ࡱ> ~Root Entry&OX F ٍζ QμWordDocumentGF,@@Dd(,9YA8D8D@Dd(,9YhCompObjB @?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_pabcdefijklmnoqrstuvwxyz{|}Root Entry&OX F ٍζrcQμWordDocumentGF,@@Dd(,9YA8D8D@Dd(,9Y5CompObjB @ ՜.+,0HP`hp x HOMEjdU Dzigielewski Stࡱ>g  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_ܥhW <e5oqhhhhxFh%x" FHHH8X@Wgk ,FrcQμFDDzigielewski St., Grbac I. Some selected problems of furniture design and production and natural environment Introduction The aim of this paper is to draw attention and discuss certain associations occurring between processes of furniture design and&&&&W&&6&6&W&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&w &&&&&&&&&&&&&&&&&n &&9&&d &&&&&&&&&&&&&&&&&&&&&&& our environment. It will, therefore, be necessary to discuss now some of the key elements occurring in the process of furniture design which do not only meet narrowly understood requirements of the user but also fulfill the requirements of the entire manufacturer-consumer system. It is, therefore, important to further rationalize engineering of process preparation of furniture production and to adjust these processes so that they comply with the requirements of protection of natural environment according to the ISO 14000 standard. Hence, it appears expedient to draw attention, firstly, to design elements important from the point of view of the quality of model and applied solution and then discuss specific threats resulting from or connected with processes of furniture production and utilization. Secondly, it also seems necessary to carry out analysis of relations between socio - ecological assumptions in the context of design-construction requirements and utilization-operational conditions. Some selected problems associated with design of consumer products As emphasized in the introduction, the purpose of the designing process is to create goods meeting certain quality requirements. This activity is of immense economic as well as social importance. Quality requirements of a modern furniture product are specified in detail in such norms as, for example ISO 9000 series from 1987 and PN-EN 29000 from 1993. According to these standards, the quality of an article is understood as all traits and properties of an article or service which determine the capacity of the article or service to fulfill its stated or predicted requirements. What are, then, those properties of an article which , in general terms, would meet the requirements of the user in accordance with the quoted currently in force definition of the quality concept? According to prof. Wcowski (5), it is possible, nearly in each utility product, to distinguish two main groups of traits or properties which determine the capability of this product to fulfill requirements of the user. The first group comprises such features as: 1. function and functionality of the product, 2. esthetic, beauty. The second group of these properties comprises traits connected with: 1. materials, 2. construction, 3. technology, 4. production costs. It is believed that the first complex of properties is derived from the user since these features are most conspicuous and are first to exert positive or negative impressions on potential buyers of this furniture. The above mentioned features of a piece of furniture were known and described differently by furniture designers in the past and even in ancient times. The discussed characteristics of consumer products are closely associated with the above mentioned, relatively new concept of industrial design. The notion of industrial design was first introduced at the end of 19th century not only with regards to furniture. It is evident from available literature that this discipline developed in Germany at the end of the last and beginning of this century and its founder was Berhrens (2) who also established Associated Workshops of Art and Handcrafts in Munich. It was in these workshops that first designs of furniture, glass, porcelain, jewelry and other articles suitable for large scale production were developed. Activities of the center raised much interest, especially in view of the fact that the created models were intended to improve articles designated for mass production which, at that time, was just beginning to take roots. For example, in 1906, in a factory in Hellerau, they began production of new kind of furniture called "machine furniture". Attempts were also made to introduce into practice standardization of furniture components necessary in the process of mass production. An association of 'creators' called "Werkbund" which was founded also at that time began to design not only furniture and other consumer articles but also entire housing estates. Steps were also undertaken to disseminate achievements of the new association outside Germany by issuing first periodicals and publication of leaflets and folders, organization of lectures, exhibitions, training courses for designers. It should be stressed that not everything went smoothly even in the "Werkbund" association. Two main opposing trends were competing: one school was in favour of machine, mechanical technology and assembly-lime production, while the other preferred unique designs. According to Krause, a turning point in the field of industrial design was the employment of Berhrens at an electrotechnical works in Berlin. It was a public recognition of this discipline by big industry and is often considered as the beginning of large scale artistic supervision over series production. Berhrens is quoted as saying that a good design is the simplest and most profitable investment. It was already then that it was observed that mass production of consumer products characterized by high artistic value would not be successful if it did not find social acceptance or even demand for this type of products. Discrepancies occurring between innovative designs of every day consumer products and relatively poor demand for them among general public forced the new generation of designers like Gropi, Le Corbusier and others to try and eliminate them. They tried to achieve this goal by constructing buildings characterized by very refined architecture but which were used to fulfill very ordinary functions. They developed, and then used on a large scale, a set of design criteria which allowed the designer to create articles for daily use in which all their features were harmonized. The most important of these criteria were: - serviceableness - that is to say - suitability of the applied solutions for the assumed functional programme, - safety of the user; the product cannot be dangerous for the user, i.e. it must be manufactures to comply with appropriate safety standards, - durability and effectiveness understood as compliance of the product with appropriate esthetic and technical solutions and quality of materials, - ergonomy - adjustment of the product to such psycho - physical requirements of the user as: ease of handling, dimensions adjusted to the dimensions of the body, elimination of features which can cause irritation or tiredness, - originality of solution - the design should be characterized by original solutions, i.e. such which are little known or unknown with regards to form, attractiveness as well as technical and technological values, - environment friendliness - the design should take into consideration problems connected with saving of energy, materials; above all newly designed products should not harm environment. The above listed criteria still hold true because evaluation of each new product design is carried out according to them. Some selected problems of furniture production and environment The following factors can exert influence on relations which occur between processes of furniture production and environment protection: 1. Design solutions, 2. Materials applied during processes of product manufacture and quality of technology. The above problems have become quite important in furniture industry in recent years. It is commonly believed that this branch of highly developed industry, which is very important socially and economically, uses large quantities of materials characterized by various degrees of harmfulness for environment. There is no doubt that this industry uses considerable amounts of natural materials which are environmentally friendly but it also utilizes various synthetic materials which are less friendly for the environment and sometimes difficult to dispose of even after a period of utilization. These problems are widely discussed in specialized literature and frequently studiesd in different research projects. Two important groups of problems associated with furniture production are: firstly, securing appropriate quantities of quality raw material and, secondly, disposing of considerable amounts of by-products which are obtained during successive phases of furniture production. By-products unwelcome from the point of view of environment protection and characterized by varying degree of harmfulness are obtained during three stages of production: 1. during the process of furniture production, 2. during utilization of furniture 3. after the process of utilization, i.e. the problem of used furniture. Wastes obtained during the process of furniture production can be divided into three groups: a/ solid wastes; saw-dust and shavings, pieces of wood, hard and soft boards and plastics, b/ liquid wastes; water containing lacquers, paints, glues, hardeners, dyes and colouring agents (example: the Bzura river), c/ volatile wastes; vapours of thinners, solvents, hardeners, glues and dusts. The most frequent dangers which occur during utilization of furniture are: toxic compounds emitted by various materials from furniture or from other materials used to equip flats and houses. Another serious problem for environment is used furniture. It is, perhaps, still underestimated in our conditions, despite the fact that it is easily noticeable in the rubbish bins of housing estates or landfills. As mentioned above, furniture industry as well as small furniture factories use large quantities of different materials. It is estimated that annually they utilize about 40% of wood harvested in Poland, 20% of products produced by chemical industry, 13% of materials from textile industry, about 7% of paper articles, 0. 5% of non-ferrous metals and more than 1% of products from metal industry. It is evident from the structure of materials utilized by furniture industry that products derived from chemical industry pose the biggest threat to natural environment. Synthetic materials, together with certain composite wood products, are among the biggest nuisance not only during the process of furniture production but also during utilization of furniture products. Harmfulness of these products has been studied widely in recent years. It must be admitted that synthetic materials and all kinds of semi-finished products have contributed significantly to the introduction of high level of technology into processes of furniture manufacture. On the other hand, however, they also constitute a serious environmental threat. Studies carried out so far provide sufficient knowledge especially about intensity of emission by the above mentioned materials of phenyl - formaldehyde compounds. For examples, experiments carried out by Morze and cka (8) on furniture elements made from chipboards class E1 and E2 covered by artificial veneer showed that the type of applied covering material has a considerable influence on the emission of formaldehyde from furniture elements as demonstrated in Fig. 2 (8). Fig. 2. Emission of formaldehyde from materials used to produce furniture elements (after Z. Morze): 1 - board without veneer, 2 - glue bond, 3 - chipboard + bond, 4 - veneer, 5 - chipboard + bond + veneer, 6 - chipboard after grinding off veneer and bond (8). Therefore, it can be said that a layer of glue and a coat of veneer of "finish" type increase the emission of toxic compounds both in the case of E1 and E2 type of chipboard. Removal of the veneer together with the glue bond (column 6) decreased the emission: in the case of the E1 board type - to 0. 1 mg CH2O/m3 and for the E2 board type - to 0. 43 mg CH2O/m3. This means that the quality of both glue and veneer affect the intensity of emission of formaldehyde from furniture elements into the atmosphere. Studies on the improvement of the degree of hygiene of materials used in furniture production caused that furniture industry is supplied nowadays with much better quality of materials and semi-finished products in this regards as confirmed by experiments carried out by Morze and cka (Fig. 3) (8). Fig. 3. Emission of formaldehyde from board elements covered with artificial veneer "Elastofol" (after Z. Morze): 1 - chipboard without veneer, 2 - glue bond, 3 - chipboard + bond, 4 - artificial veneer, 5 - chipboard + bond + veneer, 6 - surface lacquer, 7 - chipboard + bond + veneer + lacquer, 8 -chipboard after grinding off veneer and bond (8). The obtained results of measurements of formaldehyde emissions from boards of E1 class coated with the "Elastofol" type of foil are within accepted standards. Figure 4 presents measurements of formaldehyde emissions from lacquers used to finish furniture surfaces (after Morze and cka) (8). Fig. 4. Emission of formaldehyde from lacquers used to finish furniture surfaces (after Z. Morze): 1 - cellulose - urethane, 2 - polyurethane, 3 - Plastlak, 4 - nitrocellulose Matlak, 5 - nitrocellulose. It is evident from the course of curves that of the five investigated lacquers only the following three are environmentally friendly and comply with standard requirements: cellulose - urethane, polyurethane and nitrocellulose. Professor cka also examined materials used in the production of upholstered furniture. She found that the applied materials emitted the following quantities of formaldehyde: - upholstering fabric, 100% cotton - 0. 07 mg/m3, - upholstering fabric, 100% cotton EM end-use finish - 0. 58 mg/m3, - cushioning materials showed '0'% emission of formaldehyde. According to Lewandowski (7), materials used in furniture industry are better from year to year with regards to the amount of formaldehyde emitted into the atmosphere as evidenced by investigations carried out in the Institute of Wood Technology. Only 31% of furniture examined in the Institute for formaldehyde emissions in years 1992 - 93 was found to release less than 0. 05 mg/m3 of this compound, i. e. complied with the requirements of the standard. Investigations carried out in 1996 showed that 87% of the furniture examined in the Institute released less than 0. 05 mg/m3 of formaldehyde into air. Only 4% of the examined furniture emitted amounts of formaldehyde which exceeded the standard. It can, therefore be concluded that materials used in furniture industry are friendly to environment. On the other hand, very scarce studies have been conducted devoted to environmental threats during the process of furniture production. No data is available regarding quantities of such by-products as: saw-dust, dusts, quantities of technological waters discharged into rivers and other water reservoirs or amounts of solvent and other volatile substances released into the atmosphere. Studies carried out by Krupnik et al. (6) in Krakw Furniture Factory can be considered as the first in the field of reducing the emissions of toxic compounds at selected stands in furniture factories in accordance with the ISO Standard 14001 and which also recommend such studies during the technological process and removal of threats and hazards. Factories which will apply for certificates will have to undergo such investigations. Socio - ecological problem and furniture industry As could be noticed in earlier chapters of this paper, economical and social significance of designing is considerable. Products characterized by perfect designs never block up warehouses, which is very important in a competitive market place. Berhrens's saying that a good design is the most profitable investment is certainly true. Man has been dreaming for good quality things for times immemorial. Already Aristotle (lV century B.C.) wrote about it when he formulated for the first time the notion of quality as a class separate feature. Man's constant quest for high quality products may partially explain his persistent attempt to improve systems and methods of designing. One of the methods employed is the so called method of resemblance which consists in looking for a solution of a specific design task in other systems, e.g. in nature and then transferring it to the system under design, i.e. technical or technological. According to prof. Branowski (3), the resemblance method is a cognitive approach consisting in deliberate search for similarities between known things, objects or processes and those we look for. Another trend in designing is bionics. According to Steel (3), bionics can be defined as the knowledge of systems which are in agreement with regards to type or principle of solution with living systems. Bionics studies principles of mechanical modelling, form shaping of construction elements on the basis of the world of nature. So it is obvious that there are very close correlations between the designing process, man and natural environment and all the time we have to do with certain systems. The most important of them is the socio - ecological system. It may be said to consist of sociological elements, i.e. studying needs of people living on a certain area, whereas ecology studies life of plants and animals developing on a specific area. There is no doubt that man constitutes an integral part of this system and with the development of social requirements of man, who exerts the strongest impact on the system, the whole system is in permanent change. There are no wastes in nature - what is waste in the animal kingdom, constitutes food for plants and vice versa. The system can be said to work in a closed cycle and nothing is wasted. Man brings a note of discord into this balanced system. For some time now, i.e. since rapid development of technique and technology, man has been introducing alien components into environment which effectively disturb its biological rhythm. Methods of designing, methods of manufacture and then ways of utilization of industrial products have a direct influence on natural environment and, consequently, on socio - ecological systems. To understand it better, let us analyze the following cycle: goods manufactured by industry are distributed among people and then these articles are used for a certain period of time. Producers, distributors and users form a producer - consumer cycle shown in Fig. 5 (5).            Fig. 5. Producer - consumer cycle of furniture. It is clear that this cycle is not closed as in nature and considerable amounts of wastes are produced, including used furniture. In nature, each component of the socio - ecological cycle is part of the intrinsic food chain. Man constitutes an exception consuming great quantities without paying much attention to dwindling natural resources. The situation is becoming increasingly dangerous in view of the fact of continuous growth of population accompanied by consumer models of life. However, the growing wastefulness will not be tolerated for ever as the natural resources are limited. Many branches of industry such as metal, textile, paper and cellulose industries have already solved this problem. The recovery of raw materials from used products in the above mentioned industries was, in a way, forced on these industries by technological requirements. It is difficult to obtain high quality steel or paper without addition of metal scrap or waste paper, respectively. In the case of wood processing, a completely different approach to this important problem still prevails resulting, most certainly, from the fact that the raw material is self-renewable. The widespread attitude is that forest - as the source of lumber - will renew its resources every 60 - 100 years, provided a certain kind of sensible economy is applied. This is not the case with fossil resources (coal, ores, oil). The producer - consumer cycle shown in Fig. 5 is of great importance in the entire process of production programming and technical and technological designing of industrial products. Goods manufactured within the framework of this production - consumer cycle are subject to definite quality requirements on each and every stage of this cycle since each link in this chain imposes a certain set of requirements both on the designer and manufacturer. Sometimes these individual requirements are contradictory and extremely difficult of reconcile. Frequently compromise is the only solution and it takes a very good designer to understand it. Conclusions It is evident from the above considerations regarding ecological premises of the designing and manufacturing processes, that the most important are methods of furniture designing and then ways of their production. Designers, apart from having deep and wide knowledge of art and technique, when designing furniture should take into consideration: - social and economical aspects, i.e. knowledge of people's needs and expectations, cultural trends and actual resources of the society, - natural aspects comprising good knowledge of human body such as anthropometric and physiological data and ecological requirements. The above knowledge can only be satisfactorily utilized if the designing process is shared by well selected teams and not worked on by individual designers. Irrespective of the knowledge and experience, it is necessary to have access to full information concerning current trends and data to be applied in concrete solutions. Another element important from the point of view of socio - ecological premises is the employed system of furniture production. The applied technological processes should be organized in a way which will not allow to contaminate the atmosphere with excessive quantities of solvents and to discharge wastes of glues, paints, lacquers and other chemicals into rivers and water reservoirs. Equally important is to limit the level of noises which can also have a very negative influence on environment. Another problem is utilization of used furniture. So far, the most common way of disposing of old furniture is to put it by waste bins. It is particularly troublesome in big towns where local cleaning companies have many problems. Therefore, it is necessary to work out a system which would help solve this problem. The system should comprise the following elements: - refurbishment and restoration of used furniture with the aim to make them still useable, - recovery and segregation from used furniture of materials which can be re-used. Literature Bbiski Cz.: Elements of science of designing. WNT, Warsaw 1972 (in Polish) Behrens P.: ber die Beziechungen der K(nstlerischen und technischen Probleme. Berlin 1917. Branowski B.: Introduction to furniture design. Materials for Vlll Scientific Session "Research for furniture science. AR Publications, Pozna , 1996 (in Polish). Branowski B., Popow A., Torzyski D.: Utilization of bionic principles for designing. Manuscript. Materials for Vlll Scientific Session "Research for furniture science. AR Publications, Pozna, 1996 (in Polish). Dzigielewski St., Smardzewski J.: Furniture science; design and construction. PWRiL. Pozna 1995 (in Polish). Krupnik T., Orlikowski D., Ramski E.: Technology of limiting emission of butyl acetate in Krakw Furniture Factory (Part ll), Przemys Drzewny 1997, z.5 (in Polish). Lewandowski O.: Hygiene of furniture materials and furniture, Przemys Drzewny 1997, z.3 (in Polish). cka J., Morze Z.: Materials for internal house equipment and hygiene. Manuscript, Seminar at Fairs of furniture and internal design '95 - Pozna (in Polish). Morze Z.: Materials for internal house equipment and hygiene. Manuscript, Seminar at Fairs of furniture and internal design '95 - Pozna (in Polish). Dziegielewski St., Grbac I. PRIVATE  Neki izdvojeni problemi dizajna, proizvodnje namjetaja i prirodnog okolia Uvod Cilj je ovog rada privui panju i raspraviti o odreenim vezama izmeu procesa dizajniranja i proizvodnje namjetaja, te socio-ekolokih sustava. Kada govorimo o dizajnu, uvijek, ili gotovo uvijek, imamo na pameti stvari koje su umjetniki i tehniki savrene, korisne ovjeku i bezopasne za okoli u kojemu se nalaze ili u kojemu e biti rabljene. ovjekovi proizvodi se praktiki nalaze posvuda. Svakako moemo rei, da te stvari organiziraju i ispunjavaju ovjekov okoli, a njihova koliina nastavlja rapidno rasti. To je oevidno posvuda na poslu, na putu, na odmoru, itd. Moe se rei da je svijet oko nas rezultanta mnotva oblika, svjetla, boja i zvukova. Ova sredina ili okoli nam bombardira osjetila, osvaja nau osjetilnost i modificira nae ponaanje. Ukratko, na habitat oplemenjuje nae ponaanje, oblikuje nau psihu i utjee na uvjete ivota. Ovo stanje okolnog svijeta je injenica, i za veinu nas je jasno i shvatljivo. Utvrivanje i vrednovanje ovih kompleksnih problema mora se uvijek obavljati nasuprot pozadine mnogoznanog konteksta cjeline. ovjek mora uvijek zauzimati primarnu poziciju, mora biti subjekt, a objekti koje on oblikuje i proizvodi moraju mu sluiti. Gornji problemi oblikuju dio discipline koju esto nazivamo industrijskim dizajnom, to je relativno nova specijalnost i sadri znanje o metodama dizajniranja industrijskih modela i uzoraka koje karakteriziraju visoke estetske vrijednosti. Ljepota nekog potroakog proizvoda - kao ishod uzajamnih korelacija funkcije, proporcije, oblika i boje - mora se uskladiti s potrebama tehnolokih procesa, zahtjeva okolia, te trenutnih kulturnih trendova i mode. Vanost dizajna u svijetu je velika i stalno raste, to se dokazuje novim granama u podruju metodologije dizajna i industrijskih oblika. Kao to se vidi na Slici 1 (1), dizajn kombinira ne samo elemente umjetnosti i tehnologije, ve inkorporira mnoge druge discipline. Politika Sociologija Psihologija Ekonomiska znanost Tehnike znanosti - Tehniki dizajn - Tehnika-proizvodnja Dizajn industrijskih oblika Umjetniki dizajn Umjetnost Slika 1 Meusobne veze izmeu znanosti, umjetnosti i tehnike Poboljanje oblika je jedan od temeljnih elemenata odranja visoke razine kvalitete stvari proizvedenih na veliko ili malo, a to je bitan faktor u konkurenciji na tritu s jedne strane, i ispunjenju oekivanja potroaa s druge. Cilj modernog tehnikog dizajna nije samo realizacija i rjeenje zadataka i programa dizajna. Jednako je vano da dizajneri ne dozvole tehnika rjeenja i izolaciju svoje okoline. To se moe postii jedino stalnim poboljanjem i usklaivanjem dizajna s elementima povezanim s ovjekom i njegovim prirodnim habitatom. Oevidno je iz ovog kratkog uvoda, da je proces dizajna krajnje kompleksan i teak, i da on takoer igra vrlo vanu ulogu u delikatnom procesu modifikacije naeg okolia. Biti e, stoga, vano govoriti sada o nekim kljunim elementima koji se pojavljuju u procesu dizajniranja namjetaja, a koji ne samo da ispunjavaju uvjete koje postavlja potroa, ve takoer ispunjavaju zahtjeve itavog sustava proizvoa-potroa. Stoga je vano nadalje racionalizirati tehniki postupak pripreme proizvodnje namjetaja, te prilagoditi te procese tako, da budu usklaeni sa zahtjevima zatite prirodnog okolia prema normi ISO 14000. Zbog toga se ini prikladnim obratiti pozornost, kao prvo, elementima dizajna koji su vani s obzirom na kvalitetu modela i primijenjeno rjeenje, a potom govoriti o specifinim opasnostima koje dolaze iz, ili su povezane s procesima proizvodnje namjetaja i njegove uporabe. Drugo, ini se takoer potrebnim provesti analizu odnosa izmeu socio-ekolokih pretpostavki u kontekstu zahtjeva konstrukcije dizajna i utilitarno-radnih uvjeta. Neki izdvojeni problemi vezani uz dizajn potroakih proizvoda Kao to je naglaeno u uvodu, svrha postupka dizajniranja je stvoriti robu koja udovoljava odreenim kvalitetnim zahtjevima. Ova je djelatnost od ogromne ekonomske i drutvene vanosti. Zahtjevi o kvaliteti modernog namjetaja specificirani su detaljno u takvim normama kao to su na primjer serije ISO 9000 iz 1987. i PN-EN 29000 iz 1993. Prema tim normama, kvaliteta nekog predmeta se smatra svim osobinama i svojstvima nekog predmeta ili usluge koje odreuju kapacitet predmeta ili usluge za ispunjenje reenih ili predvienih zahtjeva. to su, onda, ona svojstva nekog predmeta koja bi, openito govorei, ispunjavala zahtjeve korisnika u skladu s citiranom definicijom koncepta kvalitete? Prema profesoru Weclowskom (5), mogue je, gotovo u svakom potronom proizvodu razlikovati dvije glavne grupe svojstava ili osobina koje odreuju sposobnost ovog proizvoda da ispuni zahtjeve korisnika. Prva grupa ukljuuje takve osobine kao to su: 1. funkcija i funkcionalnost proizvoda, 2. estetska ljepota Druga grupa ovih svojstava ukljuuje osobine vezane uz: 1. materijale, 2. konstrukciju, 3. tehnologiju, 4. proizvodne trokove. Vjeruje se, da je prva grupa svojstava izvedena od korisnika, budui da su ove osobine najvidljivije i prve pokazuju pozitivne ili negativne impresije kod potencijalnih kupaca ovog namjetaja. Gore navedene karakteristike nekog komada namjetaja dizajneri su u prolosti, ak u najstarija vremena razliito opisivali. Predmetne karakteristike potroakih proizvoda usko su vezane s navedenim, relativno novim konceptom industrijskog dizajna. Ideja industrijski dizajn po prvi puta je uvedena krajem 19tog stoljea ne samo u vezi s namjetajem. Evidentno je iz raspoloive literature, da se ova disciplina razvila u Njemakoj krajem prolog i na poetku ovog stoljea, a njen osniva bijae Behrens (2), koji je takoer ustanovio Associated Workshops of Art and Handcrafts u Mnchenu. U ovim su se radionicama razvili prvi dizajni namjetaja, stakla, porculana, nakita i ostalih predmeta podesnih za proizvodnju na veliko. Aktivnosti centra pobudile su mnogo zanimanja, posebice s obzirom na injenicu, da su kreirani modeli trebali poboljati predmete predviene za masovnu proizvodnju, koja je u to vrijeme tak putala korijenje. Na primjer, 1906. godine, u jednoj tvornici u Hellerau, zapoela je proizvodnja nove vrste namjetaja nazvana "strojni namjetaj". Uinjeni su takoer pokuaji uvoenja u praksu standardizacije dijelova namjetaja potrebnih u procesu masovne proizvodnje. U udruzi kreatora nazvanoj Werkbund, osnovanoj takoer u to vrijeme, zapoelo se dizajnirati ne samo namjetaj i ostale predmete potroaa, ve takoer itave nastambe. Poduzeti su takoer koraci prenoenja rezultata nove udruge izvan Njemake izdavanjem prvih asopisa i publikacije letaka i mapa, organiziranjem predavanja, izloaba, teajeva za dizajnere. Trebalo bi naglasiti, da nije sve ilo lako ak ni u udruzi Werkbund. Dva glavna suprotna trenda su se sukobila: jedna kola je favorizirala stroj, mehaniku tehnologiju i proizvodnju na traci, a druga je preferirala unikatne dizajne. Prema Krauseu, prijelomna toka na polju industrijskog dizajna bilo je upoljavanje Behrensa u elektrotehnike radove u Berlinu. To je bilo javno priznanje ove discipline od strane velike industrije, i esto se dri poetkom opsenog umjetnikog nadgledanja ove serijske proizvodnje. Berensa se citira da je rekao, kako je dobar dizajn najjednostavnija i najprofitabilnija investicija. Ve tada se je primijetilo, kako masovna proizvodnja potroakih predmeta visoke umjetnike vrijednosti ne bi bila uspjena, kada ne bi naila na drutveno prihvaanje, ili ak kad ne bi bilo potranje za tim tipom proizvoda. Razmimoilaenja koja su se pojavila izmeu inovativnih dizajna proizvoda svakodnevne uporabe i relativno slabe potranje za njima u irokoj javnosti prisilila su novu generaciju dizajnera kao to bijahu Gropius, Le Corbusier i drugi, da ih pokuaju eliminirati. Pokuali su postii taj cilj konstruiranjem graevina vrlo rafinirane arhitekture, no koje su se koristile za ispunjavanje vrlo obinih funkcija. Postavili su, i zatim koristili na veliko, skup dizajnerskih kriterija koji su omoguavali dizajneru kreiranje predmeta za svakodnevnu uporabu u kojima su usklaene sve njihove osobine. Najvaniji od tih kriterija bijahu: - uporabivost - to e rei, podesnost primijenjenih rjeenja za predvien funkcionalni program; - sigurnost za korisnika; proizvod ne moe biti opasan po korisnika, tj. mora biti proizveden tako, da je usklaen s odgovarajuim sigurnosnim normama; - trajnost i djelotvornost shvaene kao usklaenost proizvoda s odgovarajuim estetskim i tehnikim rjeenjima i kvalitetom materijala; - ergonomska podeenost proizvoda takvim psiho-fizikim zahtjevima korisnika, kao to su lakoa rukovanja, dimenzije usklaene s tjelesnim dimenzijama, eliminacija osobina koje mogu uzrokovati nadraivanje ili zamor; - originalnost rjeenja - dizajn treba imati originalna rjeenja, tj. takova, koja su slabo ili nikako poznata s obzirom na oblik, privlanost, kao i tehnike i tehnoloke vrijednost; - nekodljivost po okoli - dizajn treba uzeti u obzir probleme vezane uz tednju energije, materijala; iznad svega, novo dizajnirani proizvodi ne smiju tetiti okoliu. Ovaj popis kriterija jo uvijek vrijedi, zato to se evaluacija svakog novog dizajna izvodi u skladu s njim. Neki izdvojeni problemi proizvodnje namjetaja i okolia Slijedei faktori mogu imati utjecaja na odnose koji se pojavljuju izmeu procesa proizvodnje namjetaja i zatite okolia: 1. Dizajnerska rjeenja, 2. Materijali primijenjeni za vrijeme procesa izrade proizvoda i kvaliteta tehnologije. Ti problemi su postali prilino vani u industriji namjetaja posljednjih godina. Openito se vjeruje, da ova grana visoko razvijene industrije, drutveno i ekonomski vrlo vane, upotrebljava velike koliine materijala koje karakteriziraju razliiti stupnjevi tetnosti po okoli. Nema sumnje da ta industrija rabi priline koliine prirodnih materijala netetnih po okoli, ali ona isto tako upotrebljava razliite sintetike materijale manje nekodljive po okoli, a ponekad ih se je teko rijeiti ak i nakon razdoblja utilizacije. O ovim problemima se naveliko diskutira u strunoj literaturi, i esto ih prouavaju u razliitim znanstvenim projektima. Dvije su vane grupe problema vezane uz proizvodnju namjetaja: prvo, osiguranje odgovarajuih koliina kvalitetne sirovine, i drugo, odstranjivanje prilinih koliina nusproizvoda dobivenih tijekom uzastopnih faza proizvodnje namjetaja. Nedobrodoli sa stanovita okoline zatite, a karakterizirani razliitim stupnjevima tetnosti, nusproizvodi nastaju tijekom tri stupnja proizvodnje: 1. za vrijeme procesa proizvodnje namjetaja, 2. za vrijeme utilizacije namjetaja, 3. nakon procesa utilizacije (problem iskoritenog namjetaja). Otpad dobiven za vrijeme procesa proizvodnje namjetaja moe se podijeliti u tri grupe: a) kruti otpad; piljevina i iverje, komadi drveta, tvrde i meke ploe i plastika, b) tekui otpad; voda koja sadri lakove, boje, ljepila, uvrivae, sredstva za bojenje (npr. Bzura river); c) isparivi otpad; pare i razrijeivai, otapai, uvrivai, ljepila i prahovi. Najea opasnost koja nastaje za vrijeme uporabe namjetaja su: toksini spojevi to ih emitiraju razliiti materijali u namjetaju ili u meterijalima kojima se opremaju stanovi i kue. Drugi vaan problem za okoli je iskoriteni namjetaj. Taj problem je jo uvijek podcijenjen u naim uvjetima, usprkos injenici, da je lako uoljiv u kontejnerima za otpad pri naseljima ili odlagalitima za smee. Kao to je ve napomenuto, industrija namjetaja poput malih tvornica namjetaja rabi velike koliine razliitih materijala. Rauna se da ona godinje iskoristi oko 40% drva posjeenog u Poljskoj, 20% proizvoda kemijske industrije, 13% materijala iz tekstilne industrije, oko 7% papirnih predmeta, 0,5% neeljeznih metala, te vie od 1% proizvoda metalne idnustrije. Evidnetno je iz strukture materijala to ih koristi industrija namjetaja, da proizvodi kemijske industrije predstavljaju najveu prijetnju prirodnom okoliu. Sitnetiki materijali su, zajedno s izvjesnim kombiniranim drvnim proizvodima, meu najveim nevoljama ne samo za vrijeme procesa proizvodnje namjetaja, ve isto tako za vrijeme utilizacije proizvoda. kodljivost ovih proizvoda se prouava naveliko posljednjih godina. Mora se priznati, da su sintetiki materijali i sve vrste poluproizvoda naveliko pridonijeli uvoenju visoke razine tehnologje u procese izrade namjetaja. S druge pak strane, oni takoer predstavljaju ozbiljnu prijetnju za okoli. Dosad su provedene studije dale dovoljno znanja posebice o intenzitetu emisije fenilformaldehidnih spojeva. Na primjer, testovi koje su obavili Morze i Lecka (8) na dijelovima namjetaja izraenog od iverica klase E1 i E2 presvuenih umjetnim furnirom pokazali su, da tip primijenjenog pokrivnog materijala ima prilian utjecaj na emisiju formaldehida iz dijelova namjetaja, kao to se vidi na Slici 2. (8) Sl. 2 Emisija formaldehida iz materijala rabljenih za proizvodnju dijelova namjetaja (prema Z. Morze): 1 - ploa bez furnira, 2 - ljepilo, 3 - iverica + vezivo, 4 -furnir, 5- iverica + vezivo + furnir, 6 - iverica nakon skidanja furnira i veziva (8). Stoga se moe rei, da sloj ljepila i sloj furnira zavrnog tipa poveavaju emisiju toksinih spojeva kako u sluaju iverice tipa E1, tako i E2. Odstranjenje furnira zajedno s ljepilnim vezivom (stupac 6) smanjili su emisiju: u sluaju ploe tipa E1 do 0,1 CH2O/m3, a za E2 do 0,43 mg. To znai, da kvalitet kako ljepila, tako i furnira utjee na intenzitet emisije formaldehida iz dijelova namjetaja u atmosferu. Studije provedene o poboljanju stupnja higijene materijala rabljenih u proizvodnji namjetaja imaju danas na raspolaganju mnogo kvalitetnije materijale i poluproizvode u ovom smislu, to nam potvruju pokusi koje su izveli Morze i Lecka (Sl. 3) 8. Sl. 3 Emisija formaldehida iz elemenata ploe presvuene umjetnim furnirom "Elastofol" (prema Z. Morze): 1 - iverica bez furnira, 2 - ljepilno vezivo, 3 - iverica + vezivo, 4 - umjetni furnir, 5 - iverica + vezivo + furnir, 6 - povrinski lak, 7 - iverica + vezivo + furnir + lak, 8 - iverica nakon skidanja furnira i veziva (8). Dobiveni rezultati mjerenja emisije formaldehida iz ploa klase E1 presvuenih "Elastofolom" folijskog tipa su unutar prihvatljivih normi. Slika 4 predstavlja mjerenja emisija formaldehida iz lakova rabljenih u zavrnim obradama povrine namjetaja (prema Morze i Lecka) (8). Slika 4 Emisija formaldehida iz lakova rabljenih u zavrnoj obradi povrine namjetaja (Z. Morze): 1 - celuloza - uretan, 2 - poliuretan, 3 - Plastlak, 4 - nitroceluloza Matlak, 5 - nitroceluloza. Krivulje pokazuju, kako od pet prouavanih lakova samo slijedea tri su nekodljiva za okoli i sukladna zahtjevima normi: celuloza - retan, poliuretan i nitroceluloza. Prof. Lecka je takoer ispitivala materijale koritene u proizvodnji ojastuenog namjetaja, te otkrila, da su primijenjeni materijali emitirali slijedee koliine formaldehida: - tkanina za jastuenje, 100% pamuk - 0,07 mg/m3; - tkanina za jastuenje, 100% pamuk EM "end-use finish" - 0,58 mg/m3; - materijali za punjenje su pokazali '0'% emisije formaldehida. Prema Lewandowski (7), materijali rabljeni u industriji namjetaja bolji su iz godine u godinu s obzirom na koliinu formaldehida emitiranih u atmosferu kao to su pokazala istraivanja Instituta za drvnu tehnologiju. Samo 31% ispitivanog u Institutu od 1992 do 1993 je isputalo manje od 0,05 mg/m3 ovog spoja, tj. bilo u skladu zahtjeva norme. Istraivanja izvedena 1996. su pokazala da je 87% namjetaja ispitivanog u Institutu isputalo manje od 0.05 mg/m3 formaldehida u zrak. Samo 4% ispitivanog namjetaja je isputalo koliine formaldehida koje su prelazile standard. Stoga se moe zakljuiti, da su materijali rabljeni u industriji namjetaja nekodljivi po okoli. S druge strane, vrlo malo studija je provedeno o opasnostima po okoli za vrijeme postupka proizvodnje namjetaja. Nema podataka o koliinama takvih nusproizvoda kao to su: piljevina, praine, koliine tehnolokih voda isputenih u rijeke i ostale vodne rezervoare, te o koliinama razrjeivaa i ostalih rasprivih tvari isputenih u atmosferu. Studije Krupnika et al. (6) u Krakowskoj industriji namjetaja se mogu smatrati prvima na polju smanjivanja emisije toksinih spojeva u odreenim odjelima tvornica namjetaja u skladu s ISO Standard 14001. Time se prepurua izvoenje takvih studija za vrijeme tehnolokih procesa i otklanjanja opasnosti i rizika. Tvornice koje ele dobiti ateste, morati e se podvri takvim ispitivanjima. Socio-ekoloki problem i industrija namjetaja Kao to se vidi u prethodnim poglavljima ovog rada, ekonomski i drutveni znaaj dizajna je velik. Proizvodi dobrog dizajna nikada ne zatrpavaju skladita, to je vrlo vano za konkurentsko trite. Behrensova izreka, da je dobar dizajn najprofitabilnija investicije je zasigurno istinita. ovjek sanja o stvarima dobre kvalitete od pradavnih vremena. Ve je Aristotel (IV. stoljee prije Krista) pisao o tome kada je po prvi puta formulirao ideju kvalitete kao klasno odvojene osobine. ovjekova vjena potraga za proizvodima visoke kvalitete moe djelomice objasniti njegov uporni pokuaj poboljanja sustava i metoda dizajniranja. Jedna od primijenjivanih metoda je takozvana metoda slinosti, koja se sastoji od traenja rjeenja specifinog dizajnerskog zadatka u ostalim sustavima, npr. u prirodi i zatim prenoenja u sustav pod dizajnom, tj. tehniki ili tehnoloki. Prema profesoru Branowski (3), metoda slinosti je kognitivni pristup koji se sastoji od namjerne potrage za slinostima izmeu poznatih stvari, predmeta ili postupaka i onih koje traimo. Drugi trend u dizajniranju je bionika. Prema Steelu (3), bionika se moe definirati kao znanje sustava koji su sukladni s obzirom na tip ili princip rjeenja sa ivim sistemima. Bionika prouava principe mehanikog modeliranja, oblikuje konstrukcijske elemente na temelju svijeta prirode. Tako je oevidno, da postoje vrlo uske korelacije izmeu dizajnerskih postupaka, ovjeka i prirodnog okolia, te itavo vrijeme imamo posla s odreenim sustavima. Najvaniji od njih je socio-ekoloki sustav. Moemo rei da se sastoji od sociologikih elemenata, tj. potreba prouavanja kod ljudi koji ive u odreenim podrujima, dok ekologija prouava ivot biljaka i ivotinja to se razvijaju na specifinom podruju. Bez ikakve sumnje predstavlja ovjek integralni dio ovog sustava, a razvojem drutvenih potreba ovjeka, koji vri najvei utjecaj na sustav, itav sustav je u neprestanoj promjeni. Nema otpada u prirodi - to je otpad u ivotinjskom carstvu, predstavlja hranu biljkama i obratno. Za sustav se moe rei da djeluje u zatvorenom krugu, i nita nije izgubljeno. ovjek donosi razdor u ovom uravnoteenom sustavu. Ve neko vrijeme, tj. od brzog razvoja tehnike i tehnologije, ovjek u okoli unosi strane sastojke koji djelotvorno remete njegov bioloki ritam. Metode dizajniranja, medtode proizvodnje, te zatim naini utilizacije industrijskih proizvoda, imaju neposredan utjecaj na prirodni okoli, te kao posljedica toga, na drutveno-ekoloke sustave. Da bi to bolje razumjeli, analizirajmo slijedei ciklus: roba koju proizvede industrija razdijeljuje se meu ljudima i zatim se ti predmeti rabe kroz neko vremensko razdoblje. Proizvoai, distributeri i korisnici oblikuju ciklus na relaciji proizvoa - potroa, to prikazujemo na Sl. 5. (5). Sl. 5 Ciklus proizvodnje namjetaja, od proizvoaa do potroaa. Jasno je, da ovaj ciklus nije zatvoren kao u prirodi, i priline koliine otpada se proizvode, ukljuujui rabljeni namjetaj. U prirodi, svaki sastojak drutveno-ekolokog ciklusa dio je inherentnog prehrambenog lanca. ovjek je iznimka to konzumira velike koliine, ne marei mnogo za sve manje prirodne resurse. Situacija postaje sve opasnija s obzirom na injenicu neprestanog rasta stanovnitva popraenog potroakim modelima ivota. Meutim, porast otpada se nee uvijek tolerirati, zato to su prirodni resursi ogranieni. Mnoge grane industrije kao to su metal, tekstil, papir i celuloza ve su rijeili taj problem. Dobivanje sirovina iz iskoritenih proizvoda u tim industrijama je na neki nain nametnuto tim granama industrije zbog tehnolokih potreba. Teko je dobiti elik visoke kvalitete ili papir bez dodatka starog eljeza odnosno starog papira. U sluaju prerade drva, jo uvijek prevaguje sasvim drugi pristup tom vanom problemu. To je sasvim sigurno rezultat injenice, da je sirovina samoobnoviva. Ope je prihvaen stav, da e uma - kao izvor drva - obnoviti svoje resurse svakih 60 - 100 godina, ukoliko se primijeni izvjesna vrsta razumne ekonomije. To nije sluaj s fosilnim resursima (ugalj, rude, nafta). Ciklus proizvoa - potroa prikazan na Sl. 5 od velike je vanosti u itavom procesu programiranja proizvodnje i tehnikog/tehnolokog dizajniranja industrijskih proizvoda. Roba proizvedena unutar okvira ovog kruga proizvodnja - potroa, podlona je odreenim zahtjevima o kvaliteti na svakom pojedinom stupnju ovog ciklusa, budui da svaka karika ovog lanca trai odree&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&H&&&&&&&&H&&&&&&&&&&&&&&^&&K&&& &&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&H&&&&&&&&& YAlghij ;Kgxlw>\klmnopqrstu !!W PTQTSTTTUTWTXTZT\T]T_TaTcTdTgThTjTkTmTJ|>n2d(XBM_1_%niataaA:\DZIENG97.06Jerzy SmardzewskiB:\DZIENG97.06smardzewski jerzyA:\DZIENG97.06Jerzy Smardzewski$F:\KATEDRA\KADRA\SZOSIA\DZIENG97.DOCHRVOJE & GRBAC%C:\IVICA\RADOVI\DZIEGIEL\DZIENG97.DOCHRVOJE & GRBACA:\DZIENG97.docHRVOJE & GRBACA:\DZIENG97.DOCHRVOJE & GRBACA:\DZIENG97.DOC@HP LaserJet 5L (PCL)LPT1:HPPCL5GHP LaserJet 5L (PCL)HP LaserJet 5L (PCL) 'X'_;XHP LaserJet 5L (PCL) 'X'_;Xhhhchc h]ciikili{i|i}iiinop{A@@@il@jl@A{l@|l@l@l @ @g @@@AA@@@@xTimes New Roman Symbol &Arial&Arial CETimes New Roman CETms RmnTimes New Roman V  f fHUdYV @Dzigielewski StHRVOJE & GRBACHRVOJE & GRBACࡱ> ~g production and socio - ecological systems. When talking about design we always, or nearly always, have in mind objects which are artistically and technically perfect, useful for man and which are friendly to the environment in which they are or will be utilized. Man-made articles can be seen practically speaking everywhere. It can certainly be said that these objects organize and fill man's surroundings and their quantities continue to increase rapidly. This is evident everywhere at work, during journeyܥhW ,epqrrrrFrx" 13338k|X@K gk        ,1`8Qμ 1 % Dzigielewski St., Grbac I. Some selected problems of furniture design and production and natural environment Introduction The aim of this paper is to draw attention and discuss certain associations occurring between processes of furniture design and production and socio - ecological systems. When talking about design we always, or nearly always, have in mind objects which are artistically and technically perfect, useful for man and which are friendly to the environment in which they are or will be utilized. Man-made articles can be seen practically speaking everywhere. It can certainly be said that these objects organize and fill man's surroundings and their quantities continue to increase rapidly. This is evident everywhere at work, during journey, when we rest etc. It can be said that the world around us is the resultant of a variety of forms, shapes, light, colours and sounds. This milieu or environment bombards our senses, besieges our sensitivities and modifies our behaviour. In short, our habitat refines our manners, forms our psyche and affects our conditions of life. This state of the surrounding world is a fact and for most of us it is obvious and understandable. Assessment and evaluation of these complex issues must always be conducted against the background of multifaceted context of the whole. The man must always occupy the primary position, be the subject, and the objects formed and manufactured by him should serve him. The above problems form part of the discipline often referred to as industrial design which is a relatively new speciality and comprises knowledge about methods of designing industrial models and patterns characterized by high esthetic values. The beauty of a consumer's product - as an outcome of mutual correlations of function, proportion, form and colour - must conform with demands of technological processes, requirements of environment as well as current cultural trends and fashions. The importance of design in the world is high and still growing as evidenced by new branches in the field of methodology of design of industrial forms. As shown in Figure 1 (1), design combines not only elements of art and technology but incorporates many other disciplines.  Politics Sociology Psychology Economic Science - Technical sciences - - Technical design - - Technique - Production Design of industrial forms Artistic design Art Fig. 1. Interrelationships between science, art and technique Form improvement is one of the basic elements of maintaining high level of quality of articles manufactured on large or small scale and it is an essential factor in the competition of the market place, on the one hand, and in the fulfillment of consumers expectations, on the other. The objective of modern technical design is not only realization and solution of design tasks and programmes. It is equally important for designers not to allow technical solutions and their surroundings to become isolated. This can only be achieved by constant improvement and harmonization of design with elements associated with man and his natural habitat. It is evident from this short introduction that the process of design is extremely complex and difficult and that it also plays a very important part in the delicate process of modification ofn skup zahtjeva, kako od dizajnera, tako i od proizvoaa. Ponekad se ove individualne zahtjeve teko pomiri jer su kontradiktorni i krajnje teki. esto je kompromis jedino rjeenje, i samo jako dobar dizajner ga moe postii. Zakljuci Evidentno je iz gornjih razmiljanja o ekolokim principima dizajniranja i proizvodnih procesa, da su najvanije metode dizajniranja namjetaja, a zatim naini njegove proizvodnje. Dizajneri, bez obzira to imaju duboko i iroko znanje na podruju umjetnosti i tehnike, trebaju pri dizajniranju namjetaja uzeti slijedee u obzir: - drutvene i ekonomske aspekte, tj. znanje o potrebama i oekivanjima ljudi, kulturnim trendovima, te trenutnim resursima drutva; - prirodne aspekte, koji sadre dobro znanje o ljudskom tijelu, npr. antropometrike i fizioloke podatke i ekoloke zahtjeve. Takvo se znanje moe utilizirati na zadovoljavajui nain samo ako se dizajnerski proces podijeli s dobro odabranim timovima, a ne da ga rade individualni dizajneri. Nezavisno o znanju i iskustvu, potrebno je imati pristup potpunoj informaciji to se tie trenutnih trendova i podataka za primjenu u konkretnim rjeenjima. Jedan drugi element je vaan sa stanovita socio-ekolokih pretpostavki: primijenjeni sustav proizvodnje namjetaja. Upotrijebljeni tehnoloki procesi bi se trebali organizirati na nain koji ne bi dozvolio kontaminiranje atmosfere s prekomjernim koliinama razrijeivaa, niti bi dozvolio isputanje otpada ljepila, boje, lakova i ostalih kemikalija u rijeke i vodne rezervoare. Jednako je vano ograniiti razinu buke, koja moe takoer imati vrlo negativni utjecaj na okoli. Drugi problem je utilizacija rabljenog namjetaja. Dosad je najei nain bio odbacivanje starog namjetaja i odlaganje u kontejnere smea. To je posebno teko u velikim gradovima gdje lokalne kompanije koje uklanjaju smee imaju mnoge probleme. Stoga je potrebno izraditi sustav koji bi pomogao u rjeavanju tog problema. Ovaj sustav bi sadravao slijedee elemente: - prekrajanje i obnova iskoritenog namjetaja s ciljem da ih se uini jo uvijek iskoristivim; - uzimanje dijelova materijala od starog namjetaja zbog ponovne uporabe. PAGE  PAGE 20 Recovered materials Production Goodst Useful by products Wastes Distribution User -products Goods User /=SSklZ: phoenixBL sA00&" ^00&) 00&O"00& 20(fuw(20( tw(00&K;:0 0&dK00&K00&!WV20(w(20(fw(0 0&lut00&kj20( (0 0&;:20(zw(20(fw(0 0&'ts00& ;:20( Rw(20(Rw(0 0& 20 23}+,N V W X r z 79Zc7H8@Z19r4< !!""""$$*+h+j+999:7:8:>:?:::;;<<<<1=2=M=N=Q=R=a=b=~====(?-?2?9?;?A?H?V?@AQAYA ]ce ]ce uDaU]c]c]cU]cXYAAAAAAACCuDvDDD EEFFOGPGIIgKhKKKLLMMrNNWO`O=PBPBWHWNWPWRWSWVWWWYWZW[W\W]W^W_W`WaWbWcWeWgWiWjWlWmWnWrWzWF]L]__~gggghh{llllC]`uDC]`]` J]c uDauD]ac]cU]c ]ceU]c]cLllllll{{}~~~2E$+Kv K^8>NVcx>vž¡áơǡϡСAFIN;@^_ͩΩno-[$+B]`h]`hU]` ]`c U]`c ]`uDC]`uD0C]`GRٱ u]cPaP uDP]c]`U]`0pq~-N B W ^ n r s t ?89P&&&&&&&& &&&&&&&&&&&&&&&&&&&& &&&&&&w &&&&&&&hhh(%!N#%&''6())*)+*+i+j++ ,c,5/G00"1F111J22334;;;;;; ; ; ; ;&&&& &9& &&&&&&&&&&&&&&&&&&&&&&&&&&&E&&&&&&&&&h`hh* ;<<>H?I?J?K?L?M?N?O?@@PAAAAAAAAAAAABBCEDxDDDIgKhKK&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&hhvhvh`hh`h$ KKCORSNWPWSWWWZW\W_WaWcWfWgWjWmWoWpWqWrWWWx[]____aabhc^ef*g~gggg&&&&&B&&&&&&&&&&&&&&&&&& &&& &&&&&&&&&&&&&&0h`hhh( FMicrosoft Word Document MSWordDocWord.Document.69qࡱOh+'0 , T ` l xDzigielewski StHRVOJE & GRBACNormalHRVOJE & GRBAC5Microsoft Word for Windows 9DocumentSummaryInformation8 ggg;hhhi"jj0kkiljlklllmlnlolplqlrlsltlulvlwlxl&&&H&&&&&&&&&&&&&&&&&&&&&&& h 4.! h 4.$ h 4.hxlylzl{lllllllmmVpWpqq|t}t~tttttttu"u-u.ukuluRvSvww&&&&&y&y&&&&&&&&&&&&&&&&&&&&&&&&&&&,0,0,H,, h 4."wzz{{{{{{~~&'6GWop܅݅0101r k#͐ΐ<=>&&&&&&&&&&&&&&&&&&&&&&& &&k&&&&b&&&&&&&&&&&&& 0,0,0*>xyghږtuǗ5DE^_`Z[\&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&& `, 0 0,0,0(\3456¥34a+,-\]DZȱLMij&&&&&&&&&&&&&&&&&&&&&&&&&&&&&P&&3&&&&&&&&& 0,0,0 `, 0(, when we rest etc. It can be said that the world around us is the resultant of a variety of forms, shapes, light, colours and sounds. This milieu or environment bombards our senses, besieges our sensitivities and modifies our behaviour. In short, our habitat refines our manners, forms our psyche and affects our conditions of life. This state of the surrounding world is a fact and for most of us it is obvious and understandable. Assessment and evaluation of these complex issues must always be conducted against the background of multifaceted context of the whole. The man must always occupy the primary position, be the subject, and the objects formed and manufactured by him should serve him. The above problems form part of the discipline often referred to as industrial design which is a relatively new speciality and comprises knowledge about methods of designing industrial models and patterns characterized by high esthetic values. The beauty of a consumer's product - as an outcome of mutual correlations of function, proportion, form and colour - must conform with demands of technological processes, requirements of environment as well as current cultural trends and fashions. The importance of design in the world is high and still growing as evidenced by new branches in the field of methodology of design of industrial forms. As shown in Figure 1 (1), design combines not only elements of art and technology but incorporates many other disciplines.  Politics Sociology Psychology Economic Science - Technical sciences - - Technical design - - Technique - Production Design of industrial forms Artistic design Art Fig. 1. Interrelationships between science, art and technique Form improvement is one of the basic elements of maintaining high level of quality of articles manufactured on large or small scale and it is an essential factor in the competition of the market place, on the one hand, and in the fulfillment of consumers expectations, on the other. The objective of modern technical design is not only realization and solution of design tasks and programmes. It is equally important for designers not to allow technical solutions and their surroundings to become isolated. This can only be achieved by constant improvement and harmonization of design with elements associated with man and his natural habitat. It is evident from this short introduction that the process of design is extremely complex and difficult and that it also plays a very important part in the delicate process of modification ofn skup zahtjeva, kako od dizajnera, tako i od proizvoaa. Ponekad se ove individualne zahtjeve teko pomiri jer su kontradiktorni i krajnje teki. esto je kompromis jedino rjeenje, i samo jako dobar dizajner ga moe postii. Zakljuci Evidentno je iz gornjih razmiljanja o ekolokim principima dizajniranja i proizvodnih procesa, da su najvanije metode dizajniranja namjetaja, a zatim naini njegove proizvodnje. Dizajneri, bez obzira to imaju duboko i iroko znanje na podruju umjetnosti i tehnike, trebaju pri dizajniranju namjetaja uzeti slijedee u obzir: - drutvene i ekonomske aspekte, tj. znanje o potrebama i oekivanjima ljudi, kulturnim trendovima, te trenutnim resursima drutva; - prirodne aspekte, koji sadre dobro znanje o ljudskom tijelu, npr. antropometrike i fizioloke podatke i ekoloke zahtjeve. Takvo se znanje moe utilizirati na zadovoljavajui nain samo ako se dizajnerski proces podijeli s dobro odabranim timovima, a ne da ga rade individualni dizajneri. Nezavisno o znanju i iskustvu, potrebno je imati pristup potpunoj informaciji to se tie trenutnih trendova i podataka za primjenu u konkretnim rjeenjima. Jedan drugi element je vaan sa stanovita socio-ekolokih pretpostavki: primijenjeni sustav proizvodnje namjetaja. Upotrijebljeni tehnoloki procesi bi se trebali organizirati na nain koji ne bi dozvolio kontaminiranje atmosfere s prekomjernim koliinama razrijeivaa, niti bi dozvolio isputanje otpada ljepila, boje, lakova i ostalih kemikalija u rijeke i vodne rezervoare. Jednako je vano ograniiti razinu buke, koja moe takoer imati vrlo negativni utjecaj na okoli. Drugi problem je utilizacija rabljenog namjetaja. Dosad je najei nain bio odbacivanje starog namjetaja i odlaganje u kontejnere smea. To je posebno teko u velikim gradovima gdje lokalne kompanije koje uklanjaju smee imaju mnoge probleme. Stoga je potrebno izraditi sustav koji bi pomogao u rjeavanju tog problema. Ovaj sustav bi sadravao slijedee elemente: - prekrajanje i obnova iskoritenog namjetaja s ciljem da ih se uini jo uvijek iskoristivim; - uzimanje dijelova materijala od starog namjetaja zbog ponovne uporabe. PAGE  PAGE 20 Recovered materials Production Goodst Useful by products Wastes Distribution User -products Goods User /=SSklZ: phoenixBL sA00&" ^00&) 00&O"00& 20(fuw(20( tw(00&K;:0 0&dK00&K00&!WV20(w(20(fw(0 0&lut00&kj20( (0 0&;:20(zw(20(fw(0 0&'ts00& ;:20( Rw(20(Rw(0 0& 20 23 27}+,N V W X r z 79Zc7H8@Z19r4< !!""""$$*+h+j+999:7:8:>:?:::;;<<<<1=2=M=N=Q=R=a=b=~====(?-?2?9?;?A?H?V?@AQAYA ]ce ]ce uDaU]c]c]cU]cXYAAAAAAACCuDvDDD EEFFOGPGIIgKhKKKLLMMrNNWO`O=PBPBWHWNWPWRWSWVWWWYWZW[W\W]W^W_W`WaWbWcWeWgWiWjWlWmWnWrWzWF]L]__~gggghh{llllC]`uDC]`]` J]c uDauD]ac]cU]c ]ceU]c]cLllllll{{}~~~2E$+Kv K^8>NVcx>vž¡áơǡϡСAFIN;@^_ͩΩno-[$+B]`h]`hU]` ]`c U]`c ]`uDC]`uD0C]`GRٱ u]cPaP uDP]c]`U]`2pq~-N B W ^ n r s t ?89P&&&&&&&& &&&&&&&&&&&&&&&&&&&& &&&&&&w &&&&&&&hhh(%!N#%&''6())*)+*+i+j++ ,c,5/G00"1F111J22334;;;;;; ; ; ; ;&&&& &9& &&&&&&&&&&&&&&&&&&&&&&&&&&&E&&&&&&&&&h`hh* ;<<>H?I?J?K?L?M?N?O?@@PAAAAAAAAAAAABBCEDxDDDIgKhKK&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&hhvhvh`hh`h$KKCORSNWPWSWWWZW\W_WaWcWfWgWjWmWoWpWqWrWWWx[]____aabhc^ef*g~gggg&&&&&B&&&&&&&&&&&&&&&&&& &&& &&&&&&&&&&&&&&0h`hhh(ggg;hhhi"jj0kkiljlklllmlnlolplqlrlsltlulvlwlxl&&&H&&&&&&&&&&&&&&&&&&&&&&& h 4.! h 4.$ h 4.hxlylzl{lllllllmmVpWpqq|t}t~tttttttu"u-u.ukuluRvSvww&&&&&y&y&&&&&&&&&&&&&&&&&&&&&&&&&&&,0,0,H,, h 4."wzz{{{{{{~~&'6GWop܅݅0101r k#͐ΐ<=>&&&&&&&&&&&&&&&&&&&&&&& &&k&&&&b&&&&&&&&&&&&& 0,0,0*>xyghږtuǗ5DE^_`Z[\&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&& `, 0 0,0,0(\3456¥34a+,-\]DZȱLMij&&&&&&&&&&&&&&&&&&&&&&&&&&&&&P&&3&&&&&&&&& 0,0,0 `, 0(<=@Afg:&&&&&&&&&&&&&&&&&&&&&&&&&`% h 4. 0,0,0" &I&&&I&&&(&&&&, h 4.K @ Normal ]a c$@$ Heading 4b^c @ Heading 5U @ Heading 6^ @ Heading 7V @ Heading 8V @ Heading 9 V"A@"Default Paragraph Font)@ Page Number @ Footer o# @ Header o#$&@!$Footnote Referencece@2 Footnote Text!)=EScjps   &_%!(08>ErOT^e{i}qwq}zz5kia   l{|\bpq~-NB W ^ n r s t ? 89P%N "#$$6%&&')(*(i(j(( )c)5,G--".F...J//001888888 8 8 8 899;H<I<J<K<L<M<N<O<==P>>>>>>>>>>>>??@EAxAAAFgHhHHHCLOPNTPTSTWTZT\T_TaTcTfTgTjTmToTpTqTrTTTxXZ\\\\^^_h`^bc*d~dddddd;eeef"gg0hhiijikiliminioipiqirisitiuiviwixiyizi{i|iiiiiijjWmXmnn}q~qqqqqqqqr#r.r/rlrmrSsTsttwwxxxxxy{{|||||'}(}7}H}X}p}q}݂ނ1212s l$΍ύ=>?yzhiۓuvȔ6EF _`a[\]4567¢â45a+,-\]ǮȮLMij<=@Afg:@&4mn&&&&&&&& &&&&&&&&&&&&&&&&&&&& &&&&&&w &&&&&&&&&&& &9& &&&&&&&&&&&&&&&&&&&&&&&&&&&E&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&B&a&&&&&&&&&&&&&&&&& &&& &&&&&&&&&&&&&&&&&H&&&&&&&&&&&&&&&&&&&&&&&&<=@Afg:&&&&&&&&&&&&&&&&&&&&&&&&&`% h 4. 0,0,0" &I&&&I&&&(&&&&, h 4.K @ Normal ]a c$@$ Heading 4b^c @ Heading 5U @ Heading 6^ @ Heading 7V @ Heading 8V @ Heading 9 V"A@"Default Paragraph Font)@ Page Number @ Footer o# @ Header o#$&@!$Footnote Referencece@2 Footnote Text!)=EScjps   &_%!(08>ErOT^e{i}qwq}zz5kia   l{|\bpq~-NB W ^ n r s t ? 89P%N "#$$6%&&')(*(i(j(( )c)5,G--".F...J//001888888 8 8 8 899;H<I<J<K<L<M<N<O<==P>>>>>>>>>>>>??@EAxAAAFgHhHHHCLOPNTPTSTWTZT\T_TaTcTfTgTjTmToTpTqTrTTTxXZ\\\\^^_h`^bc*d~dddddd;eeef"gg0hhiijikiliminioipiqirisitiuiviwixiyizi{i|iiiiiijjWmXmnn}q~qqqqqqqqr#r.r/rlrmrSsTsttwwxxxxxy{{|||||'}(}7}H}X}p}q}݂ނ1212s l$΍ύ=>?yzhiۓuvȔ6EF _`a[\]4567¢â45a+,-\]ǮȮLMij<=@Afg:@'5no&&&&&&&& &&&&&&&&&&&&&&&&&&&& &&&&&&w &&&&&&&&&&& &9& &&&&&&&&&&&&&&&&&&&&&&&&&&&E&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&B&a&&&&&&&&&&&&&&&&& &&& &&&&&&&&&&&&&&&&&H&&&&&&&&&&&&&&&&&&&&&&&&&&W&&6&6&W&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&w &&&&&&&&&&&&&&&&&n &&9&&d &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&H&&&&&&&&H&&&&&&&&&&&&&&^&&K&&& &&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&H&&&&&&&& YAlghij ;Kgxlw>\klmnopqrstu !!W PTQTSTTTUTWTXTZT\T]T_TaTcTdTgThTjTkTmTJ|>n2d(XBM_1_DniataaA:\DZIENG97.06Jerzy SmardzewskiB:\DZIENG97.06smardzewski jerzyA:\DZIENG97.06Jerzy Smardzewski$F:\KATEDRA\KADRA\SZOSIA\DZIENG97.DOCHRVOJE & GRBAC%C:\IVICA\RADOVI\DZIEGIEL\DZIENG97.DOCHRVOJE & GRBACA:\DZIENG97.docHRVOJE & GRBACA:\DZIENG97.DOCHRVOJE & GRBACA:\DZIENG97.DOCHRVOJE & GRBACA:\DZIENG97.DOC@HP LaserJet 5L (PCL)LPT1:HPPCL5GHP LaserJet 5L (PCL)HP LaserJet 5L (PCL) 'X'_;XHP LaserJet 5L (PCL) 'X'_;Xhhhchc h]c iikili{i|i}iiimnozA@@@il@jl@A{l@|l@l@l @ @g @h @@@AA@@@@xTimes New Roman Symbol &Arial&Arial CETimes New Roman CETms RmnTimes New Roman V  f fHUdYV @Dzigielewski StHRVOJE & GRBACHRVOJE & GRBAC