for teaching the theory of materials and construction, human interactionand for driving agendas such as sustainable design. At Swinburne University it isoffered to both Industrial Design and Interior Design students in the second or third yearof undergraduate study, linking trends and technology across a multi-disciplinarystudent cohort.The integration of students from different design disciplines allows significant peerbased learning opportunities, but adds to the teaching challenge, as students differ inskills and technical knowledge, design methodology and workshop proficiency.Furniture design and prototyping allows a rare opportunity for a rigorous and criticalappraisal process, not often found in student projects. Built furniture can be evaluatedfor ergonomics and comfort, and structurally loaded and tested for strength, stability,user safety and structural integrity. Construction methods and material choice are easilyappraised and designs evaluated against an agenda of sustainability, appropriateness toenvironment, and user and market needs. In many instances, designing and prototypingfurniture allows design students their only opportunity to realise and test their designs ina real world context. Critical appraisal by non-designers through public exhibition is anexcellent validation tool for both faculty and student.

SGEM Scientific eLibrary, 2019

In the past few decades, in the furniture industry, the value of traditional culture has been underestimated in many countries under the process of western-centric modernisation. The process of the culture grounded competitive advantages of furniture& furnishing firms has not yet identified and still undeveloped theoretically and practically. Using the local identity (culture) to add an emotional and symbolic value to the furniture and creating marketing differentiation advantage is not yet fully recognised by academics and practitioners. The research is an in-depth study to discuss how this traditional cultural capital can be incorporated into modern furniture design with a view of promoting a modern lifestyle with a local identity. Also, whether the innovative cultural design with more abstract elements of traditional culture perceptions is more successful in satisfying users' perceptual needs, and if their purchasing behaviour tends to be affected prominently in this way. To address these questions a qualitative research and case analysis were used for analysing successful furniture companies` value propositions which are created on emotional and symbolic cultural values and lead to differentiation advantages, Moreover, the study submitted quantitative research to verify the impact of culturally innovative design on costumers' perceptions by analysing their purchase intention and attitudes towards furniture. The results showed that in a globalised economy, the cultural and creative industry is an emerging industry with creativity as its core. Currently, in Egypt, the design development of cultural creative furniture is varied, but some cultural creative products are reduced to a transfer of patterns or are limited to traditional crafts. Other examples use a design strategy to produce creative furniture that can impart cultural heritage and present culturally distinctive aesthetics that are practical in daily life, which gives their brands a differentiation competitive advantage.

Journal of Visual Art and Design, 2021

Sarawak Borneo has long been known for its diverse culture and multi-ethnicity, which is reflected in its arts and crafts. Pua Kumbu and Orang Ulu are famous visual motifs that can be seen on many products from Sarawak, including textiles and paintings, which could potentially be integrated into furniture design as cultural elements. The purpose of this study was to identify the perception, issues and challenges of cultural concepts embedded in furniture design from the perspective of manufacturers, designers and the public. In-depth interviews, surveys and observation were the three qualitative research methods applied in this study at MIFF 2018 and MIFF 2019. In general, the findings from the surveys done in 2018 and 2019 show that manufacturers, designers and consumers agree that cultural elements can be a unique feature and a competitive advantage for furniture design. A range of furniture designs that feature different cultural elements, such as local materials, colors, stories...