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The chair is an icon for the history of design

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Though it involves function, te chair can also be seen as an art work that expresses cultural ideologies that represent a reflection of the contemporary aesthetic of the time in which it was created (Peters and Besley 2006). A an example, Eyptians had the tendency to apply to their artwork the philosophy that was primarily founded in the idea that natural forms should be applied in order not to disturb the balance of the universe by creating an artificial object. S Egyptians applied this philosophy to the construction chair (Chisholm 1911).

Eentually in each era a series of factors were shifting the chair as an everyday object that finally would combine function and ergonomics. N other artefact could manage to maintain its disciplines (regarding function and cause) and holds the capacity to reflect as high an element of beauty. Cairs can be manufactured or handcrafted in different sizes, mterials, clours, sapes, ad aesthetics, bt still maintain the function of providing a space for seating. Tking into account historical references, cairs reflected a kind of social and economical chair also was constituted as a symbol of dignity, pwer and authority.

Hstorians though connect the chair also to religion, a a symbol of ecclesiastical origin. Util the 16 century, te chair was primarily found in royal and ecclesiastical spaces until it was established and became more evident in common spaces. Te Byzantine era (395 -1453), ad therefore also the Greek and Roman era, hve been important for the form of the chair as the lions’ heads and winged figures of Victory or Nike and dolphin-shaped arms used.

periods also show the emergence of lyre-backs which have been made familiar by the pseudo-classical revival of the end of the 18th century. Te head of the lion was a symbol of power and was used for ornamentation (Chisholm 1911). Te materials during that period could be marble, sone, ion or wood. Dring the Medieval and Renaissance periods, cairs were found in wealthy homes, tmples and of course in the home of royalty, sowing the economical superiority and presence of power within the presence of such possessions. chairs of era were mostly made of wood, ad were handcrafted with delicate carvings which were not affordable to everyone, a the artists were doing everything by hand.

A that time there was not a.. .

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