Artistic quality furniture

Furniture serves not only practical, but also aesthetic needs of a person. Of the two items of the same purpose and convenience, the person will choose the one that he considers more beautiful. The person’s perception of what is beautiful will change. The concept of beautiful always combines two sides. Evaluating aesthetically any item, a person, on the one hand, compares it with his idea of ​​what is today considered generally beautiful. In this part of the assessment, a person acts as a member of society, which develops and establishes some levels of artistic quality, norms for the assessment of things. On the other hand, in every assessment there is a personal opinion. In these cases, the personal taste of the person.

From here, from these two sides of the evaluation of things, many difficulties arise in the dissemination of new forms of things, new types of design.

The emergence of new forms in the furniture is not accidental, it is associated with major changes in production technology, product design.

Each period of life of human society corresponds to a certain nature of the design of things. It corresponds to the level and nature of production (manual labor or machine), the material possibilities of society, the class nature of consumption, and the style of architecture.

It is not by chance that such attention is paid to real monuments of antiquity, they are searched for, restored and cherished in museums. A person’s things can tell a lot and convey to us the spirit of the time when they are done. ' Marx wrote: - “The history of industry and the arisen objective existence of industry are an open book of human essential forces that have come to human psychology sensually ...”

At present, simplicity of form, lines, clear drawing, absence of adornments, modesty, even, one might say, efficiency, is valued in things. Things should not stand out from the interior ensemble.

From this point of view, it is necessary to evaluate all the items of our everyday life — furniture, dishes, tools, cutlery, hardware, radio equipment, etc.

Things bear the signs of their creating time. For example, a modern chair cannot be confused with a chair of the beginning of the 20th century, today's radio receiver is with a pre-war one and even with a receiver from the 50s. Such certainty is understandable, natural, but still insufficient to put all of today's things forever on the list of full-fledged works of art.

Items of Pushkin's time, especially furniture, are valuable as monuments of a period that has become firmly established in the history of world architecture. This period is called the period of classicism. In Russia, it covers the second half of the XVIII - the first quarter of the XIX centuries. In fig. 8 shows a chair of the period of classicism.

The last decades of classicism have constituted a special stage, which is known as Empire. Empire furniture is the pride of Russian art. Russian masters of the krasnoderevtsy, most often serfs, managed to rework the furniture style that arose in France that art critics consider its Russian continuation as an independent phenomenon in art, not inferior to its ancestor - French Puzian classicism, and in some cases superior to him. The use of Karelian birch furniture with inlays of black (ebony) wood or stained oak is the merit of Russian masters, a new page in the history of furniture history.

Fig. 1. Armchair of the period of classicism (Russia)

The current state of the furniture decoration makes it possible to judge only the principal orientation in the development of the production of domestic furniture. Therefore, it is very important to be able to evaluate the achievements and mistakes in order to work further.

The decades that preceded the modern stage in the development of furniture art have significantly spoiled the idea of ​​what is beautiful in furniture. If in the middle of the XIX century the traditions of the Empire style were still alive, then the end of the century turned out to be a real timelessness in applied art. The new class, the bourgeoisie, could not find the strength to create things that were full of artistic quality. Handicraft imitations of various styles of the past, a fascination with decoration on furniture without any connection with the design, became a mass phenomenon in the manufacture of furniture.

Fig. 2. Empire style armchairs (Russia): a - with solid wood elbows; b - with veneered elbows; c - with black painted elbows

Attempts were made to create a Russian style of furniture as opposed to Western influences. The aspiration of the progressive part of the artistic community has created fashionable, but not past time-tested things, too low in taste. A classic example of this trend in furniture art was the chair, whose elbows were made in the shape of axes, and spin-ka - in the form of an arc with crossed coachman mittens. The great German poet and thinker I. Goethe believed that technology in alliance with bad taste is the most terrible enemy of art.

The whole European-Russian jumble was replaced by the style called “modern” (modern) in Russian literature, and “jugend” (young) in European. At the beginning of the century, instead of clear in form and proportions, articles appeared, elaborate in silhouette, with many decorative details of a complex pattern; violated the logic in the composition.

In the "modern" style houses were built (for example, in Moscow - the Metropol hotel, Yaroslavsky railway station), furniture, wallpaper, crockery, cutlery, lamps, book covers were manufactured. The artistic impact of modernity is a significant factor in shaping the tastes of our generation. Since the days of “modern” in the furniture industry, embossed drawings have been preserved on the plywood seats near the chairs.

The period of modernity changed in the 1920s with a period called constructivism. In the composition of things, the main role was played by the constructive basis of the object, not the decorative one. The works of art of this period, starting with architectural ones, have many similar features, but the similarity is manifested not in the repetition of decorative elements, but in the underlined simplicity of forms, in geometrically clear volumes. Constructivism seemed to argue with the pomp and artificiality of modernity. Nothing superfluous, nothing contrived - only necessary. One of the founders and theorists of constructivism, the outstanding French architect Le Corbusier put forward the thesis that became famous: “home is a car for housing”. Architectural forms of constructivism are not false false patterns that mask a wall or a column, but concrete, steel, glass planes in all their strength and simplicity.

In the 1920s and 1930s, many furniture models appeared in the West that met the requirements of the new architecture; sectional furniture owes its appearance to constructivism. In the domestic furniture industry, this period practically did not leave any traces - the country was solving other tasks, and the main focus was not on furniture.

The rise of the furniture industry, which began in the pre-war years, coincided with a difficult period in the development of Soviet architecture, which, after the brilliant achievements of the 1920s that influenced world architecture, began to adopt the path of embellishment and magnificent parade in the mid-1930s. The residential buildings of constructivism were nicknamed “boxes,” and the construction of palaces with columns, spiers, and bas-reliefs began — a period that lasted until 1955. Against the background of architectural eclecticism (mixing of styles) eclecticism also appeared in furniture. In the domestic furniture of the 30s - 50s, you can see both modern, constructivism, embellishment, and simply artistically illiterate fantasies generated by the fiction of production workers. The weakness of the design base of the furniture industry had a noticeable effect.

The history of furniture of the XIX and XX centuries shows that for more than 100 years our furniture art has developed under the influence of such factors as fashion, contrived theory, non-professional design. Gradually, the understanding of true beauty, the taste for good, beautiful and comfortable things, many secrets of craftsmanship, proven design techniques and device products were lost. The consumer always trusts the specialist, the manufacturer. And if a consumer has been offered for decades, say, a sofa with a high back and a mirror or a cabinet with necessarily rounded corners, then he takes it for granted. He becomes accustomed to the monotony of random parts, external signs of objects and begins to consider them the design standard, an obligatory accessory of the product. For example, such a curiosity occurred in the clothing industry with cuffs on trousers. At the beginning of the century, the Prince of Wales, the English heir to the throne, a trendsetter, spun up his trousers while playing golf on a wet lawn. The next day, London fashionistas did the same, and then tailors designed cuffs to keep up with fashion. So fashion was born.

By 1963, the range of furniture was so littered with bad products that 2/3 had to be rejected when revising products. But all these products found the consumer, he got used to them. Changing the range of furniture, designers have to struggle not only for new technology, production culture, but also for new taste, for understanding the beauty of the things we surround ourselves with. In this struggle, our main opponent is furniture made 10 or more years ago, furniture of the period just considered. Many, starting life, maybe, would have bought not such furniture, but this one was already standing in apartments and gradually formed a taste.

Furniture art, captured in the museum exhibit, was perceived as irretrievably gone, having nothing to do with practical life, with modern requirements,

We are sometimes cited as an example the assortment of western furniture, where vintage models or similar ones are in vogue. In the assortment of domestic furniture there are no models similar in decoration to antique furniture. Probably it would be difficult to object to the release of furniture in the spirit of good antiquities, for example, the Empire style, the Petrine baroque - in limited quantities, for amateurs.

It would be premature to equate modern furniture in artistic quality to classical. But designers are trying to ensure that our furniture becomes the successor to the best models of the past, even if the best models are far away from us in time.

The beauty of furniture products consists of many factors. We consider them in the order in which they (approximately, of course) are solved by the designer.

Each item has certain dimensions in length, width, depth, height. In addition, certain dimensions have individual elements, details of the object. The size ratio between each other determines the character of proportions proportional to the solution of the product. The search for beautiful proportions of the product in the design process is complex and requires good taste and flair from the designer. For example, if we evaluate two similar cabinets of the same height, but different widths, then we compare them precisely by proportions, choosing more beautiful ones. In a cabinet that has many internal dimensions, in addition to overall dimensions, the thickness of the shields in the structure, the height of the bench relative to the height of the body, the section of the bars relative to the size of the bench, the dimensions of the front walls of the drawers and the dimensions of the entire group of drawers, niches and doors relative to to the size of the facade, etc.

To visualize the role played by the proportions in the creation of the artistic image of the product, let's compare the children's carpentry chair with an adult. If the children's chair is made from the same bars as an adult, then in relation to its length, they will seem thickened. Sometimes the sections of the highchair bars are reduced, leading to proportions of the details of the adult chair. What is more correct? Undoubtedly, the first decision. Thick, slightly clumsy legs resemble the proportions of a child, give the product its originality, individual expressiveness, corresponding to its purpose. In the second case, such a chair is a reduced copy of an adult. He seems dull, faceless and loses because of the proportions.

The importance of proportions for beauty, harmony of the product can be seen in one more case that is often encountered in our practice - rearrangement of the cabinet body to another bench. Some enterprises, taking to the development of a new product, are trying to adapt to it already mastered the bench. It would seem, it is quite possible solution. But the authors of the project are always opposed, as the artistic quality of the product suffers. The support deviations in height, in the section of parts from the design version essentially violate the product proportions, which is immediately noticed by a qualified eye.

It should be noted that in the architecture of modern cabinet furniture the role of the proportional solution of the facade (front side) of products has now become more noticeable than before. There are no complex profiled parts - curtain rods, layouts, panels with figareas, etc., therefore the lines limiting the individual structural and functional details of the cabinets look more clearly. The strict, well-thought out proportional structure of the facade was also inherent in the antique furniture, but in it the proportional divisions were perceived in a more complex set with a drawing and a section of parts.

For centuries, beginning with the times of ancient Egypt, designers and theorists studied architectural proportions, trying to find patterns in the best size ratios. It was noted that it is common for a person to treat certain proportions as beautiful, to distinguish them from others. It turned out that one of the proportional relationships is found in numerous cases of natural geometry - in the arrangement of the leaves on the stem, grains in the sunflower cap, scales in the cones and in the ratio of the size of the human body. This "miraculous" proportion received the name of the golden section in literature, and some enthusiastic researchers even called it "divine." In numbers, it is expressed as a ratio of 3: 5, more precisely - 5: 8, more precisely - 8:13, and so on. If we divide a segment in this proportion, then a smaller part of it refers to a larger one, like a larger one to the whole. During the excavation of the ancient Roman city of Pompeii, covered with ash and lava of Vesuvius in 79 AD Oe., was discovered a special drawing tool - proportional compasses, fixed precisely on the proportion of the golden section, which is the basis of the composition of many magnificent architectural monuments of ancient and modern times.

Attention to proportions has always been inherent in architecture. There should be no exception and furniture, architecture of small forms.

Each work of art, architecture differs in a certain arrangement of separate parts connected with each other. The location and interrelation of parts of an artwork is called its composition. Composition - the skeleton, the basis of the artistic decision, the subject of the most difficult, endless search for the artist.

When creating a furniture product, such as a combined wardrobe, the designer must tie together many considerations. It is necessary to decide from which elements the cabinet will be assembled, whether the boxes will be external or behind the door, the shelves will be glazed or open, there will be a cabinet with a niche or not. It is necessary to determine the location of the cabinet in the intended composition of the room in order to decide with which neighboring products it should be coordinated according to the height of the shelves, niches, and arrangement of the elements: If you intend to install the cabinet opposite the sofa, then it is advisable to include a niche for the TV in its composition; for a one-room dwelling in a closet, it is useful to have a compartment with a folding board for work, etc. The mutual arrangement of the elements is determined by considerations of beauty, convenience of use. Thus, the space under the secretory board cannot be glazed, since it is dangerous to locate glass near the legs; in the laundry room, located on the entire height of the cabinet, it is more convenient to have not shelves, but drawers or pull-out shelves at the bottom. The regulations stipulate that the boxes can be located only up to a certain height, since when placed above the human eye, the box becomes inconvenient for extension and for using it. Particularly clearly worked out composition in the kitchen furniture, because in a small area must be located various devices in the most convenient combination. In solving the functional properties of the composition, designers rely on their experience and understanding of requirements, theoretical developments, in particular, recommendations on the distribution of furniture zones by height, depending on the usability of the zones and the frequency of use of objects.

As a result of the creative work of the designer, finally, finished compositions of the product arise. We can already speak about the product, assessing its quality in comparison with other similar products. A good, successful composition can be considered simple, justified from the point of view of future use of the product. A well-designed product is harmoniously combined with other products of a set or headset, with products of a different height.When installed in a room at a predetermined place, such a product enters into an interior ensemble, in a building background formed by walls, ceiling, floor, windows and doors. The correct composition emphasizes the purpose of the product or, when necessary, masks it.

In the process of searching for the composition of the product, the designer is already considering its future appearance, in which the materials of the cladding and decoration, their color and texture, accessories and decorative details will play their role.

The decision of the artistic appearance of the product is manifested, as in the composition, the time of creation, the taste of the artist, his understanding of style. The level of opportunities that society has in providing industry with materials is also having an effect.

Fig.3. Furniture of the XVIII century: a - Chipdendel style chair (England); b - chair of the XVIII century (Russia); in - chair of the XVIII century (Western Europe)

So, a significant role for furniture was played by the development of trade in Western Europe (Holland, France, etc.) with the East. and the development of colonies at the beginning of the XVIII century, which provided rosewood, ebony, rosewood, and cedar to the hands of furniture manufacturers. The type-setting decorative compositions of these breeds (inlay) have become fashionable; the background of carving from local species - walnut, linden.

Fig. 4. A set of furniture for a one-room apartment (chairs from bent-glued parts) (SPKB, Leningrad)

An interesting episode occurred in England in the XVIII century. In the 1920s, the first shipment of mahogany, previously unknown in Europe, was brought to America from America by chance as a ballast. Of these logs, a carpenter built himself a house. They paid attention to the beauty of the tree, and from 1725 large batches of mahogany were dispatched to England, which forced out the walnut. Mahogany has become the main material for furniture production. The properties of the new material were masterfully used by Thomas Chippendel - a great master cabinet maker, whose name was later given to the entire style of English furniture of the mid-18th century — elegant, unusually finely drawn and belonging to the heights of furniture craftsmanship in the history of all times.

The French furniture makers of the 18th century were initially fond of using bronze overhead decorations, under which more than 50% of wooden surfaces were hidden. In the 1950s, Chinese varnishes appeared in France, and then the varnishes similar to them — of their own production. The use of bronze has declined sharply, attention to the tree, to its natural beauty has increased; significantly changed the artistic decision of furniture products.

We can also recall more recent examples of the influence of new materials on the architecture of furniture. In the middle of the 19th century, the Viennese company of the Brothers Tonet, founded in 1838,

I lowered a bent beech chair to the market. This chair, as well as a large family of models of chairs, rocking chairs, hangers from bent parts, still exist, although many of them have long since left their everyday life because of their outdated appearance and artistic quality. In the late 20s of the 20th century, the Finnish architect Alvar Aalto, for the first time in the history of furniture, used glued plywood as a construction material. He designed the chair on the curved sidewall frames in the form of ribbons. A new, successfully developing branch of furniture production with inexhaustible possibilities for artists and architects has emerged.

The use of bent-glued parts is one of the most significant innovations in the architecture of furniture of the first half of the 20th century, thanks to which many products appeared with a completely new look in proportions, outlines of elements, with a higher degree of comfort. Even a cursory glance at the development of furniture styles, in the examples above, convinces us that new phenomena in furniture architecture do not arise from scratch, not out of whim of visionaries-designers (although without their imagination we would not move forward), but in close connection with the level of productive forces and material and technical capabilities of society, as a direct consequence of them. The merits of these designers and those who remained nameless for us, was that they felt these possibilities of society, found for them the artistic and design embodiment. The history of the development of furniture of the last century shows how a powerful incentive for the development of architectural thought in the field of furniture was the need for mass furniture.

From the 19th century, a new stage began in the development of furniture art — the stage of mass production and consumption of factory furniture, which required the renewal of artistic means and constructive techniques. The development of a fundamentally new furniture architecture has begun, which has reached a pattern, the accuracy of the principles underlying the design. There is a new understanding of the beauty of furniture products.

The range of furniture of the previous decades looked pretty monotonous. In the design of furniture, except for wood with a limited range of colors, other decorative materials are not used.

The postwar years were years of rapid development of the chemical industry, especially in the field of synthetic polymeric materials. They have found their application in the furniture industry.

In 1959, at the exhibition of the First Competition, fundamentally new techniques for the design of furniture were demonstrated. The appearance of the products determined not only the tree, but also its natural colors. Plastics, films with bright colors and a new texture began to be introduced into the area in which so many centuries dominated the tree. They made a completely new way to decide the decorative composition of the facades. Significantly increased the variety of decorative techniques. At first, the designers were too enthusiastic about the new great possibilities of decorative design. Sometimes there was too much color, and yet, as they say, beauty is a sense of proportion. But a big and important thing was done for the development of furniture architecture - new ways of designing furniture products and the interior as a whole were outlined.

For facing or making visible furniture parts there are not too many types of wood - beech, ash, oak, birch, walnut, mahogany, pine, larch. Manufacturers are well aware of the decorative properties of each breed in different sections. Consider some of the uses of wood for the front surfaces of products.

The modern nature of the furniture architecture involves the use of straight-layer sliced ​​veneer with an extremely calm texture (pattern). Outdated products look today, lined with an elaborate set of tangential, semi-radial cut veneer, cuts of flows, caps, and twisted trunks. Sophisticated wood texture is used as a decorative contrasting addition to certain details, for example, a tabletop of a coffee table, a hinged lid of a bar. The reasons for the need for a modest character of wood texture on products are that it is difficult to foresee the nature of the furniture arrangement in the room, and in fact any combination of products should produce a harmonious (artistic and balanced) impression. When you set the lining with a complex texture is very difficult to ensure its repeatability on different products, there is an unpleasant for the eyes diversity in the lining of the kit. Another reason is the mass production of modern furniture, in which there can be no individual selection of each product, as in the old days in the artisanal industry. The modern character of the lining of the product imposes requirements on the orientation of the plywood set and its design. Designers strive for a simple solution - horizontal veneer or full-length. Sometimes both techniques are combined in one product, in order to distinguish any element of the facade composition by the difference in the direction of the texture. Very objectionable oblique set or set of "herringbone." They give the products an old-fashioned look, violate their simple character. Especially unpleasant oblique set, visually distorting the volume of the product.

Sometimes there are shield products lined with plywood of different wood species (usually the edge is dark, the surface is light). This technique is unsuccessful. The fact is that product plywood is a cost-effective but deceptive technique; his goal is to create cheap means the impression of good quality, reliability, which distinguishes massive wood. With good use of cladding, it is possible to achieve this effect, and veneering the edges with wood of a different color violates the illusion of using massive material and cheapens the presentation of the product.

Significantly increased capabilities of designers in dealing with decorative lining materials of cabinet furniture are based on modern principles of facade composition. The symmetry of the facade is optional (and it is very obligatory for many); In the composition, one element can be selected, which can be accentuated decoratively - the lid of the bar, the stack of drawers, and the back wall of the pottery compartment. In unified products, there are parts of the composition with a variant filling, for example, the middle zone of cabinets, where it is necessary to look for independent decorative design. So there are new ideas about the best modern, beautiful methods of product design. There are reasons to talk about style and fashion' — concepts in which every specialist who assesses the results of his work from an artistic point of view must be dealt with.

What is fashionable furniture? This furniture, which must meet the totality of habits and tastes, prevailing in a particular social environment at a certain time.

The concept of style is broader than fashion. You can compare these concepts with the concepts of weather and climate. We are talking about the climate, for example, the center of the European part of the USSR - in a broad sense, but at the same time we can talk about the weather today in Moscow. As in the weather the characteristic features of the climate are manifested, so in the fashion trends, peculiarities of style are affected.

As applied to furniture, it is not customary for architects and artists to talk about fashion as often as they do for clothes. Perhaps this is due to the greater durability of furniture as compared to clothing. Yes, and the change in the appearance of the furniture has more serious reasons than clothing.

At the exhibition of the First Competition, they were interested in the reasons for the lack of round tables. If you do not think about it, then we can assume that 4fo are out of fashion, but in fact the reasons are deeper.

Fashionable design details cannot live for long, as the creative process does not stop for one day, one novelty replaces the other and no one will change because of fashion every year, for example, stools in the kitchen, therefore it is simply pointless to declare them fashionable. Even in such a changeable, often varying detail of furniture design, such as upholstered furniture, in recent years there have been no changes in which it would be possible to catch the manifestations of fashion. At the beginning of the new period of the development of furniture art, efforts were made to replace the range of upholstery fabrics, and in subsequent years, designers only tried to fasten new fabrics in

production. The meaning was not in the requirements of the fashion, but in the need to establish the compliance of the upholstery fabric with the product as a whole. This resolved significant and more long-term than fashion, factors that already belong to the category of furniture style.

But in the history of the production of furniture there were such phenomena, which include the definition of "fashionable". Usually this applied to individual innovations in product design. For example, at the end of the 17th century, so-called cabrioles appeared in Dutch furniture - curved, thinning legs, ending with a ball clamped by bird's claws. This design was brought to Europe from China, from Holland came to England and spread during the time of Peter in Russia.

The products of famous French furniture masters - Charles Buhl (late 17th century), Georges Jacob and his son Francois Honore (late 18th - early 19th centuries) were fashionable at the time.

At the end of the 19th century, the pseudo-Russian style, supported by critic V. Stasov and architect I. Ropet (I. Petrov), was also fashionable in certain circles.

Fashionable furniture found demand only from a narrow circle of buyers. Fans of fashion ordered and purchased fashion products from "fashionable" craftsmen, and 99% of consumers did not know about the new items in the palaces and estates.

Nowadays, artists work in completely different social conditions. They strive to ensure that beauty in its modern sense accompanies the lives of all people, not the elect, so that it firmly entered the life of a Soviet person. Based on this, we are promoting a new phenomenon in arts and crafts, making efforts to ensure that each new product in the furniture assortment becomes the property of the market, a mass phenomenon, and the mass creates a well-known standard that kills fashion.

Fig. 5. Cabrioli type furniture legs

Struggling for the high artistic quality of furniture, we solve a more important task - we create the style of a modern home, the style of furniture of the mid-20th century. In this case, there are separate phenomena of fashion; it is good if there is a new, more convenient and beautiful product in the fashionable, and less comfortable, outdated, for example, a round table in unfashionable ones. In this way, floor lamps (floor portable lamps) were included in the room. Not everyone understood their meaning, but the thing was new, unusual - fashionable, bought willingly. As a result of the appearance of this novelty, people were able to conveniently solve the problem of local lighting in the room.

In the last decade, designers have created many samples of new furniture, significantly different from the furniture of the 20-30s.

Is it style or not?

Descendants will be easier to answer this question. Contemporaries of any artistic phenomenon are often mistaken in its assessment. To establish the true artistic quality and value of style, a test of time is needed.

Domestic new furniture is manufactured in close connection with the architecture at the modern level of production, taking into account the practical requirements of society. In contrast to the models of the transition period of the 30s – 40s, modern models have a more competent drawing, proportions. There are no signs of borrowing and mixing the decorative details of the recent past. Perhaps there will be a special term for the definition of the modern period, which has features of a certain style. It is interesting that in foreign terminology the concept of style, stylish furniture is a peculiar shade. It belongs only to imitative "antique" furniture, in order to distinguish it from all modern furniture and the mass, and even unique, customized.

The social and geographical breadth of the concept of style in the past is completely different from modern conditions. The boundaries between the furniture art of different countries are erased, the common features of the style inherent in today's furniture are developed, as the levels of the production and technological base of furniture production come together.

The modern understanding of style does not mean the abandonment of national traditions and features in the appearance of the interior, in the nature of individual objects.

At the last furniture exhibition, furniture was presented using national motives. These were the first attempts by artists to diversify modern furniture. At the same time, the furniture does not lose the outward signs of its belonging to the modern assortment, it cannot be attributed to antiquity or to the 50th year, at the same time, the furniture acquires characteristic features reminiscent of the place of its origin and consumption. It is possible that in development; Modern furniture is the birth of a new period, which will give us models that signify a certain style of furniture, and it will be said about him that he is Russian, Estonian, and not Central European.

The search for style can not be an end in itself. Through the efforts of designers, the main task is to create an assortment of products in such volume and diversity so that different (of course, reasonable) requirements of people for the appearance of products can be met, so that all products are comfortable, durable, well installed in different apartments and fit their purpose. Of course, it’s good if you manage to create furniture in such layout and design techniques that would be somehow related to the historical roots of the furniture of a given region of a country or a given people.

Gradually, an internal correspondence is established between the person, his home and things. It is no longer decorative methods (a leg on a ball clamped by claws), but nature itself, the origin of things will determine their similarity, their uniformity, including artistic ones. This will be the style of the furniture; our time.