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Muebles de madera para interiores en Europa
Laura Melissa Cardiel Chávez
12010438
Ingeniería en diseño Industrial
Universidad de Celaya
29 de Septiembre del 2014
El mercado de la madera en la UE ser caracteriza por su carácter comunitario y por tener
un enfoque que trascienda a los países que la forman. A pesar de que la política forestal es
competencia en los estados miembros, la UE tiene una estrategia forestal común
aprobada por el Consejo. De esta manera la UE puede aplicar y coordinar políticas
comunes a favor de la gestión sostenible de los recursos forestales del territorio europeo.
En el mercado europeo las industrias de la madera y los muebles son muy importantes, no
sólo por su relevancia económica, sino también por su importancia social y
medioambiental. Actualmente 186.000 empresas, la mayor parte de ellas pequeñas y
medianas, forman el sector que facturó 226.000 millones de euros en el año 2005 dando
empleo a unos 3 millones de personas.
El mercado europeo es muy dinámico debido a las sucesivas ampliaciones de la UE. Así, la
estructura de las industrias forestales ha ido cambiando a media que se han ido
agregando nuevos países.
Los cambios en el mercado global y los nuevos actores económicos, la aparición continua
de nuevas tecnologías y la renovada conciencia ecológica de la sociedad son los nuevos
retos a los que la industria maderera europea tiene que enfrentarse y adaptarse para
mantener su actual posición.
MATTIAZZI
“Mattiazzi disproves the modern myth that mechanized manufacturing is not a craft.”
WE DO WOOD
“A piece of furniture is a success when it invites you to use it and does not require too
much explanation!”
RIVA 1920
“Design teaches us what furniture aesthetics is, but it is too greedy and unfortunately
forces quality to be hung on price. All I can do is treasure the written words, my thoughts
and go on facing the world and always trying to do my best going back to the start”
PIET HEIN EEK
“I always come back with plastic bags full of pieces of the forest. It’s about seeing
materials and techniques that are available for design, but not being used for that
purpose. Scrap wood could be gold. It could be everything”
RUPERT BLANCHARD
“The search can take me far and wide building relationships with second-hand furniture
dealers, car boot sellers, market stall holders and waste clearance companies selecting
items that would often be disposed of without a second thought”
MANOTECA
“Our grandmothers would never throw anything away. They grew up in difficult times,
when it wasn’t that easy to get new stuff. Everything was treated sparingly and with care
to make things last as long as possible. It’s strange how now we are reconsidering this
attitude from the exact opposite approach: we try to avoid being overwhelmed by the
waste of consumerism.”
JOSEPH WALSH
“I believe we can enhance the quality of our lives by surrounding ourselves with objects
that possess values beyond their function or aesthetic, that possess intelligence in their
creation”
VALCUCINE
“An important element for the sustainability of an object is its duration. The more durable
an object is, the more sustainable it can be considered to be. Handicraft work is functional
to aesthetic durability because customisation and manual work create a bond towards the
object that make its beauty appreciated for longer”
Commode, ca. 1745–49
Charles Cressent (French, 1685–1768)
Pine and oak veneered with purplewood, mahogany, and bois satiné (bloodwood), gilt–bronze
mounts, portor marble top; H. 34 1/2 x W. 55 x D. 22 3/4 in. (87.6 x 139.7 x 57.8 cm)
The Jack and Belle Linsky Collection, 1982 (1982.60.56)
Armchair (bergère en cabriolet), 1788
Jean–Baptiste–Claude Sené (French, 1748–1803)
Carved, painted, and gilded walnut; H. 39 x W. 27 1/4 x D. 25 1/4 in. (99.1 x 69.2 x 64.1 cm)
Gift of Ann Payne Blumenthal, 1941 (41.205.2)
Bibliografía
http://www.woodindesign.com/2012/12/04/top-10-european-designers/
http://www.metmuseum.org/toah/hi/hi_woodfurnieuro.htm
http://www.confemadera.es/jovenes-con-madera/padres/el-mundo-empresarial-de-la-
madera/i/755/327/mercado-de-la-madera-en-la-union-europea

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Muebles de madera para interiores en Europa

  • 1. Muebles de madera para interiores en Europa Laura Melissa Cardiel Chávez 12010438 Ingeniería en diseño Industrial Universidad de Celaya 29 de Septiembre del 2014
  • 2. El mercado de la madera en la UE ser caracteriza por su carácter comunitario y por tener un enfoque que trascienda a los países que la forman. A pesar de que la política forestal es competencia en los estados miembros, la UE tiene una estrategia forestal común aprobada por el Consejo. De esta manera la UE puede aplicar y coordinar políticas comunes a favor de la gestión sostenible de los recursos forestales del territorio europeo. En el mercado europeo las industrias de la madera y los muebles son muy importantes, no sólo por su relevancia económica, sino también por su importancia social y medioambiental. Actualmente 186.000 empresas, la mayor parte de ellas pequeñas y medianas, forman el sector que facturó 226.000 millones de euros en el año 2005 dando empleo a unos 3 millones de personas. El mercado europeo es muy dinámico debido a las sucesivas ampliaciones de la UE. Así, la estructura de las industrias forestales ha ido cambiando a media que se han ido agregando nuevos países. Los cambios en el mercado global y los nuevos actores económicos, la aparición continua de nuevas tecnologías y la renovada conciencia ecológica de la sociedad son los nuevos retos a los que la industria maderera europea tiene que enfrentarse y adaptarse para mantener su actual posición.
  • 3. MATTIAZZI “Mattiazzi disproves the modern myth that mechanized manufacturing is not a craft.”
  • 4. WE DO WOOD “A piece of furniture is a success when it invites you to use it and does not require too much explanation!”
  • 5. RIVA 1920 “Design teaches us what furniture aesthetics is, but it is too greedy and unfortunately forces quality to be hung on price. All I can do is treasure the written words, my thoughts and go on facing the world and always trying to do my best going back to the start”
  • 6. PIET HEIN EEK “I always come back with plastic bags full of pieces of the forest. It’s about seeing materials and techniques that are available for design, but not being used for that purpose. Scrap wood could be gold. It could be everything”
  • 7. RUPERT BLANCHARD “The search can take me far and wide building relationships with second-hand furniture dealers, car boot sellers, market stall holders and waste clearance companies selecting items that would often be disposed of without a second thought”
  • 8. MANOTECA “Our grandmothers would never throw anything away. They grew up in difficult times, when it wasn’t that easy to get new stuff. Everything was treated sparingly and with care to make things last as long as possible. It’s strange how now we are reconsidering this attitude from the exact opposite approach: we try to avoid being overwhelmed by the waste of consumerism.”
  • 9. JOSEPH WALSH “I believe we can enhance the quality of our lives by surrounding ourselves with objects that possess values beyond their function or aesthetic, that possess intelligence in their creation”
  • 10. VALCUCINE “An important element for the sustainability of an object is its duration. The more durable an object is, the more sustainable it can be considered to be. Handicraft work is functional to aesthetic durability because customisation and manual work create a bond towards the object that make its beauty appreciated for longer”
  • 11. Commode, ca. 1745–49 Charles Cressent (French, 1685–1768) Pine and oak veneered with purplewood, mahogany, and bois satiné (bloodwood), gilt–bronze mounts, portor marble top; H. 34 1/2 x W. 55 x D. 22 3/4 in. (87.6 x 139.7 x 57.8 cm) The Jack and Belle Linsky Collection, 1982 (1982.60.56)
  • 12. Armchair (bergère en cabriolet), 1788 Jean–Baptiste–Claude Sené (French, 1748–1803) Carved, painted, and gilded walnut; H. 39 x W. 27 1/4 x D. 25 1/4 in. (99.1 x 69.2 x 64.1 cm) Gift of Ann Payne Blumenthal, 1941 (41.205.2)