Furniture Design

This is the first refereed article that presents the life and work of JP Hully, a British modernist that worked with Gane furniture manufacturers in Bristol. His design life and tenure at Gane overlapped with that of Marcel Breuer. Both historical and historiographal, this article probes the remaining historical shards of JP Hully’s work, career and life, while making wider historiographical statements about the gaps, absences and silences of history.

Bien que représentant un cas particulier, le Livre d'Echantillons Fol Est 489 constitue un bon exemple de la manière dont un recueil à destination d'un homme de l'art était composé au milieu du XVIIIe siècle. Éléments pratiques et didactiques y forment un vaste ensemble dans lequel le propriétaire pouvait puiser des idées et des formes, adaptables et combinables au gré de son imagination et des exigences de ses commanditaires. Il témoigne aussi du coût qu'un tel objet pouvait constituer, investissement assez onéreux pour un simple artisan. Il reflète, enfin, comment le goût de la période rocaille se diffusa dans les ateliers qui portèrent cette « mode » que Blondel fustige dans ses Cours d’Architecture.

Harga Pintu Kasa Baja Tangerang, Pintu Dan Kusen Baja Tangerang, Kusen Pintu Baja Ringan Tangerang, Pintu Baja Pabrik Tangerang, Pintu Plat Baja Tangerang, Pintu Panel Baja Tangerang, Produsen Pintu Baja Tangerang, Perusahaan Pintu Baja Tangerang, Model Pintu Plat Baja Tangerang, Pintu Sorong Baja,

Aura Furnishings is the prime and one-stop spot to go if you want to create the perfect outdoor ambiance.

Furthermore, what if you don’t have a garden but instead have a balcony or terrace? No issue; at Aura Furnishings, you’ll discover the most exquisite furniture, accessories, and decorations for your balcony or patio. From swings, shade cloths, balcony parasols to comfy furniture (including cushions), vases, and luminaries, as well as planters, fake grass, pots, and even outdoor carpets and rugs, we’ve got everything to spice up your outdoor space. In this way, you can quickly and effectively turn your balcony or patio space into a relaxing ambiance or a second living room.

Website:- https://aurafurnishings.com/

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.

Found in different variations already since the 17th century, the couch subsequently evolved as the iconic modern furniture of the 20th century. At the same time, the evolution of the couch was closely connected to the evolution of the domestic interior. Through my presentation, I will explore the contribution of the couch as an object in the evolution of the modern interior along three, intertwined lines: a. the couch and its design, b. the couch and its uses and c. the couch and the transformation of domestic space. Focusing on the variations of the couch in the Greek architecture of the 20th century, I will describe how the couch was an invention that forever altered the ideas of dwelling and domesticity reflecting new mentalities and sensibilities on gender and space. I will refer both to the interiors designed by renowned modern Greek architects as well as the furniture as used in the apartments of modern middle class mass housing in Greece. Furthermore, I will highlight those instances in which the couch ‘speaks’ to us, as architects and designers, about issues of private vs. public, local vs. the global, tradition and modernity, meaning and symbolism, culture and taste, family and roles, shared living and self-reflecting. Finally, I will trace the transformation of the space surrounding the couch, and the emerging of new domestic leisure environments and technologies of the domestic free-time.

L'americano Charles Eames (1907-1978) è uno dei principali protagonisti del design per la poliedrica attività progettuale e comunicativa (dal disegno dei mobili a quello dei giocattoli, dall'allestimento di mostre all'attività di film-maker, dalla fotografia alla grafica pubblicitaria, dalle lezioni universitarie alle consulenze per il governo americano o indiano), per aver creato dei veri e propri archetipi del furniture design, per aver sempre perseguito una chiara impostazione del progetto. Insieme alla moglie Ray Kaiser (1912-1988) e ai numerosi collaboratori dell'Eames Office, egli ha composto un vero e proprio atlante del design, in cui creatività, senso del «gioco», libertà d'espressione e continua sperimentazione, su tecniche e materiali, non consentono una facile codificazione. Il presente contributo ne restituisce in sintesi la formazione intellettuale, le modalità della sua estetica, i rapporti con la cultura del tempo e i principali committenti, le opere principali.

Katalóg k výstave 320 stoličiek je prvou a dosiaľ jedinou publikáciou zameranou na históriu dizajnérskych návrhov a produktov významnej československej firmy na ohýbaný nábytok: Tatra nábytok Pravenec. Impulzom k umeleckohistorickému výskumu sa stalo objavenie rozsiahlej kolekcie stoličiek v schátraných priestoroch niekdajšej výrobne, zahŕňajúcej ako populárne vzory z obdobia 80. rokov, tak dosiaľ neznáme dizajnérske prorotypy z ostatných období fungovania podniku. Na podnet Slovenského centra dizajnu Silvia Lutherová podrobila kolekciu dôslednému výskumu, v rámci ktorého boli identifikované a datované jednotlivé typy aj série sedacieho nábytku a priradené k dizajnérom, spolupracujúcim s podnikom. Výstupom výskumu bola dôsledná databáza autorských aj štandardizovaných vzorov, zasadená do tradície výroby ohýbaného nábytku na Slovensku i v stredoeurópskom regióne, ktorá bola prezentovaná na výstave v design factory v Bratislave v roku 2005. Poznatky z výskumu a tiež bohatá obrazová dokumentácia boli sumarizované vo výstavnom katalógu, vydaného Slovenským centrom dizajnu.
The catalog for the exhibition „320 chairs“ is the first and so far the only publication focused on the history of designs and products of a major Czechoslovak company for bentwood furniture: Tatra furniture Pravenec. The impuls for art historical research was the discovery of an extensive collection of chairs in the dilapidated premises of the former factory, including both popular models from the 80's and hitherto unknown design prophotypes from other periods of the company's operation. At the initiative of the Slovak Design Center, Silvia Lutherová subjected the collection to thorough research, in which individual types and series of seating furniture were identified and dated and assigned to designers cooperating with the company. The output of the research was a consistent database of authorial and standardized designs, set in the tradition of production of bentwood furniture in Slovakia and the Central European region, which was presented at the exhibition in the design factory in Bratislava in 2005. issued by the Slovak Design Center. Findings from the research as well as rich pictorial documentation were summarized in the exhibition catalog published by the Slovak Design Center.

Gebyok adalah simbol kekayaan di kudus dan gebyok banyak dipakai di rumah Kudus dan menjadi simbol kekayaan pemiliknya. Gebyok ukir jati sudah juga berkembang pada masa pemerintahan Ratu Kalinyamat sebagai rumah kayu yang dipenuhi oleh kerajinan ukir pada seluruh komponen kayu. Gebyok diciptakan untuk meraih tujan kesenian, kejayaan dan kemewahan atau gebyok adalah sebagai rumah yang layak.

The book is intended for students of wood technology at the Faculty of Forestry and Wood Technology for the subjects Construction of Wood Products I and students of Design Studies at the Faculty of Architecture.
The book includes chapters that provide knowledge about wood materials and rules for shaping the basic construction forms of products, as well as instructions on making technical drawings and a systematic approach to construction.

This article deals with strategy step of furniture design, in particular with sensemaking. This last is an abductive process, which this paper restricts to designer’s interpretation on objects of his/her area of expertise.
The research has complied with a circular evolution, essentially composed by: 1. empirical analysis of furniture sector and relative cultural trends; 2. research of semantically coherent groups of furniture; 3. theory-building. The result is a methodology able to guide and visualize sensemaking in furniture design process.
Beginning from Peirce’s Semiotics, this study reconstructs a theoretical framework by identifying four kinds of furniture-referent connections and four corresponding semantic purposes. Then, it guides the creation of a concept map representing mental organization and interpretation of the gathered iconographic material. Concept mapping generates semantically coherent groups of furniture, which we can see as design patterns directing final sensegiving.
This paper focuses on a practical use of semiotics in furniture design, in particular in the strategy step of design process. It proposes a referential vision, using visual tools that could help designer in managing the sense of his/her product.

MICHAEL THONET (1841-1934) and ALVARA ALTO (1898–1976), two brilliant designers. The first one was a talented craftsman-cabinet maker, and the other one was one of the most famous architects who integrated custom furnishings into his buildings and interior spaces. Regardless of their academic background or professional affiliation, these individuals are renowned for innovative furniture designs. Consider the viewpoints brought to furniture design by these individuals and the unique disciplinary qualities within the fields of applied arts, interior and industrial design. There are pronounced differences in the way architects and interior designers create a sense of place by designing, selecting, and locating furniture; in the way industrial designers seek to resolve industrial fabrication processes and integrate utility, human factors, and ergonomics in design; and in the way that artists are trained in their craft.

Many individuals and disciplines contribute to the body of knowledge of furniture design. Think about the influence that material properties, use, applied forces, the surrounding environment, and ergonomics have on furniture design. Reflect upon the historical, cultural, political, and societal conditions revealed in the way people sit, rest, work, and play, or the human factors research and anthropometric data on which furniture designers rely. Many factors should be considered when designing furniture. Most are situated within personal, cultural, disciplinary, and professional frames of reference. The primary intention of this seminar is to articulate how ideas, use, design process, materials, and fabrication methods contribute to furniture design. How to deal with manufacturing chairs, using solid wood and plywood. Difference and benefits from both materials which are still central themes in furniture production. It is the hope that this seminar will remain a useful survey for all, especially for design students and fabricators interested in furniture design.

This European Standard was approved by CEN on 9 June 2012.

CEN members are bound to comply with the CEN/CENELEC Internal Regulations which stipulate the conditions for giving this European Standard the status of a national standard without any alteration. Up-to-date lists and bibliographical references concerning such national standards may be obtained on application to the CEN-CENELEC Management Centre or to any CEN member.

This European Standard exists in three official versions (English, French, German). A version in any other language made by translation under the responsibility of a CEN member into its own language and notified to the CEN-CENELEC Management Centre has the same status as the official versions.

CEN members are the national standards bodies of Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, Former Yugoslav Republic of Macedonia, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey and United Kingdom.

En este capítulo queremos hacer énfasis en un caso de innovación dentro del contexto regional Brasilero, pero de interés general para la historia del diseño Latinoamericano. Se trata de la intervención hecha por José Carlos Mario Bornancini y Nelson Ivan Petzold en la compañía fabricadora y diseñadora de muebles Todeschini a partir de 1966. Buscamos comprender el contexto más amplio de la industrialización brasilera ocurrida en la primera mitad del siglo xx, con el fin de identificar sus vínculos con el sector mobiliario y más precisamente con el caso en estudio. El objetivo es evidenciar cómo el diseño puede redireccionar la línea de producción y, de este modo, contribuir al posicionamiento del producto en el mercado.

//

In this chapter we want to emphasize a case of innovation within the Brazilian regional context, but of general interest for the history of Latin American design. It is about the intervention made by José Carlos Mario Bornancini and Nelson Ivan Petzold in the furniture manufacturing and designer company Todeschini from 1966. We seek to understand the broader context of the Brazilian industrialization that occurred in the first half of the 20th century, with the in order to identify its links with the furniture sector and more precisely with the case under study. The objective is to show how the design can redirect the production line and, in this way, contribute to the positioning of the product in the market.

(From the cover) Se è vero che da puro nutrimento il cibo si è presto trasformato in complessa e raffinata operazione che convoca gusti e intelligenze per assurgere allo status d’imprescindibile «linguaggio», il luogo domestico a esso dedicato, in adesione al codice culturale percepito come egemone, viene a rivestire un ruolo di non comune interesse. Dalla scoperta del fuoco in epoca preistorica fino alle modernissime realizzazioni della tecnologia e della domotica, queste pagine ne seguono l’evoluzione privilegiando lo studio dell’architettura e del design su scala europea e nordamericana e verificandolo nella lunga durata, negli studi sociologici, antropologici e di genere, nei riflessi letterari e cinematografici, nello sviluppo sorprendente del gusto e dei suoi artefici attraverso i secoli. È un perfetto microcosmo, lo spazio che chiamiamo cucina, contesto sempre in bilico tra stabilità e cambiamenti la cui vicenda, qui raccontata con ricchezza di fonti e affabilità narrativa, si intreccia significativamente alla storia delle gerarchie sociali e familiari, ai ruoli definiti e alla loro eloquente messa in discussione.

** Index
Introduzione
Ringraziamenti

La cucina

I.  Ambienti tradizionali
1. La cottura primordiale
2. Tetto e focolare
3. L'oziosa culina
4. Diete conventuali
5. Coquina versus cellerarium
6. La cucina dei forti
7. Zuppa e panbagnato
8. Cortesie per gli ospiti
9. Femine amorevoli e operose
10. La comoda cucina
11. La cucina secreta
12. Il regno degli uomini
13. L'immaginario culinario
14. Richiami etici
15. Casseruole francesi
16. La cucina dei Lumi

II. Trasformazioni borghesi
1. La cuciniera
2. Utopie democratiche
3. Assaporare il gusto
4. La cucina moderna
5. La cuisine de famille
6. Ognuno ha il suo posto
7. Su e giù per le scale
8. Ordine e moralità
9. La cucina vittoriana
10. Il futuro è qui
11. L'Economia domestica
12. La cucina del cottage
13. La workroom
14. Senza cucina
15. Cucine italiane unite
16. La camera chiara

III. Trappole funzionali
1. Verso la cucina progressista
2. Dinamiche spaziali
3. Kitchen Management
4. Mangiare in cucina
5. Il pragmatismo gestionale
6. Razionalità europee
7. La cella operativa
8. Microcosmi standard
9. Armadi sovietici
10. La consumatrice
11. Time-Motion Kitchen
12. Composizioni modulari
13. La cucina del Ventennio
14. Gastronomie antipassatiste
15. Prototipi italiani
16. Cucinare nel pranzo

IV. Stili di vita
1. Ricostruzioni
2. Nazionalismi
3. L'Easier Living
4. Cucine del domani
5. Trasparenti intimità
6. Cucine scandinave
7. Verso la modernizzazione
8. Cucine arredate
9. Cucine componibili
10. Utopie plastiche
11. Cocktail party e cuisine française
12. Guerra fredda in cucina
13. Casalinghe demistificate
14. Il campo di battaglia
15. Rosso in cucina
16. Environments trasgressivi

V. Indizi contemporanei
1. Il grande freddo
2. Loft kitchen
3. Essenzialità tedesca
4. Fra citazione e superdesign
5. La cucina intelligente
6. «Superwoman»
7. Caleidoscopi familiari
8. Fra High-tech, minimalismo e surplus
9. «Kitchen-plaza»
10. Tendenze variabili
11. Uomini in cucina
12. Genitori e figli
13. Cokitchen
14. Cucinare in ufficio

Un mondo che governiamo?

Riferimenti bibliografici
Indice dei nomi

This essay foremost compares the functional (or ‘inner’) design aspects of Viennese grand and English grand pianofortes. Also discussed is the decorative (or ‘outer’) design details of two excellent examples, and lastly perhaps a case is made for the elegant Viennese piano to make a comeback. Important to note, during the significant piano design period, makers collaborated with local cabinetmakers and furniture designers to create unique works of art. Square pianofortes were popular smaller versions of the increasingly important grand pianoforte. The smaller pianos became commonplace in upper- and middle-class homes during this period. They were highly decorative due to their social function and the design possibilities of a symmetrical, rectangular shape.  The piano case became a focus of marquetry, inlay, veneer, gilt, and engraving, and legs took furniture leg styles of the day. While today’s pianos are more uniform and practical, pianos at the time widely functioned like and were advertised alongside furniture (as owners often did not actually play).

ABSTRACT During the period of Modernity and especially in the 1960s, in Greece, the architectural “production” of buildings, particularly in the hotel setting, offered a plethora of successfully completed settlements in every aspect. A series of hotel facilities designed from 1955 to 1965, on public or private supervision and funding, including a number of Xenia Hotels (public investment program) and Amalia Hotels (private investment) are typical examples. In these projects, not only did the architects who developed them emphasize the design itself of the building-shells, as morphological and functional entireties, but they also move forward to the design of the interior spaces and their individual components, approaching each building as a whole. In this way, they were not only involved in the architectural design of the shell; they designed equally both interior spaces and each element contained in the building-shell, such as special structures (partitions, fireplaces), lighting, ...

The Skyrian chair was a key element of household effects and decoration of Skyrian houses. It was used at mealtimes placed next to a low table, during housework (fireplace cooking, spinning, knitting, embroidering, etc.), for the reception of guests in combination with sofas, for resting always combined with some type of some easy, light work or conversation.
Skyrian chair was part of handicraft manufacture in small local workshops around the main town which also provided for selling.

In this study, the transformation of “concept” into “form” is dealt within the scope of a one term in-class activity conducted in the course “Furniture Design 1”, given in Hacettepe University, Faculty of Fine Arts, Department of Interior Architecture and Environmental Design. Firstly, the students were asked to transform the given “concepts” into “forms” independent from function; afterwards they were asked to functionalise their outputs. Concurrently, the students were expected to design the furnishings involved in their final projects. These two processes were conducted during the whole term. The aim of this study is to analyse the advantages and disadvantages of these two methods. In the first process, in which the “concept” is transformed into “form”, how the students approach to the concept, and how they symbolise them were observed. In the latter stages, the transformation phases, production details and material selections were dealt in terms of reaching the form-content harmony.

Key words: Furniture design, Concept, Form

The study deals with the research and analysis model heritage building, which is " Wekalet al Sultan al- Ghouri at Al-Azhar district " because of its historical importance, as it is located within a group architectural built at the end of the Mameluke era due importance to it had been established in the era of Sultan al-Ashraf Abu al-Nasr Qansuh al-Ghouri who took over rule of Egypt from the year 1501 to the year 1516 has been built his important architectural group which Located at the end of the Ghuria Street and take the form of distinctive architectural block, take along one lines appear in all parts of the bloc's architecture.
As for Wekalet al Sultan al- Ghouri is regarded as a model for what it was the agencies in that era fortunately, remained large part of it, which helped to repair and return its original El-Wekala was trade centers between the countries which required the presence of suites for visitors coming from different states to Cairo.
Wekalet al Sultan al- Ghouri was characterized by the otheres that it has retained most of its elements architecture.
This is the agency open Museum of mashrabiya art where the 29 masterpieces mashrabiya.
This research paper examines also compared the values of heritage for El-Ghuri group before and after reviving where negatives and positives sides through design criteria style.

As our furniture dossier of the 20th century shows, paradigmatic changes occur when materials become used in a different way than they were employed before. The material may be thousands of years on the market as fabric in the case of the ‘Bean bag’, innovations as the laminated wood patented in 1878 or about fifty years for the steel tube. But only a different design approach offers new developments. As a society hardly ever renews itself from within but almost always is changed from outside or its edge, the breaking ideas for new furniture design are mostly coming from outside. Is it the bicycle/industry, the packaging industry or the (dress) pattern, technology is the ultimate force. Theories seem to support sometimes but are not necessarily the driving force. Neither Stam nor Breuer
were leading theorists in the Modern Movement. However, a step forward is not necessarily about the genius of one person which is questioning the current state. The cultural environment is of much greater influence than the work of any individual. After the experimental decade of 1960 there was a between-time of helpless fun-remakes and other anti-design projects. Only the latest developments show an increased interest in folded landscapes with interchangeable uses, ideal for a future integration of the chip. The potential of the electronic era combined with an extended research of composite materials may actually lead to new furniture. Neither of the aspects are truly new, at this moment, but probably the chip is only now ready to be used by architects.

Furniture in President Ignacy Mościcki’s Little Castle in Wisła.
Chronology, inventory and attribution.
This paper deals with furniture in Wisła Little Castle which was created between 1929 and 1931, mostly made from bent and chromed tubular steel. This paper tackles the attempts at the chronology of their production and attribution; additionally, it tries to reconstruct the original inventory lists, the then location and disposal of the furniture in given interiors. Next to traditionally quoted authors of the Mansion, i.e. Adolf Szyszko-Bohusz and Andrzej Pronaszko, the paper pinpoints the contribution of Włodzimierz Padlewski – furniture designer who has most often been omitted in studies. Moreover, the paper has identified bent tubular steel furniture by Marcel Breuer and Bohdan Lachert among the original furniture sets of the building. These findings confirm the unique character of the entire complex, its high historic and artistic value
for the Polish design history, and its exceptional position against European furniture of that time. The article presents archival material which has not been used to date and photographs of the interior never published before. The issue of artistic genesis and formal analogies in this furniture will constitute a separate paper by the author.

The compatibility between the dimensions of furniture and users’ body is crucial in keeping the users’ performance. The objective of this study is to identify whether the furniture dimensions in the library reading area at University of Trunojoyo Madura (UTM) are appropriate/inappropriate to the students’ anthropometry and to find a recommendation for appropriate dimensions for designing library furniture. The current study was begun by measuring the furniture dimensions and the students’ anthropometry. The evaluation was done by following methods adapted from previous studies that determine the furniture dimensions based on the anthropometric and ergonomic principles. The compatibility criterion was determined by considering the relationship between the furniture dimensions, the students' anthropometry and assumption(s) regarding what they wear and their behaviors during they are in the reading area. The finding of this study showed the mismatch between the students’ anthropometry participated in the measurements and the furniture dimensions. Another important finding was that this study provided/offered a recommendation that was suitable dimensions for designing library furniture at UTM.

This paper formulates and reviews the furniture design, recycling concept and connotation. Recycling is an old topic, this traditional meaning or recycling in a narrow sense only on limited material recycling, product benefits, which is put forward as the main objective and the process of implementing recovery strategies. Design for recycle ability of waste material, which is designed and targeted to take advantage of the economic benefits of waste recovery process planning and design.

Understanding is a common term used to describe comprehension. Comprehension is the act of grasping the meaning, nature or, importance of; in a more formal context. Understanding is classified as science in the field of psychological studies, where one has a firm acquirement of a specific topic, subject matter, situation and, or emotional consideration of which they seek, want and need to know. In an executive environment, a clear understanding is a crucial factor in the process of formation and strategic planning for the execution of a work flow. A thorough comprehension or understanding produces effective thinking process towards achieving the desired result. In the context of this research, the understanding process is being measured from the point of understanding the process of the biomimicry approach in the design process in particular. With the application of the Likert Measurement Method, this research will measure the level of individual understanding of the biomimicry approach in the design process. Biomimicry is a field that explores the human understanding of nature and its functions with the aim of producing a sustainable solution to human challenges by imitating nature's tested patterns and strategies. In the context of this study, explanations and discussions will focus on the importance of comprehension in the implementation of biomimicry approach in design. The process of understanding will focus on finding the important attributes vis-à-vis the biomimicry approach.

Kniha Tvary, barvy, pohodlí: Nábytek Jitona doprovází stejnojmennou výstavu v Retromuseu Cheb (2018–2019) a  ve Wortnerově domě v Českých Budějovicích (2020), pořádanou Galerií výtvarného umění v Chebu a Alšovou jihočeskou galerií. Kniha poskytuje výklad o nábytkové produkci národního podniku Jitona z let 1951–1989 a snaží se rekonstruovat co nejširší okolnosti jeho vzniku: autorské podíly jednotlivých designérů, proměny sortimentu, vývoj nových typů a forem nábytku, podmínky zaměstnání v Jitoně, prezentační strategie a média či experimentální programy a jejich úspěch. Nábytek z Jitony byl váznamnou součástí celostártní i mezinárodní produkce sériového a sektorového nábytku, ale Jitona byla také vyhledávaným výrobcem originálních, často velmi progresivních mobiliárních souborů pro přední architektonické realizace (Sjezdový palác, Palác kultury, hotel Praha, vládní vila v Sezimově Ústí, ambasáda v Pekingu ad.). Jitona a její nábytek může díky dobře dochovanému podnikovému archivu ukázat, nakolik jsou platné přetrvávající představy o věčném nedostatku surovin i hotových výrobků na trhu, jak fungovala socialistická propagace různých výrobků pro domácnost, jak fungoval export do zemí sovětského vlivu i do zemí Západního světa. V pozadí jednotlivých témat, spojených s produkcí nábytku v jižních a západních Čechách, stojí otázka, zda Jitona vytvářela nové formy a udávala výrobní trendy Československého nábytkového designu, nebo se naopak vezla na módních vlnách a její produkce byla jen výsledkem působení „ducha doby“.