We have noticed that you are running AdBlocking software. Unfortunately the Adblocking software blocks access to our Motor Insurance Comparison Site. Please turn AdBlocker off for this site and refresh the page to be able to view the comparison page. All fields marked must be filled in Best time to call: The contact details you've provided above will be sent to the advertiser, and by providing these details you consent to Exchange and Mart passing these details on to the advertiser for you to be contacted by these means. Messages will be screened for inappropriate content, and will be stopped if found to be the case. This advert has been added to your shortlistWing back chair 1-25 of second hand products for sale X x Receive the latest products by email By registering you agree to Trovit's Terms and Conditions and Privacy Policy Relevance Date (most recent) Date (oldest) Price (lowest first) Price (highest first) No min £25 £50 £100 £200 £300 £400 £500 £1,000 No max.

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strong 2 3 4 5 Next » furniture & objects Do hit chair Grab the hammer and hit your own chair. After a few minutes or hours of hard work you become the co-designer of Do hit. Product code: 087 01/02 Designer: Marijn van der Poll Material: 1.25 mm stainless steel, hammer Size: 100 x 70 x 75 cm / 39.4” x 27.6” x 29.5” Edition: numbered / hit by the designer Biography: Marijn van der Poll Marijn van der Poll was born in 1973 in Eindhoven, the Netherlands. He grew up in Asia, where he graduated from Singapore American School in 1992, and later from the Design Academy Eindhoven in 2002. Marijn van der Poll has worked on projects for companies including Ahrend, Droog and Damen Shipyards Group. His designs range from one-off automobiles and unique furniture pieces which have been displayed around the world in museums such as the Victoria & Albert Museum and the Louvre and have been published in leading magazines like TIME and Domus. Open the catalogue to page 1Volume 39, January 2013, Pages 99–112

The Second World War Utility furniture scheme represented a distinctive moment in the changing geographies of the twentieth-century British furniture industry. The scheme enabled the British state to direct the entire furniture commodity chain, from the regulation of timber supplies through to the management of final consumption. Whilst there has been some discussion of Utility within the context of modernism in design, the paper explores the broader historical geographies of Utility furniture. We demonstrate the ways in which state activity in wartime reconfigured socio-economic networks of production, distribution and consumption. The paper’s assessment of the Utility scheme reveals the importance of historical contingency in commodity chain dynamics as well as the role of the national state as a key organising agent. Highlights ► Highlights configuration of British furniture commodity chain at time of crisis. ► Reveals distinctive geographies of design, production, distribution and consumption.

► Foregrounds role of the state in reconfiguring commodity chains.Planned through the latter part of 1942 and implemented in 1943, the scheme enabled the state to direct the entire furniture commodity chain, from the regulation of timber supplies to the management of final consumption. The wartime office of the Board of Trade specified a small set of designs for manufacture, designated individual firms for the production of Utility furniture, and controlled distribution through the issue of buying permits to households. When the scheme began, allocations of ‘units’ were provided to newly married couples setting up their first home and to existing households who had lost furniture as a result of bombing, whilst later in the war the families of pregnant women and/or with growing children also were prioritised. 1 The Utility furniture scheme continued in a strict sense until 1948, with a modified ‘Freedom of design’ phase lasting until the end of price control and quality assurance in 1952.

Whilst the Utility period may appear to be a relatively short episode, it was shaped by concerns about the furniture industry which stretched back to the late nineteenth century, including disquiet with poor working conditions in sweated parts of the trade. 3 The reorganisation of the industry under the Utility scheme also was bound up with debates about the value of ‘good design’ and a need for design reform, which continued to frame assessments of the British furniture industry through the 1950s and 1960s. In part, the Utility scheme sought to address contemporary critiques such as Pevsner’s which decried parts of the furniture trade for lacking design skill and reproached retailers for offering ‘cheap goods’ to the public. 4 When the scheme was introduced by the Board of Trade in 1942, a press announcement implied a need for design reform: ‘the function of the [Advisory] Committee [on Utility Furniture] will be to produce specifications for furniture of good, sound construction in simple but agreeable designs for sale at reasonable prices, and ensuring the maximum economy of raw materials and labour.’

Design historical approaches have situated the emergence of Utility design in relation to both modernism and the Arts and Crafts movement, as well as tracing connections between the Utility scheme and state-sponsored efforts to encourage ‘good design’ such as the establishment of the Design and Industries Association, the Council for Art and Industry and the Council of Industrial Design. 6 Some accounts have read the aims and intentions of the Utility furniture scheme as a means of attempting to shift British attitudes—of the industry itself as well as the wider public—away from ‘traditional’ and towards ‘modern’ designs. 7 In this paper we situate the scheme within the context of a broader system of wartime controls at a time of deep crisis. Faced with constraints at all points in the furniture commodity chain, the British state became involved in a wholesale reimagining of the geographies of furniture production, distribution and consumption. Early in the Second World War, the state was compelled to engage with acute shortages of finished consumer goods as well as the primary raw materials of timber, plywood and veneers.

8 Retailing and distribution of furniture also required control and intervention, given that the transport of bulky goods over long distances placed demands on scarce petrol resources. Finally—and not least important—leading furniture manufacturing firms were drawn into war work, leaving limited plant and labour capacity in remaining small and medium sized firms. Domestic furniture production was restructured via the ‘designation’ of individual firms in particular cities and regions to produce different types of Utility furniture (i.e. chairs, sideboards, wardrobes etc.) in order to distribute manufacturing capacity more evenly across the whole of Britain. 9 Careful specification of a narrow range of designs sought to ensure that manufacturers achieved economy of materials and were able to provide a uniform quality of product to consumers at fixed prices. As a 1942 Board of Trade memorandum written shortly before the introduction of the Utility scheme stated, ‘price control of new furniture cannot achieve maximum effectiveness until there is complete control of all stages of production from the raw material to the finished article.’

The central aim of this paper is to elaborate and interpret changing geographies of the British furniture industry during the wartime Utility period. 11 The paper makes two important contributions. First, we develop the Utility case as a means of foregrounding the role of the state in reconfiguring commodity chains, and underscoring ‘the implications of this insight for appreciating the historically contingent and politically constructed nature of chains.’ 12 The vast majority of research on late twentieth-century commodity chains and networks has emphasised the coordination of chains by lead firms (or transnational corporation networks). 13 However, the example of Utility furniture offers the possibility of excavating the role played by the national state not merely as an institutional backdrop to the making and remaking of commodity chains but rather as an important ‘organising agent.’ 14 The paper seeks to develop new perspectives on geographies of commodity chains and the role of the state: that is, not only do states regulate commodities as they cross territorial boundaries, but also—as explored here—they may act to reconstitute commodity chain dynamics at different scales.

Insofar as an investigation of Utility furniture during the Second World War illuminates a distinct power shift away from manufacturers and retailers and towards the national state, our account lends weight to Bair’s argument that ‘historical analysis… helps to avoid the temptation of seeing the organisation of contemporary commodity chains as necessary or inevitable….’ Second, the case of Utility furniture provides a valuable window onto commodity chain dynamics at a time of crisis, sharply contrasting with contemporary global commodity chain analyses which emphasise ‘the durability, expansion and institutionality of global markets.’ 16 Further, the paper’s focus on a distinctive type of crisis—that is, wartime—demonstrates the ways in which military activity reconfigures socio-economic networks of production, distribution and consumption. As Evenden has observed in the case of the aluminium commodity chain, wartime restructuring redrew the boundaries of industrial geography and geopolitics;

mobilised distant peoples and places and environments; and imposed a legacy on postwar production and consumption patterns. Additionally, however, our discussion amplifies arguments about the ways in which war reshapes activities within and across nodes in the commodity chain with a notable focus on a product destined for domestic rather than military consumption: furniture. The remainder of the paper traces the geographies of Utility furniture through consideration of transformations in timber supply; reshaping of manufacturing geographies; and shifts in the retailing and consumption of furniture, documenting the ‘extensive’ and ‘intricate’ control retained by the British state through the Board of Trade. 18 Whilst coordination and control of the wartime food and clothing industries were perhaps strongest at points of consumption (particularly, of course, via rationing), the furniture industry was distinctive in the reconfiguration of practices and processes across the commodity chain.

Like its counterparts in continental Europe and North America, the early twentieth-century British furniture industry predominantly worked in wood. 19 Tracking the raw material sources of Utility furniture thus necessitates careful investigation of the supply of timber as well as plywood and veneers. During the inter-war period ‘96% of total requirements [across the whole of the British economy] were regularly imported.’ 20 Timber and plywood imports dominated both by value and by volume: in pre-war years we spent more money on timber and plywood imports than on any other raw material; the pre-war average import of softwood, hardwood and pit-wood was 9.5 million tons as compared with the next highest, 7.25 million tons of iron ore, pig iron, scrap, steel ingots and semi-finished steel. Hardwood timber was obtained from Canada and the USA as well as ‘tropical’ sources, whilst softwood typically was imported from Finland, Russia and the Baltic states of Estonia, Latvia and Lithuania.