Sustainability

Ellie Doolittle:

Sustainability






Proposal Paper

5/3/19

Senior Project

My interest in furniture as a whole, lay in the ability for it to provide people with an outlet for self expression and self identification in their home. Furniture serves similarly as fashion where people form a connection with objects, and identify with them on a personal level. People, are willing to buy what they have a personal connection to, and what they think fits with the way they identify themselves. Furniture acts as a representative of the individual, a way to live in an environment that best compliments the ideology and aesthetic of an individual. Furniture should understand the constantly adjusting trends and community, so that people will always be able to furnish their homes with accessories that relate to them on a personal level.

My current concerns in furniture production are the inability for the average middle class/ lower-middle class person to own furniture that won't fail them due to planned obsolescence or poor quality of material. The average person should be able to afford good quality furniture at a reasonable price. Another concern is the lack of consideration from manufacturers lack of awareness toward towards materials impact on environment. With cheaper furniture being produced there is a large increase of waste that ends up in landfills. To decrease this we need to make longer lasting furniture that when its lifespan is eventually over will have a smaller environmental footprint, such as materials being sustainably sourced, and plans for recycling, reuse and repurposed. Another concern is our waste culture from constantly changing aesthetics. We mass produce cheap accessories and furniture changing the common trends making people want to keep replacing their home goods even before they have reached their lifespan, in order to decorate their home to their new aesthetic requirements. We need furniture that will impact its owners in order to last longer in a person's home.

Furniture design needs to enforce an awareness in affordable living along with material and environmental sustainability, as well as an analysis on the impact of current cultural aesthetics.


The urge to have your home express your best self is commonplace, and often time the furniture and home accessories that do it the best and will last the owner the longest will cost a much larger amount of money. This is a poor standard for all consumers. While cheaper furniture retailers provide customers with the opportunity to decorate their home for their aesthetic style, and current trends, many times these places have a planned obsolescence to their materials and consumers have to replace their furniture at a much higher rate. This constant replacement of furniture ends up causing these people to spend more money in the long run than they would if they were to save for a more resourceful piece of furniture. In order to address the concerns of affordability designers need to inform the common consumers as to why objects are priced the way they are. Education is the key to understanding, and it also makes it so that companies cannot hide their costs and profits from their consumers. This will help consumers find companies that create affordable and durable furniture to the best of their price range. Ways to introduce costs to consumers would be explanation on price of material and reasons/benefits of materials used. Then if there is a way to universally explain manufacture fees and retail fees, along with artists portion, people might be more understanding as to why objects are priced the way they are and be more willing to save for a better piece of furniture.

Although, a lot of furnichure purchases come with a guarantee of spending a large sum of money, it is unfortunate that many pieces of furniture are so highly priced that the average U.S. citizen would hardly be able to afford a new couch over the frame of a year. According to the government census only 40% of married people, and 20% of unmarried people earn 40k or more a year. And as of 2006 the average person is $63,000 in debt, and the average Bachelor graduate is $100,000 in debt. According to the Minneapolis department of numbers the average U.S. income is $32,397 per capita, and $39,696 per capita in Minneapolis.

In 2017 the average U.S. cost expenditures averaged a total of $57,807, totalling more than the average income, $19,884 of that being housing, and $2,010 of that falls into “other expenditures”, where furniture would fall into.

A single person living in Hennepin county with no children has average expenses that total $32,448- housing totaling $10,320, furniture falling into the “other” category totaling $4,440. If we consider how much money is left in the other categories from these statistics, and recognize that this category has many separate uses, it’s hard to dedicate a large sum of that money to furniture. When you look at Ikea for example, the average price for a couch is $2,458. Ikea furniture is some of the most affordable prices available, all their couches cost around this price point or less. If we look at CB2, they average $2,060 for couches, but they don’t offer much below this price point and can vary between <1000 and >6000. If we look at this we can see that for just the price of a couch the average person is spending around half of there “Other” expenditures for the year on a single item of furniture alone. With this information we can understand why people are so hesitant to save up to by a more expensive piece of furniture when a cheaper, and perhaps equally as beautiful piece made in worse quality might suite them nearly as well. This is why I develop my work. The couch that I am creating is made from solid Oak, a hard wood that is durable and will last a person a long time. The oak for this couch costs around $500. The cushions are removable so they can serve multi-purpose- such as floor pillows, and also so they can be machined washed. An american made fabric is used for the cushions and if the consumers style changes, instead of getting a whole new couch it is much more affordable to reupholster the cushions. The couch requires approximately 5 yards of Barkcloth Fabric which I sourced from Revolution Performance Fabrics at about $35 a yard, totaling about $175. The cushion interiors are made from a affordable foam and made to last for many years before replacing. This information is so that consumers will know why they are investing their money in quality material and products.


When considering sustainability we must consider the waste culture and fast fashion convincing people to replace their homegoods to suite the adjusting trends. A way to fight this is to create furniture that has an inclusive style, that fits multiple aesthetics so more people will find a connection to it. An equally important aspect to sustainability is material usage. The consideration as to what material will best serve the purpose of the furniture, what material will last the longest, and what materials will least likely leave a harmful footprint when eventually disposed of. As of 2006 the average lifespan for a sofa is about 7.6 years so manufacturers need to consider and create with materials that will match this life span, or if not, consider what may need to be replaced and how to easily and affordably make that possible. So manufacturers need to consider individual material lifespan. If produced and taken care of properly certain woods can last over 100 years. We can look at woods like soft maple which is not very durable, especially over a period of time, and can be insect prone but reasonably affordable and compare it to mahogany which is moderately durable, still great for furniture, not too expensive, but is being sourced too frequently to the point that it has become vulnerable in its population numbers. Teak is great for durability and environmental impact but very expensive. Oak is a good consideration, being very durable and moderately priced and not harming its population numbers through harvesting. Fabric has a lot a variability from material to weave, durability and cost. Linen can be great because it is eco friendly (biodegradable) it is a managed resource, and easy to clean, not always as durable, but very reasonably priced. Cotton can be very durable especially with a heavier weave but can be more expensive.


Furniture production has expanded to such an extent that we now have a constantly changing aesthetic environment and a culture that is never satisfied with their belongings. A problem produced through the urge to express oneself through furniture is that because we as individuals are always changing, and as the world around us is always changing, we don't often have belongings that change with us. A solution to this is to create furniture that people are more likely to create a lasting bond with so that when they develop their tastes, their belongings grow with them and they develop a connection to their belongings. And when it comes time for a person to dispose of their belongings they will either try to get it recrafted in order to continue to hold on to that belonging, try to find it a new home so that it is still in the world, or if that piece of furniture has finally reached its limit and needs to be thrown away, it should be able to be disposed of with less effects on the world and pollution.

Some companies have already started taking off with this idea such as Ecobalanza and Environment Furniture. Companies like this are able to work with personal aesthetics and material choices by providing a stand alone piece of furniture that can be slightly modified for each customer. Because of this they do not provide price points until the customer calls and communicates their needs. Revolution Performance Fabrics also considers this in the upholstery grade fabric. All fabrics are chemical free, durable, machine washable, and American made.

Countering fast trends is about providing something to consumers that they are proud to own, and will want to keep in their home for a long time. As well as providing an outlet for self expression through furniture. Providing a way for people to create a comfortable environment for themselves.

Furniture design needs to enforce an awareness in affordable living along with material and environmental sustainability, as well as an analysis on the impact of current cultural aesthetics. Affordability comes down to an understanding from consumers as to why they should save for a piece of furniture. Sustainability does not just mean environmentally but also economically. We can protect our future purchase but acquiring furniture that will last us, but through our identity and comfort placed on the object but also by purchasing furniture that will live a long life in your home. People are more willing to spend money on object worthy of their price, and if we consider sustainability to not only mean environmental footprint but durability in creation, and economical sustainability than furniture can last people a lifetime making price more worth the value. If this is achieved then waste culture could become obsolete In the meantime it is still important to understand fast trends and that with fast trends becomes an inordinate amount of waste. Businesses and consumers need to fight this by putting value in objects that are sustainable, and by valuing object that speak to them personally rather than on a surface level following cultural aesthetic trends. In the end, furniture should have meaning in a person's home. Awareness of one's personal objects will bring them closer to them and create a lasting bond that will make furniture an outlet for self expression in one's home. Furniture is meant for much more than just fast trends, it is meant to make an impact in a home, but not in a wallet, or on the earth.






    Bibliography:

Books:

  • Bovea, Marı́a D., and Rosario Vidal. "Materials Selection for Sustainable Product Design: A Case Study of Wood Based Furniture Eco-design." Materials & Design 25, no. 2 (2004): 111-16. doi:10.1016/j.matdes.2003.09.018.

  • Fabbro, Mario Dal. Upholstered Furniture; Design and Construction. New York: McGraw-Hill, 1969..

  • Proctor, Rebecca. 1000 New Eco Designs and Where to Find Them. London: Laurence King, 2009

  • Schleining, Lon. The Complete Manual of Wood Bending: Milled, Laminated, and Steam-bent Work. Fresno, CA: Linden, 2002.

Websites:

  • "Ecobalanza." Ecobalanza. Accessed March 24, 2019. https://www.ecobalanza.com/.

  • "Minneapolis-St Paul-Bloomington Minnesota Household Income." Department of Numbers. Accessed March 24, 2019. https://www.deptofnumbers.com/income/minnesota/minneapolis/.

  • Revolution Fabrics by the Yard. "Performance Stain-Resistance Upholstery Fabrics | Revolution Fabric." Revolution Fabrics by the Yard. Accessed March 24, 2019. \https://www.revolutionfabricsbytheyard.com/.

  • "Safia Sofa." Environment. Accessed March 24, 2019. https://environmentfurniture.com/detail/safia-sofa.

  • US Census Bureau. "Wealth, Asset Ownership, & Debt of Households Detailed Tables: 2014." Wealth, Asset Ownership, & Debt of Households Detailed Tables: 2014. September 17, 2018. Accessed March 24, 2019. https://www.census.gov/data/tables/2014/demo/wealth/wealth-asset-ownership.html.

2019 Senior Show Exhibition

may 18th, 2019 ellie doolittle received her BFA in furniture design with a minor in art history. her senior show exhibition contained her beliefs in economical and environmental sustainability, as well as sebastian, sunseat, and patina lamp

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economical

Of Time // And Labor

Of Time // And Labor shows recent works from six artists: Loni Ayers, Kehayr Brown, Ellie Doolittle, Kathy Huang, JamesPaul Palmer-Wilson, and Maria Epiphany Robinson. One painter and five furniture designers, demonstrate the impact of time and the way it carries itself in their works. The presented works stress a focus on history, culture, and craft for the artist. The gallery space cultivates an environment for the audience to walk through and experience the art, imagine and experience the art making process. Artists invite the audience to imagine and experience the sound and performance of art the art making as they walk through the gallery and view each piece.

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A Socially Active Artist’s Impact

The purpose of this essay is to ignite a conversation about the artist, and what their role is in a community. If there is a correct answer it is unbenounced to me, and perhaps there really is no one way, but we shall look at multiple steps others have taken and understand the impact those creative people have made.

Whether we, as artists, are meant to implement our works into a community through thoughtful consideration, or to represent art through an artist run space to encourage the growth of art in the public, or if we are just meant to spread creativity so that communities can find strength within, one can not be for certain. But we will consider it all.

 

Gentrification is the process of renovating and improving a house or district so that it conforms to middle-class taste. From the definition we can see already that the term improving, used here, is seen through the eyes of those making the renovations. And through this transformation usually a poor neighborhood undergoes changes to create a more middle-class friendly environment, which often too means a white friendly environment. Through this transformation rent and other costs of living raise forcing the poor people out of their homes, making them disconnect with a community that many times they had been apart of for a majority of their life, and creating more homelessness. There are multiple things that can cause gentrification, but what we will be looking at in this essay is how artist impact communities. When an artist takes their practice into public spaces they are attracting attention. If done well, it will be an encouragement and a source of positivity for the community, but if an artist does not communicate with the public than it can encourage people from outside that community to participate and want to insert themselves into that community.

 

Mel Chin is a socially active, conceptual visual artist who uses environmental, social, cultural, and political information to create art that comments on public needs, and creates steps towards better living. Understanding whether art has made an impact in a society is hard to measure. Mel Chin views his public art to have purpose in the way that some pieces are just made to help bring awareness, some are made not to do anything but tell a story, and others are made not as a solution but as a way to help. Mel Chin uses data he researches about a community to accurately portray and understand that topic, and communities need. Some pieces are applied into a museum setting where there purpose are to bring awareness to an outside public, but when Mel makes a piece for a community setting, he said he always asks the neighborhood first. This is a large necessity due to many artist lack of knowledge of the community they are working in, their work becomes an interruption, and not something that the neighborhood necessarily wants. For Mel Chin, his art may not solve the primary community needs but may make living easier, and encourage change while creating hope.

Something that I think really stuck with me. That really made me appreciate arts influence in public works was "L’Arctique est Paris." What a fantastic film. As Mel stated it needed a little bit of absurdity to draw people's attention, but once you watch through you realize the important point it is trying to make about global warming and changing climates. A striking film that makes all the difference when understanding art and the public.

 

On the Public Functionary webpage they define themselves by saying “Public Functionary (PF) is an art exhibition and social space in Northeast Minneapolis (opened in 2012). Our approach challenges past paradigms of gallery culture. Public Functionary invites a broader audience reflective of the creative diversity of the Twin Cities to feel welcome, engaged and connected. We work towards a new expression of access and community in a modern context.” While talking with Tricia Heuring, a director and curator at Public Functionary, a conversation occurred where they shared their view of artist’s responsibility. A want for community engagement, and finding ways to make their space more comfortable for all, is their way of creating a growing art community. In Temporary Art Review: Public Functionary we are shown a way of understanding what to expect when first going to Public functionary. I think understanding this space is very important because they are more than just a gallery. The space in itself is a type of “social sculpture,” showing art not to portray, but to evoke. It has to do with more than just portraying reality but evoking a curiosity in the piece and emotion felt through a person's experience with that art. As another way of encouraging community participation Public Functionary shows their exhibitions online and have a very heavy social media presence. They are very focused on getting their art out there and communicating with the people in the best, and most convenient way possible. While talking with Tricia she encouraged artists to learn how to be an art organizer. Even if that is something that does not seem interesting to you at first, she clarified the importance of that role, of being more than just an artist. We have a social role, we expect society to take in our art without helping society move in an art positive direction. That thought gave a whole new importance to these types of alternative spaces. They are for the artist but even more, for the growth and development of people and their interpretation of art.

 

When wanting to help a community, something that may change who one wants to invite might be the realization that there is a difference between creative people and creativity. Often times artist are invited to a community to create life and a mutual feeling for its inhabitants but many times the artist might not have gotten to know the community and just does what they think is best. A great way to learn from this is to look at the people living in that space and realize that you do not need to be an artist to be creative. Creativity is found in all communities, and the best way to support a community is by highlighting their creativity above your own. This is a concept that will be introduced by Robert Bedoya

 

Robert Bedoya writes two articles, CREATIVE PLACEMAKING AND THE POLITICS OF BELONGING AND DIS-BELONGING, and Spatial Justice: Rasquachification, Race and the City. In these articles Bedoya expresses ways to help a community without placing yourself above them. Bedoya mentions how a community does not need new things implementing it, but instead needs to be reminded that what it has already is worth preserving through creative placemaking placekeeping. Highlighting positives that a community shares, using placemaking as a way to highlight the physical and social characteristics of a place, while bringing the community together. Bedoya also mentions Rasquachification which is “to suggest placekeeping as a strategy of advancing racial justice goals,” or to use placekeeping as a way to create a sense of belonging for everyone in the community and enact the works of placemaking. This process will counter the process of gentrification and instill a community to progress together. Bedoya articulates how we as people can work with communities, and help prevent the harmful aspects of gentrification.

 

An artist in many ways is meant to disrupt. Show more than “what is,” to leave room for people to feel, and want to ask questions. This crosses over in community based artist works as they try to bring to the public's attention important subjects that many standard ways of display cannot. This is a fact proven time, and time, again as we continue learning of an artist's responsibilities in communities. While learning of public art works I have gone from thinking that we, as artists, should not have a role due to our connections with gentrification, to thinking we can only impact a community through artist run exhibitions if we are to place an impact at all, because then at least we are trying to help a community develop their creativity. Now I believe that it isn’t an artist's role to do anything beside spread creativity. It is a person's role to impact community and an artist does this through creativity. I don’t know if there is a right or wrong though. Mel Chin is able to help a community through his community based works, and Public Functionary is able to place work in a community through their artist run space. But I think Robert Bedoya considered an artist's place in another's community best through his encouragement of a whole instead of an individual.



 

Bibliography:

•https://manpodcast.com/portfolio/no-173-mel-chin/

•https://art21.org/artist/mel-chin/

•http://temporaryartreview.com/public-functionary-a-prologue/

•https://artsinachangingamerica.org/creative-placemaking-and-the-politics-of-belonging-and-dis-belonging/

•http://creativetimereports.org/2014/09/15/spatial-justice-rasquachification-race-and-the-city/