If the Chair Fits: Sexism in American Office Furniture Design

2019 ◽  
Vol 32 (4) ◽  
pp. 376-391
Author(s):  
Jennifer Kaufmann-Buhler

Abstract This article examines the ways in which gendered bodies and gendered ideas about labour were built into American office furniture by way of human factors from the 1960s through the early 1990s. Using an analysis of chairs and desks, including their forms and technical dimensions, the author argues that executive and secretarial furniture, in particular, encoded exaggerated and idealized gendered bodies in their design and excluded bodies that did not fit the expected gendered norms. The persistence of this convention, even in the design of ergonomic chairs which first appeared in the 1970s, reproduced sexism in organizational hierarchy and inscribed in furniture gendered assumptions of labour and gendered ideals of leadership.

Author(s):  
Sergey V. Zykov

Information technology is critically dependent on a number of technological and human factors. Software engineering processes are multi-sided; they include customer and developer parties. Conceptual misunderstanding by either party often results in the products which do not meet customer's expectations. This misconception of the software product scope usually leads to a crisis of software product delivery. To adequately manage and efficiently respond to this crisis, the authors recommend using software engineering models, methods, techniques, practices, and tools. Software engineering is a discipline which started in the 1960s as a response to the so-called “software crisis”; it combines technical and human-related skills. To manage the crisis, the authors suggest architecture patterns and instantiate them by implementation examples.


2016 ◽  
Vol 15 (3) ◽  
pp. 243-258 ◽  
Author(s):  
David Machin ◽  
Theo van Leeuwen

This journal’s editorial statement is clear that political discourse should be studied not only as regards parliamentary type politics. In this introduction we argue precisely for the need to pay increasing attention to the way that political ideologies are infused into culture more widely, in entertainments media, software, administrative processes, children’s apps, healthcare and even office furniture design. We point to the way that there have been massive shifts away from traditional state forms of politics to the rule of neoliberalism and the power of the corporation which, like the former regime of power, requires meanings and identities which can hold them in place. We explain the processes by which critical multimodal discourse analysis can best draw out this ideology as it is realized through different semiotics resources.


Author(s):  
Artem Dezhurko

Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors published in the late 1950s and 1960s in various specialized Soviet editions – exhibition catalogues; magazines on architecture and decorative art; advice literature on furnishing a house aimed at a wider public. The article refers to 36 sources (books and articles) with several hundred illustrations. It has been established that the visual material in the advice literature considered consists almost entirely of shots of the four largest furniture exhibitions held in Moscow at the turn of the decade – displays in the mock-up models of the apartments at the Permanent All-Union Exhibition of Construction and Architecture, the Exhibition of All-Union Competition of Furniture for Single-Family Apartments (both 1958), the exhibition “Iskusstvo – v byt” [Art to the Household] and the Second All-Union Furniture Competition (both 1961). The view of one and the same fragment of the display (sometimes even the same picture) in the 1960s publications is reproduced repeatedly. In addition, some pieces of furniture were presented at several exhibitions. Thus, in the sources the images of same piece of furniture was often published many times. Having identified the item in the photos and collected information from various sources related to these images, we could often find evidence of authorship. In this way it is possible to stablish the names of many participants in the four exhibitions mentioned above. In the article they are indicated together with the names of participants of the All-Union Furniture Exhibition of 1956 found in its catalogue (the only exhibition catalogue providing the names of designers) – a total of 82 names. Many of these designers participated not in one, but in several of exhibitions mentioned (some – in all five), many of them were awarded prizes. The analysis of sources allowed, firstly, to identify the most “successful” Soviet furniture designers of the 1950–60s, and, secondly, to attribute to them many of the projects whose authorship previously had not been established. In particular, significant arrays of images associated with the names of Yuri Sluchevsky, Elena Orlova (Bocharova), Konstantin Blomerius (Moscow), Lygija Marija Stapulionienė (Vilnius), Irma Karakis (Kiev) were collected. Of the 82 names given in the article, most are not found in historiography. Their introduction to scientific circulation makes it possible to expand the pool of search for personal archives necessary for further research of Soviet furniture design.


2014 ◽  
Vol 945-949 ◽  
pp. 397-400
Author(s):  
Li Li Liu ◽  
Lei Zhang

Based on the current status of the development of the market for office furniture, an entry point is to study the design of man-machine relationship, research and analyze the defects and problems about existing office furniture, Thus devise a sit, stand dual desk, It can not only achieve the basic functions of their office, but also allows to bring workers a different sports experience in the office at the same time, and improve work efficiency.


2020 ◽  
Vol 179 ◽  
pp. 02075
Author(s):  
Yueyun Fan ◽  
Yinhui Jin

Technological innovation and social development have caused huge changes in people’s demand for office space. The development of the Internet of things, interaction design, and experience design has played an important role in the design research of office furniture in the future. In order to adapt the future office furniture design to the theme of the development of the times, this article uses the method of Literature review to understand the development history of office furniture design, and comparatively analyses the current situation of office furniture diversification through Case study, and analyses the future trend of office furniture design.


Author(s):  
Joanna Wojciechowska-Kucięba

This article is an attempt at outlining key aesthetic standards of interior design of the 1950s and 1960s on the basis of examples exhibited in the Polish and foreign romantic comedies of that time. Some distinguishing features of 1960s Polish aesthetics were the characteristic abstract language, organic form, asymmetry, diagonal lines, arrangements based on “A” and “X” letter outlines and lively colours. Furniture design used new materials mostly plywood and plastics such as polyvinyl chloride and epoxy resins. The 1960s, called “small stabilization” by design historians, were slightly different. Shops offered a variety of new products designed by Polish creators – such as furniture, home appliances, tools and machines. New Polish industrial design of 1960s is represented by the RAMONA and EWA radios and the BAMBINO record player, whereas sectional furniture – especially SYSTEM MK designed by Bogusława and Czesław Kowalski, better known as “the Kowalskis’ furniture” – became the icon of the decade. Polish and foreign romantic comedies from 1950s and 1960s are an excellent iconographic source of information on how interior design changed in the second half of the 20th century, and specifically on how living space was organized and adapted for private and public purposes. In Poland, attempts were made to use all the “design innovations” coming from the west, however, the immutably closed Polish borders prevented them from spreading freely. We had to use local designers. In the 2nd half of the twentieth century, a period which Prof Irena Huml called “the invasion of modernity” started. The doctrine of socialist realism was rejected and the focus was on modernity. Innovation became the most desirable feature of a work of art, and modernity the most important concept.


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