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Dear customers. Please note that custom furniture has custom sizes and your wishes.
The same set of furniture can be both cheaper and more expensive. In addition to size, the cost is usually influenced by:
External materials. For example, facades made of wood, plastic, enamel, with or without patina, matte, glossy, with photo printing, etc.;
tabletop made of plastic or stone, presence of a wall panel: in the color of the tabletop, with photo printing or others, etc.
Internal components. For example, hinges, drawers with or without closers, the presence, types and number of mechanisms; presence and quantity of decor, etc.
The furniture sets presented on the site are manufactured by our factory in different time, during which prices changed, so we do not recalculate all submitted photographs, but count projects created after measurements specifically for you or projects provided by you.
Each project has individual characteristics and an individual cost depending on the types and quantities of materials and components used, sizes and design.
Together we will create best project in appearance, convenience and price!
We will be happy to answer your letter!
(Prices for linear meter As a guide to the minimum cost depending on the material of the facades, they are given in the corresponding section (see the top menu of the site).
For calculation of the kitchen, wardrobe, other furniture, set of facades Please describe your wishes and premises in free form, indicating:
- Dimensions of walls and furniture
- Presence of protrusions and pipes
- Describe the design, material and color of the facade
- Presence of closers in drawers, baskets, hinges
- Availability of lighting panel, cornices, other wishes
- Your phone number and name
For kitchen additionally indicate what appliances are planned (built-in or free-standing: refrigerator, oven, dome hood or in a cabinet, Dishwasher 450 or 600 mm, etc.)
- Tabletop type (plastic/stone)
- There will be on the wall Wall panel, photo printed panel or tile
For wardrobe additionally indicate:
- Wardrobe type: free-standing or built-in.
- System:
Aluminum - standard, inexpensive, strong, profile in different colors.
Hidden - suitable for free-standing wardrobes, costs more. For hanging any furniture fronts. - Number of doors.
For a set of facades additionally indicate which of them:
- Deaf (without glass): height, then width - in millimeters, quantity
- Showcases (for glass or stained glass): height, then width - in millimeters, quantity
- Which ones are boxes?
- Count glass or stained glass
- Are new hinges needed, with or without closers, quantity.
If you have a floor plan with a furniture design, a separate furniture design, a photograph for reference, or a hand-drawn drawing, please attach them to your application for calculation.
It is advisable that you come to our store to get acquainted with furniture samples, materials, components, capabilities and directly participate in the creation of your project on the computer with calculations. Please call the designers in advance (see the Contacts section) to agree on the time allocated specifically for you.
You can leave a request for measurement by phone or e-mail and then receive a furniture design with calculations. Also, after taking measurements, you can communicate with the designer via email.
Or send your request for calculation to us by email
Dear customers. Please note that we do not accept applications for the design and production of a separate bedside table, a separate facade or body, a glass cutout, a section of a tabletop, a set of handles, furniture with soft parts, restoration old furniture. We produce cabinet furniture in one piece (kitchens, wardrobes, walls, etc.) - the range is presented on the website. Furniture components and individual furniture services are provided by other relevant companies.
For our customers of cabinet furniture, we often take on solving non-standard problems: manufacturing window sills in the color of the furniture, solid gratings for bear skins, stairs, etc. (See section Miscellaneous Furniture/Other Furniture). We also accept applications for the production of any additional order, including the smallest and non-standard ones.
Handmade furniture is now at the peak of popularity. And more and more home craftsmen want to make interior items themselves, rather than buy factory-made “stamping” in the store. Moreover, the variety of modern materials allows, in a private workshop, to repeat the solutions proposed by fashion magazines. But it is believed that bent furniture and radius parts cannot be made without special equipment.
Image 1. Drawing of a kitchen unit with curved facades.
This opinion is wrong. Indeed, furniture with figured, complex facades is not so easy to make. First of all, to design it you will need knowledge of geometry within the framework school curriculum. Besides, optional equipment You will still have to purchase or make it yourself. But if you know some nuances and tricks, then big problems will not occur during operation.
General principles of calculation
Most often, curved facades can be found in kitchen sets or in prefabricated modules furniture designs. This technical solution not only looks beautiful and stylish, but also allows you to make the most of the entire area of the room. Besides, sharp corners boxes often cause injuries to the owner. Naturally, smooth, curved lines of furniture will not cause harm.
But before you take on self-production such facades, it is worth considering some nuances:
- Calculating such modules is more difficult than designing standard solutions.
- Making bent furniture will cost more than assembling a simple structure.
- Profile curved cornices and false panels are not easy to find (and they are much more expensive than traditional counterparts).
Image 2. Design diagram for bent furniture.
But all these difficulties can be solved. If you are not confident in your abilities and cannot correctly calculate the necessary parameters, then the project can be ordered from a company that produces furniture. For an additional fee, many organizations provide not only a software calculation, but also a three-dimensional model of the future kitchen, made according to your sketches. If the company does not provide such services, you can always order a project from a private specialist.
The necessary components and parts are usually purchased from manufacturer catalogs. Such a catalog, as well as contact information, can be obtained from a specialized store or ordered individual delivery. Naturally, the cost of furniture increases. But, as a rule, a high-quality kitchen with curved facades lasts longer than its traditional counterparts.
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Independent project preparation
You can also draw up a project yourself, using as an example the calculation of a headset manufactured at a factory. Such a diagram is shown in Image 1.
Naturally, you can use your own sizes. In this case, it is necessary to observe the ratios and proportions indicated in the original.
Some manufacturers offer to purchase ready-made curved facades, since with the creation of the body experienced craftsmen Usually there are no problems. Then the calculation of the headset depends on the dimensions ready-made elements. But it should be taken into account that the calculation of countertops and open shelves is usually not included in the project (or only preliminary dimensions are indicated), since their shape depends on the finished gables, which are not perfectly accurate. That is, the curve of the tabletop is drawn only when you already have ready-made facades. The same applies to the case when the furniture is completely made independently.
Image 3. Stencil diagram for bent furniture.
As mentioned above, when designing curved pediments, knowledge of geometry is needed. But complex mathematical calculations are useless, since when manufacturing complex shaped and curved parts, it is almost impossible to maintain exact dimensions. IN in this case just stick to it general principles calculation:
- Rounded corners of elements located under each other (for example, a tabletop and open shelves) must have the same fillet radius.
- All shaped elements that will be connected to other parts in the design must be designed taking into account certain proportions. In this case, it is necessary to take into account the rules of symmetry (in this case, you will need an example of a finished project).
- Correctly curved lines must be repeated in all main modules. You cannot make shelves and facades with different types bending For this, cutting cards are used, that is, patterns made of cardboard or thin plastic.
The design principle and main errors are shown in Image 2.
For example, back surface module must be calculated so that at certain positions corner shelves(H1, H2, H3) the distances from the edge of the back wall to the shelves themselves were observed - h. Knowing these dimensions, a smooth curved line is drawn through points a1, a2, a3, a4, a5. Moreover, the radii of the corners of the elements (indicated as R) must be the same.
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Making a template for curved furniture
Based on the above principles, most curved or curved facades are designed in 1 of 2 ways. Either a regular fillet of a certain radius is drawn, or a point fillet is used. The first method is used in the manufacture of corner shelves, cornices, and countertops. The second one is suitable for cornices irregular shape, rear walls of modules and the like.
In order to make furniture with your own hands, you need to make a template in advance. But even before creating it, you need to evaluate the tools that you have available or the ability to rent them. To make curved furniture you will definitely need the following:
Image 4. Plywood is bent using parallel cuts in the bending area.
- format cutting machine;
- milling machine;
- edge banding machine.
And if you can do without the first 2 tools (replacing them with simpler analogues), then it will not be possible to install the edge on the edge of the rounded parts using “improvised” means.
If you have everything you need, you can start creating a template. It will help to produce identical curved parts with the same mating radius. At the same time, you will save time on marking different elements and make them absolutely symmetrical.
To do this you will need:
- chipboard residues;
- trimmings of bars (residues) from MDF or wood;
- MDF plank.
The basis of the template will be a “pattern” made from chipboard. Select a piece of approximately suitable dimensions for you and draw the desired curve on it (usually a template is first cut out on paper). Attach a strip made of MDF to the finished part using bars. It should exactly coincide with the required curly line. Its level of bending is regulated by the same bars. Therefore, the more there are, the more accurate the template will be. An example of a stencil diagram is shown in Image 3.
Such a template is especially necessary when creating large, bulky parts. For example, countertops, top covers of large modules and the like.
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Manufacturing of bent chipboard facades
If you want to make furniture with your own hands with radius (curved) facades, then for its manufacture it is best to choose chipboard rather than MDF. It is the first material that will allow you to achieve the desired shapes without the use of complex equipment, and the furniture will be strong and durable.
The necessary rigidity will be given to the curved façade by a body made according to a curved template. But the details themselves must be given the required form.
To do this you will need the following:
- furniture parts blanks;
- cut fiberboard blanks (facade covering);
- hacksaw or jigsaw;
- blank to give the workpiece the desired bend.
Typically, craftsmen use a solid metal part as a blank, the upper edge of which follows the desired bend. But you can use any device that has flat surface and can withstand quite strong pressure.
In order to bend the workpiece, apply inside It is necessary to make longitudinal cuts.
The distance between the cuts from each other is no less important, since if the distance between them is too large, chipboard surfaces edge corners will appear. If the cuts are made too close to each other, the workpiece will crack.
Typically the depth is ¾ of the sheet thickness, and the distance between cuts is 3-5 cm. The thickness of the cut depends on the parameters of the saw you have. The recommended thickness is 40 mm. But a lot depends on the quality and density of the material. Therefore, it is wiser to first try on unnecessary trimmings of the slab from which the blanks were made.
After the cuts are formed, the facade is bent on the blank. This process is shown in Image 4.
Please note that the cuts are not formed along the entire length of the workpiece. There should be approximately 7-10 cm of untouched areas at the edges.
The blank curved in this way will serve as a reliable facade, since its edges will come into contact with the furniture frame at a right angle. This will make it possible to use conventional furniture hinges and pens. This is precisely why a gap is left at the edges without cuts.
Before bending the part, it must be glued with fiberboard sheets.
Austria entered the history of furniture with two great achievements - Biedermeier style and bent furniture. Without these two subjects, there will be no clear picture of the development of furniture in the 19th century, and much will remain unclear in the 20th century.
Both of these phenomena were brought to life by a specific Viennese taste and the Viennese sense of form, in both cases we are talking about the original response of the classical tradition to the challenges of the time.
In Vienna, the fate of Europe was decided perhaps only once, in 1814, during the Congress of Vienna. The monarchs who defeated Napoleon lived in Vienna for a whole year, and the grateful city entertained them with endless balls. The result of which for Europe was the creation of the Holy Alliance, and for Vienna - the transformation into the capital of waltzes.
Koloman Moser. Desk-office for the Wendorfer family. Macassar wood veneer, boxwood, ivory and tortoiseshell inlays. "Vienna Workshops", 1903/04
Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
Dancing has become more relevant than military parades. The time of triumphs and civil pathos is over. A generation is coming, disillusioned with politics and public life, putting peace and home comfort, mine inner world and personal space. The hero of the era becomes a private person, not obsessed with civic rhetoric and public interests, but focused on his own private life. The hero of the new stage of romanticism is even more lonely and self-absorbed than before, wanting to hide from the world among friends and family. This attitude is best conveyed by the painting of the first third of the 19th century, the main subject of which was the chamber, interior genre “in rooms”.
This period from the Congress of Vienna to the revolution of 1848, in Austria called “formerz”, the time of the authoritarian rule of Prince Metternich, will be called the Biedermeier era by the next generation. This was the first era to discover the existence of a new elite - the bourgeoisie, and it was the first art style, expressing her tastes. Art leaves the courtly, aristocratic sphere and, as it were, descends to a lower class. Fashion is now dictated by the middle class.
OK. 1825. Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
“Biedermeier” is a very contemptuous name; initially it was a “talking” surname of a certain collective character, which became a common noun. The word is translated as “honest Mayer,” that is, any respectable man in the street, a kind of Pan Kowalski. There is some confusion about the origin of the term - whether this “typical representative” of the middle class was the subject of cartoons in Viennese newspapers back in the 1820s, or whether this literary pseudonym was invented by the poets Adolf Kussmaul and Ludwig Eichrodt in the 1850s. Be that as it may, in the minds of subsequent generations this period is firmly associated with the bourgeois-philistine system of values - modesty, moderation, practicality, comfort, the quiet joys of life.
The defeat of France led to the decline of the Empire style, with its pathos of imperial power, a strong state, great public deeds, and military triumphs. The pompous Roman style is falling out of use. Decorative style era took shape in Vienna, as it was a large alternative to Paris center for furniture production with its own tradition of a simplified, “democratic” Empire style. In addition to Austria and Hungary, the style spread to Germany and the countries of northern Europe, Scandinavia, Russia, and England.
Biedermeier style chair. Walnut wood with blackened
and painted details. Vienna, approx. 1825. The lyre shape is very popular and is often found in furniture of this era
Chair in early Biedermeier style. Veneering walnut tree with blackened details Vienna, ca. 1810. Lightness of form, laconic lines, graphic silhouette - the Viennese interpretation of neoclassicism.
The end of the dictates of French fashion in culture meant development “from the opposite,” although still within the framework of neoclassical stylistics. Furniture removes its ceremonial and representative functions; it is no longer made for palace halls, but for residential premises. This is intimate, functional furniture that strives to create a cozy and comfortable environment even in formal areas. All the heavy Empire style decor, the abundance of bronze, gilding, sculpture, monumental proportions seem anachronistic. Clean planes, clear but not rigid lines, ease of use, lack of pathos of wealth are signs of the new time. Furniture no longer strives to resemble architecture; it returns to its original, carpentry character.
Biedermeier style chair. Walnut wood veneer. Austria, approx. 1825. The neoclassical completion of the palmette-shaped backrest in Biedermeier takes on a more whimsical design
Biedermeier style chair. Walnut and maple veneer. Austria, approx. 1825. Elegance achieved by simple means, but the gracefulness of the bend is on the verge of grotesque.
Firstly, the texture of the material is revealed. Biedermeier appreciated wood like no other style: admiring the nuances of its colors, patterns of textures - distinguishing feature this furniture. Mahogany and other exotic imported species are now too expensive; wood of local origin is in use, mostly light - maple, ash, poplar, elm, walnut, birch, cherry, pear wood. The origin of a thing can be determined by the wood: walnut - Austria, ash - Hungary, birch - Northern Germany, the Baltic countries, cherry - Southern Germany, etc. The rich pattern of fibers is appreciated: burl, wavy birch, poplar with an eye; Russia flaunts the fabulously beautiful texture of Karelian birch. There are few inlays; usually they only emphasize clean planes (such as the combination of light wood with ebony inserts). The frame of the furniture is made of cheap wood, which is then masterfully veneered, the sheets of plywood are carefully adjusted, and patterns are made from the fibers, for example, a “fountain”. Then everything is covered with a shiny, completely transparent “French polish”. Upholstery mainly light colors, instead of silk and tapestries - chintz and grosgrain.
Biedermeier style chairs. Walnut wood veneer. Austria, approx. 1825. Striped upholstery in light colors is characteristic of this period.
Secondly, the shapes of the furniture are lighter. Instead of hard lines and clear divisions, there are the famous, smoothly curved outlines of Biedermeier furniture, so valued by his admirers. The legs bend slightly, the armrests of sofas and the backs of chairs are more noticeable, the lyre shape is very popular, the silhouettes of the cabinets resemble stringed instruments. Sometimes these lines are restrained to the point of severity, sometimes playful to the point of extravagance, but most importantly, they introduce the category of elegance into neoclassical furniture, and this important discovery will subsequently be used by another era.
In the classical tradition, Biedermeier turns to the grotesque, this explains the boldness of his formal experiments. This furniture does not carry the architectural logic of the order, it is something animate, as if inhabited by household deities, it exists within the order space. That’s why Biedermeier fits so perfectly into an architecturally detailed interior, while Empire style is able to “hold” orderless spaces. That is why Biedermeier interiors are so harmonious and human-scale. 
Bureau-office. Mahogany, carved lemon Tree, gilt bronze Vienna, ca. 1815. Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
Biedermeier appeals to pre-Empire, “anti-French” classicism, primarily the English one of the Regency era, with its curved “Greek” legs, openwork backs, and chiseled details. True, in comparison with pre-Empire classicism, Biedermeier is not afraid to be riskily atectonic, fantasy (this also distinguishes Biedermeier from late Russian classicism, which coincides with it in time, but is more solid and “balanced”). Greater freedom of form, of course, gave rise to furniture that was more convenient and comfortable, giving it the very practicality that was so in demand by the era. 
Two door chest of drawers. Walnut veneer with selected texture pattern, blackened details Austria, approx. 1825
All types of furniture are popular cushioned furniture for seating, especially sofas and sofas, as well as round tables, desks and secretaries (the age of active correspondence), spinets, that is, small harpsichords (the time of the Schubert craze), and a variety of transformable furniture - sliding tables and the like, which was also considered very convenient and expedient. From a practical standpoint, the durability of furniture was highly valued.
It must be emphasized here that despite the fact that Biedermeier is considered a middle-class style, this furniture is far from average in level. It is formally refined, technically virtuosic and very expensive in execution - it is not for the poor.
Michael Thonet. Chair Part bentwood, part walnut veneer, wicker cane. Boppard am Rhein, ca. 1836-1840. Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
Biedermeier really corresponded to the tastes of the German and Austro-Hungarian bourgeoisie, but this does not mean that these things stood in the living rooms of merchants and shopkeepers - they stood in aristocratic living rooms, the paradox is that the spirit of practicality and moderation embraced high society during that period. This was expressed not in a lowering of aesthetic criteria, but in the spread of the bourgeois principle of “living for oneself,” which fundamentally contradicted the principle of “living for show” of the entire previous noble culture. Biedermeier is not a direct continuation of the Empire style, but a natural, staged development of neoclassicism of the late 18th and early 19th centuries, its last stage. This is the response of the neoclassical tradition to the main challenge of the 19th century - the advent of the era of the bourgeoisie. The answer is very successful, which is confirmed by the vitality of Biedermeier’s stylistic finds in the future.
Most Biedermeier items are anonymous, made by very skilled but unknown artisans. The only star is Joseph Danhauser (1780-1829), who founded a large factory in Vienna in 1804, which produced, in addition to furniture, many catalogs with furniture projects his son, a famous painter.
Around 1835, the curves of the furniture from smooth ones became more and more intricate, the profiles became stronger and more expressive, and more carvings appeared. The drawing of things becomes more complex, including in the projects of Danhauser Jr. In the 1840s, the restraint and still classical logic of Biedermeier was replaced by neo-rococo, the first of the eclectic “revived” styles. In Vienna he is also greeted with delight.
Just at this time, the great innovator Michael Thonet (1796-1871) began his activities in Vienna. Thonet conducted his first experiments on bending plywood with hot steam in Germany; in 1841 he patented his invention. At an exhibition of his furniture, he is introduced to Prince Metternich, who invites him to move to Vienna. Thonet’s early works, for example, the famous chair of 1836-1840 from the MAK collection, are made in the style of the late Biedermeier - the shape of the Greek “klismos” chair seems to float, the lines tend to the decorativeness of Rococo. 
Rocking chair, project 1874-1882. Partly bent, partly turned beech wood, brown paint, woven reed. Production "Brothers Thonet", Vienna, ca. 1890. Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
Here, at the transition from the Biedermeier era to the era of bent furniture, on the border of two great achievements, one can most clearly understand what Viennese taste in furniture is. This furniture is simple but elegant, democratic in its design, but technically virtuosic, it takes care of creating a cozy and intimate environment, it is elegant without being overloaded.
Thonet's furniture belongs to the classical tradition - a clear symmetrical composition, recognizable typology, familiar proportions. Thonet is an innovator not of form, but of technology. However, revolutionary technology allowed Thonet to develop a unique style based on the clear, graphic expressiveness of the “naked” silhouette - when there is no separate form and decor, frame and cladding. When not lines are a derivative of form, but form is the only line, when the whole thing is one, endlessly lasting line of an incredibly curved thin tree.
The essence of the technology is this: durable wood (usually beech) is softened by boiling or hot steaming in metal molds. After drying, the wood takes on a curved shape. If such a shape is cut from a block, then, firstly, the material consumption is very large, and secondly, the wood fibers in the block will still be straight, and if the load is uneven, the part may split. According to the Thonet method wood fibers bend together with the block, and the tree seems to spring back.
Chair, model No. 8 Manufacture "Brothers Thonet" Bent beech wood, rosewood polish, wicker cane Vienna, 1858. Vienna Museum of Decorative Arts (Gerald Zugmann/MAK)
Adolf Loos Chair for the museum cafe. Bent beech wood, red paint, woven cane Vienna, 1898. Vienna Museum of Arts and Crafts (Gerald Zugmann/MAK)
The decorative possibilities of this method are practically inexhaustible, and its practicality is unprecedented - things are invariably spectacular, surprisingly durable, structurally flawless and cheap in execution, designed for mass industrial production (the ability to assemble from ready-made parts). If Biedermeier's democracy was more declarative than real (all these were piecemeal, expensive things self made), then the democracy of bent furniture is truly all-consuming - during the second half of the 19th century, dozens of factories of the Thonet Brothers company produced tens of millions of items that were sold all over the world. Very often the name " Viennese furniture"is used precisely as a designation for furniture made of bent wood.
Thonet successfully developed the avant-garde idea - design is a derivative of technology and function - half a century before the avant-garde. His “classic” Viennese chair from 1858 still looks more modern than ever. In general, it is enough to mentally replace the tree metal tubes- and here you have avant-garde furniture of the 20th century, the line that was most talentedly developed in the 1920s-1930s by Mies van der Rohe and Marcel Breuer, who studied in Vienna (the Thonet Brothers company released a chair based on his design in 1933 ), as well as Alvar Aalto, who created furniture from bent plywood. They brought a sense of risky atectonics that is recognized as cutting-edge, but the polished, laconic linearity is a Thonetian invention.
As for another direction in furniture of the 20th century, neoclassical, the legacy of the Viennese Biedermeier played a huge role in its genesis. Neobiedermeier is a movement in the culture of Austria at the beginning of the 20th century. That era is beginning to be seen almost as a Golden Age, “the good old days,” an era of true values; people resort to it in search of cultural identity. The nostalgia and passeism that surrounds Biedermeier is akin to the world of art - the artistic elite organizes “evenings in the Biedermeier style”, captured in the photo, they vividly resemble the paintings of Borisov-Musatov. After the decorative riot of Art Nouveau, the classical simplicity and clarity of Biedermeier seemed like a revelation. The key figure in this process is Joseph Hoffmann (1870-1956), not so much a great architect as a great designer of the 20th century. In 1903, Hoffman, together with Koloman Moser, founded the artistic and industrial association "Vienna Workshops", a real crucible of neoclassical forms and aesthetics in the 20th century.
Brilliantly interpreting the Biedermeier tradition, Hoffman and Moser developed everything - the forms and typology of furniture, glass and silverware, appliances, jewelry, drawings of ornaments and fabric printing. They formulated the very principle of combining restrained forms and luxurious execution - Art Deco only had to pick up this style. Art Deco will reproduce the same neo-Biedermeier cubic or “violin-shaped” chests of drawers on pedestals, armchairs with semicircular backs, also admire the texture of light wood, and also combine polished silver with ebony or ivory. Today's wild popularity of Art Deco indicates that Viennese taste ultimately won out.
Oksana Rudchenko
Based on materials: novosibdom.ru
The production of bent furniture was invented and patented by Michael Thonet back in 1841. Bent furniture was considered a valuable novelty and the pinnacle of furniture art. It was made from beech, giving it incredibly beautiful, bizarre shapes. Beech is very plastic and bends easily, so this particular material was chosen for the production of bent furniture. Thonet improved the production of bent furniture, made it easier and simpler. He established the production of a wide variety of pieces of furniture with original curls and decorations: chairs, armchairs, rocking chairs, hangers, tables, couches, pieces of children's furniture and much more. Bent furniture very quickly gained popularity all over the world, including in Russia, and brought huge profits to manufacturers.
For a long time, technologies for the production of bent furniture have changed, and new solutions have been sought. The result of the work was the appearance of bent-glued elements. Due to gluing, such furniture has less strength, but allows you to create more original bends and curls. The production of bent-glued elements takes less materials, which means that the production of such furniture has become cheaper. Later, stamped parts appeared, which were given the desired shape by pressing.
In Russia, the demand for bent furniture has always been great, and is currently only increasing. Antique-style bent furniture is a decoration for any interior.
Such furniture has a number of excellent characteristics, which support the demand for bent furniture. These are ease of manufacture, strength and reliability of furniture structures, originality of patterns, light weight of the finished product, elegance of forms. In addition, bent furniture is made from wood, an environmentally friendly material, and no toxic furniture adhesives are used in its production.
Technologies for manufacturing bent furniture
The production technology of bent furniture “Thonet” consisted of several stages. Beech wood was cut into bars, then it was exposed to hot steam for a certain time until the desired flexibility and ductility appeared. After evaporation, the bars were stretched and dried on metal forms, after which the blanks were given the desired shape using machining. When the parts were completely ready, they were assembled, resulting in pieces of furniture of extraordinary beauty. Such furniture was a decoration for absolutely any room, and its inexpensive price ensured its popularity all over the world.
Modern technology for manufacturing bent furniture
During the entire existence of bent furniture, the technology for its production has changed little. As before, bent parts were obtained after the operation of plasticizing wood, bending wood planks, drying the blanks and fixing the mold.
To achieve the necessary flexibility and ductility of wood blocks, they use various methods. In addition to the well-known and most common steaming, technologies for heating workpieces in a current field are used high frequency(High Frequency), impregnation of parts with various solutions, as well as treatment with ammonia. Before steaming, pay attention to the moisture content of the wood. To achieve optimal humidity, manufacturers pre-dry the wood and then moisturize and condition it. Steamed or welded parts can be bent and then processed on specialized machines.
Modern production of bent furniture and furniture with bent facades is fully mechanized and automated. To make bent furniture, parts with a round or oval cross-section are used, and the pieces are fastened with screws or bolts. They mainly produce armchairs, chairs, sofas, tables, flower stands, rocking chairs, hangers and other products. They are characterized by high strength and light weight, due to the fact that the parts have a small cross-section during processing. When using bent furniture, remember to periodically check the connections and tighten them if necessary.
Equipment for making bent furniture
When making bent furniture, the gluing method is often used. Bonding via TV is one of the most modern methods, used in the production of bent furniture. High frequency current ensures effective heating of the entire adhesive layer. To do this, the parts to be glued are placed between electrodes through which high-frequency current flows.
The main advantage of this method is that when exposed to HDF, only the adhesive layer is heated without heating the wooden blanks. This allows you to significantly speed up the gluing process and increase the overall productivity of the enterprise. The HDTV machine is necessarily equipped with a protective screen that protects its personnel from harmful high-frequency radiation.
The bending machine is used for bending wooden parts. When using a bending machine, you can bend workpieces without pressing and with pressing by 20-30 percent, depending on the material. The bending machine is supplied with replaceable templates, which are used to give the required shape to the workpiece. Bent-drying machines are very popular in the production of bent furniture. hydraulic presses with heating. Blanks with tires are placed under the press, then they are clamped and dried.
On our website you can purchase a wide variety of equipment for the production of bent furniture and other products, such as inflatable boats, rubber shoes, stretch ceiling, various types packaging and much more.
