Diagram of the evolution of the chair, which has remained remarkably consistent in function since its creation, despite changes in its appearance. As a functional object, the chair still fulfills its original purpose to create an intermediate position between standing or lying; it allows for a range of activities not possible for a human being without the intervention of this position.
Even if it has overt social and cultural functions, Farmhouse designs 2017 its fundamental purpose is to provide support.
The distinction between furniture for human use and portability, as opposed to an accessory within the space of the room, evidences its immediate ties to the human body. A similar division exists in the French language, describing real estate versus the internal inventory of buildings: immeubles – literally “immovablesâ are buildings – while meubles, or “movables,â are furniture.25 (An inexact English equivalent for immeubles versus
Drawings of a Mycenaean sculpture of a seated figure. Figurines from that period capture the human body and the chair as attached entities. The original depictions suggested, in a very literal sense, the role of furniture as a physical extension of the human body. Symbolically, this essential middle posture is self- descriptive and metaphorically continues to exhibit the seated support as an extension of self. meubles would be appurtenances in contrast to the movable objects in a household.) This etymology reflects the fact that furniture was moved between upper-class households (a custom that occurred as late as the nineteenth century), and might also be read as evidence that furnishings were mobile extensions of the human body. A building is immovable space; by contrast, the outcomes of design, such as furniture, are direct extensions of human form and are – or should be – movable or adaptable by us and for us in space.
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