The Role of Delight in

Furniture Longevity
 S.U.N.Y
Fashion Institute of Technology

The Role of Delight in

Furniture Longevity

A �aster Thesis

Presented to the Faculty of the Sustainable Interior Environments Program

at the School of Graduate Studies, Fashion Institute of Technology.

Submitted in Partial Fulfillment of the Requirements for the

Degree of �aster of Arts in Sustainable Interior Environments

By �entor,
�ay, 2014
Heidi Korsavong Fiona Anastas
Copyright,
2014
 This is to certify that the undersigned
approve the thesis submitted by—

Heidi Korsavong

In partial fulfillment of the requirements for the degree

of �aster of Arts in Sustainable Interior Environments

Grazyna Pilatowicz, Chairperson

Fiona Anastas, �entor

�ary Davis, Dean, School of Graduate Studies

4
 A Dedication

To the enduring memory

of my maternal grandmother,
Yon Kim.

Her unconditional love,

strength, and natural grace continue
to shine onward.

5
 Acknowledgements

I am very grateful to everyone who has helped me along this path. Thank you for your patience, kind-
ness, and wisdom. I still have much to learn from those that float above the dissonance.

To Grazyna, the chair of our program; I admire the mountain you are climbing. This would not be pos-
sible without your persistence and tireless ambition. Thank you for envisioning a program that considers
the working professional who wants to stay relevant, challenge themselves, and find like-minded individuals
along the way.
To Fiona, my mentor—who helped me clarify my thoughts and find my voice. Thank you for your incred-
ible positivity and insightful expertise. It was a pleasure to work with you. Through this process, I think I
have gained a true friend.
To Laura, my colleague; I could not have asked for a better counterpart to have shared this experience
with. Thank you for your wit, intelligence, and frankness. Without you, I would have failed to find the humor
in the noise.
To Benjamin, my sunshine: I am truly grateful for your unending support and brilliance. Thank you for
embracing me with your warmth and lightness. You have given my thesis visual presence, spirit, and lyricism.
You have given my mind the mental peace to create and imagine all the Everything we have to do.
To my dear friends and family: your continued encouragement and love is the energy source that I draw
upon daily ... Abdiel, Angela, Barbara, Becca, Bridget, Cara, Caroline, Darnell, Doug, Elliot, Emily, Eric, Jen,
Jenny, Joel, Jon, Justin, Kasey, Lauren, �ina, �ylene, Paula, Peter, Rachel and Walter.

&

All Korsavongs and Parks.

6
 Contents
Abstract p. 9

Chapter 1 — Introduction: A �odest Inquiry p. 10

Introduction p. 11
Thesis Topic p. 12
Research Questions p. 12
Relevant Terms p. 13
Significance of Inquiry p. 14
�ethodology p. 17
Limitations & Delimitations p. 18

Chapter 2 — Literature Review & Context p. 19

Design for Durability p. 20
Ease of �aintenance & Repair p. 21
Aesthetic Appeal p. 22
Fostering Emotional Connection p. 23
Acknowledging Limitations of the Discussion p. 25

Chapter 3 — Conversations p. 26
Conversations Overview p. 27
On Primacy in Form & Abstract Value p. 28
On Needed Form & Design Intent p. 30
On Functionality, Icons, & Narrative p. 32
On Adaptability & Re-Use p. 35
On Joinery & Connection to the Artisan’s Hand p. 36
On Noble �aterials & Patina p. 38
On Appropriate �aterials & Presence p. 41
On Contour & Sensuality p. 43
On Scale, Familiarity & Exposure p. 45
On �id-Century Design: Nostalgia, Ease, & Simplicity p. 47
Conversation Images, Information & Sources p. 49

Chapter 4 — Timeless Forms in Furniture (According to Ten Individuals) p. 51

Timeless Forms p. 52
Timeless Forms, Information & Sources p. 62

Chapter 5 — Synthesis: Insights p. 64

Insights p. 65
Overview p. 66
Additional Points of Note p. 71

Chapter 6 — Conclusions p. 72

Footnotes / Works Cited p. 75

Bibliography p. 79

7
 List of Figures
Fig. 1
Watercolor illustration of traditional model of furniture production. p. 14
Illustration source: The author.

Fig. 2
Watercolor illustration of product lifecycle. p. 15
Illustration source: The author.

Fig. 3
Watercolor illustration of ecodesign strategy wheel. p. 16
Illustration source: The author.

Fig. 4
Graphic representation of factors that contribute to delight in furniture longevity. pp. 69, 70
Illustration source: The author.

Fig. 5
Pen illustration of the author’s chair as described in the Introduction (p. 11). p. 74
Illustration source: The author.

8
 Abstract
This thesis seeks to define the physical and intangible factors that contribute to furniture longevity.
Delight, which can be understood as an emotional response resulting from feelings of immense gratifica-
tion and happiness, is implied to be one of these intangible factors.
Existing literature on the subject of object endurance and product longevity was reviewed and provided
the initial structure to categorize these factors. Professionals in the interior and furniture design industry
were interviewed to give richness and context to the nature of this inquiry. The insights indicate an initial
framework for users to evaluate the quality and value of existing furniture pieces and provide preliminary
considerations for contemporary designers seeking to design furniture for longevity.

9
 The Role of Delight
in Furniture Longevity

Chapter 1 —
Introduction: A �odest
Inquiry

10
 Introduction
A small brown chair perches at the corner of a one-bedroom studio
apartment. From afar, it appears graceful and birdlike: a light rosewood
armature supports a casual canvas sling with worn tufted cushions on
its seat. In the afternoons, sunlight fall in its lap to reveal subtle breaks
on the surface of its aged leather skin. Its owner patiently waits for
days when there is time to linger, to sit in it—to be embraced by the
chair’s comforting and familiar shape.
Certain furniture pieces carry an imbued memory; their form encour-
ages engagement, and their appearance suggests a rich past. A furni-
ture piece’s ability to inspire admiration and appreciation supports its
longevity. The benefits are two-fold: the furniture piece provides long-
term value to its user, and it keeps a physically-durable object from
being carelessly discarded before it has outlived its function.
This thesis research seeks to look at furniture and what factors con-
tribute to its extended re-use and longevity by multiple owners, or within
generations of a single lineage. It is founded on the basis that re-use
can help lessen the environmental burden by keeping items out of the
waste stream. The subject of this thesis, at its base level, is accessible
and easy to comprehend. �any readers have come into contact with a
piece of heirloom furniture that has been passed down from a previous
generation, or have things, new and old, that they have held onto in their
own personal collections. This thesis gives prominence to people and
their experience with their furniture. The research conducted is qual-
itative—it does not cover metrics or pose quantifiable solutions, but
rather starts to outline concepts for further research explorations. This
thesis aims to create points of entry for people who would not other-
wise engage in the discussion of sustainability. This is about the attri-
butes that are hard to measure, but, I would argue, are most impactful
in changing behavior patterns, and encouraging sustainable consider-
ations and solutions.

“Sustainable design starts with the understanding that the purpose

of our designs is to create physical artifacts that benefit people.” 1

11
 Thesis Topic

The role of delight in

furniture longevity.

Research Questions

1.
What can the antique and vintage furniture market tell us about furni-
ture longevity?

2.
What are the physical qualities that contribute to furniture longevity?

3.
What are the intangible qualities that contribute to furniture longevity?

4.
Are physical or intangible qualities more significant when evaluating
furniture longevity?

12
 Relevant Terms
Antique Furniture—
A collectable decorative object, piece of furniture,
or artwork believed to be at least 100 years or more
in age. 2
Embodied Energy—
This term engages life-cycle thinking. It is defined
as the total amount of direct and indirect energy
required in producing products for consumption. 3
Longevity—
This refers to the extended length and duration of
time that a furniture piece is considered in use.
Patina—
Visible signs of age or wear on the surface of a
product or material. This can be achieved through
natural weathering or purposeful application. For
antique and vintage furniture, it is often viewed as
desirable effect and can enhance the character of
a piece.
Reproductions—
Furniture that is an unauthorized or unsanctioned
copy of an original design.
Re-use—
“Any operation by which products or components
that are not waste are used again for the same pur-
pose for which they were conceived.” 5
Sustainability—
A holistic and long-term mindset with the goal of
consciously living / designing / producing more
efficiently while being mindful of satisfying eco-
nomic, environmental, and social interests.
Vintage Furniture—
An item (decorative object, piece of furniture, or
artwork) that is of a certain era. “For the term vin-
tage to accurately apply to it, an item should be
somewhat representational and recognizable as
belonging to the era in which it was made.” 6

Physical vs. Intangible

(Qualities of Furniture)—
Physical features describe those qualities that take
up mass and are made of matter. These features
are tangible and visible. By contrast, the intangible
features do not take up mass, however they are still
observable, perceived, and felt. This occurs more
as a reaction to the physical features of the piece.

Picker—
A picker is a wholesale antique and vintage furni-
ture buyer / seller. Pickers commonly obtain inven-
tory from estate sales, auctions, and antique fairs.

Recycling—
The process of converting waste into a new sub-
stance or product.4

Reissues—
Furniture designs that were once produced, then
discontinued for a certain period of time, that are
being put back into production by manufacturers.

13
 The Significance of the Inquiry
“The proliferation of objects that once provided living testimony as to one’s degree of individualism and
uniqueness is today an ecological burden carried by the entire biosphere, of which we are an integral part.” 7

Fig. 1

EXTRACTION � PRODUCTION � DISTRIBUTION � USE � DISPOSAL

The figure above illustrates the traditional model of furniture production.

Along each phase of production, a significant amount of resources and energy is consumed and a
substantial amount of harmful emissions and waste are generated. “For furniture, environmental impacts
are quite limited during use, but more associated with production and disposal.” 8

SO�E NOTABLE NU�BERS

Globally, one report by a world-wide advocacy organization, Friends of the Earth, estimates that
approximately 60 billion tons of natural resources are extracted and used each year. This number reflects
a 50 percent increase from just 30 years ago.9 Furthermore, Pacific Standard reports that in 2012, IKEA
furniture products consumed 1 percent of all the world’s commercially-used wood, an amount totaling 17.8
million cubic yards.10
On the other end of the production spectrum, the US Environmental Protection Agency estimates that,
in 2012 alone, 251 million tons of municipal solid waste was generated. �unicipal solid waste is collected
from the residential, commercial, and institutional sectors. It consists of everyday items that are used and
disposed of, such as paper, furniture, clothing, food scraps, etc.11 Waste is further sorted into product cat-
egories to better understand consumers’ disposal patterns and materials recovery.
Furniture is characterized as a part of the durable goods category, which contributed to 50 million tons
of waste—approximately 20 percent of the total municipal solid waste generated. While furniture, compared
to other durable goods, has a relatively long product lifespan, it takes up a large volume of landfill space.12
Recycling consumer waste into new materials in an attempt to recover some of the initial embodied
energy of products tends to be costly and inefficient. According to the above referenced EPA report, in
2012 only 18 percent of materials in the durable goods category were recovered. These materials include
wood, metal, glass, plastics, and textiles.13

14
 Fig. 2 * �odified from the
Okala Practitioner
Impact Factors
& D I ST Information Graphic,
LY R
E �B ING & PU I BUT IO 2013.
S R CH N
AS K AG AS E
C
PA

IN
ING
UR T

ST & U
FA N EN

A L SE
LA
NU PO
CT

TI
�A O�

ON
C

M
& UPG R
A
� ATE I N G

IN
RIAL

T E
SS

A DIN G
N A N CE
C E
PRO

E
-U
T
RE SE
-U
D UC RE N

NG
PRO O
TI ING
T I
RA ON
EN
YC
L
W CO �
P
RE
C A L
EX � IAL ER IL
TR AT �A
TE R I N DF
AC ER C N
TI IA IN L A
O L
N or
NATURAL
ENVIRON�ENT

PHASES of PRODUCT
LIFE CYCLE

The figure above illustrates the opportunities of recycling and re-use during the lifetime of a furniture
piece: materials can be recycled, such as using salvaged wood to make a table-top; components can be
re-used, such as removing the leather on an old sofa to reupholster the seat of a chair; and finally the whole
furniture piece can be resold or passed down as an heirloom to experience life with a different user. Because
the function of a furniture piece remains relatively constant, this makes it a strong candidate for re-use.
“The net environmental impacts associated with reuse pathways tend to be considerably lower than those
associated with other management routes (recycling or landfill).” 14 Pursuing re-use options bypasses the
initial and final stages of production that are the greatest contributors to the embodied energy of furniture.

EXISTING DESIGN STRATEGIES

The Okala Practitioner, published in 2013, is a resource tool to support industrial designers, engineers,
and business partners, “in all design related disciplines to provide practical information and methods for
designing products, services and systems with low impacts to ecological health and human heath.” 15 They
have devised several eco-design strategies that assess the environmental impact along the product lifecy-
cle and aid in decision-making along the spectrum.

15
 Fig. 3 4 * �odified from the
Reduced Distribution

Okala Practitioner
Ecodesign Strategy
Impacts Wheel, 2013.

3 5
�anufacturing Reduced Behavior
Innovation and Use Impacts

4
3 5 6 System
Longevity

2 2 6 6 — Design for
Reduced �aterial durability.
— Foster emotional
Impacts connection
1 7 to product.
8 — Design for
maintenance
and easy repair.
Transitional — Design for
Innovation Systems re-use and
exchange
1 7
of products.
— Create timeless
Optimized aesthetic appeal.
End-of-Life
8

DESIGN STRATEGIES for

REDUCED ECOLOGICAL IMPACT

At each stage of the process there is an opportunity to make decisions that are more cognizant of
impact and cost. The opportunities for influence / change / entry put forth by the Okala Practitioner are
delineated in the following stages:

1. Innovation
2. Reduced �aterial Impacts
3. �anufacturing Innovation
4. Reduced Distribution Impacts
5. Reduced Behavior and Use Impacts
6. System Longevity
7. Transitional Systems
8. Optimized End-of-Life

The focus of this thesis addresses Stage 6, System Longevity, which recommends designing for dura-
bility, fostering emotional connection to product, designing for maintenance and easy repair, designing for
reuse and exchange of products, and creating timeless aesthetic appeal. Not all of these strategies apply
to furniture, however the relevant strategies became the starting points of research for the literature review.

16
 �ethodology
REVIEW OF EXISTING LITERATURE
In order to establish a framework of the factors that contribute to designing for extended use, existing
literature was reviewed and referenced. This study focused on the areas of furniture longevity, emotional
attachment to furniture and objects, the relationship of aesthetics to sustainable design, and historical
writings were referenced.

INTERVIEWS AND DISCUSSIONS

Qualitative research was performed to determine how different members of the furniture and interior
design community contextualize the idea of furniture longevity. Primary research was conducted in the form
of semi-structured interviews. Participants were initially contacted via e-mail, outlining the nature of the
research inquiry and asking for their participation. Informed consent was given freely to record the inter-
views, which ranged from a half hour to one hour in length.
The location of the in-person interviews varied based upon participant availability. In four cases, the
interviews were conducted over the phone with supplemental follow up via e-mail. Due to the interviewees’
familiarity with the subject matter, interviews were conducted in a non-formalized way and resulted in a
personal and conversational dialogue.
The speakers were chosen for their level of expertise and familiarity with second hand furniture, and for
their relationship to the wider design community. It was predicted that their experience would offer insight
into the elements which contribute to furniture longevity. Also the interviewees were chosen so as to have
a range of perspectives from both ends of the supply chain from antique wholesale buyers to designers/
consumers. The list of expert subjects is as follows:

Vintage Furniture “Pickers” Dealer / Curator Furniture Designers

— — —
�ike DeSantis Larry Weinberg Combo Colab
Kevin Landers �ark de la Vega

Furniture Restorer / Artisan Interior Designers Furniture Historian

— — —
Alan Stover Jesse Turek Gordon Frey
�ichele Glick-Guarneri Douglas Roach

TI�EFRA�E
Interviews were conducted over a six-month period between November 2013 and �arch 2014.

TI�ELESS FOR�S IN FURNITURE, ACCORDING TO TEN INDIVIDUALS

Each interviewee was asked to provide three examples of furniture pieces that they consider timeless.
These were examined to deduce if there are shared physical characteristics in these pieces that can point
to their longer life span. The images are presented in Ch. 4.

17
 Limitations & Delimitations
LI�ITATIONS
This research is limited by the number of interviews conducted and the fact that those interviews were
carried out under the restriction of a specific window of time. Readers should note that the information
collected represents a view of conditions and circumstances specific to the second-hand furniture market-
place in New York City and its boroughs, during the time period that the interviews were conducted.

DELI�ITATIONS
This exploration is not intended to prescribe a template for furniture longevity, but rather provide gen-
eral concepts to move the scholarly discussion forward.

18
 The Role of Delight
in Furniture Longevity

Chapter 2 —
Literature Review
& Context

The existing literature predominantly addresses object or product

longevity as a whole. Sources were reviewed to ascertain what con-
tributes to the longevity of objects, particularly the following aspects:
Design for Durability, Ease of �aintenance & Repair, Aesthetic Appeal,
Fostering Emotional Connection.

19
 Design for Durability
Durability refers to a furniture product’s abil-
ity to withstand, maintain, and endure during the
use phase of its lifecycle. The inherent durability
is dependent on the furniture product’s construc-
tion quality, its ability to resist material degradation
through expected use, and suitability for standard
maintenance or repair.16 Physical durability is the
first requirement for attaining longevity.
In order for a product to endure, it must have
robust physical qualities that allow it to perform its
function over an extended time. Essentially, “people
must keep products around long enough for them
to create memories that are fundamental to attach-
ment.” 17 However, physical durability is not a guar-
antee of longevity.
The literature tends to speak broadly about
products, grouping furniture along with a range
of objects that vary in scale and function such as
small electronics, household objects, etc. Because
of this, it is necessary to determine the product’s
function, purpose, and expected lifespan. “There is
little point in designing physical durability into con-
sumer goods if consumers have no desire to keep
them.” 18 In addition to desire, product function has
to do with practicality. Not all products should
be made of durable materials, especially if those
materials require more resources to make and will
quickly end up in a landfill.19
Depending on the product function, one of
three product lifetime strategies can be applied:
end of life, transitional, or longevity. 20 End-of-life
strategies apply to one-time use products, such as
used medical supplies or packaging, which require
quick and safe disposal. A transitional strategy
for items that require large amounts of energy or
resources during use but are subject to technolog-
ical innovation, such as computers and small elec-
tronics should be considered. One such strategy
is design for disassembly, which allows for com-
ponent re-use within a product's life cycle. Finally,
20
for products, such as furniture, where the feasibility
of reuse makes sense, strategies for longevity can
and should be applied.
Historically, we have arrived at this predicament
of compromised product durability and overabun-
dant consumption patterns due to marketing tech-
niques that were developed during the mid twentieth
century to stimulate the economy. “This removal of
awareness through process can be seen as a con-
tributing factor in the development of many unsus-
tainable practices associated with modern manu-
facturing.” 21 Products were intentionally designed
to break down (Planned Obsolescence), to become
outdated with the introduction of a new, more use-
ful product (Technological Obsolescence), or to be
believed as such (Perceived Obsolescence).
Planned Obsolescence—
... is an overarching term used to describe the
intentional physical deterioration of a product in an
uneconomically short timeline in order to have the
consumer replace the product quicker, as it is no
longer usable.
Technological Obsolescence—
... acknowledges the limits to the operational
capabilities of products where advancements and
innovations in technology have rendered the exist-
ing product outdated or less appealing due to its
older mechanical makeup.
Perceived Obsolescence—
... describes the aesthetics of the product as it
relates to changing trends. This occurs when man-
ufacturers make slight changes to the superficial
appearance of the product in order to create new
demand in the marketplace. The original product is
still functional, but it is seen as unusable due to the
product’s unfashionable appearance.
 Ease of �aintenance & Repair
The American architect, Louis Sullivan, coined
the phrase “Form Follows Function” in his 1896 essay
The Tall Office Building Artistically Considered,
meaning that the form an object takes should be
directly based on its intended purpose and func-
tion. 22 This idea implies that the forms should be
simple, intuitive, and not obscured by superfluous
decoration so that their function is clear. To under-
stand this, it is useful to evaluate the utility aspect
of furniture based on three elements. 23
Function
What is its intended purpose?
Performance
How well does it function?
Usability
How easy is it for the user to
understand how to operate it?
The majority of consumers tend to be removed
from the furniture making process and commonly
have a passive relationship with the pieces they
own. The first opportunity at establishing an inter-
action or active relationship with new furniture can
be designed into the piece by requiring the user, or
even multiple users, to set up some aspect of the
piece, a process the Okala Practitioner likens to
the shared activity of barn raising. 24
“Our lack of involvement in the design and
making of objects, and our consequent gap in
understanding, undoubtedly affects how we value
them.” 25 If consumers were involved in their fur-
niture’s creation, they would have a better under-
standing about its materials and inner workings.
Thus, they would know how to maintain and fix it,
if needed. While it is unrealistic in most cases to
be involved in this process, clear and visible con-
struction methods, in the form of quality joinery or
21
exposed hardware and fasteners, provide a window
into this creation process. This visibility of con-
struction techniques allows the user to evaluate
the needed steps towards maintenance and repair
of the item, and can ultimately serve as a support-
ive aid in furniture longevity.
Regular and easy maintenance also has the
potential to promote a tactile and active engage-
ment between the furniture item and its owner, and
for this activity to develop into ritual. Ritual, through
repetitive and sequential action, such as applying
conditioner to a leather surface to avoid the skin
from drying out, can work in the piece’s favor, as
certain physical features can slowly reveal them-
selves over the course of the furniture’s life, adding
visual interest and value. 26
Patina, or the notion of “desirable aging” as
Jonathan Chapman, professor of Sustainable
Design at the University of Brighton, refers to it, is a
significant example of the transformative qualities
of surface materials. Patina celebrates the age and
wear, and lends support to the overall narrative and
life of the piece. “When ageing is embraced in this
way, we can see that the transformative nuance of
decay can be utilized by designers to great effect,
ensuring that products are free to age and evolve
gently through the course of time, rather than fall-
ing ruthlessly out of favour the moment their glossy
facades of newness begin to peel away.” 27
Finally, the service aspect, as it relates to the
ease of repair, is frequently overlooked in the pro-
cess of designing furniture. “The supreme moment
of transfer should not be the finale of development
processes, but just the first stage. So, besides
reckoning with discarding and recycling, product
design includes setting up or adapting relevant
services: cleaning, repairing, upgrading, transport,
spare parts, information desks and, in some cases,
even facilities to support shared use.” 28
 Aesthetic Appeal
Aesthetics are a set of philosophical princi-
ples that focus on observable visual features, the
expression of beauty, and its mental and emotional
affect on a viewer. Aesthetics encompasses the
physical and non-physical aspects of an object;
and its appeal to our innate biological sensibili-
ties as, “there appears to be a need for propor-
tion, texture, and shapes that are pleasing to the
eye for mental health.” 29 Additionally, aesthetics is
connected to our sense of value, and the emotions
involved in our mental processing of the object.
Until recently, aesthetics was predominantly
excluded from the discussion of sustainable design.
The focus was placed on performance, environmen-
tal impacts, and largely unseen systems and parts
that were considered large contributors to energy
use and resource depletion. By aligning itself with
a philosophy grounded in moderation and appropri-
ateness, sustainable design, traditionally, implied a
directive to design with less, an unfortunate conse-
quence being a compromised aesthetic or, at the
very least, a tendency toward minimalism.
“In its efforts to reduce embodied energy
and material use, sustainable design
tends to discourage ornamentation with-
out direct function, and in this sense allies
itself with �odernist thinking… Ample
beauty and ornamentation can often be
found through the expression of struc-
ture, lighting and materiality and frivolous
decoration is not needed. It is better to
do without and build with the minimum
of materials than to apply meaningless
ornamentation.” 30
It is important to note, that while the sustain-
able aesthetic tends to align itself with �odernist
design principles, they are philosophically different,
as a lot of the materials, production practices, and
manufacturing techniques of that past era proved
inefficient, creating a heavy ecological burden, and
have left us with the consumption legacy we are
fighting against.
22
Historical notions of beauty have dealt with
the purely physical nature of objects. The Italian
Renaissance humanist, Alberti described beauty
as, “that reasoned harmony of all the parts within
a body, so that nothing may be added, taken away,
or altered, but for the worse.” 31 Ideas surrounding
beauty have evolved to embody the cerebral realm.
As American philosopher John Dewey expressed,
“beauty is a result of the interaction between an
individual and an environment rather than being an
innate property of some object, place or view.” 32
“If we want the sustainable design movement to be
successful then we must accept that appearances
do matter to people.” 33 Appearances have the abil-
ity to elicit broader emotional responses. Notions
of beauty can evolve, so that we “can understand
the beauty of an object in a different way. Beauty
can be captured in the object through what it rep-
resents, and not simply through its appearance.” 34
Preservation, longevity, and maintenance
have direct connections to beauty. “It is critical to
remember that beautiful designs- whether they are
simple objects like a teapot or complex ones like
a cathedral usually receive better care, and last
longer than counterparts that have less aesthetic
value.” 35 People take care of the things they value.
As time passes, and an object becomes separated
from its narrative, “as the utility and family sig-
nificance fades, it is often only the beauty of the
object that keeps it cherished and passed on.” 36
Additionally, beauty can contribute greatly to
positive feeling and sensory satisfaction towards
objects. “Beauty, fun, and pleasure work in all
together to produce enjoyment, a state of positive
affect.” 37 “Long-term value is impossible without
sensory appeal, because if design doesn’t inspire,
it’s destined to be discarded.” 38
“The aesthetics of a product can be very pow-
erful because they are a key factor in creating an
emotional tie with the object. Aesthetics can help
transform a product from an uninteresting and
unusable collection of functional components into
a useful and attractive object that provides a mean-
ingful benefit to people’s lives.” 39
 Fostering Emotional Connection
The physical characteristics of furniture sup-
port its durability and its aesthetic value, which
influence how people establish emotional relation-
ships with objects. Our current level of understand-
ing on the psychological processes that govern
subject-object interaction is in its infancy. Below
are two simultaneously supportive and contradict-
ing theories, which demonstrate, “the particular
manner in which we respond emotionally to the
made world is a work in progress.” 40 These the-
ories illustrate the complexity of the topic and the
difficulty of giving language to that which is pro-
cessed instinctively and outside of consciousness.
Dr. Gerald Cupchik, a psychology professor
at the University of Toronto, describes object per-
ception and subject attachment as a two-step pro-
cess that can be understood as a simple equation:
Cognitive �eaning + Arousal = Emotion
The equation starts firstly with the initial
impression of an object, secondly with the expe-
rience derived from its use, and, ultimately, varying
levels of emotional attachment to it.41
For the behavioral scientist Donald Norman,
“Emotions are inseparable from and a necessary
part of cognition. Everything we do, everything
we think is tinged with emotion, much of it sub-
conscious.” 42 He posits that there are three reca-
tions people experience when they interact with
or perceive designed objects: Visceral Reactions,
Behavioral Reactions, and Reflective Reactions. A
brief summary of each follows:
Visceral Reactions
... are immediate, unconscious, and a response to
appearance and tactile qualities. “Visceral design
is all about immediate emotional impact. It has to
feel good, look good.” 43
Behavioral Reactions
... also occur in the present and are purely about
use. What matters is “function, understandability,
usability, and physical feel.” 44
23
Reflective Reactions,
... by contrast, occur at the highest level of con-
sciousness and engage emotions and cognition
simultaneously. Reflective reactions employ inter-
pretation and are often long term. Self-identity is
expressed in the form of preference and cultural
context.45
People come to objects with their own idiosyn-
crasies, personal meaning, and emotional histories
that cannot be anticipated by the designer. Design
for longevity is not just about the object, it is about
the user’s relationship to the object. The French
philosopher, Jacques Derrida theorized, “that
meaning cannot be found within the signifier itself,
but that it can only exist in a matrix and, therefore,
in relation to other things.” 46
Literature on emotional connection to objects
can be categorized by the following four themes:
DELIGHT, IDENTITY, NARRATIVE & �E�ORY,
and CHERISHABILITY.
DELIGHT
“We become attached to things if they have
a significant personal association, if they bring to
mind pleasant, comforting moments.” 47 Delight has
connections to the earlier discussion of beauty and
sensory pleasure. However, delight also encom-
passes the needed aspect of fun as it relates to
user interaction with objects. This concept is sig-
nificant and has its roots in early design princi-
ples. In Sir Wooten’s 1624 translation of Ancient
Roman architect, Vitruvius’ de Architectura, he
credits the architect with saying that a proper
building has three conditions: firmness, commod-
ity and delight.48 While the literature tends to look
at delight as an immediate response, it fails to
encompass the entire scope of the concept, which
can result in both short- and long-term interactions
that align themselves with the other categories that
emotional connection touches on.
 IDENTITY
Objects can be used to express the identity of
their owners. Customization of certain decorative
features, such as color and pattern, are a direct
reflection of preference and taste. Additionally, the
often, cost prohibitive nature of certain luxury goods,
high quality pieces, or rare items can also connote
social standing and status. However, meaning is
only triggered at this superficial level if the object
aligns with the user’s perception of self.49 A deeper
sense of ownership and meaning occurs when the
subject of identity assumes a culturally specific
context. Then, the object can represent historical
lineage, and perhaps serve as an heirloom passed
down from generation within families.
NARRATIVE & �E�ORY
“Special objects are those that make sto-
ries.” 50 The narrative of the piece serves to con-
vey, “the history of interaction, the associations
that people have with the objects, and the mem-
ories they evoke.” 51 For furniture, even the location
it occupies within a room, can become associated
with the greater architectural context, or the views
it frames. Its potential to be thought of as a fixture
24
in the space, can also aid in its ability to endure.52
Furthermore, narrative can provide a connection
into the design intent of a piece, drawing connec-
tions between the designer and the user. Finally,
it is what professor Jonathan Chapman refers to
as the enduring narrative that allows for a devel-
opmental relationship between owner and object.53
This can be a realized form of ritual, familiarity, and
ultimately nostalgia.
CHERISHABILITY
According to the Design and Emotion Society:
“The concept of experience, where the subject and
object meet and merge with one another, is a key
issue in designing emotionally meaningful products.
This is because experience is a space in which all
faculties, especially emotions, are activated.” 54
When objects such as furniture reach the stage of
cherishability in an owner’s mind, it can compen-
sate for any physical deficiencies. 55 The notion of
cherishability put forth by Chapman, implies a care,
and bond, that ultimately will allow the object to
stay in use.56
 Acknowledging Limitations of the Discussion
In addition to the described discussions, there
exists concern with the pursuit of product lon-
gevity. Professor Stuart Walker speaks to this
when he states, “One of the dangers of promot-
ing product longevity is that it could simply pro-
long an unsustainable system while simultaneously
adversely affecting employment opportunities. In
many cases, to promote product longevity from
our current standpoint would be ill conceived and
premature. From where we are now, if we produce
long-lasting products they will be products con-
ceived by a mindset that is still steeped in, and
only just emerging from, a century or more of
25
product design, development and production that
is unequivocally unsustainable.” 57 Instead, Walker
suggests we should be designing with humility that
reduces environmental burden in production, use,
and disposal.
In addition to this practical limitation, it is nec-
essary to highlight that emotional attachment is
hard to define and is often contradictory. Does it
take away from the ephemeral nature of long term
interaction between owner and object by attempt-
ing to give language to it? Joseph Campbell has
said, “If we give that mystery an exact meaning, we
diminish the experience of real depth.” 58
 The Role of Delight
in Furniture Longevity

Chapter 3 —
Conversations

26
 Conversations
Overview

At its heart, this is intended to be a presentation of viewpoints by

people whose lives and livelihood center on furniture. Interview ques-
tions addressed the following topics:

— Trends in the current second-hand furniture marketplace.

— The difference between Iconic and Timeless furniture.
— How value is attributed to furniture.
— What factors contribute to furniture longevity.

Following this basic framework, interviewees were encouraged

to elaborate on any topic that they had particular knowledge, inter-
est, or experience in. The results were often very personal and anec-
dotal. The points, which felt most unique and specific to each subject,
became the titles to each person’s interview.
Each conversation is treated as a small case study. They have
been edited for clarity, relevance, and salience. What is represented
is a narrative of the main topics they touched on. Great effort was
taken to capture the spirit of the conversations, and to preserve the
voice of the speakers.

27
 ON PRI�ACY IN FOR� �ike
& ABSTRACT VALUE DeSantis

I don’t represent a style really. To do my job well, is to understand �ike DeSantis is a New York-
what someone else will like. You quickly learn in the antique business based furniture picker, as well as a
wholesale antiques dealer.
that the more you know, the more you’ll make. Since it is a business,
you try to educate yourself. So, as a picker, I don’t have to make the
decision as to which is better, I just have to know what it should sell
for, and who is going to buy it.
I have seen most of this [furniture] a million times and I have han-
dled it a million times, so I am drawn to things that are more unusual,
but that stuff doesn’t sell as well. I mean, you will sell a Nelson dresser
a hundred times before you will sell something hand made, that is one
of a kind. The piece has to be aesthetically pleasing, because that is
what is going to sell it, but my decisions are financial.

(1) �

A lot of it is being familiar with the furniture. Because a lot of it is

20th century, a lot of it is produced. So then it becomes a matter of
knowing, for example, a piece of Dunbar furniture will be made to a
certain quality level that a piece of Eames furniture isn’t made to. One
was made to a higher standard. A piece of Knoll furniture is going to 1. Teak Dresser,
be built to the highest commercial standards. The good [�odernist] George Nelson.
stuff is well-designed, well-made, and sort of timeless. There are val-
ues that have become attached to these pieces. But, when you stop
to consider it, none of it is intrinsically valuable.

(2) �

The 20th-Century �odernist movement is absolutely reflective of

the marketplace today. When I first started, there were only a handful
of people looking at that. When I used to go out of the city to buy,
there was really no competition. People would laugh at you for buying
[�odernist style furniture]. It has sort of gradually trended towards
�odernism since I got involved. It has always seemed to be trending 2. Lounge Chair,
towards that. Edward Wormley for Dunbar.
But, I also think that people do tire of things. I have heard it said
a lot, about that certain kind of �odern, which is already on its way
out. It is very linear. It is very antiseptic. It’s not warm, and it’s not
necessarily comfortable. It is very dogmatic. And those [designers]
were certainly, very totalitarian in their view about what was correct

28
aesthetically and what wasn’t. You have statements from people like,
ornament is sin. They were very serious about where they were com-
ing from. They were almost humorless. And I think people tire of that.
They don’t want to come home to that.
I think what will happen is what happened with Deco furniture
and with �ission furniture. You know people who were into it before it
became trendy and are really connoisseurs, collectors, and historians;
they will still be into it. But, they are not really buying a volume of stuff.
They are looking for that one rare early example.
In terms of there being the sort of very omnipresent style, I am
sure it will change. It always does. If it is simple, it is direct, and if it is
well made, it tends to stand up. There are things that were designed in
1920 that look modern. I think most of those pieces don’t look dated,
antiquated, or just inappropriate. �ost of those pieces are very sim-
ple, and straightforward. Even some of the earlier stuff that came out
of the Bauhaus, that stuff, to me, is amazing. When you look at the
date that is associated with some of that stuff, it looks like something
that just got designed and got put into Conran’s today.
I think there is a very clear heritage that really started, to my
knowledge, with the Arts & Crafts movement, which was basically a
back-to-earth, build-your-own thing; or buy locally-made, handmade
things. There was that Charles Eames furniture, which is plastic and
pressed in a mold, as opposed to the studio movement out of New
Hope, Pennsylvania, which was like George Nakashima and Phillip
Lloyd Powell.

(3) � (4) �

I think ultimately everybody longs for [a natural-ness] on some

very primal level, which is why Danish �odern is always popular.
Danish �odern, has its roots in Shaker furniture. If you read the books
on early �odernism they will start at Shaker furniture. That is where
they consider the jumping off point to be. I have seen Shaker furniture
and thought I was looking at Dunbar furniture, because the lines are
very simple, you know again, they weren’t into ornament. Because 3. Bench,
it is, again, very simple forms; kind of architectural. Its form follows George Nakshima.
function.
If you get something that is quality enough, or well designed
enough, you can keep it for a lifetime. In other societies, you would
buy furniture, and you were expected to maintain it, keep it, and hand
it down to your kids. I mean, you didn’t buy something new every five
years. You couldn’t afford to dispose of it. It was considered to be
wasteful, which was considered to be sinful.
I have no illusions about what I do. You know, this stuff isn’t being
produced. You don’t have to cut a tree down to make it, but again,
you know there is a sort of elitism about that. But somehow, they are
going to have to produce new things for new people. 4. Lounge Chair & Ottoman,
I don’t know that design can save the world, maybe it can. Phillip Lloyd Powell.

29
 ON NEEDED FOR� Kevin
& DESIGN INTENT Landers

�y process for selecting furniture pieces that have value is purely Kevin Landers is a New York-based
visual. I like the academic furniture sometimes, designed by Charlotte artist and picker. He buys primarily
�idcentury �odern furniture.
Perriand or Jean Prouvé, part of the industrial French school, also His clients are antique and vintage
furniture by Eames, Saarinen, and Nelson. furniture dealers in New York.

(5) � (6) �

I especially like the organic �odernism stuff that Eames and

Saarinen did together for the Organic �odern show at the �o�A. I
have owned some of that stuff and wish I had kept it. I like the stuff
with a story behind it.
But, I also like the goofy Harvey Probber cabinets with the enam-
eled flowers on the front of it just because they are just crazy and fun. 5. Interior, Cité Universitaire,
I respond instinctually, when I buy. Jean Prouvé and Charlotte Perriand.

(7) �

There are certain collectors who have to have a certain design-

ers. You know, the classic two �ies Van Der Rohe chairs and coffee
table and the Eileen Gray adjustable table—the classic �odernist
living room. I am more cluttery than that.

(8) � 6. Academic Desk,

Jean Prouve.
I buy things all the time that I wouldn’t have myself. But, I don’t
buy anything I don’t like.
For some, there is also this quest for recreating the way you grew
up. For me it’s not that. I didn’t grow up with it. For me, it is interest in
cool-looking stuff. I evaluate furniture first by price, then condition. It
is less about the materials, more about the design and the designer.
A piece of furniture is considered timeless if it could have eas-
ily been made now. It represents a needed form. For example, the 7. Console,
Dunbar Slipper Chair. It is something that is needed today. It still kind Harvey Probber.
of rings as fresh design. There is nothing crazy about it that dates it.
Other examples are the kitchens in the LA �idcentury—Case Study
houses. They look like a Boffi kitchen today: long, hidden handles,
stainless steel countertops, and a simple tile backsplash.

8. Interior, Glass House,

Philip Johnson.
30
Furniture longevity has to do with the way something is made. And
also, why it is made. It is like art. Look at Donald Judd’s work. There
was a reason he made what he made. Like, the Eames fiberglass chair.
It was designed perfectly for laying where your stuff is. They become
skin like and transparent. Another example is the Nelson bubble lamp,
which is very Japanese, but space age, but electric, and very atomic.
Yet, it still refers back to one of the oldest cultural lighting objects in
our history—rice paper illuminated with a candle.
I don’t know if there are many people designing that way now.
�odern and industrial furniture seems to be popular across the
board. Guys that would buy �ission furniture in the 80s and early
90s are buying �odern. Even those that would buy Victorian and
Empire furniture, those guys know to buy �odern. I think [the popu-
larity of �odernism] comes with history. These designers all taught
at Cranbrook [Academy of Art] together. There’s a whole culture sur-
rounding it. For example, this guy designed this chair, then his wife
designed the fabric for it. Just, like the Stickley furniture and the Arts 9. Interior, Gamble House,
& Crafts movement; it was a whole way of life. Greene & Greene Architects.

(9) � (10) �

�odern design is different. No other period of furniture was rec-

reated again for the masses like that.
I think it is just like painting. Some people say painting is dead
and then all of sudden there is a new painter. I think the good stuff will
always sell. The middle-of-the-road stuff—stuff that was just pro-
duced—won’t.
Be around the good stuff; quality always sells.

10. Poppy Side Table,

Gustav Stickley.

31
 ON FUNCTIONALITY, Larry
ICONS, & NARRATIVE Weinberg

This interview took place at the Weinberg �odern showroom. Larry Weinberg is a furniture curator,
The interview was unique in that the furniture discussed was collector, and dealer. He also writes
about design and design history for
present to look at and handle. There is a tangible quality to print-based and digital readerships.
the interview, literally and figuratively, because the concepts
spoken about were illustrated by the interviewee through the
physical pieces.

Well look, with furniture, it has to work. You can’t escape that,
because you have to sell it. A chair has to work as a chair. Objects are
different. They are satisfying more purely aesthetic and psychological
needs. You can, look for that in a chair, but you still do have to sit in it.
I try not to handle things that people cannot actually use, unless it is
being sold as a piece of sculpture.
We hope, anyway, that with hindsight, we are able to pick things
that were good, from the different periods. It is not always the case.
Sometimes, certain things get so expensive that people just don’t
show it, and it reserves itself in a vacuum, but that generally sorts
itself out over time.
For example, right now, because Paul Evans’ furniture prices have
gone through the roof, Adrian Pearsall’s pieces are getting thrust into
view. His stuff—some of it was nice, but some of it is pretty derivative
of Evans and Vladimir Kagan. But because his [work] is available, you
see [the website] 1st Dibs filling up with Adrian Pearsall. It has to do
with price points and availability, yes. Ironically, a lot of this stuff was
intended to be affordable at the time, and has only now become less
affordable due to market forces, which of course include supply.

(11) � (12) �
11. Coffee Table,
When you look back, your eye has some literacy. You can look at Adrian Pearsall.
a certain piece and think, ‘They look like they are from the late 50s, the
60s, the 70s, but it’s kind of hard to tell. You can pop them into an inte-
rior now and they will look great. So, that to me is what timelessness
is. You can see it apprehended in a piece because it is hard to locate
its original design-time and it still remains fresh.
Iconic is what the literature calls iconic: by acclimation. Ideally,
there shouldn’t be much of a difference [between timeless pieces and
12. Coffee Table,
Vladimir Kagan.

32
icons]. Things should work for all the right reasons: it has a sculptural
quality; it’s comfortable. Iconic would be a subset of timeless. And to
achieve iconic status, you have to have a lot—including the historical
component.

(13) �

This is just a modern wing chair. You have the ears coming around
[points to top of the Egg chair]. That form in the 18th, even the late
17th century, did that. But it also kept you warm. It helped keep the
breezes off of you when you pulled it up to the fireplace, and created
a whole environment. This is a modern take on that. It is iconic; and it
is timeless; and it is also comfortable. So can you get to that status
without all of those things? Probably not. And, it’s still in production.
There is no way for it to have stayed in production—and to have sold
in the numbers it sold in—without it being a really comfortable chair.
That has everything to do with the shape of it. It is exactly right.
Value attribution is multi-tiered. If it is something that exists in 13. Egg Chair,
numbers, then it has to fit into a continuum. Other things we do—as Arne Jacobsen.
a dealer that’s been around for a while—is look for unusual pieces,
even to the point of them being one-offs; we do it because it’s fun and
it separates us from other people. Then, the pricing becomes a bit
more nebulous. I mean, how does art get priced? If there are no other
examples, such as this [table], how do I price this?

(14) �

This was done by a Frank Lloyd Wright protégé, an architect, for

his own house in Croton on Hudson. The base is aluminum. The top
is not quite free form, but it has some eccentricity to it. But, this is
the only one. I think it is a remarkable thing. So something like this is
harder to price, and harder for anyone to say it shouldn’t be that price,
because there is no other example out there.
So, value, for this [one of kind table] versus something that has
remained an icon—and has been in continuous production—is dif- 14. Cocktail Table,
Alfred Bush.
ferent. Even for a vintage [production] piece, the only differences are
going to be in the condition.

(15) �

In terms of reissues, what you are recycling is the look, the his-
tory, the emotion, and the design, but not the thing or the material.
Like what [furniture company] Guéridon has done for [ceramic art-
ist Roger] Capron and working with the [Serge] �ouille estate. We
aren’t going to save the world by making more �ouille [reproduction] 15. Applique Simple a Deux Bras,
lighting. There’s very little of it; the originals are in the 100,000 dollar Serge Mouille.
range, and it is clearly only for a few very wealthy people.
People are buying stuff left and right from [mass market furniture

33
retailer] Design Within Reach. So what they are doing certainly has
an impact on sustainability, the materials they are sourcing, what their
production methods are. In order for Design Within Reach or [furniture
retailer] �odernica to re-issue something, to gear up a factory pro-
duction of it, they have to be pretty sure they are going to sell an awful
lot of them. So, they are going to try to pick pieces that are iconic or
straightforward—pieces that are instantly recognizable to a general
public. They are re-issuing and recycling the designs, and how they do
it will have some impact. They are selling more furniture than I am.
There are ways to separate how a dealer, like myself, would handle
certain production pieces. For example, I don’t look for many Eames
chairs anymore. There are a gazillion of them out there. However, this
[points to Eames rocker chair] is from the first six months of the pro-
duction line, in 1951. It is like the very first edition of a book, which
obviously has a lot more value than the third, or the tenth edition.

(16) � � �

So what someone like myself looks for is this zinc base [turns
over the chair]. This is the way Eames designed it for the chair. This
is what [Charles Eames] wanted to see. It didn’t work; it broke. You
can see where it has been re-welded. So after about six months of
them breaking when people sat in them, he changed the configuration
of the fretwork. That part [of the metal base] doesn’t come through
anymore, and there is a bar that comes across over there. He had to
re-think it and re-engineer it. This is what he wanted it to look like—
there’s a difference. The shell, the original zenith shell made out in
California before Herman �iller took over the production—[you can
see] a ton more fiberglass in the matrix, which is what Eames wanted.
Herman �iller shifted to more opaque plastics with less fiberglass
because it was cheaper. Then, there was a rope handset into the
back to give it a soft, rounded edge. So when Herman Miller put it into
production, it was taken out.
Here is a piece that I am pleased to handle, where I would pass
on almost any other iteration because it has been done to death.
For me, the interest is in creating a narrative: finding the pieces
where there is a backstory you have to tell, that people don’t know.
That’s what’s fun. Ultimately, there is a lot of substitutability about
what you can put in your space. So depending on what you want
around you, it becomes an aesthetic and emotional decision.

16. RAR Rocking Chair,

Ray and Charles Eames.

34
 ON ADAPTABILITY Combo
& RE-USE Colab

We are motivated by the active engagement between people � Carolina Cisneros & �atteo Pinto
and their surrounding environment. Our work displays our interest in are Combo Colab, an interdisciplinary
practice focusing on the design and
repurposing and recycling existing resources. building of products of varying scales.

(17) � �

We got into this by experimenting with our own projects and real-
izing that some designs could become products for sale. The type of
furniture we design can be described as a kind of readymade, and a
repurposing of objects that result in modular pieces, that can be com-
bined to create different configurations. We design for people that are
not only driven by the mere beauty of an object, but are influenced by
the use and function of it.

(18) �

Our background [as architects] determines how we observe the

17. Trucka Floats,
use of public space in the city, as well as the everyday life solutions Combo Colab.
that common people develop in response to a design / function prob-
lem. We are also influenced by the �odernist design period.
We prefer to work with any object or material that can be repur-
posed, up-cycled and / or recycled. Our design process comes from
experimentation, and the attraction to a particular material or object
that generates the need for us to create something with it.

(19) �

We use manufacturing and materials to evaluate the condition 18. �allterations,

of a furniture piece. Smart design and quality add value to it. If the Combo Colab.
design is good, then yes, quality construction adds value.
In our opinion, what we do relates to sustainability by manufactur-
ing locally and using recycled and recyclable materials, choices that
are not always financially sustainable.
For us, timelessness, is determined by adaptability, both aestheti-
cally and functionally. A piece can be both iconic and timeless. Yet, an
iconic piece succeeds as a [visual] reference over time, while timeless
pieces succeed as marketable pieces.
19. Xstool Seating,
Combo Colab.

35
 ON JOINERY & CONNECTION Alan
TO THE ARTISAN’S HAND Stover

Timelessness is the amount of soul in a piece of furniture. The Al Stover is the owner of Soho
soul comes from the amount of time that anyone has worked on a Furniture Services, a
historical wood and metal refinishing
particular piece with their hands. The more handwork you see on a and restoration workshop.
piece, the more of an emotional response you get. There is this tran-
scendence from the craftsman that flows into the person [furniture
owner]; it represents a natural bond. The response is different when
you have a machined, or over engineered piece. It strikes you on an
intellectual level, or maybe on a “wow” level, but it doesn’t strike your
soul like handwork does. That is why people respond to really old
vintage things, because they have developed the patinas and a feeling
that can’t really be duplicated any other way.
�ost of the response to form comes from something that appears
very geometric in terms of edges, profiles, planes, but when you really
dissect it, feel it, and touch it, there is a softness and a subtleness
that pushes through. You want to look at something as a shape, even
when it’s handmade. It is the imperfections [in form], the slight ones
that you don’t even know, that make it feel human, and that bring out
the [emotional] response. I consider Gaetano Pesce’s work this great
bridge in terms of �odernism versus that old organic aesthetic. And
that is why I still love it to this day. I love new materials. I love modern
materials. But, again, it’s always trying to make them feel organic.

(20) �

There is character to these [furniture] pieces. The hardest thing

in my job is try to hold on to that, and to draw that out of these pieces,
even when you get to �id-Century �odern furniture. The �idcentury
had much more manufacturing, so the handwork at that point has
really been pulled out of it. The issue is trying to get a combination
that works. In evaluating the quality of an existing piece, number one
would be materials. Two, would be construction, particularly, style of 20. Lady Chair & Ottoman,
construction. Three, would be how close it is to its existing condition. Gaetano Pesce.
That would be a quick sense of how I am going to look at a piece.
If a piece is worthwhile, it is going to get touched, probably at
least two times in its lifetime. There is a respect you have to have for
the pieces, for the people, and the craftsman and artisans who made
it generations before you. The key is to have that respect, and to try,
wherever you can, to keep that same lineage moving forward. You
want someone to look at your piece and say, “that is really nice work;

36
they were genuine.” Because of budget, that’s not always attainable,
but that’s what you are aiming for. You are always trying to keep the
respect of the artisan before you, and try to keep those traditions
moving forward.
When possible, I want to keep the pieces as true to their original
forms and contents. If I apply one or two joints that might not be origi-
nal, I want to make sure, that they are done in that style representative
of that period, so they will still look like they are supposed to be there.
I will do that so the assembly can be easier, but I won’t use screws
and nails. I’ll use wooden pegs, and take a style of peg from the piece
that I can use elsewhere [on it].
Joinery is a big indicator of value. Historically, furniture was meant
to be assembled and reassembled. There had to be phenomenal join-
ery that allowed it to do that and to be sturdy. In France and England,
in the 17th century, a royal family would move from the cold weather to
the warm weather, and they would have to take their furnishings with
them, so the pieces had to be made to accommodate that. Another
good example of this is the dovetail joints of Shaker furniture. It was
made to get hammered together; and the wood would expand to
tighten the joints.

(21) �

After the Bauhaus, manufacturing techniques became quicker.

Panels were made out of plywood, and they were able to make these
veneers and press them with machines and radio frequency gluing, it
was no longer about having slices of veneer. You could work with a
big panel of material and shape that. Because of that, I think joinery 21. Dovetail joinery,
became less sophisticated, and more reliant on glue and fasteners. Shaker Chest.
That would have been your biggest divergence at that point. America
embraced fasteners and more of an assembled technology in the mid
century. There is modularity to it, which was a big deal when they were
designing. They needed to make it so the guys in Section A would fit
it, the guys in Section B would assemble it, and the guys in Section C
could wrap it. This reflects the manufacturing theory at that time.

(22) �

I think �id-Century �odern furniture is popular because it fits

into the architecture now and fits into the time. You can put a �odern
piece next to an antique piece and it will work. Dorothy Draper, who
was a popular interior designer at that time, started with that men-
tality. With �odernism, because the lines are clean, it can work in a
pre-war building. Also, I think a lot depends on where you were raised.
Europeans are used to having a lot of old things around, things with a
softness, whereas Americans are used to continually buying things. 22. LC2, Le Grand Confort (Frame),
People like this style because it is livable and there’s an ease about it. Le Courbusier.

37
 ON NOBLE �ATERIALS �ark
& PATINA de la Vega

�y biggest design influence is early �odernism, which I attribute �ark De La Vega is the
to the 20s and 30s, Art Deco, and the Parisian movement. They were owner and proprietor of DLV Designs,
a contemporary furniture company.
considered the masters of proportion. I consider Jean Michel Frank
the biggest Modernist designer. He was the first guy to put a sofa in a
giant room with a giant fireplace, and that was it. [Also an influence is]
Adolf Loos, from Austria, who is the ‘decoration is dead’ guy—what
he meant was that decoration should serve a purpose.

(23) �

The �odernist designers basically cleaned up the lines and simplified

the forms, and the materials were elevated. It wasn’t just about adding
ornament, there was an investment in time and process and the luxury
of the material. Once you get the form and line right, it is great to go
off and do decoration, but it is important to know when to say when.
Our furniture collection consists of 35 pieces of furniture; each
differ in size, scale, style. It is absolutely eclectic. We are known for 23. Smoking Room,
a rustic-meets-refined aesthetic. Any piece I design has to be useful, Jean Michel Frank.
and there has to be a market for it. I also think about one design serving
two purposes; for example, a nightstand also serving as a side table.
Then, there is the availability of materials and their complexity. I
look for things that can add an extra layer of detail. I have an affinity
for noble materials: bronze, leather, solid wood, and hand rubbed fin-
ishes—mostly oils, but not exclusively. We try to use the best materi-
als for every product, but most importantly, those that are best for the
project. �y preference is for mixing mediums. I get a lot more joy out
of a furniture piece that has three to five different materials in it, than
I do just a metal table or a wood box with a lacquer drawer or door or
something like that. I just don’t think they are quite done yet when they 24. Material palette,
just have one material. DLV Designs.

(24) � (25) �

If I want to take something on as a custom commission: I ask myself

‘Is it going to be any fun to make? Is it going to make a good photo-
graph? Are we going to be proud of it when we are done?’
There are certain things we do, which I think add value to a piece,
and we don’t charge for. It is just detail: an exposed screw, a leather
detail here, a hardwood edge versus a veneer edge. Sometimes the
25. Maxime Console detail,
DLV Designs.

38
extras are just so good. We are trying to educate. We are trying to
elevate what we do. So we hold ourselves to a high standard—we
want to make a good product.

(26) �

In the current market, there is some of everything: vintage,

antique, contemporary. That’s why the job is so hard. Rather than
playing catch-up, I would rather think ahead of what the next trend
is going to be. I try to be fresh and first, you know, to capture that
moment.
Iconic pieces are not necessarily timeless. The J.�.F. Chair No. 7 26. Abuelo Cocktail Table detail,
or the Le Corbusier overstuffed chair with the cushions exploding out DLV Designs.
of that metal frame. They are iconic. But that stuff will go in and out
of fashion.

(27) �

The �emphis design movement is another example. All that came

back in the 80s and �ichael Graves sort of had a hand in it with the
Target line. It’s just whimsy upon whimsy for the sake of it. Sort of,
just odd.
Value in an antique is a pedigree. How many of these things does
it hit: great materials, function, great design? Is it the ground-breaking
piece, or is a copy of the ground breaking piece? Trends and styles 27. LC2, Le Grand Confort,
evolve. Furniture makers are the greenest of all the designers. We are Le Courbusier.
making the antiques of the future—pieces that are going to stay in
families for generations. A piece should only increase in value since,
firstly, nothing is going to fall apart and, secondly, the story of the
people’s lives that have owned it will add to its patina. Even if we use
some chemicals in the process, [the pieces] are going to be well-used
for generations.
In order to ensure furniture longevity, it is important to make
pieces that are going to age and patina gracefully, not something that
is going to de-laminate and have to be replaced. Instead, it should
be made of solid wood. And the person using that edge of the table
is going to wear a groove in it. And that groove is going to be where
Grandpa ate his steak, or put his cigarette out on the edge of the
table. And that’s the story.
I take a lot from Eastern philosophy. In Japanese households,
it’s a crime to polish the silver tea set. The value is in the patina and
age from that family’s hands. In Western civilization, it’s the opposite:
perfectly-polished and placed back, brand new. So we do all of our
work with a nod to this Eastern philosophy. We sell tables with saddle
leather, all dinged up from where the cow ran into the barbed wire.
When your kid runs into it with their bicycle, there’s that scar. We try
to build in—and essentially force people to have—a history.
The way we treat un-lacquered brass is another example. It lets
the customer get through their first few years. The brass will age

39
slowly. If you didn’t do this, it won’t have the time to age and wear out
gracefully. You aren’t going to earn it. �aybe that’s where your hand
ends up resting, and that’s where it will tarnish eventually. We don’t
tell people about that.
We ask people how they live their life, how they would interact
with this piece of furniture. That goes into consideration in how we
treat the piece. They don’t need to know everything. Sometimes, it’s
too much to tell them.

40
 ON APPROPRIATE �ichele
�ATERIALS & PRESENCE Glick-Guarneri

Fortunately, we are always doing restoration work. There is some �ichele Glick-Guarneri is the co-
work that leans towards more historic restorations, like Old English owner of �HG Studio, a leather crafts
shop specializing in architectural
libraries, while other clients want pieces that are very sparse and leatherwork and restoration.
modern. I think, like with everything, tastes come and go. It is kind of
like a pendulum; it will swing towards one direction and then people
will get tired of the sparseness and want something richer. Then it will
swing back.
Right now, [stylistically], I think, we see mostly �odern furniture
from the 30s and the 40s come through the workroom. There is not
a lot of fuss to these pieces, nothing classical, nothing that is overly
carved, just very straightforward lines. In the last ten years, we have
been getting a lot of Jacques Adnet stitched objects to repair or to
rework.
The popularity of Adnet pieces is taste driven, but it is also due
to availability. Designers were starting to collect his work and dealers
were starting to show it more. It is valuable. People are interested in
that, especially here in New York.

(28) �

From my point of view, I like furniture that is a little sturdier: some-

thing that has good joinery, something that uses a decent quality
wood, even in the core. These days, even in very expensive furniture,
the inside of it is just pressboard, it’s just not made well. There is a lot
involved in making a quality piece that has a couple of different crafts
people working on it.
So, something that is made from a solid piece of wood, has good
joinery, and a pretty decent finish is valuable. And even with leathers,
some leathers are made more to come and go, like fashion, and some 28. Coffee Table,
leathers are made to preserve or last longer. Some people are drawn Jacques Adnet.
to leather because it shows age; and age shows it is perhaps original
to the piece, which would make it more valuable. For me, the patina on
it shows use and shows human contact.
I think the correct material choice for what is being made is really
important. I don’t mind sometimes trying to stretch the boundaries of
a chosen material, as long as I am able to get the correct end result.
However, I don’t like it when people ask for the impossible.
Sometimes when furniture designs are so streamlined to their
basic shapes and forms, and made [with a single finish], in white, for

41
instance, it doesn’t even feel human. It feels hospital-like. That is the
appeal of using a material like leather. It is a skin and comes from an
animal to begin with, and then you have something that has been used
over a period of time and it shows that, it was loved by somebody else.
It puts a human touch to it.
I guess it also comes from how the items were treated, and who
had them beforehand. When you go to someone’s grandmother’s
home, and everything has plastic over it, the items were cared for.
They lived through the depression era, they had a different idea
towards their furniture. They took care of their items. Everything they
had was special. Even if it is not from your own family, you can tell
when something’s been loved or cared for. Otherwise, there’s a look to
it that you are drawn to or a quality. Or it’s a certain quality, whether
it’s the style, how it’s put together, sometimes you just see some-
thing and say, well isn’t that clever, how they joined the arm? It has
a dynamic look to it. Nobody would throw this away, or if they did,
someone would pick it out of the garbage. It is just a piece of furniture
that you are not going to discard.
That’s the furniture you have today. If it comes from a long life of
being cared for, why shouldn’t it live on?
�y idea of iconic furniture is what’s been taught to me as being
iconic. You know, [Jacques Emile] Ruhlmann pieces. Pieces made by
designers or designs that were really coveted or held in high regard.

(29) �

But then, sometimes you have an item that comes in that you have
a gut reaction to. You know, you just love it, or it’s just not for you.
That is iconic.
There are definitely designs that I think will just not go out of
style. It’s when a piece just has a look, that just works. I don’t know
how else to describe it, except to say, that it just works.
I think with, like a lot of things today, there just does not seem to 29. Cabinet,
be anything new. Everything seems to grow out of something in the Jacques Emile Ruhlmann.
past. I think there’s a reason why you see the same thing over and
over because when it was made, it was made well. There was a lot
of things that had really good style and good design, and you see the
same motifs sort of being used over and over, maybe it will change a
little bit, but I think because of its quality, people want that.
That’s what I mean, when I say that a piece just works. There’s
something about �id-Century �odern furniture. It does just work. It
doesn’t fight its atmosphere or other pieces in the room. It just has a
classic look. It’s not really going to go out of style. You can put furni-
ture from other eras with it, and it will somehow jive.
I define timelessness as something that is made well. It has a
presence. If it has a nice mixture of three things: the craftsmanship,
materials, and design style, little else matters.

42
 ON CONTOUR Douglas
& SENSUALITY Roach

A go-to period of the moment is certainly �id-century �odern, Douglas Roach is the design director
both American and European-made primarily. Names and manufactur- of a firm specializing in high-end
residential interiors. His client base is
ers that have become commonplace in my searches are names like primarily New York City-based.
Robsjohn-Gibbings, Edward Wormley, Dunbar, Buffa, Parisi, Baughman,
�aison Jansen, Paul Evans, Philip Lloyd Powell, Saarinen, etc. Popular
materials [of the period] mostly consist of rich woods: walnut and rose-
wood, leathers, metals—bronze, brass, chrome—and glass.
I feel the success and popularity of most of these pieces are
based on the fact that they can be chameleons in any style interior- a
simple parson’s leg dining table will not look out of place in any style.
It really is the simplicity that allows them to support the surrounding
furnishings and not distract from the overall feel of the room.

(30) �
30. Parsons Dining Table,
I think the element of sensuality is what makes a piece seem �ilo Baughman.
timeless and allows the end user to connect on an emotional level
to a piece of furniture. This can be achieved through a careful use of
wood grain, the shape of a leg or foot, the rake of the back of a chair,
the attention to the tactile parts, such as hardware, handles, pulls,
etc. A Klismos chair is the perfect example of a piece that is rooted in
ancient history, and still is relevant today. It can be inserted into any
interior and the elegance of the leg, curved back, and lightness of the
frame allow it to hold its own.

(31) �
31. Klismos Chair,
The word iconic, to me, means ‘game-changer’. A lot of furniture T.H. Robsjohn-Gibbings.
is described as important, which usually is attributed to its rarity, or
unique qualities, very different than an icon. An icon had a big splash
when it was first introduced to the market and continues to be rele-
vant through today. A perfect example is a Saarinen table. It was a
revolutionary and futuristic design when it was introduced to the mar-
ket, and it still is recognizable and usable in any interior to this day.
 
(32) �
32. Tulip Table,
In determining / evaluating quality and condition, factors like Eero Saarinen.
material selection, veneer, joinery, hardware, leg details, weight, and

43
patina are all important. Too many pieces are over-restored and pol-
ished by many dealers. I prefer a piece to have character and a sense
of history. That ‘new car smell’ is usually a turn-off for me.
Quality is a must, but doesn’t always mean value. I would cat-
egorize some �id-century pieces as lower-quality by most industry
standards, but that doesn’t affect their value. Paul Evans’ popular
cityscape pieces are a perfect example of this: while the veneers are
complex and interesting, the integral workings of the pieces are a total
afterthought.

(33) �

Furniture’s monetary value is relevant to the market in which it is

sold. It is very hard to put a price on many pieces that we sell, but we
do, on occasion, sell an important piece, which is said to be highly col-
lectable, and will retain its value. We typically analyze auction records
prior to purchase, and we have even set a few!
Compared to art, yes, the thought-process is different, as the 33. Cityscape Credenza,
monetary value of art is typically more able to be calculated and pro- Paul Evans.
jected. Furniture, accessories, and lighting do not hold the initial value,
and are carefully considered and amortized over the expected lifespan
of the piece.
Through the use of vintage furnishings and other ‘creative’
re-uses, I feel we play a part in the [sustainability] movement, but it is
not what drives the decision to use these pieces.
Quality furniture can absolutely contribute to the sustainability of
an interior. Disposable furniture would be the antithesis of this idea,
but in many cases we are required to use this type of product, as it
keeps budgets down and is used in ‘less important’ areas.
�aterial selection is key. [The pieces] should be able to be
touched-up rather than refinished. They need to be able to be moved
with ease. Working parts should be of the highest, most serviceable
quality, and the form needs to remain timeless. Over-exaggerated
forms / ideas typically have a short shelf-life, in my opinion. Look at
the �emphis design movement: a classic example of anti-re-usability.
I think pieces with interesting wood-grain patterns and patina are
preferential to me personally. I love the look of a well-worn leather
handle or inset. I love highly-patinated metals—brass and bronze—all
things that give a vintage piece a history of its own.

44
 ON SCALE, FA�ILIARITY Jesse
& EXPOSURE Turek

When we see designers creating a variation of something, it is Jesse Turek is an Interior Designer
a good indicator that the original design is classic and timeless. For and owner of Kerut home, an
online home accessories store of
instance, the Klismos chair is gorgeous as-is, but over time it has been vintage and found objects.
re-invented. Scale plays a very large part in classic design. Scale is a
scientific formula that makes something aesthetically-pleasing. This is
what we call the Golden �ean.
Classic forms are usually not over-designed or over-embellished.
They are typically clean-lined. Classic forms are tied to iconic pieces.
In the more traditional design world, Louis XVI furniture is considered
timeless, while in more transitional design circles, furniture designed
by Arturo Pani and Josef Frank is timeless. While in modern design,
furniture from Scandinavia, the Art Deco period, and designers such as
Ward Bennett and Philippe Starke can be considered timeless. In my 34. Coffee Table,
opinion, the most classic pieces came out of the Bauhaus movement. Arturo Pani.

(34) � (35) � (36) �

I determine the quality of a piece by seeing what kind of finish it

contains—if it is wood, if the piece is signed, the quality of the crafts-
manship, materials, scale, and the type of hardware it contains.
When it comes to materials, I strongly believe that a space should
contain an assortment of different materials and textures. I want my
interiors to be layered with woods, metals, stone and different textured
fabrics. This brings warmth and charm to a space. If you work with just 35. Tutankhamon Stool,
the same material, the space becomes bland, cold, and too sterile for Josef Frank.
my taste.
Definitely a signed and mint condition piece is going to be the
most valuable. Furniture can be beautifully-constructed and contain
the best materials possible, but if it does not contain a solid, beauti-
fully-scaled design then it may not hold up in value against something
that is aesthetically more beautiful and made with materials that are
of lesser quality. I do not always think that quality construction makes
a furniture piece more valuable. This is where trends come into play.
If something is trendy, and all-the-rage at the time, it can be valuable.
And rightly so, since ultimately our society really determines what is
valid at that moment. I don’t necessarily agree with this, but it’s pop
culture, right?
In my opinion, furniture that currently dominates the antique and 36. Side Chair,
vintage marketplace is the clean, timeless pieces that look good just Phillippe Starck.

45
about anywhere. Designs by �ies Van Der Rohe, T.H. Robsjohn-
Gibbings, �arcel Breuer and Charles & Ray Eames are extremely
relevant today. �id-Century has been popular for a while, and is still
popular amongst a younger generation.

(37) � (38) �

These designs are popular because they can easily be incorpo-

rated in several different styles of interiors. I think these pieces are
seen mostly in television, film, and advertisements, which make them
more familiar to the general public. Television has also created this
desire to own vintage, from mainstream television networks such as
HGTV (Home & Garden Television) to the antique shows. Consumers
are buying more of it now because it is more accessible and heav- 37. Occasional Table,
ily-marketed. Online stores such as 1st Dibs, One King’s Lane and T.H. Robsjohn Gibbings.
Second Shout Out make it easy for people to shop vintage.
I do see a growing trend in people acquiring vintage furniture. I find
that more people on the East Coast have an appreciation for vintage
and antique furniture. I believe that it’s become a thing of trend to col-
lect the old. I believe this is cyclical. Everything ‘good’ or ‘great’ will be
recycled and tweaked over the years.
There is so much horribly-designed new furniture out there that
it has saturated the market, and it doesn’t have the feeling of being
special. In the 30s, 40s, and 50s, people wanted what everyone else
had—that was just simply a sign of the times. People just wanted to 38. Stacking Tables,
‘fit in’. Now a lot of people want things that no one else has; they want Marcel Breuer.
to stand out, be different, be heard—‘This is my style and it represents
my personality’. Again, this is just a reflection of our world today.

46
 ON �ID-CENTURY
Gordon
DESIGN: NOSTALGIA, EASE,
Frey
& SIMPLICITY

Gordon was approached with the initial idea of a thesis Gordon Frey is a furniture historian and
focused on �id-Century �odern furniture. We spoke in his professor of the history of furniture
design and decorative objects.
office about its current popularity given the historical context
that surrounded its conception.

I would say �id-Century �odern style starts just after [World

War II]. It was a tremendous period of optimism, of relative calm;
very little happened, politically, in the fifties. It was probably the whole
novelty of something that hadn’t been seen before that appealed to
young families just starting out. It’s the whole idea of The New.
It was the kind of thing that G.I.s bought in the 50s when they got
their first house. They didn’t want what their parents had, and cer-
tainly didn’t want what their grandparents had, so it was this embrace
of the �odern. Also, I think it was probably a coastal thing. Certainly,
inland, it was considered strange and suspect—like an abstract
painting; it was foreign. Europeans were far more advanced in their 39. Poet Sofa,
acceptance of this style than were Americans. Americans were very Finn Juhl.
slow to embrace [it].
The period ends at probably about 1965, when Pop Art comes in.
So at about 1965, you get designers like Joe Colombo, who was work-
ing with plastics and the whole color palette moves towards lots of
bright primary colors. The forms of the period are rounded, after the
rectilinearity of the Bauhaus. This is a continuation of the Bauhaus
aesthetic, almost a popularization of it, but not with the rigors we see
in German Bauhaus in the 30s.
But then, it is really difficult to categorize one style of the period.
If you look, for example, at Scandinavian Modern, it gets sleek and
sculptured; and there is a curving form to it. That is really more pre- 40. Chair No. 45,
dominant in the fifties. Look at the Eames chair: it’s lush and it curves. Finn Juhl.

(39) � (40) � (41) �

And there’s not just one thing. You see all kinds of different things:
there’s a handicraft element, and there’s a historicism, to name a few.
One of the pivotal events for me is the 1964 World’s Fair in New York
because then everything gets really curvy and jazzy, and you get a lot
more color.
41. Lounge and Ottoman,
Charles & Ray Eames.

47
 If you remember in the 19th century, there’s this whole multiplicity
of styles. The same thing is happening in the midcentury. Everyone is
doing their own thing, if you will, so there were all kinds of materials
and techniques used.
There were lots of beautiful woods: Eames used a lot of rose-
wood. There were also all these plastics. The Tulip chair from 1955 is
an example, which is just injected plastic. Then, there was foam that
was being introduced by Arne Jacobsen. The Egg chair and the Swan
chair, both iconic pieces, were essentially armatures on a stand with
foam.

(42) � (43) �
42. Swan Chair,
Certainly one of the popular techniques of the period is bentwood, Arne Jacobsen.
and that’s a very old technique. The Greeks were bending wood. You
see this in Thonet furniture, which is Viennese from the mid-1800s.
And Ray Eames was experimenting with bentwood in the 40s.

(44) �

One reason �id-Century �odern style is popular is that there is

just so much of it, and almost everything else has been collected, or is
in the process of being collected. A lot of the furniture was mass-pro-
duced, was relatively cheap, and spoke to then-current aesthetics.
There were obviously things that were hand-made and one of a kind,
but it is mainly factory stuff. I think it is just market availability more
than anything else.
I think �id-Century �odern is clean design and it appeals to peo-
ples’ sense of tidiness. It is probably still a reaction to the clutter of
the 19th century, somewhere along the way. [�id-Century furniture] is 43. Tulip Chair,
classic, but there is an informality about it. It spoke to an informality Eero Saarinen.
then, and it speaks to an informality that is taking over our lives today.
All this furniture speaks to that more relaxed style of life. People are
buying it because they either grew up with it, or they had and sold
it and now they want it back. Obviously, it’s an emotional reaction. I
think all of us, despite our protestations, like to own old things. We
like to have a bit of the past. I am sure you have things from your par-
ents that were passed down, that have a story behind them; it may not
even be a true story, but there’s a story behind those things.

44. Chair No. 14,

Michael Thonet.

48
 13.
Egg Chair
Conversation Images, Arne Jacobsen
Denmark, c. 1958
Information & Sources Source, Weinberg �odern

14.
Cocktail Table
Alfred Bush
United States, c. 1960
Source, Weinberg �odern

1. 7. 15.
Teak Dresser �ohagany Console RAR Rocking Chair
George Nelson Harvey Probber Charles & Ray Eames
United States, c. 1960s United States, c. 1950 United States, 1949
Source, Just in Modern Source, Todd �errill Antiques Source, Weinberg �odern

2.  8.  16.

Lounge Chair & Ottoman Glass House (Int.) Applique Simple a Deux Bras
Edward Wormley Philip Johnson Serge �ouille
United States, c. 1950s United States, c. 1949 France, 1953
Source, 1st Dibs Source, James Ewing Source, iCollector

3.
Walnut & Hickory Bench
George Nakashima
United States, c. 1960s
Source, Cottone Auctions
9. 17.
Gamble House (Int.) Trucka Floats
Greene & Greene Architects Combo Colab
United States, c. 1908 United States, 2012
Source, Vince �ichael Source, Combo Colab

4. 10. 18.
Lounge Chair & Ottoman Poppy Side Table �allterations
Phillip Lloyd Powell Gustav Stickley Combo Colab
United States, c. 1960s United States, c. 1900 United States, 2010
Source, Todd Merrill Source, Stickley Source, Combo Colab

5. 11. 19.
Cité Universitaire (Int.) 893 TGO Coffee Table Xstool
Jean Prouvé, Charlotte Perriand Adrian Pearsall Combo Colab
France, 1931 United States, 1962 United States, 2012
Source, Rudy / Godinez Source, 1st Dibs Source, Combo Colab

6. 12. 20.
Academic Desk Coffee Table Lady Chair & Ottoman
Jean Prouvé Vladimir Kagan Gaetano Pesce
France, 1946 United States, c. 1950s Italy, 1969
Source, V.S. School �useum Source, 1st Dibs Source, iCollector

49
 21.
Shaker Blanket Chest
Unattributed
United States, 19th Cent.
Source, Stephan Woodworking
29. 37.
Cabinet Occasional Table
Jacques Emile Ruhlmann T.H. Robsjohn-Gibbings
France, 1925 United Kingdom, 1950
Source, Art Finding Source, 1st Dibs

22. 30. 38.

LC2, Grand Confort (Frame) Parsons Dining Table Stacking Tables
Le Corbusier �ilo Baughman �arcel Breuer
France, 1928 United States, c. 1960s Germany, 1928
Source, i�odern Source, 1st Dibs Source, �öbel �useum Wien

23. 31. 39.

Smoking Room Klismos Chair Poeten Sofa
Jean �ichel Frank T.H. Robsjohn-Gibbings Finn Juhl
France, 1938 Greece, 1961 Denmark, 1941
Source, The Art of the Room Source, Dering Hall Source, 1st Dibs

24. 32. 40.

�aterial Palette Tulip Table Chair No. 45
�ark De La Vega Eero Saarinen Finn Juhl
United States, 2013 United States, 1958 Denmark, 1945
Source, DLV Designs Source, Rmeeq Source, Craft Council

25. 33. 41.

�axime Console Cityscape Credenza Lounge Chair & Ottoman
�ark De La Vega Paul Evans Charles & Ray Eames
United States, 2012 United States, c. 1970s United States, 1956
Source, DLV Designs Source, Tishu Source, Andrew Chen

26. 34. 42.
Abuelo Cocktail Table Coffee Table Swan Chair
�ark De La Vega Arturo Pani Arne Jacobson
United States, 2012 �exico, c. 1960 Denmark, 1958
Source, DLV Designs Source, 1st Dibs Source, Curated Furniture

27. 35. 43.

LC2, Grand Confort Tutankhamon Stool Tulip Chair
Le Corbusier Josef Frank Eero Saarinen
France, 1928 Sweden, c. 1950s United States, 1958
Source, i�odern Source, Bukowskis Source, Bauhaus Italy

28. 36. 44.

Coffee Table Side Chair Chair No. 14
Jacques Adnet Philippe Stark �ichael Thonet
France, c. 1950 Italy, 1980 Austria, 1859
Source, iCollector Source, 1st Dibs Source, Velo Joy

50
 The Role of Delight
in Furniture Longevity

Chapter 4 —
Timeless Forms in
Furniture (According to
Ten Individuals)

At the close of each Conversation (Ch. 3), each of the ten sub-
jects was asked to name three pieces of furniture whose forms they
consider timeless. The 30-item sampling seeks to provide provisional
insight into shared formal traits that might then provide a basis for
evaluating timelessness and thus longevity.

51
1

52
 4

53
7

54
 10

11

12

55
13

14 15

16

56
17

18

19

57
20

21

22

58
23

24

25

59
 26

27

60
28

29

30

61
 Timeless Forms, Information & Sources
1. – 3. 10.  17.
Klismos Chair Papa Bear Chair Shaker Rocking Chair
T.H. Robsjohn-Gibbings Hans Wegner Unattributed
Various, 1937–61 Denmark, c. 1950s United States, c. 1920
Source, 1st Dibs Source, Not On the High St. Source, Taschen

4.  11. 18.

Old Point Comfort Club Chair BKF Chair, Standard Chair
Warren �cArthur Grupo Austral Jean Prouvé
Unites States, c. 1930s Argentina, 1939 France, c. 1930
Source, Live Autioneers Source, Taschen Source, Taschen

5. 12. 19.
DAR Side Chair Egg Chair Stacking Tables
Charles & Ray Eames Arne Jacobsen �arcel Breuer
United States, 1948 Denmark, 1958 Germany, 1928
Source, Taschen Source, Weinberg �odern Source, Nest

6. 13. 20.
RAR Rocking Chair ­Tuxedo Sofa Walnut Slab Table
Charles & Ray Eames Edward Wormley BDDW
United States, 1949 United States, c. 1950s United States, c. 2010
Source, Taschen Source, 1st Dibs Source, BDDW

7. 14. 21.
Dunbar Slipper Chair C
­ lub Chair LC6 Dining Table
Edward Wormley Jean �ichel Frank Le Courbusier
United States, c. 1950s French, c. 1940s France, 1928
Source, 1st Dibs Source, Taschen Source, Life Interiors

8. 15. 22.
Barcelona Chair Slipper Chair Conoid Dining Table
�ies Van Der Rohe Billy Baldwin George Nakashima
Germany, 1929 United States, c. 1950s United States, 1967
Source, 1st Dibs Source, Carlyle Sofas Source, iCollector

9. 16. 23.
Slipper Chair Sofa No. 03 Curule Stool
T.H. Robsjohn-Gibbings Jean �ichel Frank Unattributed
United Kingdom, c. 1940s French, c. 1930 Unknown, c. 1950s
Source, Weinberg �odern Source, Taschen Source, 1st Dibs

62
 24.
�asai Footstool
Unattributed
Africa, Unknown
Source, Design Sponge

25.
Bench
Unattributed
Italian, c. 1940s
Source, �ike DeSantis

26.
Tripod Bubble Lamp
George Nelson
United States, 1947
Source, Treadway Gallery

27.
Tulip Table
Eero Saarinen
United States, 1958
Source, Wright 20

28.
Pernila Chaise
Bruno �atthson
Sweden, 1936
Source, Art Value

29.
Adam et Eve
Constantin Brancusi
France, 1921
Source, The 189

30.
Casa Calvet Side Chair
Antoni Gaudi
Spain, 1898
Source, Taschen

63
 The Role of Delight
in Furniture Longevity

Chapter 5 —
Synthesis: Insights

64
 Insights
Prior to conducting the primary research, the expectation was that, depending on the speaker’s profes-
sion, focus would be given by them to certain elements surrounding the design and / or sale of furniture—
such as materials, design intent, or economic value—and that hierarchy would remain consistent among
occupations. While the number of participants is not large enough to make broad generalizations, what
these conversations revealed is the highly personal nature of this inquiry: each person spoke about what
they prioritized, which was not consistent across professions. Their responses were informed by their own
preferences, knowledge, and experience.

65
 Overview
Discussions on the second-hand antique and vintage marketplace confirmed the dominance of the
�odernist style (from the 20th Century). While the popularity of the �id-Century �odern style (roughly
1946-1965) was touched on in those conversations, it was not given as much prominence as originally
expected. �id-Century �odern furniture was spoken about more as a trend and a result of supply—that is,
a considerable amount of the furniture from earlier periods has already been collected. Also, much of the
furniture made during those years was mass-produced, resulting in a greater number of pieces in circula-
tion. There are, however, features intrinsic to �id-Century furniture forms that contribute to their popular-
ity. Several of the interviewees drew connections to the similarly �odern forms in 20th Century Swedish
designs, the Shaker design movement, and earlier primitive forms, highlighting the historical roots in the
aesthetic appeal of furniture design.
Furthermore, several conversations included a comparative discussion of iconic furniture versus time-
less furniture. A furniture icon can be understood as something that is representative of a specific era, time
period, or design movement, and is highly recognizable. A few furniture pieces picked by the subjects for
Ch. 4: Timeless Forms in Furniture are iconic pieces—such as Arne Jacobsen’s Egg Chair, Eames’ Shell
Chairs, and Eero Saarinen’s Tulip Table. Their inclusion illustrates that certain iconic furniture pieces can go
on to be considered timeless, which is generally understood as its form being rendered visually neutral to
specific time periods, thus allowing that piece to exist adjacent to pieces designed in a period different from
its own. This broadens the definition of iconic to be understood as a subset of timeless, rather than separate
from it. Evaluating timeless furniture forms is grounded in the idea that if the design is considered timeless,
the furniture piece has a greater chance at longevity among a single user or multiple users.

SI�PLICITY
When speaking about timeless forms, several subjects viewed simplicity and absence-of-ornament as
great contributors to their timelessness. The phrase ‘absence of ornament’ can be attributed to Austrian
architect Adolf Loos’ 1910 essay Ornament and Crime, in which he posits ornamentation as something
of the past; a thing that does not bring value to the modern world. He states: “To me, and to all the culti-
vated people, ornament does not increase the pleasures of life.” 59 Additionally, interviewees referenced the
importance of construction techniques in contributing to the value of furniture, and to ensuring its enduring
functionality. The simplicity in the form due to their absence of ornament allows the construction techniques,
such as a dovetail joint to receive visual attention, creating a connection between the craftsman and the user.

HISTORICAL PRECEDENTS
A number of interviewees touched on the role of history in timeless forms. The Klismos chair was
named by three individuals as a timeless furniture piece; one that closely references the original Ancient
Greek chair form. Similarly, Arne Jacobsen’s Egg Chair, Hans Wegner’s Papa Bear Chair, and the Austral
Group’s Butterfly Chair share a common furniture form precedent: the wing chair—whose high back and
wings were meant to shield the sitter from cold drafts and other unpleasant elements.

SHAPE, SCALE, & SINCERITY

A visual analysis of the timeless furniture forms in Chapter Four, while too few to make broad gener-
alizations reveal similar visual characteristics. The furniture forms can be organized into two categories:
non-distinctive or sculptural. The non-distinctive forms tend to be rectilinear and architectural, though there
was little about their features to call attention to them. This follows interior designer, Douglas Roach’s ideas
about the forms acting as “chameleons in any style interior.” By contrast, the sculptural timeless forms tend

66
towards more curvilinear and anthropomorphic shapes: the rake of a leg, the slight indentation of a chair
seat, and rounded chair backs to mold to the human form. Additionally, many of the pieces chosen are of
a modest scale, able to be picked up by a single user, and can be transported with ease, which can aid in
their adaptability to exist in multiple scenarios. Finally, several furniture pieces included in the visuals of the
previous chapter employ materials with sincerity, meaning there is a clear visibility about what materials the
furniture is made of. Put simply, a wooden chair looks like it is made of wood.

PHYSICAL QUALITIES that CONTRIBUTE to FURNITURE LONGEVITY

Each subject spoke of at least one of the four physical attributes—Form, Function, Construction, and
�aterials—as a contributing factor in furniture longevity. Form is supported by the other elements of func-
tion, construction and materials. Function gives form its purpose for being. Construction is integral to giving
form structure, in realizing its function, and adding value. Materials give form visual interest, tactility, and
also add value.

INTANGIBLE QUALITIES that CONTRIBUTE to FURNITURE LONGEVITY

In addition, they each subject spoke about a more intangible element, which was harder to define. They
used words like the following:

Presence Appropriate

Nostalgia Narrative Sensuality

Ease Emotional

Artistry Honesty Soul

Comfort Humor

Sincerity Primacy Connection

Human-like Graceful

Familiarity 67 Simplicity
 DELIGHT
The term ‘Delight’ is appropriate to give definition to this intangible element. While the word delight
was never used directly in the conversations, the pleasurable and gratifying emotions experienced as a
response to one of the physical factors: form, function, construction, and materials is clear. Delight is ref-
erenced as a necessary component of good design, as early as the days of Vitruvius,60 and is fitting for use
in this exploration.
The existing literature primarily speaks about delight in terms of an immediate sensory response, but
does not recognize its entire scope. Delight characterizes the emotional connection between owner and
furniture, in the present and long-term. Delight is highly influential in furniture longevity as it can compen-
sate for any physical deficiencies in the piece,61 especially as the relationship between owner and furniture
develop over time. While delight possesses this unique and transcendent quality, it is still dependent upon
one of the other four elements, as delight is experienced only in reaction to them. Emotional connection
produces delight with positive associations surrounding identity, narrative, and meaning.

IDENTITY
With identity, immediate reactions include an expression of taste, preference, and social standing. The
long term aspect, in this case, is aspirational: furniture can represent a space, place, and feeling that one
aspires to create for themselves. This can endure even after this aspiration is attained in the form of mem-
ory, or as a representation of achievement.

NARRATIVE
Delight in the narrative draws connections to the acquired patina of furniture materials. Visible wear
and aging on the surface of objects hints at the long life of the furniture, the imbued experiences, and the
continuity through time or lineage between multiple owners, or even within a single family. Finally, delight in
the narrative aligns itself with function and construction by seeking out the connections to the designer and
/ or craftsperson’s intentions and skill.

“As a viewer and user of furniture we become aware of the fact that the form is, ‘an inevitable result
of conscious, human decisions.’ Designed objects are thus a channel of communication between
people quite as much as language, writing or the arts.” 62

�EANING
�eaning is supported by identity and narrative. It is user- and context-specific. Because of the complex
systems involved in meaningful experience, it is difficult to define. However, opportunities to encourage
meaning between furniture piece and owner can be derived through sustained direct or indirect physical and
/ or mental interaction.

The graphic on the following page distills the common themes extracted from the literature review and
conversations to visualize each physical factor in relation to delight. They are presented along a continuum
and identify the connections they make with their owner in three ways: *

1. Instinctual: Unconscious and immediate reactions to the furniture piece. * These categories are
informed by the three
stages of emotional
response to objects
2. Intellectual: Appreciation resulting from understanding the practical and as identified by Donald
Norman — 1. Visceral,
valuable aspects of the furniture piece. 2. Behavioral, and 3.
Reflective.

3. Sublime: The transcendent and emotional ties that reference the past
and future, at times simultaneously.

68
Fig. 4

Form

Aesthetic Appeal
Delight Instinctual
Playfulness

Uniquness

Identity: Expression of
Taste & Preference

Comfort

Intellectual Recognizability

Familiarity

The insights gained from

the Literature Review (Ch. 2) Historical Links
and Conversations (Ch. 3) can
be used as a basic template for �eaning:
users to evaluate furniture for
potential re-use. In addition, it
Sublime Continual Lineage

can provide a basis for contem- Identity:

porary furniture designers to Aspirational
consider longevity as an intrinsic
part of the design process.

69
 Function Construction �aterials

Color
Instinctual

Pattern
Ease of Use Adaptability:
Ease of Mobility Tactility: Texture

Humor

Quality of Joinery

Ease of Ease of
Intellectual

Ease of �aintenance �aintenance

�aintenance
Physical Durability Physical Durability

Adaptability for
�ultiple Scenarios

Narrative:
Design Intention

Narrative: Narrative: Patina

Sublime

Connection to
Craftsperson Ritual & Interaction:
�eaning

70
 Additional Points of Note
Research for this thesis was limited by time and the amount of sources consulted. It does acknowledge
that the scope of viewpoints focuses on a narrow, higher-tier economic bracket. The clientele of the interior
and furniture design community tend to be an affluent group of people, and only represent a small portion
of the general population. �any of the furniture pieces referenced in Ch. 3 and Ch. 4 are cost-prohibitive to
would-be consumers, however their inclusion is for their aesthetic appeal and any related emotional con-
nection derived from their forms, not their provenance. Also, in the discussions surrounding construction
and material factors, there is an implied directive to using only highly-skilled joinery techniques or expen-
sive materials to achieve a physically durable product. There are economic tradeoffs to producing and
purchasing physically durable objects, not all of which are realistic or attainable on certain projects. They
are only hinted at briefly in a few of the conversations in Ch. 3.

71
 The Role of Delight
in Furniture Longevity

Chapter 6 —
Conclusion

72
 Conclusion

This inquiry has raised more questions than answers. The results
of this research have shown physical durability and emotional connec-
tion to be the key factors in furniture longevity. It has provided:

A. An initial framework for users to evaluate the quality

of existing furniture pieces for re-use through their physi-
cal features of form, function, construction, and materials,
and emotional value by their ability to encourage delight
through potential meaning and narrative.

B. Considerations for contemporary designers, who aim

to design furniture for longevity. In sum, designers can
inspire opportunities for memorable interaction and grace-
ful evolvement between furniture piece and owner by the
means of construction, choice of materials, fulfilled func-
tion, and aesthetic appeal of form.

Delight is one response that characterizes the greater emotional

connectivity people experience with their furniture. The existing body of
literature that focuses on the relationships among beauty, aesthetics
and longevity—in the context of furniture design or sustainable interi-
ors—is limited, namely because these elements are difficult to define.
Further research is needed to fully comprehend and give language to
the ethereal nature of this inquiry.
As considerations in the design process, the elements of form,
function, construction, materials, and delight are scalable and adapt-
able across a multitude of landscapes: interiors, buildings, cities, etc.
While conceptually, delight is quite abstract, it is incredibly pervasive
and starts to touch on the human values which lie in the undercurrent
of sustainability. It is the points of emotional connection that resonate
with people and have the capability to inspire the ideals of care, consid-
eration, and longevity.

73
Fig. 5

74
 Footnotes / Works Cited
1. �cLennan, J. (2004). The Philosophy of Sustainable Design (p. 5). Kansas City, �O: Ecotone LLC.

2. Ruby Lane. (2007). Items Listing Information. Retrieved from: www.rubylane.com/kb/category.php?

catID=24

3. Venhaus, Heather (2012) Designing the Sustainable Site: Integrated Design Strategies for Small-
Scale Sites and Residential Landscapes. Hoboken, NJ: John Wiley & Sons.

4. The Department for Environment, Food & Rural Affairs. (2014). Waste Legislation and Regulations.
Retrieved from: www.gov.uk/waste-legislation-and-regulations#eu-waste-framework-directive

5. The EU Waste Framework Directive. (2008). Retrieved from: www.ec.europa.eu/environment/waste/

framework/

6. Ruby Lane. (2007). Items Listing Information. Retrieved from: www.rubylane.com/kb/category.php?

catID=24

7. Chapman J., & Gant N. (2007). Designers, Visionaries and Other Stories: A Collection of Sustainable
Design (p. 10) London, UK: Earthscan.

8. Parikka-Alhola. (2008). Promoting Environmentally-Sound Furniture by Green Public Procurement.

Ecological Economics, 68 (1–2), 472–485.

9. Friends of the Earth. (2009). Overconsumption? Our Use of the World’s Natural Resources.
Friends of the Earth Report. Retrieved from: www.foe.co.uk/sites/default/files/downloads/
overconsumption.pdf

10. Pacific Standard. (2013). Tiny Numbers, Big Impacts. The Big One. Pacific Standard. Retrieved from:
www.psmag.com/magazines/july-august-2013/the-big-one-3-59720/

11. United States Environmental Protection Agency. (2014). �unicipal Solid Waste. Retrieved from:
www.epa.gov/waste/nonhaz/municipal/

12. Ibid.

13. Ibid.

14. Fisher, K., James, K. (2011). Benefits of Re-Use. Case Study: Domestic Furniture. Final Report.
Retrieved from: www.wrap.org.uk/sites/files/wrap/Domestic%20Furniture%20chapter_final.pdf

15. Belletire A., St. Pierre L., & White P. (2013). Okala Practitioner: Integrating Ecological Design. (p. i)
Phoenix, AZ: Okala Team.

75
 16. Granberg, B. (1997). The Quality Re-Evaluation Process: Product Obsolescence in a Consumer-
Producer Interaction Framework. Stockholm: University of Stockholm, Department of Economic
History, p. 423.

17. Belletire A., St. Pierre L., & White P., (2013). Okala Practitioner: Integrating Ecological Design
(p. 14–15). Phoenix, AZ: Okala Team.

18. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy (p. 55). London,
UK: Earthscan.

19. St. Pierre, L. (2008). Here Today, Here Tomorrow: Design Strategies to Lengthen Product Life
Spans. Innovation. 27 (1), pp. 28–32.

20. Belletire A., St. Pierre L., & White P., (2013). Okala Practitioner: Integrating Ecological Design (p. 14).
Phoenix, AZ: Okala Team.

21. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice (p. 121). London,
UK: Earthscan.

22. Sullivan, L. (1896). The Tall Office Building Artistically Considered. Lippincott’s �agazine 57. New
York. Retrieved from: www2.gwu.edu/~art/Temporary_SL/177/pdfs/Sullivan_Tall.pdf

23. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things. New York, NY:
Basic Books.

24. Belletire A., St. Pierre L., & White P., (2013). Okala Practitioner: Integrating Ecological Design (p. 15).
Phoenix, AZ: Okala Team.

25. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice (p. 54). London,
UK: Earthscan.

26. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy (p. 48). London,
UK: Earthscan.

27. Ibid. (p. 130)

28. Van Hinte, E. (1997). Eternally Yours: Visions on Product Endurance. Rotterdam: 010 Publishers.

29. �cLennan, J., (2004). The Philosophy of Sustainable Design (p. 237). Kansas City, �O:
Ecotone LLC.

30. Ibid. (p. 233)

31. Leoni, J. (1755). Ten Books on Architecture. London: Edward Owen.

32. Dewey, J. (1934). Art as Experience. New York, NY: Penguin Group.

33. �cLennan, J., (2004). The Philosophy of Sustainable Design (p. 236). Kansas City, MO:
Ecotone LLC.

76
34. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice (p. 59). London,
UK: Earthscan.

35. �cLennan, J., (2004). The Philosophy of Sustainable Design (p. 235). Kansas City, �O:
Ecotone LLC.

36. Ibid. (p. 236).

37. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things (p. 103). New York,
NY: Basic Books.

38. Hosey, L. (2012). The Shape of Green: Aesthetics, Ecology, and Design (p. 7). Washington, DC:
Island Press.

39. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice (p. 142). London,
UK: Earthscan.

40. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy (pp. 98–99).
London, UK: Earthscan.

41. Cupchik, G.C. (1999). Emotion and Industrial Design: Reconciling �eanings and Feelings. First
International Conference on Design and Emotion. Delft, Netherlands: Delft University of Technology.

42. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things (p. 7). New York, NY:
Basic Books.

43. Ibid. (p. 39)

44. Ibid. (p. 39)

45. Ibid. (p. 39)

46. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy (p. 12). London,
UK: Earthscan.

47. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things (p. 48). New York,
NY: Basic Books.

48. Pile, J. (1979). �odern Furniture. The University of Michigan: Wiley.

49. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy (p. 165). London,
UK: Earthscan.

50. Csikszentmihalyi, �., & Halton E. (1981). The �eaning of Things: Domestic Symbols and the Self.
Cambridge, UK: Cambridge University Press.

51. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things (p. 46). New York,
NY: Basic Books.

77
52. Norman, D. (2004). Emotional Design: Why We Love (or Hate) Everyday Things (p. 48). New York,
NY: Basic Books.

53. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy. London,
UK: Earthscan.

54. Ibid. (p. 99)

55. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice. London, UK:
Earthscan.

56. Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, & Empathy. London,
UK: Earthscan.

57. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice (p. 74). London, UK:
Earthscan.

58. Campbell, J. (2001). Thou Art That: Transforming Religious �etaphor (p. 104). Novato, CA: New
World Library.

59. Loos, A. (1998) Ornament and Crime: Selected Essays. Riverside, CA: Ariadne Press.

60. Pile, J. (1979). �odern Furniture. The University of �ichigan: Wiley.

61. Walker, S. (2006). Sustainable by Design: Explorations in Theory and Practice. London, UK:
Earthscan.

62. Pile, J. (1979). �odern Furniture (p. 15). The University of �ichigan: Wiley.

78
 Bibliography
Belletire A., St. Pierre L., & White P. (2013). Okala Practitioner: Integrating Ecological Design. Phoenix,
AZ: Okala Team.

Bulow, J. (1986). An Economic Theory of Planned Obsolescence. The Quarterly Journal of Economics,
Vol. 101, Issue 4, pp. 729–49.

Campbell, J. (2001). Thou Art That: Transforming Religious �etaphor. Novato, CA: New World Library.

Chapman, J. (2005). Emotionally Durable Design: Objects, Experiences, and Empathy. London, UK:
Earthscan.

Chapman, J., & Gant, N. (2007). Designers, Visionaries and Other Stories: A Collection of Sustainable
Design. London, UK: Earthscan.

Charter, �., Gray, C., (2007). Remanufacturing and Product Design: Designing for the Seventh
Generation. The Center for Sustainable Design & South East England Development Agency,
Farnham, UK.

Combo Colab. Electronic �ail Interview. February 13, 2014.

Csikszentmihalyi �., & Halton E. (1981). The �eaning of Things: Domestic Symbols and the Self.
Cambridge, UK: Cambridge University Press.

Cupchik, G.C. (1999). Emotion and Industrial Design: Reconciling �eanings and Feelings. First
International Conference on Design and Emotion. Delft, Netherlands: Delft University of Technology.

Datschefski, E. (2001). The Total Beauty of Sustainable Products. Crans-Pres-Ciligny, Switzerland:

Rotovision.

de la Vega, �. Telephone Interview. February 7, 2014.

Department for Environment, Food & Rural Affairs. (2014, �ay). Waste Legislation and Regulations.
Retrieved from: www.gov.uk/waste-legislation-and-regulations#eu-waste-framework-directive

DeSantis, �. Interview. November 12, 2013.

Dewey, J. (1934). Art as Experience. New York, NY: Penguin Group.

European Union Waste Framework Directive. (2008). Retrieved from: www.ec.europa.eu/environment/

waste/framework/

Fisher, K., James, K. (2011, November). Benefits of Re-use. Case study: Domestic furniture. Final Report.
wrap.org. Retrieved from: www.wrap.org.uk/sites/files/wrap/Domestic%20 Furniture%20chapter_
final.pdf

79
Fox, A.H. (1957). A Theory of Second-Hand �arkets. Economica 24 (94): 99–115.

Frey, G. Interview. October 29, 2013.

Friedlander, D. (2013). Design for the Ages, Not the Times. lifeedited.com. Retreived from:
www.lifeedited.com/design-for-the-ages-not-the-times/

Friends of the Earth. (2009, September). Overconsumption? Our Use of the World’s Natural Resources.
Friends of the Earth Report. Retrieved from: www.foe.co.uk/sites/default/files/downloads/
overconsumption.pdf

Glick-Guarneri, �. Interview. Januray 16, 2014.

Graedel, T.E., & Allenby, B.R. (2003). Industrial Ecology, 2nd Edition. Upper Saddle River, NJ:
Prentice Hall.

Granberg, B. (1997). The Quality Re-evaluation Process: Product Obsolescence in a Consumer-Producer

Interaction Framework. Stockholm: University of Stockholm, Department of Economic History, p. 423.

Hofstetter, P., �adjar, �., & Ozawa,T. (2006). Happiness and Sustainable Consumption: Psychological
and Physical Rebound Effects at Work in a Tool for Sustainable Design. International Journal of
LCA, 11.

Hosey, L. (2012). The Shape of Green: Aesthetics, Ecology, and Design. Washington, DC: Island Press.

Huff, L. (2010). The Future of Designing, in J. Wiedemann (Ed.) Product Design in the Sustainable Era.
Cologne, Germany: Taschen.

Kopec, D. (2009) Health, Sustainability, and the Built Environment. Fairchild Books: New York.

Landers, K. Interview. November 24, 2013.

Leonard, A. (Writer). (2007). The Story of Stuff. Video File. Retrieved from: http://www.storyofstuff.com.

Loos, A. (1908). Ornament and Crime. Retrieved from: www2.gwu.edu/~art/Temporary_SL/177/pdfs/

Loos.pdf

�cLennan, Jason �. (2014). The Power of Good Design: Beauty as a Force for Change, Trim Tab. Issue
21, 27–35. Retrieved from: www.us3.campaign-archive2.com/?u=ae827ccb1dcf00c9de58fdb81&id
=9ab77c8443&e=16aacf123c

�cLennan, J. (2004). The Philosophy of Sustainable Design. Kansas City, �O: Ecotone LLC.

�ugge, R. Schoormans, J.Schifferstein, H. Design Strategies to Postpone Consumers’ Product

Replacement: The Value of a Strong Person-Product Relationship. The Design Journal, Volume 8,
Issus 2, 2006.

80
�ugge, R., Schifferstein, H.N.J., & Schoormans, J.P.L (2004). Personalizing Product Appearance: The
Effect on Product Attachment, in Proceedings of the Fourth International Conference on Design and
Emotion, E. Aren Kurtgozu, Ankara, Turkey.

Norman, D. (2004). Emotional Design: Why we Love (or Hate) Everyday Things. New York, NY: Basic
Books.

Pacific Standard. (2013, July). Tiny Numbers, Big Impacts. The Big One. Pacific Standard. Retrieved
from: www.psmag.com/magazines/july-august-2013/the-big-one-3-59720/

Parikka-Alhola. (2008). Promoting Environmentally-Sound Furniture by Green Public Procurement.

Ecological Economics, 68 (1–2), 472–485.

Pile, J. (1979). �odern Furniture. The University of �ichigan: Wiley.

Roach, D. Interview; Electronic �ail Interview. January 28, 2014.

Ruby Lane. (2007). Items Listing Information. Retrieved from: www.rubylane.com/kb/category.php?

catID=24

Slade, G. (2006). �ade to Break: Technology and Obsolescence in America, Boston, �A: Harvard
University Press.

St. Pierre, L. (2008). Here Today, Here Tomorrow: Design Strategies to Lengthen Product Life Spans.
Innovation. 27(1), pg. 28–32.

Stover, A. Interview. November 22, 2013.

Sullivan, L. (1896) The Tall Office Building Artistically Considered. Lippincott’s �agazine 57. New York.
Retrieved from: www2.gwu.edu/~art/Temporary_SL/177/pdfs/Sullivan_Tall.pdf

Turek, J. Interview. February 6, 2014.

United States Environmental Protection Agency. (2014, January). �unicipal solid waste. Retrieved from:
www.epa.gov/waste/nonhaz/municipal/

Van Hinte, E. (1997). Eternally Yours: Visions on Product Endurance. Rotterdam: 010 Publishers.

Venhaus, Heather (2012) Designing the Sustainable Site. Integrated Design Strategies for Small-Scale
Sites and Residential Landscapes. Hoboken, NJ: John Wiley & Sons.

Walker, S. (2006). Sustainable by Design. Explorations in Theory and Practice. London, UK: Earthscan.

Weinberg, L. Interview. �arch 14, 2014.

81
82