ADAPTABLE FURNITURE FOR VILLAGES IN

MASTER’S DEGREE IN ADVANCED STUDIES IN DESIGN-BARCELONA SPECIALTY IN CONTEMPORARY DESIGN AUTHOR: HALIMATOU M’BALLO DIAO COURSE: 2020-2021 DIRECTOR: JOSEP MARIA FORT MIR

ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

ABSTRACT Most houses and rooms in the villages in Senegal lack space since most rooms are used by more than one person. And since there isn’t a space specifically used as a living room, the bedrooms also work as such. That is why the owners of those rooms end up not having enough space to store all their belongings and have all the furniture that they need. This project aims to create a product that works as adaptable furniture for people, mostly women, and their children, who live in the villages of Senegal. We can define adaptable furniture as objects that can be easily moved around, adjusted, and changed, according to the situation. Therefore, I can solve the problem of lack of space while showcasing the traditions of Senegal and the skills of the craftsmen and manufacturers of this country. It is also important that the products will be manufactured in a sustainable and humane way. So, I can pay fair wages to the workers and create a minimal environmental impact. To prove the hypothesis that the villagers of Senegal truly need my product, I made an initial study, analyzing the place and the target user along with a study with similar cases in other countries and similar products that already exist in the market. Following this step, and with the information gathered, I defined what are the parts that my furniture will have, and how each one should interact with the other. In this project, I also had to justify different aspects like the materials I choose and the ornamentation on the different parts, and why it is so important and vital to add traditional Senegalese decorations in my product. It was also important to create a relationship between the craftsman and manufacturers with my product. Explaining the environmental impacts that my product would produce from the beginning of its creation to the end of its life was also necessary. Because I want this product to be accessible for the majority of the villagers in Senegal, I also created a business model explaining and justifying the prices of the product and how I would be able to finance the whole project. I can conclude that my product does satisfy the needs of my users and does solve most of the problems explained at the beginning of this project. While creating this adaptable furniture, I tried to create a product that would be modern, functional, and incorporate traditional aspects from Senegal. While it is true that some parts could be improved for a better user experience, overall, I could say that my hypothesis has been proved to be correct.

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ABSTRACTE La majoria de les cases i habitacions dels pobles del Senegal manquen d'espai, ja que la majoria de les habitacions són utilitzades per més d'una persona. I com que no hi ha un espai que s’utilitzi específicament com a sala d'estar, les habitacions també funcionen com a tal. Per això, els propietaris d'aquestes habitacions no tenen prou espai per a emmagatzemar totes les seves pertinences i tenir tots els mobles que necessiten. Aquest projecte pretén crear un producte que funcioni com a mobiliari adaptable per a les persones, en la seva majoria dones, i els seus fills, que viuen als pobles del Senegal. Podem definir mobles adaptables com objectes que es poden moure fàcilment, ajustar-se i canviar, segons la situació. Per tant, podem resoldre el problema de la falta d'espai al mateix temps que es mostren les tradicions del Senegal i les habilitats dels artesans i fabricants d'aquest país. També és important que els productes es produeixin de manera sostenible i humana. Per tant, podem pagar salaris justos als treballadors i crear un impacte ambiental mínim. Per provar la hipòtesi que els habitants del Senegal realment necessiten el nostre producte, vaig fer un estudi inicial, analitzant el lloc i l'usuari objectiu, juntament amb un estudi amb casos similars en altres països i productes similars que ja existeixen en el mercat. Després d'aquest pas, i amb la informació recopilada, vaig definir quines són les parts que tindran els nostres mobles i com han d'interaccionar cadascun amb l'altre. En aquest projecte també havia de justificar diferents aspectes com els materials que hem triat i l'ornamentació en les diferents parts del nostre producte i per què és tan important i vital afegir decoracions tradicionals senegaleses en el producte. També era important crear una relació entre els artesans i els fabricants amb el nostre producte. També era vital explicar els impactes ambientals que el nostre producte produiria des del principi de la seva creació fins al final de la seva vida. Ja que volia que aquest producte fos accessible per a la majoria dels habitants del Senegal, també s’ha creat un model empresarial que explica i justifica els preus del producte i com podríem finançar tot el projecte. Podem concloure que el nostre producte satisfà la necessitat dels nostres usuaris i resol la majoria dels problemes esmentats al principi d’aquest projecte. Mentre es va crear aquest mobiliari adaptable, es va tractar de crear un producte modern, funcional i que incorporés aspectes tradicionals del Senegal. Encara que és cert que algunes parts podrien millorar-se per a una millor experiència d'usuari, en general, podríem dir que la nostra hipòtesi ha estat correcta.

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Home /həʊm/ The place where one lives permanently, especially as a member of a family or household.

“A house is made of bricks and beams. A is made of hopes and dreams.”

Ralph Waldo Emerson

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KEY WORDS Adabtability, modular, furniture, Senegal, villages, susainability, craftsmanship, tradition, ornamentation.

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AKNOWLEDGEMENTS To my family for cheering and supporting me, and providing me with so much important information. To my tutor for all the help given to me through the whole development of this project. And to my classmates and friends for helping me so much.

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INDEX

1. CHAPTER 1: THE PROJECT 1.1. INTRODUCTION 10 1.2. OBJECTIVES 11 1.3. HYPHOTHESIS 12 1.4. METHODOLOGY 12 1.5. LIMITATIONS 14 2. CHAPTER 2: INITIAL STUDY: THE CONTEXT 2.1. SENEGAL 15 2.2. TARGET USER 24 2.3. FRAMEWORK 34 2.4. FUNCTIONALITY OF THE PRODUCT 35 2.5. FUNCTIONAL CHART OF THE PRODUCT 37 2.6. TYPES OF USERS 39 3. CHAPTER 3: SECOND STUDY: ¿What can we find all over the world? 3.1. STUDY CASES 42 3.2. STATE OF THE ART 56 3.3. TRADITIONAL SENEGALESE FURNITURE 63 3.4. HOLES AND WINDOWS 67 3.5. BRIEFING 69 4. CHAPTER 4: DESIGN PROPOSAL 4.1. CONCEPT MAP 71 4.2. PRODUCT CONSTELATION – MIND MAP 72 4.3. BRAIN STORMING 73 4.4. THE HOUSES AND ROOMS IN THE VILLAGES 76 4.5. CONCLUSIONS ON THE DESING 82 5. CHAPER 5: FINAL DESIGN 5.1. 3D OF THE PRODUCT 84 5.2. PARTS OF THE PRODUCT 91 5.3. INTERACTION PRODUCT-USER 110 6. CHAPTER 6: PRODUCT DEVELOPMENT 6.1. MATERIALS OF THE PRODUCT 113 6.2. DIMENSIONS AND WEIGHT OF THE PRODUCT 115 6.3. ORNAMENTATION AND NAME 124 6.4. MANUFACTUIRNG PROCESS AND TRANSPORTATION 156

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6.5. THE PRODUCT IN ITS CONTEXT 166 6.6. STUDY OF THE RESISTANCE 177 6.7. ENVIORMENTAL IMPACT 181 6.8. BUSINES CANVAS 193 7. CONCLUSIONS 204 8. BIBLIOGRAPHY 207 8.1. LIST OF FIGURES 215 9. ANNEX 10. 9.1. ADDITIONAL RENDERS 224 11. 9.2. 2D PLANS 228

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1. CHAPTER 1: THE PROJECT

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1.1. INTRODUCTION Being raised in two different cultures, the Spanish and the Senegalese, has made me realize that there are so many different ways on how a person can live, and a lot of them are beautiful in their own way. When we think about a house, we probably think about an apartment or a house with more than one floor with different rooms, each one created for one specific purpose. A living room to socialize with other individuals and eat meals. A couple of rooms to sleep in, a bathroom to clean ourselves, a kitchen to cook, an office space to study. Even though we are used to seeing this type of house in the northern countries like in Europe and America, these are not the only types of houses we can find. And the villages of Senegal are one of them. While traveling there in 2011 and 2020 I saw that the concept of the house was totally different for them. While it is easy to find all the furniture that we want and need for all the rooms in our here, in the villages of Senegal, like many other villages around the world, don’t have the same luck. The houses tend to be smaller and villagers don’t have the means to afford all the furniture that they need. That is why, when I realized that most Senegalese villages have a reoccurring problem when it comes to the size of their houses and rooms, an idea came into my mind. Senegal is a country full of artisans and craftsmen who are capable of creating baskets, beds, doors, chairs, and other types of furniture with materials like wood from trees that we can find in Senegal. So, ¿What if I created an item of furniture that could adapt to the needs of the villagers of Senegal without completely changing their way of living? A way of living that involves traditions and cultures that have been around for centuries. This furniture would have all the things that they need, or at least most of them. A bed to sleep, a table to study, chairs and stools to create a living room in the same space, and possibly more. And, ¿who would be better to create this product than the craftsmen that already live in the country, and probably in one of the many villages in Senegal? This way I would not only improve the life of the villagers but also give jobs to those who have the skills and need the economical help.

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1.2. OBJECTIVES The main objective of this project is to create a product that works as adaptable furniture to satisfy the needs of the main target users, the women in the villages of Senegal. The furniture must contain elements that will help solve the villager’s problems. Therefore, it should have a bed which could work as the main structure of the product since it is probably the most important element, a baby crib, a mosquito net, a table where the children can study, and chairs and stools so people can sit since usually there isn’t a room specifically assigned to work as a living room. A way to create light in the room that can be incorporated into the furniture would solve another problem because a lot of the villages in Senegal don’t have electricity and some houses lack windows from where the light can get on the inside. Another important aspect of the product is that most of the elements have to be foldable or small enough to be able to be stored away when they are not needed, to adapt to the dimensions of the houses and rooms. The second main objective of this project is to help economically the citizens of the country. Since there are a lot of craftsmen who are already skilled enough to create different pieces of furniture, my product will be manufactured by them. This way, I can create more jobs and help those in need. While creating this furniture I want to use only materials and other resources within the country. And by doing so the price of the product will be cheap enough so it can be bought by as many people as possible. It is also important that the products will be manufactured sustainably and humanely. So, I can pay fair wages to the workers and create a minimal environmental impact. An additional objective of this project would be to showcase the traditions of the Senegalese culture through the ornamentation, if possible, of the product by taking some ideas of traditional Senegalese furniture that has been created and used for centuries.

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1.3. HYPOTHESYS The goal with the creation of adaptable furniture is to make the life of the villagers of Senegal easier without completely changing their lifestyle. The hypothesis is that by the creation of this product I will not only be helping the villagers, but also the manufacturers that we can find in Senegal. By doing so I will have to find different organizations, either related to the government or not (NGOs), with whom I can work to create this furniture. While doing so I can improve the economic situation of the craftsmen and create new jobs, since the ones that are already skilled enough to produce my product could teach other people so they can also earn a living. Another hypothesis is that with the use of materials and other resources from Senegal I can create a product that is sustainable, ethical, durable, and cheap. The expected goal is to create a product that helps different types of people while showcasing the beauty of the Senegalese culture and lifestyle.

1.4. METHODOLOGY For the development of this project, we have used the double diamond methodology. The model's goal is to assist creatives in following a step-by-step process that takes them from concept to finished result. The process of extensively studying a problem (divergent thinking) and then taking concentrated action (convergent thinking) to fix it is represented by the two diamonds of the Double Diamond Design. This process, created by the British Design Council in 2005, is divided into four parts, from which I only followed the first three (discover, define, and develop) since the last, delivery, is for creating and testing a prototype, which I didn’t create in this project. The four parts can be defined as follows: 1. Discover /Research: Study and understand the problem 2. Define/Synthesis: Using the information gathered during the discovery phase to create a problem definition 3. Develop/ Ideation: Create and define a number of solutions that could work. A lot of possible answers for the same problem. 4. Deliver /Implementation: Develop the final solution for my project (without prototyping and testing)

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Fig 0. Double diamond methodology.

To end up with the best outcome possible with the creation of my product, the most important thing that I had to do was to research. There was an extensive research about the context in which my product will interact. A study of the place, Senegal, the people (the target user), and its resources. Thanks to that study, I was able to gather all the problems and necessities that I wanted to solve with the adaptable furniture. After an initial study of the context, I also researched similar cases in different parts of the world to help us find solutions that already exist and that could be implemented in this project. Furthermore, looking into similar products that can be found in different markets, both physical and online helped us define the bases of my product, what could be possible, and whatnot. At the end of this initial research, I created a briefing that summarizes all the important aspects that I needed to take into consideration to go to the next step. The design processes. Before coming with a final design, I made a mind map and a product constellation, which they help us understand visually what are all the main areas that needed to be taken care of. Following this step, and with the information gathered of the study cases and the state of art, I defined what are the parts that my furniture will have, and how each one should interact with the other. Once I have a clear idea of how it should be, I brainstormed different ideas and designs and I studied them. The pros and cons of each one. ¿Do I choose one? ¿Or do I merge parts of each one? ¿Is there a solution? ¿Or do I need to search for even more information? Next, I decided on the final design and I created the 2D and 3D models. Once I had them, I choose the materials of my product and what type of ornamentation I would put in each part, and why. Once I justified the design and was satisfied with it, I started working on the manufacturing process and the business model. Who is the manufacturer of my

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products? How much will I pay them? How am I going to get the materials needed to create the furniture? How much will it cost to buy one? How can I minimize the environmental impact? Could the government or an NGO help us finance this project? Besides that, I also did a study of the resistance of the different parts that compose the product, that will interact the most with the users, to see if they would break or get damaged easily. I also explained the environmental impact of my product, from the moment that the resources are extracted to the waste and recycling management once the product has no use. Ensuing the answers to these questions, I was able to come up with the conclusions and see if my hypothesis were correct, if my product will truly help the people in the villages of Senegal, or if another solution and product is needed.

1.5. LIMITATIONS During the development of this project, I encountered some limitations.

• When it came to the manufacturing process, I had to rely mostly on the interview that was done with a manufacturer in Senegal that specializes in wood, since there is a lack of information on the internet regarding this topic. • The information on Senegalese ornamentation and its history was also hard to find online so it was a bit hard to explain some of the aspects related to it. • I also had to rely on the information that was given to me by the members of my family, the ones who live in and the ones who live in Senegal, regarding the living conditions in the villages in Senegal, since It is also hard to find resources online. • Because of my limited knowledge of business finance, all the prices that I came up to (except for the products that I knew we would have to buy at the end), and all the donation and investment quantities are hypothetical and work as a way to explain how our business model would work with the project is to be further developed. • In view of my designing program (Solid Edge) not working properly towards the end of this project and not knowing how to use other rendering programs, it was difficult to produce the renders.

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2. CHAPTER 2: INITIAL STUDY: THE CONTEXT

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2.1. SENEGAL Senegal, officially The Republic of Senegal, also known as the Getaway to Africa, is located in the west of Africa and it’s served by multiple airs and maritime travel routes. It is a unitary presidential republic and is the westernmost country in the mainland of the Old World or Afro-Eurasia. The country’s national symbols are the baobab tree and the lion, for its tropical rainforest and diverse environment.

Fig 1. Political map of Senegal.

Fig 2. Coats of arms of Senegal.

2.1.1. HISTORY: The goes back to the prehistoric era, where different objects have been discovered as proof of human life in the country. The first kingdoms that were formed date from the 7th century. It originated from the Toucouleur, one of the main ethnic groups we can find in Senegal and other African countries from the north. They formed the Namandirou kingdom also known as the Tekrour kingdom. In the 14th century the Djolof kingdom, affiliated to the Ghana empire raised. This empire included other ethnic groups like the Fulani (Fouladou and Fouta-Toro), the Baol, the Sine-Saloum, and many more. The Djolof kingdom which was founded by Ndiadiane Ndiaye also united different populations from the Wolof ethnic group. The last emperor of this dynasty, Lélé Fouli Fak died in 1549.

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In the mid-, the kingdom of made contact with Senegal. They were followed by other countries like France, England, and The Netherlands who competed for trade in Senegal. In 1677, France gained control of what had become a minor departure point in the Atlantic slave trade: the island of Gorée next to modern , used as a base to purchase slaves from the warring chiefdoms on the mainland.

Fig 3. Image of the house of slaves on the Gorée island.

The slaves were shipped in inhumane conditions, with a death rate of 60%. Not only where the French the ones trading people from Senegal and other African countries from the island of Gorée; the African aristocrats and mixed-race Africans would also take part in the slaving trade and benefit from it. It is estimated that 10 million slaves were deported in 70 years.

Fig 4. Map of Senegambia from 1707 by Guillaume Delisle.

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In the 19th century, El Hadj Omar Tall and Caliph of the Tidjianes Brotherhood fought the colonizers from France and other European countries. Lat Dior, who died in 1886 also fought Louis Faidherbe. The English managed to keep , who then stopped being part of Senegal.

Fig 5. Image of Lat Dior Diop.

Starting from the 2Oth century, the independence movements against the French colonies grew stronger. And on August 20th of 1960, Senegal officially declared its independence after trying to merge itself with Mali.

2.1.2. ETHNIC GROUPS: Senegal has a lot of ethnic groups and for that reason, many languages are spoken. • Wolof: This group represents 43.3% of the population of Senegal. Most of them descend from the kingdoms of Jolof, Cavor, and Waalo. They predominantly live on urban areas and most of them are Muslim. Through the years they have been increasing both politically and linguistically. They speak the Wolof language. • Fulani: The Fulani people include the Toucouleur (even though sometimes they are separated from the fulas) and they represent 23.8% of the country’s population. They speak the Fulani language, Pulaar. A significant portion of Fulanis are semi-sedentarists as well as farmers, scholars, and artisans (they are one of the largest nomadic pastoral groups in the world). Nearly all Fulani people are Muslims. • Serer: They make up 15% of the Senegalese population. They originated in the Senegal River. They were historically a matrilineal ethnic group that resisted the expansion of and fought the French colonizers. Nowadays 90% of their population are Muslims. They speak the Serer language and the Cangin language. • Jola: They only represent 5% of the population and they are either Christian, Muslim, or Animists. They speak the Jola language, Fogni. Their

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economy is based on the cultivation of wet rice and they are especially found in the lower region of . • Other groups that can be found in the region of that live a similar lifestyle as the Jola are the Bainuk, the Balanta, the Manjack, the Mankanva, the Karoninka, and the Bandial. • Other small ethnic groups related to the Mandinka (which compromise 4% of the country’s population) are the Malinké, the Sossé, the Bambara, the Dvula, the Yalunka, and the Jakhanke. • Soninke: they represent 2% of the population and they can also be found in greater quantities in Mali. They speak the Soninke language also known as Serakhulle or Azer. They are Muslims.

Fig 6. Graphic of Senegal’s Ethnic groups.

Fig 7. Map of the distribution of the Senegalese ethnic groups.

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2.1.3. RELIGION: Islam is the most followed religion in the country, with 95.9% of the population being Muslims. There are three Muslim brotherhoods: Qadiri (Qadiriyyah), the Tijani (Tijāniyyah), and the Mourides (Murid, Murīdiyyah). The spiritual leaders of these groups, also known as marabouts are important in maintaining the social status. The founder of the Mourides brotherhood, Amadou Bamba M’backe was from Touba, the most sacred city of Senegal.

Fig 8. Image of the Grand Mosque of Touba.

The other 4.1% are Christian, most of them being Catholic. The majority of Christians are Jolas. The Serer ethnic group also follows their own religion, the Serer Religion, also known as a fat Roog.

2.1.4. CLIMATE: Senegal has a tropical climate. In the north, it has a dry season, also known as Harmattan, that lasts from mid-October to mid-June, and in the south, this dry season lasts from November to mid-May. The rainy season starts in late June until November in the north, and in the south, it goes from late May to late October. Because of this climate, the landscape in the north is semi-desert, whereas in the south there is a savanna landscape, with forests and rivers. During the dry season, the air can be filled with dust that comes from the deserts in the north.

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During the coolest months of December and January, the temperatures are between 32ºC and 34ºC, even though it gets much cooler in Dakar, where the temperatures can be as low as 25ºC during those two months. During the night the temperatures across the country can get as low as 15ºC. The highest levels of temperature are reached from April until June. During these months the temperatures can go from 38ºC to 48ºC. The rainy season or hivernage is a hot and humid period, especially in the south, where the rains are also more persistent. During the months of June and October, the temperatures drop a few degrees, but the moisture increases.

2.1.5. FLORA AND FAUNA: When it comes to the flora, in the most tropical areas of Casamance we can find mangrove swamps and remnants of the high forest that include oil pals, bamboo, African teak, and silk-cotton tree. In the dry areas, we can find acacia trees, thorn bushes, gum Arabic trees, and baobab trees.

Fig 9. Image of a baobab tree in Senegal.

The brisk vegetation is generated during the first rains during the rainy season. Most of the natural vegetation in the western area has been modified through the years.

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A vast variety of animals can be found in Senegal, such as lions, elephants, buffalo, wild pigs, guinea fowl, antelopes, panthers, monkeys, and cheetahs. Sheep, goats, chickens, and cows can be found in abundance since they are used for agricultural purposes. There are also a good number of reptiles such as venomous snakes like phytons and cobras and lizards. In the rivers, we can find crocodiles, hippopotamuses, and turtles.

Fig 10. Image of goats taken in a village in Senegal.

2.1.6. ECONOMY: The economy of Senegal has traditionally revolved around the growth and trade of the peanut. Before it became an independent country, the economic activity of the peanut trade depended on the French companies who controlled its importation to Europe. After the independence, the government of Senegal created a state agency responsible for all the aspects of the peanut trade. The government has worked to diversify the economy by expanding it to cotton, garden produce, sugarcane and by promoting non-agricultural sectors like fishing, and tourism which are the major source of foreign exchange. The infrastructure of mineral resources such as gold, petroleum, and natural gas also diversified the economy. During the end of the 20th century and the beginning of the 21st century, the government began to encourage the reintroduction of private initiatives. Private industries were created such as Sonatel for telecommunications, Sotexka for textiles, Senelec for electric utilities, and Sonacos for the processing of the peanut. Since the late 70s, a great number of people started to migrate to the big cities like Dakar which causes a decline in the price of primary materials and therefore created a depression in the economy. Only substantial foreign aid has prevented a decline in the standard of living and has also helped revitalize the transportation infrastructure.

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2.1.7. CULTURE LIFE Senegalese life centers around collectivism. Most of the cultural heritage is preserved thanks to oral tradition, stories about Senegalese history that are told to the younger generations by the elders of each community. In general, the men are the heads of the households, even though it is also common to find households ruled by women. We can find many types of meals that contain products that have been produced and grown by the farmers like peanut, fish, chicken, couscous, and rice. In Senegalese culture, arts, sculpture, and music are an important part of it. The sculpture is often characterized by abstraction and ideograms. The music is rarely written down, so the imagination of the musician is critical. Some historians perform a variety of social and cultural functions such as storytelling and reciting poems about Senegalese folklore. 2.1.8. SUMIRIZING TABLE

Fig 11. Summarizing table of Senegal.

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2.2. TARGET USER The main target user for my design is the people who live in the villages of Senegal. More than half of Senegalese people live in the countryside, most of them being from the Fula ethnic group, where the settlements are most of the time little villages with little resources to electricity and water. Because of that reason, a lot of the villagers end up going to big cities like Dakar to work on other jobs not related to agriculture (since most of them are farmers) so they can send money back to their families in the village. The number of people in each village can vary from a hundred people to thousands, depending on the dimensions. Usually, in each village, there is a shared water source and shared electricity. They are also administered by a chief who is appointed to be the leader of the village. Life can be harsh in the average Senegal village with families working the land growing crops and raising livestock on plots so small they can often not support the needs of the family. The challenges of farming are exacerbated by unpredictable rainfall and frequent droughts. If we look at the demographic trends, we can see that in Senegal nearly half of the population are younger than 15 years old. The population of Senegal has been growing for the past few years, but the life expectancy is 61 years old for both men and women.

Fig 12. Graphic of the demographics in Senegal.

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Because of the big unemployment rates in the urban cities, a lot of people who initially migrated to those cities looking for a job to provide for their families are going back to the rural areas of Senegal. Most of the villages work with the same system. There is usually one house for the leader of the village and most of the time the wives and the husbands live in separate houses (because most men, mostly the older ones tend to have more than one wife). So, while the man may have a smaller “house” for them, the women share their rooms with their children, who usually live in their village until the age of 16 years old or 18 years old, when most of them move to the bigger cities to continue with their studies. Once they have graduated from high school, they will either go to the universities in the urban cities like Dakar, stay in other big cities to work, or go back to the rural villages, to help the elders with the farm and take care of the family. Some small villages may be composed of members of the same family, while the big ones are more likely to have groups of different families not related by blood. It is also normal to find that only one of the houses of the village has electricity, even though phone signal and internet signal are now available in any region of Senegal. Nowadays we can find different types of houses in those villages. The first type of house is the oldest one that has been around for centuries. These roundhouses were usually made out of straw and earth. While the newest ones are usually made out of cement brick for the walls, and the roof is made of straw though sometimes they can also contain corrugated iron. These houses tend to not have a lot of light because they lack windows and there is usually no electricity in all the houses or anywhere in the village.

Fig 13. Image of traditional houses in a Senegalese village.

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Since a couple of decades ago, a new style of house emerged. Instead of being round, they tend to have a rectangular form and are made out of cement and corrugated iron or aluminium for the roof, which is usually secured by a couple of large wooden logs that prevent the roof from falling. Even if these houses are more isolated and have windows, these don’t provide enough light, so even when the sun is out, extra light is needed. With these two types of houses, the house of the man usually stays in the middle, while the houses of the women, who they share with their children are around the house of the man. The kitchen is also an independent room shared by the members of the village. If the village is small, there is one kitchen, but if the village is big or is made out of different families, there will be more than one.

Fig 14. Image of newer type of houses in a village in Senegal, Hinnako.

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Fig 15. Image of newer type of houses in a village in Senegal, Hinnako.

The newest style of house we can find in the villages is similar to the European houses. Even though it’s rare to find them since they are more expensive to construct. These are made out of cement and clay brick for the walls and corrugated iron or aluminium for the roof. The windows in this type of house tend to be bigger so there is more light and they are better isolated.

Fig 16. Image of newest type of house in a village in Senegal, Hinnako.

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Fig 17. Image of newest type of house in a village in Senegal, Hinnako.

Fig 18. Image of newest type of house in a village in Senegal, Hinnako.

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Unlike the first two houses, all the wives of the same man, or the wives of more than one man (which tends to happen if the men are brothers) share the same house because it is bigger. As we can see in the picture below, the small house on the left is used by the men which have its own bathroom, while the bigger house is shared by the wives, who each one will have their room, whom they share with their children. The oldest siblings might have their own room, also shared between them. In this house, there is also a bathroom at the back, if the house is really big, there might be two. Even though these houses are the biggest ones we can find nowadays, the kitchens are still built independently.

Fig 19. Image of the men’s house in a village in Senegal, Hinnako.

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In these images, we can see more or less how the villages with the different types of houses are distributed. In the first image, we can see a typical village with roundhouses. The kitchen is usually in the middle of the women’s houses, for better access. While the bathrooms tend to be farther away.

Fig 20. Image of a typical distribution of the homes in a village in Senegal.

In some villages, we can find a mix of new-style houses and older versions. In the newer versions, the kitchen is usually in front or back of the house, while the bathrooms are built inside the house, usually at the back. In both the villages that have the roundhouses made of earth and straw and the newer ones made out of cement, we can find additional houses for the men.

Fig 21. Image of the distribution of the houses in a village in Senegal Hinnako.

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For example, when the male children grow and no longer can continue sleeping with their mothers, a new room will be made for them. In the same case, when the female children grow up and cannot share the same room as the mother because there is more space needed, they will most likely build a new room, next to the existing ones. This is an example of the newest home style, where the big house is shared by the women, while the small houses are for the man. While the latter have “living room” spaces these are not often used as such, but to store food and other products, so they are often useless.

Fig 22. Image of the distribution of the newest home in a village in Senegal Hinnako.

The strong community sense in Senegalese culture is one of the main reasons why we still can find a lot of villages around the country. As stated before, it is usual to find that a village is mainly composed of members of the same family. Most villages were created when some members of a family decided to move out of their original place to create a new village so they could expand the family. They would find a suitable land where they could build houses, grow food, and have animals like sheep and goats. Therefore, unlike in northern countries like in Europe, we can find that there are four generations of the same family living in the same village. One of the main reasons why a lot of the children don’t move to another place once they get married or once they graduate from school is so they can help the elders of the village to be able to preserve the place. For many, their home communities are the only ones they have known or will ever know. They have their space, place, and voice within those communities, and they know how to relate to the others within them. Even if not all the members of the community are related by blood, they are raised to think of each other as family. They will help each other and share what they have, even if they don’t have a lot to share. The children are not only raised by

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their mothers, but by all the women in the village, so it’s normal to find that the children call all the older women “mom” or saying that all the other children are their siblings even if there are not biologically related. There is trust and love between the members of the village, whether they are related or not. That is why villages in Senegal, and villages in other countries, cannot only be defined by the land and the houses but mainly by the people who have created them and live in them. The people that create the social and cultural interaction by sharing and teaching the traditions, sharing stories, and the art culture, are the ones that keep the villages, the culture, and the tradition of the country from disappearing. 2.2.1. WHO WILL BE MY FINAL TARGER USER? As explained at the begging of this segment, (2.2. Target User, p. 26) before, while the men tend to have their own houses, the women have to share them with their children, and therefore they have even less space, whether they live in the oldest type of houses, the round ones, or the newest ones. That is why, my target user will be the people who have to share their houses or their rooms with more than one person, mostly women. I will also focus on villages that have two first types of houses since the third one is something, we can find in just a couple of villages (these houses tend to be constructed thanks to the money that some family members send. Those family members are usually living and working in other countries like Spain or France, so they can provide better living conditions to their families that still live in the village. 2.2.2. WOMAN IN SENEGAL Traditionally, women in the villages in Senegal have taken care of the house chores, like cooking and cleaning and the children. They would be born and raised in their families’ village where they would take care of the house duties from a young age, and then they would get married and would go and live in the husband’s village for the rest of their life, where they would also take care of the family and the house. Even though the men are usually the ones that take care of the animals in the villages, their female companions also work on the land to grow different types of food like fruits, vegetables, nuts, and cereals that they will use to cook the food. They are an important pillar in the villages’ communities since they take care of almost every aspect of the village. The female elders are also highly respected by everyone in the community, whether they are related or not, and are most times considered as the leader of the clans and their voices are really important when it comes to solving problems and important matters that affect the communities. Though it was normal for a woman to abandon her studies after she got married at a young age to take care of the family, nowadays most girls are able to attend school and even graduate from a university before deciding if they want to get married and continue to live and work in the villages or if they want to move and work in the urban cities like Dakar.

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Although the houses are mostly constructed by men. The women are the ones that take care of it, they know every single aspect of the house and know what each part of the houses and the rooms are for. That is why it is impossible to create a product that won’t focus on the needs and problems of the women in Senegalese villages since they are one of the main reasons why they are still standing until this day. 2.2.3. NECESSITIES OF THE TARGET USER: When it comes to deciding how my design is going to look like, we have to have in mind the problems and necessities of my target user. Since they share their rooms with other individuals, the beds tend to be big, and it’s usually the only type of furniture that we can find in their houses. So, I am going to make a list of the main problems and necessities I will try to resolve with my design.

• There is usually a big bed that is shared by the mother and her children and it occupies the majority of the room, which is not big, to begin with. • Because there are no baby cribs, the babies sleep in the big bed, which is unsafe, because they might fall into the ground if there is no protection. • Sometimes the bed is shared by three or more people, so even if it's big, they end up not having enough space. • There is usually no place to store the clothes (In the Fulani culture there is a tradition where the husband gives the wife a suitcase or a trunk when they are getting married since the wife will leave her village to go live in the husband’s village, so most times this is the only place where they can store their clothes) • The children don’t have a place to study. There is no desk or chair where they can do their homework. • There is usually no electricity in the village and even if the houses have windows, there is not enough light coming through. • The animals in the village might end up entering inside the houses and destroy whatever they see. • Because of the climate of the country, during the hotter months, there are a lot of mosquitoes, so mosquito nets are needed to protect everyone while they are sleeping. • Each room tends to have water vessels made out of ceramic, they help keep the water cool, so there needs to be a specific space in the room for that. • Most villages, whether they have the older style houses or the newer style, don’t have a living room where people can gather and welcome guests. So usually, the guests end up gathering in one room, where there isn’t enough space or chairs for all of them, • There isn’t a dining table that can be used to eat the meals, so most times, the plates are put into the ground while they are eating, which may be dangerous because the animals in the village will try to get close to the food to eat it.

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2.3. FRAMEWORK Once I have a clear idea of who my target user will be and where they live (the context of the location where the user will interact with the product) I can create a framework, to help me define my product. I start by doing an initial study of the product to be clear about its uses and functions, so I will create a useful phrase that comprehensively encompasses the main concepts of the product. The following is a study of the functions, an analysis of the user, and their needs. Finally, a Briefing will be created that includes the most important requirements of the module. • Subject: Adaptable furniture, ergonomic, multiple uses, simple. • Action: Use of the different parts of the furniture, the bed, chair, table, storage area. • Predicate: Target user, people living in the villages of Senegal, mostly the women and their children.

2.3.1. UTILITY SENTENCE First, start with a simple sentence that defines my product and then expand the sentence based on the subject, action, and predicate so that it is better understood, and clearly and comprehensibly explained the usefulness of the product to be created. 1. Adaptable furniture 2. Adaptable furniture for women and their children who live in the villages in Senegal. Once I have the main idea of what I want to convey to the customer, expand the sentence with more features and descriptions about the usefulness of the product. 3. Adaptable furniture composed of a bed, chairs, table, and storage space for women and their children (both babies, children, and teenagers) that live in the villages in Senegal and don’t have a lot of space for all of their belongings.

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2.4. FUNCIONALITY OF THE PRODUCT One of the main things that I had to do before creating my product is to analyse all the functions that it should have for it to be useful and optimum. IN TERMS OF THE PRODUCT • The product must be ergonomic and with the optimal dimensions so that the user can use it comfortably and can access all parts. • The structure must be strong enough so that it does not break easily and lasts as long as possible. • It must be easy to assemble and disassemble. • The product must have a sturdy bed where you can sleep and move without breaking and a sturdy table where you can study and work without any problems. IN TERMS OF THE USE • Must be easy to use. • Must be comfortable and safe to use. It should not cause any physical complications to the user. IN TERMS OF THE FUNCTIONALITY • The different parts of the product could be able to be reused and recycled for other purposes. • The operation of the different parts must be intuitive. • Individual operation without the help of a second person is essential. IN TERMS OF THE MANUFACTURE • The product must be easy to manufacture with the minimum number of possible parts. • The product must be manufactured safely. Operators cannot suffer any kind of injury. IN TERMS OF THE USER • There must be a good interaction between the user and the product without any complications. • The product must not cause any damage or physical injury to the user. • The user must be able to use all parts of the product independently. IN TERMS OF THE AESTHETIC PART OF THE PRODUCT • Colours should be neutral to suit different room types. • The product must have good surface finishes. • The product should have some decorative aspects related to the Senegalese culture.

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IN TERMS OF THE SUSTAINABILTY OF THE PRODUCT • Materials must be recyclable or obtainable from recycled materials. • The obtaining of these materials and their treatment must cause a low environmental impact. • I must create the minimum number of residues possible. • The materials should be able to be extracted from Senegal.

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2.5. FUNCTIONAL CHART OF THE PRODUCT Once I know all the functions that the adaptable furniture should have, I classify them depending on their importance. So, I know what are the features which I should focus on while developing the product. FUNCION CHARACTERISTICS MINOR MAJOR CRITIC Principal Adaptable furniture with a X bed, chairs, table and a storage unit. Parts of the • Wide storage space X product • Heavy duty bed X • Tough table X • Tough chairs X Place of use • Room measurements X • Ambiental conditions X of the room Target user • Use of the product X • Interaction of the user X with the product • Damages in the product X • Injuries in the user X Part of the product • Parts that are easy to X repair or change • Parts that are easy to X assemble • Easy to clean X Sustainability • Recyclable materials X • Materials that do not X create pollution • Minimum X environmental impact • Small amounts of X residues Manufacturing • Safe to manufacture X • Easy to manufacture X • Low cost of X manufacturing Use • Easy to use X • Easy to move some of X the parts • Safe to use X • Comfortable to use X

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Functionality • Intuitive functionality X • Independent X functionality • Adjustable X

Complementary - Graphic • Information on the X assembly of the product • Information on the use of the product X • Information on product maintenance and repair X

- Aesthetic • Product finishes X • Colours X • Decorative aspects X Fig 23. Functional chart.

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2.6. TYPES OF USERS Even though my main target user is going to be the women and their children who live in the villages of Senegal, other people will also interact with the final product, therefore, I should think of them as users too. 2.6.1. TARGET USER GENERAL CHARACTERISTICS AVALUATION JUSTIFICACION Physical: - Weight Minor Commodity - Age Major From babies to adults - Mobility Critic Being able to move the product without difficulties - Height Major Commodity

Cultural: - Experience Major Operation = correct use

USES AVALUATION JUSTIFICATION - Sleep in the bed Critic Commodity and ergonomics - Grab and store Major Accessibility to all the parts belongings Commodity - Use of the table Major Commodity - Use of the chairs Major Commodity SEQUENCE OF USE AVALUATION JUSTIFICATION - Fold and unfold the Major Use of little physical effort table - Fold and unfold the Major Use of little physical effort chairs - Move the adaptable Major Weight of the furniture furniture

Fig 24. Target user chart.

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2.6.2. MANUFACTURER (Including wood carvers) GENERAL CHARACTERISTICS AVALUATION JUSTIFICATION - Work space Major If the conditions are not right the conditions. worker cannot do a good job.

- Knowledge about Critic The manufacturer needs to have the product some knowledge about similar products so they can do a good job. CONTEXT AVALUATION JUSTIFICATION - Space Major How much space they have to work? - Harmful elements Major Treatment of the materials

SEQUENCE OF USE AVALUATION JUSTIFICATION - Get the piece Minor Routine - Treatment of the pieces Critic Good treatment of the pieces without imperfections. - Use of the tools Major They have to have a knowledge about the tools they will use - Inspection Major Inspection of the finished pieces. Fig 25. Manufacturer’s chart. 2.6.3. TRANSPORTER

GENERAL CHARACTERISTICS AVALUATION JUSTIFICATION - Schedule of the worker Critic Tiredness and pain. - Weight of the product Major Physical inconvenience. - Treatment of the Critic The product can break or be damaged. product

CONTEXT OF USE AVALUATION JUSTIFICATION - Unstable roads Major Delay of the transport. - Conditions of the Major The product can be broken or vehicle damaged. SEQUENCE OF USE AVALUATIO JUSTIFICATION - Picking the product Critic Correct pick of the product. from the manufacturer - Putting the product in Major The product can break or get damaged. the vehicle Critic The product can break or get - Transport damaged.

Bad extraction of the product. - Delivering of the product Critic Fig 26. Transporter’s chart

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3. CHAPTER 3: SECOND STUDY: What can we find all over the world?

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3.1. STUDY CASES I have chosen some cases related to the different ways that people live all over the world when they don’t have a lot of space in their homes, and need to maximize the use of their belongings. Even though some of these lifestyles have been developed decades or centuries ago, they have been chosen because they are still being used nowadays and can help me get inspiration for my final product.

3.1.1. JAPANESE LIFESTYLE Minimalism has been a part of the lifestyle of Japan since a long time ago, thanks to the influence of Zen Buddhism, which instils a desire for simplicity, therefore, less is more. Another reason why this country embraces the minimalistic lifestyle is that it is cheaper to be a minimalist. There are three main components of the Japanese aesthetic. The first one called Wabi, which translates to the word “simple” is the concept that refers to the austere style, it regards modesty and minor imperfections. The second concept is Shibui, which means subtle. It alludes to the unobtrusive style; it is something that draws attention to itself. The last one, Iki, meaning refined, refers to the effortlessly aesthetic, something that is not pretentious but still beautiful and polished. There is also another concept called Danshari: Refuse, Dispose, and Separate. It is a concept that has been popularized by authors like Marie Kondo and her book, The Life-Changing Magic of Tidying Up, and Goodbye, Things: The New Japanese Minimalism, by Fumio Sasaki. Danshari refers to a way of decluttering your life and only keeping essential things that bring you joy. A good known example of the Japanese lifestyle is their bedrooms.

Fig 27. Image of a man sleeping on a futon on the floor.

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A tradition that has been around for centuries and is still visible in a lot of houses in Japan is the use of tatami mats as a place to sleep. Even if nowadays people tend to use futons more, since they are thicker than the tatami mats and use the latter as a layer between the floor and the futon, these mats or futons are kept folded inside the closet during the day, so the room can be used for something else besides as a bedroom to sleep. During the night, they take them out of the closet and spread them on the floor. It is also common that the kids sleep with their parents in these futons until they grow up. There are a lot of benefits from sleeping on the floor with a futon such as better blood circulation and reduced back and muscle pain, better spinal alignment, and the ability to have more space since they can be stored while they are not being used. They are also eco-friendly since most of them are made only from cotton.

Fig 28. Image of a traditional Japanese bedroom with the futons rolled on the side.

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3.1.2. SCANDINAVIAN LYFESTYLE Scandinavian minimalism is about simplicity, comfort, and practicality. It is about making your home beautiful and functional at the same time. A place that makes you feel at peace. This Nordic lifestyle arrived internationally in the 20th century and it has ideas that originate from the Bauhaus design movement. Scandinavian minimalism or hygge is about practicality and modernism. This style also took inspiration from the region’s climate, long winters, and cold and short days. The design reflects this by contrasting that reality as much as possible. Because of this aspect, the quality and durability are fundamental aspects, but without sacrificing comfort.

Fig 29. Image of a living room with Scandinavian design style.

There are different keys in the Scandinavian design. Open-spaced floor plans, pale colours, and minimal ornamentation are key to make the rooms brighter and maximize the amount of light in the space along with making their houses more inviting and welcoming. It also takes inspiration from nature when it comes to the choice of materials. Minimalism comes from necessity, not aesthetics. It has substance. The Scandinavian design delivers efficiency, which creates beauty in its simplicity. There are differences between Scandinavian design and modern minimalism. Minimalism is usually defined by empty walls, white rooms, and open spaces. This concept asks you whether you need those items that you have in your living spaces. The goal is to release attachment and live a more meaningful life.

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In Scandinavian design, the spaces have a more practical function, they give a sense of lightness that lifts the mood and prioritizes practicality. The Scandinavian design focuses on facilitating one’s daily life, increasing energy, and creating a relaxing environment. Another difference is the necessities of the objects. In minimalism, possessions are often framed as necessary evils. It is tied to the shame and suffocation that comes with over-consumption and the belief that unwanted clutter doesn’t help to bring a better life. Scandinavian design is centered on ordinary life and taking pleasure in small things. Usually associated with finding natural and traditional designs and efficient construction, the simplicity of these aspects is a result of practicality.

Fig 30. Image of a living room with Scandinavian design style.

To summarize, the Scandinavian design focuses on contrast with the use of different types of light, multi-functional pieces which is helpful if you have a small space, so you can use modular pieces that are sold in stores like Ikea, nature by bringing natural light and incorporating plants or sculptural wood, hygge which refers to creating warmth and cosiness by rearranging the furniture to promote casual socializing and make it more conformable for your daily activities, modern design with the use of geometric shapes and clean lines, and quality craftsmanship to invest in high-quality pieces that will last for a long time.

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3.1.3. PUEBLO TRIBE Pueblo Indians are one of the few Native Americans that still live in the same settlements since centuries ago. Most of them now live in Arizona and New Mexico. They are an ancient race related to the Aztecs. Ancient rock drawings or stone carvings can be found in Chaco Canyon, in the north-western region of New Mexico, and are a testament to their ancient civilization. They started by living in cliff houses, and then they began to build their houses beneath the overhanging cliffs. The Pueblo tribe are farmers and herdsmen who live in villages. They were also highly skilled in basket-work, weaving, pottery, and carving. The Pueblo people are noted for their highly developed ceremonial customs and rituals, and their blankets and earthenware are decorated with religious symbolism. One of the main characteristics of the Pueblo Tribe is their houses. Their houses are usually built out of adobe, wood, stone, and dirt, while the wooden roofs are covered in mud plaster. These houses, called pueblos, can reach five stories high and are useful for hot weather because they keep the inside cool. These villages are formed by different families where each one has their own house or room.

Fig 31. Image of a typical house structure of Pueblo Indians.

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Similar to most African villages, each family had to share the same house, which doesn’t contain that many rooms. So, they had to use the same space to sleep and do their daily activities. As we can see in the image below, a group of people could hang out in a room, that also stores different types of objects and could also work as a bedroom during the night. Instead of having a sofa, which would occupy more space, they use a rug to sit down. Even though they don’t have a big amount of space, the rooms are still decorated with typical Native American designs, colourful and geometric shapes in their rugs and other objects, so their houses never lose their own identity linked to them.

Fig 32. Image of the inside of a Pueblo Indian house.

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3.1.4. INUIT PEOPLE The term Inuit refers to the Arctic indigenous population of Alaska, Canada, and Greenland. It means people in the language Inuktitut. Everything about their lives is influenced by the cold climate in which they live.

Fig 33. Image of a traditional native American house. Because of the climate, they didn’t have access to materials like wood and mud to make their homes, so they learned how to make warm homes out of snow and ice during the winter. During the summer, the homes would be made out of animal skin stretched over a frame made of whalebones or driftwood. An igloo is a round home made out of ice and snow that works as a for families during the cold months. Although a lot of Inuit and Eskimo people have adapted their lifestyle and now live in western-type houses, some of them still live on . These houses are built in different configurations to suit the size of the family. A block of ice in the igloo is cleaned every day to keep it transparent, so it can work as a window and provide light inside the house. There are three traditional types of igloos. A temporary small igloo is constructed to work as a shelter for one or two nights, and they are used during hunting trips. The second type is the medium-sized igloos which work as a family dwelling. They are a single-room household shared by one or two families. A small Inuit village may be formed by several of these types of houses. The third one, the largest igloos are normally built-in groups of two and there might be up to five rooms for a household of twenty people. It is common for the houses to be connected through tunnels, giving common access to the outside.

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Fig 34. Image of the inside of an igloo house.

During summer, they move out of the igloos and live on summer called . The covers of the are sewn from skins of sear, caribou, and other animals. These skins are supported by poles, often made of whalebone and the edges are weighted down with rocks. Even if it’s uncommon to find them, some elders still live in these types of tents.

Fig 35. Image of a typical tupiq tent.

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Since they have to change houses, from an igloo to a tupiq depending on the season, and because the family members are more likely to share the same tent or igloo to sleep and store their objects, it is common that the furniture and other objects that they have are not designed to be in a permanent space. So, for example, while they live on an igloo, the bed may be made out of snow and ice with animal skin on top to make it more comfortable and warmer. This way, when they have to move to the tupiq, they don’t have to transport the whole bed, but only the animal skins that will be spread on the floor or on top of a base made out of other materials. The same animal skins that form the tent, might be used in the igloos differently, giving their possessions more than one use. They only live with what is essential for their living conditions and what helps them be more comfortable and warmer, so when they have to switch homes, it is an easier process.

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3.1.5. MONILLA AMENA COMMUNITY The Jusi Monilla Amena indigenous community is one of the indigenous groups that currently live in the Amazon territory. It is made up of individuals from different communities or clans, who were grouped and achieved the adjudication of lands and recognition as a partiality belonging to the Ticuna-Uitoto indigenous reservation, located between the Leticia-Tarapacá highway and the Tacana river, at the south of the Colombian Amazon Trapezoid. The reservation is predominantly made up of families of Uitoto origin and an indigenous population of various ethnic groups, some from Peru and Brazil. This settlement made in 1950 had its origin in the migrations caused by the ethnocide that occurred during the rubber boom. Currently, the Monilla Amena community has a population of 106 people, who make up 26 family units, of which 11 have co-residence in Leticia due to work, academic or personal ties.

The house is always associated with a land destined for cultivation or "chagra", which is of vital importance in indigenous life, because the subsistence of the family depends on it, either to obtain food or to generate economic resources with the commercialization of the products in the city of Leticia.

Fig 36. Image of a typical Monilla Amena house.

The types of housing found in the Monilla Amena indigenous community are explained as a result of the process of transformation of the social structure of the indigenous communities, which is manifested in the change of the family structure, in the social, economic, work, and employment relationships. community life, as well as in the form of territorial occupation; the , as a

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communal dwelling, becomes the dwelling for the community leader, and new single-family dwellings are built. All these aspects are related to the different stages of historical periods of the Amazon, where housing, as a tangible component of indigenous culture, shows the processes of social transformation and economic activities in the region. They still live the same way that their ancestors used to do. Their houses are mostly made by themselves and the materials that they use are from the same land, like wood and palm leaf for the cover. There are similarities with the structure we can find in the villages of Senegal. While each house is shared by the members of the same family, where they live and sleep, the kitchen is a room constructed outside the main house. Also, similar to the newer houses we can find in Senegal, the newer houses in the Monilla Amena community may have a commune are where people can socialize. They have been able to maintain the traditional house while still be able to create more space for their necessities such as a common living room, bigger kitchens, and additional rooms to store their belongings. A good way to keep up the traditional aspects of the community while satisfying the new necessities of the people.

Fig 37. image of a typical Monilla house on the inside.

Fig 38. Image of parts of a Monilla house.

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3.1.6. MONGOLIAN LYFESTYLE The Mongols are an ethnic group that lives in Mongolia, in Central Asia. They are a nomadic pastoral tribe that travels with their herds and horses over the immense grasslands of Mongolia.

In a traditional Mongol society, the community is based on the family, the clan, and the tribe. Even though more than 70% of the population live in urban areas, most of the rest that live in rural areas still live in .

More than a home, a is a symbol of the kindship of family. They are born and raised in yurts, or ger, which is the name that Mongols use to refer to their rural houses. They also get married and stay close to their one-ger family or small community their entire lives. It is a unifying part of the Mongolian family and life. A ger is a portable, circular dwelling made of a lattice of flexible poles and covered in felt or other fabric. They are a sturdy, reliable type of tent.

Gers take between 30 minutes and 3 hours to set up or takedown, and usually house between five and 15 people. They are usually a little over 2 meters high, with a slightly domed top rising another meter.

Fig 39. Image of a typical Mongolian ger.

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Fig 40. Image of the inside of a ger.

Two central posts form a circle of wood that serves as a ridge at the top of the ger. This circle is connected to the walls with wooden slats forming a ceiling. Their houses are usually covered by a felt layer, which thanks to its insulating properties, can protect the family from both the heat and the cold. Most of the furniture that we can find inside the yurts is traditional furniture that is painted in orange, with designs inspired by nature. Their beds are also used as sofas. There are positioned on the right and left of the door. Women usually sit on the bed on the left, because that is where the kitchen area is, while men use the bed on the right. Sometimes there is also a third bed that can be used as a family altar to put pictures and objects. Other furniture like coffee tables and small stools are found on the opposite side of the door, between the two beds. A wood-burning iron stove sits in the middle of a traditional yurt, with a long chimney reaching up past the roof. It is the center of family life and where the mother cooks. It also creates heat during the cold winters of Mongolia. Because they are a nomadic tribe and are constantly moving, they only live with what they truly need, using their furniture for more than one use. Like using their beds as sofas or a third bed to store other objects. They also use materials that can be easily found on their lands while decorating them with their traditional ornamentations.

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Fig 41. Image of the inside of a ger.

3.1.7. CONSLUSIONS ON THE STUDY CASES While studying these cases, we can see that houses are not defined by the structure itself, but also by the people who live in them, their belongings, the culture, and the nature surrounding them. There isn’t only one right way to live. There are many ways where humans have archived to live a fulfilling life with what they only truly need. Like in the examples and the Senegalese lifestyle, we can see that using a product or an object for more than one use is one of the main ways to save space, materials, and money, and to make people’s lives easier. Also taking advantage of the resources from the surroundings of the place where their life is also both important and useful. Therefore, after analysing these cases from all around the world, I can come up with a better solution and a better design. I can also take inspiration from them, like the way that the Japanese fold their mattresses or tatamis in the morning and store them away to use the room as a living room space too, the way the Scandinavians take advantage of nature and materials that are available in their lands, the way Mongols distribute their furniture and belongings inside their yurts to maximize the space, or the way the Innuit people use the furs to sleep during winter and to build their tens, the topic, during summer. There are endless ways to create a home and live in it, and all of them are right.

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3.2. STATE OF THE ART Since there is a more or less of a clear idea of the final product will look like and the parts that it will have, a modern product with traditional Senegalese ornamentation, I have decided to search for similar products that are sold all over the world, mostly in the western areas like in Europe, since it would be difficult to find similar products to mine in Senegal or African countries. 3.2.1. FOLDABLE BEDS This individual bed contains a wooden base and steel that can be easily folded to optimize space. To use it, the user only has to open the bed holding the mattress, as the mattress is not to be removed when the bed is to be folded, and the legs are to be stretched, which are also folded. The bed also includes four wheels used to displace the product when it is folded and then the bed is tied with two strings found at the ends.

Fig 42. Image of a foldable bed.

Another type of individual foldable bed that we can find on the market today is the type that includes a box where the bed is stored once it is folded. Unlike the previous product, the wheels are found in the box so when the user has folded its legs and stored their bed in the box the doors are closed and the product can be easily displaced.

Fig 43. Image of a foldable bed with a box.

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3.2.2. FOLDABLE BED WITH A CLOSET This foldable bed contains a closet at the top of the furniture, while the bed is at the bottom, which can be opened and closed horizontally, and the legs are also foldable. In this way, the user can use both the closet and the bed at the same time also. The module also includes a shelf where different objects can be left.

Fig 44. Image of a foldable single bed with a closet.

Another type of folding bed with a wardrobe that we can find is the one that opens vertically. In this case, the closets are on both sides of the bed. Also, when you open the bed, several shelves are built into the module, which is not affected once the bed is closed.

Fig 45. Image of a foldable double bed with a closet

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3.2.3. CLOSET WITH A DESKTOP This small cabinet contains a table that opens and closes whenever the user wishes. The product can be used as a desk as well as a place to store different objects, as it contains shelves at both the bottom and top. When they want to fold the table, all they have to do is leave the objects that were previously in the cupboard and close the table.

Fig 46. Image of a foldable table inside a wardrobe.

3.2.4. SHELF WITH FOLDABLE TABLE This shelf that is anchored to the wall has a table that opens and closes vertically, the leg, that is just as wide as the table, also folds once it is no longer used, so both when the table is open and closed, it is aesthetically pleasing. Also, there are shelves on the inside where you can leave the objects that were previously on the table. It can be used as both a desk and a dining table.

Fig 47. Image of a foldable table on an anchored shelf.

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Similar to the first one, the table and the benches are anchored to the wall, this way, when they are not using it, the legs and the bases can be folded so they don’t occupy space. And that also can be used for other purposes besides being a dining space. It is a simple yet functional design.

Fig 48. Image of a foldable table and benches anchored to the wall.

3.2.5. SOFA-BED This two-in-one furniture allows the user to have both a bed and a sofa at the same time in the same space. The sofa is below the bed and the back of the base also contains a shelf where the user can store things. When it’s being used as a bed, the shelf and the sofa stay at the bottom. And when the bed is not being used, it’s hidden away. This is a good option because it allows transforming the same space depending on the user’s needs.

Fig 49. Image of a foldable bed with a sofa and a shelf at the bottom.

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This bed is made out of two parts. When they are separated, they work as a large sofa. And when they are put together, they transform into a big bed. The smallest part of this modular furniture has the ability to fold the back area while it works as a bed and open it when the user is using it as a sofa, so it’s more comfortable. It’s a functional yet simple product.

Fig 50. Image of a sofa-bed.

3.2.6. MODULAR SOFA These chairs that have cushions on them, also contain drawers at the bottom part, which can be used to store different products. They can also be combined in number and shape to adapt to the user’s needs, this way the same product gives multiple options depending on the use that it will be given.

Fig 51. Image of a sofa with drawers.

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3.2.7. SUMMARIZING TABLE

BRAND PRODUCT IMAGE MATERIAL MESUREMENTS PRICE LA WEB Foldable Steel and 214 € DEL bed on a woo d. COMFORT box

BEAUTISSU Foldable Steel and Open bed: 139,99€ bed wood. 900 x 2000mm Folded bed: 900 x 350 x 1130 mm

TUCO Foldable Laminated Closed bed: 669 € bed with a wood and 2078 x 540 x steel 2153mm closet Open bed: 2078 x 1260 x 2153 mm

MOBEL Foldable Pine wood, Overall 1659,29€ SANZ bed with a steel and measurements: 2700 x 2400 x closet plastic. 600 mm bed: 1350 x 1900 mm closet: 500 x 2400 x 600 mm

MILAN Closed Pine wood 1365 x 710 x 360 78,29 STORE with a and steel. mm

foldable table

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TECNO Anchored Wood 1580 x 480 x 1080 41,79 € MOBILI shelf with structure mm a foldable with steel table hinges.

AMAZON Anchored Steel and Bench: Not foldable wood. 1200mmx400mm stated Table table and 1200mmx700mm benches

ARCHI Foldable Wood and 2200mmx1730mm Not PRODUCTS bed with aluminium x1210mm stated sofa and extrusions. self

Not stated Sofa that Wood and 2000mmx1600mm Not transforms steel. stated into a bed

VOX Sofa with Wood, cotton 650mmx900mm Not and plastic. x900mm FURNITURE drawers. stated

Fig 52. summarizing table of state of the art.

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3.3. TRADITIONAL SENEGALESE FURNITURE Arts and craftsmanship are important aspects of the Senegalese culture. They usually make their own products by themselves with materials from the country. From ceramic water vessels, bags, and baskets made out of straw to furniture made out of wood, there isn’t almost anything that artisans from Senegal cannot do. When it comes to furniture, in Senegal, the artisans have focused more on the chairs and benches where people can sit. There isn’t a lot of traditional tables, since people from the villages mainly, tend to eat with the plates and bowls on the ground.

3.3.1. STOOLS Stools have been used as chairs for a long time. They can go from simple designs made out of a base and two or four legs to more crafted designs which including typical Senegalese and African ornamentation. All the stools are handcrafted and are made out of wood from Senegalese trees like the baobab. They are really useful thanks to their dimensions and their weight, so they don’t occupy a lot of space and can be moved easily, even by kids. Even to this day, they are being used in villages as chairs to sit while eating.

Fig 53. Image of a traditional Senegalese stool. Fig 54. Image of a traditional ornamented Senegalese stool.

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Nowadays, we can find more modern designs that include more minimalistic designs and different colours like the ones in the picture below. Handcrafted by Senegalese artisans and made of solid wood, the Togou stool combines several characteristics (contemporary, primitive, artistic, and mystical).

Fig 55. Image of modern Senegalese stools.

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3.3.2. CHAIRS There is also another type of chair made out of two parts, one large base that works as one leg and the resting back area with a hole in the bottom part, and the shorter base that works as the second leg and the sitting area, this one is inserted through the hole of the first one to form the chair. They are also made entirely out of wood and can go from being really basic to contain a lot of ornamentation and different colours. These chairs are great as the two pieces for this furniture can be separated for easy storage and management.

Fig 56. Image of traditional Senegalese chairs. At present, craftsmen also create tables that can go with the chairs and form a dining area. They are made from the same wood and have the same type of Senegalese decorations.

Fig 57. Image of traditional Senegalese chairs and table.

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3.3.3. BEDS Although it wasn’t common before, within the past few years the artisans have started to create bed frames that share similar aesthetic aspects as the stools and chairs. From the manufacturing of the different parts that create the bed to the creation of the beautiful embellishment in the headboard and front of the bed, it is entirely handcrafted.

Fig 58. Image of a modern Senegalese bed.

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3.4. HOLES AND WINDOWS From the study cases and state of art, I define which are those characteristics that the existing products do not fulfil according to my requirements. 3.4.1. HOLES The holes are the cons of the products that I have studied and that would not work for my product and could be improved or changed. Foldable beds that include a desk and a closet, among others, are more similar to my product, although with negative points. • They are usually high priced, although they are very simple it is difficult to find them for less than 1000€ with good qualities. My product must adapt to the economic situations of all users. It should be low cost but good quality. • They are usually very large, so they take up a lot of space in a room. • A person with reduced mobility problems cannot access all parts of the piece of furniture, for example, if the bed is too high. The user must be able to use all parts of the piece of furniture without any problems and access it easily. • A lot of the adaptable furniture that I can find in the market doesn’t include an option for babies, like a baby crib incorporated in it. Also, like many of the furniture sold to companies such as IKEA, my product must be able to be intuitive in terms of assembly and use. 3.4.2. WINDOWS (opportunities and options) The different physical aspects of the user to whom the furniture will be addressed must be taken into account, height, weight, motor, and visual disabilities, among others. Because depending on the physical qualities of one user or another, the size of my product must be adjusted in such a way that the interaction between the product and the owner is as accessible as possible. In addition, the materials must be light, as parts of the module such as the table and the chairs will open and close depending on whether the user is using them at a given time or not. Therefore, if the materials are heavy and these parts of the furniture are large, the individual will have to use a physical effort that does not have or that can cause complications, so the use of the furniture should be as comfortable as possible. The weight of the module must also be taken into account, as I have said before there are a lot of parts from the product that will be taken in or out, and maybe even the whole furniture will be foldable, and these actions can be carried out without complications, with a lighter weight. Having into consideration these aspects I create different windows depending on which aspects I want to focus on.

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3.4.2.1. Window 1: accessible adaptable furniture 1. Easy and intuitive assembly and repair by the manufacturer 2. Independence of the different parts of the module in case one of them needs to be repaired. 3. Use of resistant but light materials. 4. The size of the product must be optimal so that it can fit in most single rooms. 5. There must be different touches of the material so that a person with visual difficulties can differentiate the different parts that make up the module. 6. The corners must be protected to prevent any kind of accident or injury.

3.4.2.2. Window 2: customizable adaptable furniture: 1. Easy and intuitive assembly and repair for the manufacturer. 2. The user can choose how the bed, tables, chairs, and storage space that they want. 3. The user can choose the dimensions of the module as well as the finishes and colours. 4. Parts may be added or removed according to user requirements.

CHOOSING A WINDOW: Once I have defined which are the two best to consider, the first focusing more on product accessibility and the second on customization, I choose which is the most suitable to carry out the final design or designs of the final product Finally, I opt for the first window, a multi-purpose product accessible and intuitive among users of the product, as it is believed that it is more important if the product can be accessible to all users and can be used without any impediment. The customization of the product can be a secondary need that can be met once the first need has been fulfilled. Another aspect of my product is that, for example, if the user doesn’t need the chairs or the table, this can be stored in the product to save space.

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3.5. BRIEFING After I have done a study about the context, the target user and their needs, similar study cases, and the state of the art, I can create a Briefing summarizing all the important aspects that I should take into consideration, with all the characteristics and requirements. PRODUCT: Adaptable furniture that will include a bed, chairs, table, and storage space. OBJECTIVE: The objective while creating this product is to satisfy the needs of the people from the villages of Senegal, mostly the women and their children. To give them a product that includes things that they need and will use to improve their daily activities while still taking into consideration the size of their houses/rooms. CHARACTERISTICS: • The main part of the product will be the bed used by the women. • An additional bed that can also work as a baby crib will be included for the children. • There will be foldable chairs and a table, so they can be used to study or for when visitors come since there aren’t any living rooms. The chairs and the additional bed could work as a “living room space”. • The product could include a way to generate light for when it gets dark since there isn’t electricity in most of the villages. • Materials should be light but strong enough not to break. • Colours should be neutral to suit any room • All parts of the product must be accessible to any type of user. • For better manufacturing and assembly, the product must have as few parts as possible, and these must be able to be repaired or replaced without any inconvenience. • The use and operation of the product and its different parts must be easy and intuitive. SUMMARY OF THE PRODUCT: My product will be an adaptable piece of furniture that will include a bed as the main aspect, and an additional bed that can also work as a baby crib, a table, some chairs, and a storage pace. This product is aimed at women and their children who live in the villages of Senegal and don’t have the space to have all the things they need and store their belongings, since their houses/rooms tend to be small, with a lack of light and no electricity. Therefore, with the creation of the product, I hope to ease their day and night activities while taking having in mind the traditions, the culture, and the space they live in.

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4. CHAPTER 4: DESIGN PROPOSAL

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4.1. CONCEPT MAP Following a study about the context and searching for information about similar cases and similar products that we can find all over the world. I proceed by creating my product. I define adaptable furniture as furniture that can adjust to the needs of the user and solve their problems regarding issues such as lack of space in a room or a house. It is a type of multifunctional product that provides with options since it can be easily moved around, adjusted, and changed, according to the situation. Therefore, it transforms the space that it is found depending on the used that it has. Before I start drawing some ideas, it is a good idea to create a concept map, to visually understand what are all the points that I should think about while designing the final product, such as the parts of the adaptable furniture, the weight, the size, and the place. In this concept map, I make a list of all the parts that the furniture should have, a bed, a table, chairs, stools, storage area, and additional sections.

Fig 59. Image of the conceptual map.

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4.2. PRODUCT CONSTELLATION – MIND MAP Once I have created a conceptual map, I can create another map to see what are all the relationships between the concepts. This will also help us define the product more before I start drawing.

Fig 60. Image of the product constellation with all the relationships between the concepts.

In the image, we can see the different relationships that happen. The parts of the furniture should be designed while also thinking about the dimensions of the room/house and the weight, which also has a relationship with the final target user. The user also shares a relationship with the place and the manufacturer, since the last one also lives in the same place (whether it is in the same village or other parts in Senegal). The relationship between the manufacturer and the furniture is also important, because, the more parts the product will have, more time it will take to make it and more material will be used, which means that I will have to use more resources and spend more money, therefore the product could end up being more expensive.

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4.3. BRAINSTORMING 4.3.1. FIRST IDEA The first idea was to make a big bed as the main component of the final product. This bed would have, on one side, a storage area, while on the other it would have an additional bed where parts of a baby crib could be installed if the user needs to do so. The storage area would be used to store both the other parts of the furniture and the belongings of the users.

Fig 61. Image of the first idea, the main bed, the second bed and the baby crib. Similar to the picture on the right, the bed would fold when it’s not used and save space that could be used for other purposes.

Fig 62. Image of the first idea, the storage area and an example of how it would fold.

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4.3.2. SECOND IDEA After drawing the first idea, I realized that it would be difficult for the main user to access the storage area if the bed was folded and that it still didn’t have much space to put all the belongings, another problem, was that if the whole furniture weighted a lot, it would be troublesome for the user to keep opening and closing the entire bed. That is why I came up with the second idea. One of the parts will be a box where the mattresses of the main bed and additional bed will be stored. On one of the sides, the box will contain a shelf at the top, that can work as a place for the user to put some of their belongings and the additional bed that will be at the bottom part. This two will be able to close and open whenever necessary. The additional bed will also contain a way for it to connect the baby crib parts.

Fig 63. Image of the second idea. the mattress and additional bed box.

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The second part of this adaptable furniture will be a series of four boxes that will have different uses. The first one is a place to sit. When they work independently, the user will be able to put pillows or small cushions on top of each box so people can sit. Also, each one of the boxes will have storage areas, for both storing the stools, the chairs, and the table, along with clothes and other belongings. Once they are connected, they will form the main bed. So, when the user grabs one of the mattresses from the first box that has the additional bed and puts it on top of the four boxes, they will be able to sleep in the main bed while still having access to the inside of the boxes. They can also have small wheels so it’s easier to move them around the house or the room.

Fig 64. Image of the second idea. main sofa-bed, chairs, stools and table. The table, the stool, and the chairs will have different parts, that will be easy to assemble and disassemble for easy storage and easier use. This way if the user only needs the four boxes as sitting areas, the rest of the furniture will be store on the inside of those, saving space in the room that they are. Another important point to come with the final drawings before creating the 3d models is to analyse the sizes of the rooms where my product will be used.

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4.4. The houses and rooms in the villages in Senegal As explained before (in segment 2.2. Target User p. 24 – 31), I am going to focus on two types of houses, the traditional round, made out of earth and straw, and a newer type, a square house made of metal and cement. While looking at the houses in my parents’ villages, I realized that most of them had the same dimensions. As we can see in the image below, the square ones can have an area of 7.5m2, while the roundhouses or rooms can have an area between 12m2 and 28m2 if we count the whole circle, if we count the square space, we can get between 7.8m2 to 17m2. Since it's more common to find roundhouses with an area of 7.8m2, I am going to focus on those along with the square ones. Even if it seems like there is a lot of room, we have to keep in mind that these houses and rooms are used for everything except as a kitchen and a bathroom. And since it also accommodates quite a lot of people, it ends up being small if it has to be used as a bedroom, a storage place, a study place, and a living room.

Fig 65. Common dimensions of the houses in the villages in Senegal

Here are some pictures of my dad’s village, Hinnako, found in the south of Senegal, one hour away from the Kolda Region in Casamance, where we can find traditional houses. The base of this house is made out of cement bricks and earth, while the big roof which also works as a heat insulator is made out of straw and wood sticks to keep it in shape. All the villages were constructed by the people who live in them. For example, Hinnako was land that was not used and belonged to no one (most villages’ lands were not owned by the government before). My grandad came to Hinnako from his native village with his brothers, parents, and first wife and build the first settlements by themselves with all the materials they could find around.

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And as the family grew and the years passed, they would build more houses around the land. Therefore, it is easy to find houses with different dimensions, since each house was constructed to host a specific number of people at that time. It is really common to find a mixture of tradition and modern styles in each village.

Fig 66. Image of traditional round house in Hinnako.

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Fig 67. Image of traditional round house in Hinnako. made out of straw, earth and cement.

Fig 68. Image of the rood of a traditional round house.

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Nowadays the interiors of the roundhouses can be covered in cement to create better insulation against the heat. As we can see in the picture, the only thing we can find in this room is a bed made out of wood, while part of their belongings is at the bottom of the bed.

Fig 69. Image the interior of a round house.

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The second type of house which is bigger, since it has more rooms, also has windows so there is more light getting inside the rooms.

Fig 70. Image of newer style of house in Hinnako.

Fig 71. Image of a small house in Hinnako.

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It’s normal to find the mosquito nets hanging from one or more points from the walls or the ceiling. During the day, if no one is sleeping in the bed, the net is folded or tied and it’s left hanging on top of the bed. During the night, it’s unwrapped and secured between the bed and the mattress. The bed may contain two mattresses, one for the main bed and another one that can be put on the floor if more people are going to sleep in the same room. The clothes are usually hanging on the walls with hooks or stored in plastic or wood boxes near the bed or under it.

Fig 72. Image of a room of a newer style of house in Hinnako.

Fig 73. Image of a room in Dakar, Senegal with the mosquito nets secured in the bed.

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Even if most village nowadays has electricity, there are no lights outside the houses, therefore, once it gets dark and everyone has eaten dinner, they gather in the rooms, even if the weather is nicer outside. And because there isn’t a living room, most times people end up just going to sleep. So, social relationships only happen during the day.

Fig 74. Image of a village during the night without lights.

4.5. Conclusions on the design The four boxes that compose the main bed have to be big enough to store the users’ belongings and the other parts of the furniture (chairs, table, and stools) but cannot weigh a lot to allow the users to move them without difficulty. The parts have to be thin enough so they don’t weigh a lot but strong enough to not break easily. There may be the need to incorporate wheels in the four boxes for easier movement. I also need to include some kind of lighting device to be able to illuminate the room even if the village doesn’t have electricity in all the rooms or houses. Since most rooms already have mosquito nets hanging in the ceiling, I decided not to include them in the final design, but the main bed should include some kind of hooks to hook the nest. The main bed and the box that contains the additional bed should not be bigger than 2.5 meters wide (while the additional bed is open) and 2 meters long.

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5. 6. 7. 8. 9. 10. CHAPTER 5: FINAL DESIGN

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5.1. 3D OF THE PRODUCT After choosing the final design and the measurements, I came up with the 3D of the adaptable furniture (without the ornamentation/decoration part). In the following images, I will show you how the product would look like. The main bed will be formed by four individual boxes that will also work as both a storage unit for the belongings of the user and the other parts of the furniture; and as sitting areas. Four wheels have been added to each box so it is easier for the user of any age, to move the boxes around. This way the user will be able to arrange them as they please since each box is 1m long by 67.5cm wide.

Fig 75. 3D of the boxes that form the main bed.

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Fig 76. 3D of the boxes that form the main bed, with the doors closed.

To make the main bed, the user will only have to move the four boxes together, and because the doors face outside, even if they are arranged as a bed, it will be easy to access the belongings on the interior. The only thing that the user will have to do to complete the bed, is to put the mattress on top of the four boxes, which combined are 2m long by 1.35m wide, making it a standard double bed. This way, the user will have both a big main bed and four storage boxes that could also work as small independent sofas, once a smaller cushion is put on top.

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Fig 77. 3D of the configuration of the main bed with the four boxes.

Fig 78. 3D of the main bed configuration, the doors can be opened anyways.

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The other main part of this adaptable furniture is the big box with the additional bed. In this box, the user will store the mattresses for both the main bed and the additional bed, that will also work as a baby crib if needed. It also contains a shelf at the top for additional storage. Unlike the four boxes that form the main bed, this one doesn’t have wheels, since it won’t be moved around. Both the additional bed and the shelf are foldable. So, the user will be able to close them easily if they are not using them, saving space for other activities. The height of the box is 1.35 for easy access and the width is 2m similar to the main bed. Therefore, between the main bed and the additional bed, the user (who as I stated before it will be mostly the women in the village) will have enough sleeping space for her and her children.

Fig 79. 3D of the big box.

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Besides the main boxes, I have created a table that can be also stored in the four main boxes. To come up with the design of the table I have taken inspiration from both the traditional chairs and stools that have been used in Senegal for years. This table could be used as a desk for the children to study and do their homework and as a place to eat. This could help solve the problem that many villagers have when it comes to eating since they mostly put the plates and bowls on the floor while eating, which causes the animals to have easy access to the food. Because of the dimensions, 90cm long, 50cm wide, and 56 in height, it will be easier for the user to assemble and disassemble.

Fig 80. 3D of the table.

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Another product that is included in this adaptable furniture is an upgraded stool. While the design is similar to the stools that already exist, what makes it different and more efficient is the fact that the parts can be taken apart so they can be stored inside the boxes. Since it is a small product and it is mainly used by the kids, both the adults and children will be able to assemble it when needed and store it when they are not using it, and because of the small dimensions, similar to the existing stools, I thought that there could be between three and four stools per room.

Fig 81. 3D of the stool.

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The last part is a chair, that similar to the other pieces can also be stored in the boxes. It is really similar to existing chairs since they are really convenient and the manufacturers already know how to make them, I decided to take advantage of the fact that it is a product that already works well and is being used all around Senegal. So, I adapted the dimensions to be easily stored inside the boxes. They could be used just to rest in the room, when guests come over, while eating or while the children are studying at the table.

Fig 82. 3D of the chair.

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5.2. PARTS OF THE PRODUCT

5.2.1. THE MAIN BOXES

The main bed is composed of the base where the wheels are, the back of the box, and a shelf on the inside that creates two storing spaces in each box. The shelf is held by the back and the sides of the box for better support. Each box will have two doors, this way, the user can only open one instead of the two if needed, saving some space. The height of the box is 55cm with the wheels included. So, both kids and adults will be able to sit and sleep comfortably.

Fig 83. Base of the box. Fig 84. Back and shelf of the box.

Fig 85. Sides of box. Fig 86. Top of the box.

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Each door will have a small knob to open them, the design of the knob has been created having in mind that some users could have physical problems with their hands. So, the round shape will make it easier for the user to grab the knob and pull it to open the doors.

Even though I thought it would be a better idea to create a hole for each door, so, that could work as a way for the user to open the doors, I opted for the knobs, this way, the boxes will be closed off and nothing will be able to get inside (there have been cases of snakes getting inside the rooms on the villages and hiding in different places). It will also keep the belongings on the inside away from the dust and dirt.

After talking with people who live in the villages, I decided to not add hooks at the top of the boxes for the mosquito nets, since they said that when they use the mosquito nets, they put the ends between the bed and the mattress.

Fig 87. Image of the box with the doors. Fig 88. Door knobs.

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5.2.2. THE BIG BOX

The main structure of the box is composed by a base, the sides, the back and the front, which also serves as the union between the box, the additional bed and the shelf. The inside of the box is where the mattresses will be stored during the day.

Fig 89. Base and sides of the big box. Fig 90. Back and front of the big box.

Fig 91. Big box with the shelf folders. Fig 92. Big box with the bed and the shelf.

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The bed and the shelf will be opened and closed thanks to shelf folders on each side, that will maintain the two parts steadily. The bed will also include two legs that will support it once it is opened, these two legs will also be folded when the bed is not used.

Fig 93. Big box with the legs on the bed. Fig 94. Big box with the bed and shelf folded. When the bed is used as a baby crib, three parts will be installed on the sides of the bed, so the babies won’t fall on the floor. There isn’t any part in the center since the boxes of the main bed could be put in front to work as a barrier too, and the two barriers on each side have been put to keep the children or babies from bumping their head into the door’s knobs. To put and take the barriers, both the bed and the front piece of the box have holes where the barriers will be inserted.

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Fig 95. big box with the baby crib parts inserted in the additional bed. The barriers on the sides of the bed, the ones that are also inserted on the front of the box, will have a hook for the mosquito nets, unlike the main bed, since when the crib is used, the net will not be able to be tucked between the mattress and the bed. The mother will only have to take the barriers from the four boxes and insert them in the bed so the baby can sleep there safely, once it is not needed, they can be stored away, saving space.

Fig 96. Image of the baby crib side with the mosquito net’s hook.

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Fig 97. Image of the baby crib sides that are inserted in the other parts and the bed.

Because the box won’t be moved and the bed and shelf will carry some weight while they are being used. There will be a hook on each side of the back of the box to attach it to the wall, so when someone is sleeping or sitting on the bed, the box won’t fall. Since the boxes will also be in round rooms, the edges of the back of the box are round, and I have designed two types of hooks, one used for the round rooms and the other used for the straight rooms.

Fig 98. image of the two types of wall attachment.

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Because some parts are going to be mobile while others won’t, and keeping in mind that some villages still don’t have electricity (30% of the villages in Senegal). I have thought that the best option to illuminate the room will be through LED stripes, which can work both with or without battery, so they can be moved around, and connected to a plug if the room has one. The stripes will be placed around the big box, in the superior part, and on the sides. There is also another type of portable LED light with a rechargeable battery that has a movement sensor, so the light activates once the user is near the lights.

Fig 99. image of the LEDs that could be used in the big box.

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5.2.3. THE TABLE

The table is made of three parts that can be disassembled, similar to the mechanism of the traditional Senegalese chairs, one of the legs is inserted into the other, forming an “x” shape that stands on its own. The base of the table is inserted between the two legs.

Fig 100. image of the legs of the table.

Fig 101. Image on how the table base is inserted into the legs.

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As we can see in the images below, the insertion of the table into the legs works like a puzzle, so the hooks on the bottom part of the base fit perfectly in the holes that are at the top of the legs, so the base won’t move or fall even if there is weight in only one side. This way the user can insert the base and take apart the parts in a really fast and easy way.

Fig 102. Image of the union between the legs and the table base.

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5.2.4. THE STOOL

The stool is also composed of three parts, the base and the two legs, which are identical. The base has two holes on each side with the shape of the top of the legs, where these two will be inserted to form the stool. Because of the shape of the holes in the base, the legs won’t move or fall independently of the movement of the stool, since the pressure of the weight will be applied both to the base and the legs.

Fig 103. Image of the stool’s base. Fig 104. Image of the stool’s legs.

Fig 105. Image of how the stool base would be inserted into the legs.

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5.2.5. THE CHAIR Similar to the ones that already exist, the chair has two parts. The base also works as one leg that is inserted into the back of the chair, which works as the other leg. Hence it is easy to take the parts apart and put them away. The edges of the base are round so it won’t be painful for the person sitting on them.

Fig 106. Image of the chair’s parts.

Fig 107. Image of how the base would be inserted.

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5.2.6. HOW THEY WOULD LOOK TOGETHER The following images show how the different parts of the product would look together and some of the possible combinations. The main one is when the four boxes are put together to form the main bed. These boxes would be close to the bigger box, where the additional bed is, this way it will be easier to put the mosquito nets, between the bigger mattress and the hooks of the barriers of the baby crib, when this one is inserted into the individual bed. The total length of the box with the additional bed opened and the four boxes arrange as the main bed is 2.54 meters long by 2.03 meters wide.

Fig 108. Image of the big box with the main bed.

Fig 109. Image of the sides of the box and the main bed.

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When these parts are rearranged this way, the user will still have access to the interior of two of the little boxes. When the barriers of the baby crib are not inserted the mosquito nets will be secured between the two beds and the two mattresses. When only the main bed is used and the additional one is folded, the length of this arrangement is 1.75 meters. There is the option to put the barriers between the main bed and the additional one, even if the ones that are sleeping in the smaller bed are not babies, those barriers could still work as a protection against the knob of the boxes. The nets would be hooked in the barriers instead and it would not add more length.

Fig 110. Image of the box and the main bed without the baby crib. Fig 111. The box with the shelf and bed folded.

Fig 112. image of the side with the bed and shelf folded.

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Another arrangement would be the table with either the chairs or the stools. Since both the stool and the chair have the similar height when the person is sitting on them, they could be used by the children while there are studying or by all the members of the room while there are eating. For the chair, a cushion could be put to add more height.

Fig 113. Image of the chair and the table together.

Fig 114. Image of the table and the stool together.

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On these images, we can see all the sitting areas combined, since the boxes that form the main bed can also be used as “sofas” during the day. The only thing that the user would have to do is replace the big mattress with cushions if they feel it convenient. Another reason why I decided to not ad mosquito net hooks on the boxes is that, if more than one person is sitting on the box, a hook on the edge or the side would probably hurt them.

Fig 115. Image of the stool and the chair together.

Fig 116. Image of the bed box, the chair and the stool together.

Fig 117. Image of the bed box, the chair and the stool together, front side.

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5.2.7. STORING THE PARTS The chairs, the stools, the table, and the baby crib parts will be stored inside the four little boxes. They will be put in the bottom part, so even if they weigh a lot, they won’t damage the shelf on the inside or affect the mobility of the boxes. It will also be easier to pile them up. Since there are four different products, each one will be stored in one box, so because one room will have one table, the rest of the space will be used for the users’ belongings. As we can see in the images below, the three parts that compose the table don’t take that much space, since the thickness of each part is 3cm or less. And the dimensions of these pieces of furniture have been designed so they fit perfectly inside the box.

Fig 117. Image of how the parts of the table would look like stored in the boxes.

Fig 118. Image of how much space the table parts would occupy inside the box.

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Since the whole product will come with two or three chairs per room, these will be stacked one on top of the other, since the surfaces are straight and smooth. And because the chairs only have two parts with a thickness of 2cm each, if we store three chairs, there will still be a lot of room left for other objects.

Fig 119. Image of how the parts of the chair would look like stored in the boxes.

Fig 120. Image of how much space the chair parts would occupy inside the box.

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While the table and chair parts will be stored one on top of each, the stools can be stored side by side. Therefore, the three parts of one stool will be placed together, and the three parts of another stool will be stored on the side. As we can see in the images below, up to three stools could be stored using this method on the bottom area since they are smaller and occupy less space. If the user only needs one stool, they can take all the parts without having to move the other stools.

Fig 121. Image of how the parts of the stool would look like stored in the boxes.

Fig 122. Image of how much space the stool parts would occupy inside the box.

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The baby crib parts have also been designed with the actual dimensions so they can work as a barrier and also fit inside the boxes. Since the user will only need the four parts that compose the crib for the additional bed, the space that they take inside the box is less than 6cm in thickness since each part is 1cm thick and two of them have some parts that are inserted into the bed and the other barriers, which are 1.5cm thick. Because there will be only one table, the crib parts could also be stored in the same box as the table. That way, one of the boxes could be exclusively used to store other belongings that are not part of the adaptable furniture.

Fig 123. Image of how the parts of the baby crib would look like stored in the boxes.

Fig 124. Image of how much space the baby crib parts would occupy inside the box.

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5.3. INTERACTION PRODUCT - USER For a design to be good, one of the things that one has to accomplish is to be accessible and easy to use for the majority of the target users. To create a good design, I have to take into consideration aspects such as the average height and weight of my users for them to be able to have a good interaction between the different parts that compose my product. In Senegal, the average height for a male adult is 1,75m while the average height for a female adult is 1,64m. The average weight of a male adult is 67kg while for a female adult is 64,5kg. For teenagers, the average height for males is 165.8m and 1,60m for females. The average weight for males is 55kg and 53kg for females. For children younger than six, the average height is 93.3cm while the weight is 14kg. Because the stools will be mainly used by the children, even though they could also be used by a teenager or adult if needed, both the children and the adults will be able to grab it and carry it around, since one stools weights no more than 4kg and it’s a small object. This way, the children will be able to get the parts that compose the stools from the inside of the boxes and assemble the parts themselves without the need of an adult. The chairs measurements are similar to the existing chairs we can already find in Senegal, so they even if the base is lower than most “standard” chairs, it is nothing new for my target users and they won’t feel uncomfortable while sitting on them. Since the base of the chair and the stool have the same height, both of them can be used with the table. The distance between the chair or stool and the table is high enough for the user to sit on the chair without their legs touching the base of the table and short enough to be able to reach the table without any effort. Because of the dimensions and weight of the chair and stool, an adult or teenager use would not have any problem assembling, disassembling, and storing them away inside the boxes. Because of the wheels on the main bed boxes, it should be easy for adults and teenagers to move them around the room. Since they are 55cm tall, they could also be used as sofas (putting a cushion on top) or chairs as they are strong enough to support one-, or two-people’s weight. When they are being used as the main bed during the night, the user will only have to put the four boxes together and put the mattress on top. The dimensions of the main bed and the additional bed are similar to the dimensions of double beds and children’s beds that we can find in the market worldwide, so, with the height of the average male and female adult, there could be more than one adult sleeping on the main bed without them needing more space. And on the individual bed, there could be also two children or toddlers sleeping on it. If the children are old enough, the baby crib won’t be needed. When it comes to the big box, since both the bed and the shelf are connected to the big box through shelf folders, they can be opened and closed easily. The shelf

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is at the top part of the box, which is 1.35m tall, and taking into consideration the height of the different users, only the adults and teenagers will be able to reach it. the bed on the other and could be opened by a younger child since the box will be attached to the wall, they can pull the bed and open it without the whole furniture falling on them. Once it is opened, they can also unfold the legs without any trouble until they reach the floor. The baby crib is composed of four parts that are easy to insert into the individual bed and the front of the box, and also between them since the parts that go on the two sides in front of the bed are both inserted on the bed and the other two parts. Each one weighs less than 2kg so they won’t add a lot of weight to the bed while being strong enough to not fall apart even if the baby on toddler bumps into them. Each part of this product has been designed so the use is intuitive enough that the user can interact with all the parts without the help of another individual. The chair, stool, and table parts are easier to take apart, similar to existing products, and both the small boxes and big-box don’t have a lot of components, so at first sight, it will be easy to know how to interact with them and with the rest of the parts.

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6. CHAPTER 6: PRODUCT DEVELOPMENT

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6.1. MATERIALS OF THE PRODCUT SOCKET, WHEELS, LEGS, SHELF FOLDERS, WALL ATTACHMENT AND HINGES All the parts that will be used as unions in the furniture and the legs and wheels will be made out of stainless steel 304L. Even though most of these parts will be bought, except for the wall attachments, it is still important to choose a material that is both available, cheap, durable, and has a low environmental impact. Steel is a composite made of iron and carbon. It is utilized to manufacture everything from needles to big oil haulers. The primary reasons this material is so famous thus broadly utilized is a result of its minimal expense of making, framing, and preparation process, and furthermore in light of the fact that it is not difficult to track it down. Steel is additionally totally recyclable, has incredible solidness, and requires low measures of energy to create. In addition, the 304L stainless steel has less carbon content that limits the carbon precipitation during the welding interaction. This permits the steel to be utilized even in extreme destructive conditions. It has high heat, machinability, and consumption resistance. MAIN PARTS Except for the union parts of the furniture and the legs, the rest of my product will be made out of wood. There are several trees in Senegal that I could use to make the furniture, such as bamboo, acacia, and baobab. But the one that I will choose is rosewood. Rosewood is a broadly utilized kind of hardwood known by numerous names. There are many assortments of this sort of hardwood including the Senegal rosewood. This sort of timber is truly solid, intense, and hard. Most types of rosewood highlight rich red or earthy coloured tones, despite the fact that we can likewise discover it for certain purple tones.

Fig 125. Image of Senegalese rosewood

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Another reason behind why I chose this wood is because rosewood is most broadly utilized for fancy and beautiful purposes in Africa. Be that as it may, it is additionally used to make furniture, framing, and cabinetry. A wide range of rosewood is generally hard, thick, hefty assortments of wood. Contrasted to other hardwood assortments, these woods offer medium stun opposition, generally high pulverizing qualities, and high bowing qualities. Rosewoods likewise offer great strength; along these lines, their toughness is extremely high. The lumber is helpless to lyctid drill, however is termite safe. In its sawn structure, it is handily worked with hand and mechanical tools. The heartwood is difficult to finish, however finishes to a brilliant completion. The wood is likewise amazingly impervious to spoil and water harm. Rosewood's determination has its disadvantage, be that as it may, as the wood can dull cutting edges and harm power devices if not taken care of cautiously. The wood is straight-grained and diffuse-permeable with medium-sized pores. Rosewood can be sanded or planed to a smooth surface, yet the pores of the wood will show as pits in the surface except if loaded up with finish or grain filler. Rosewood has a high oil content all through the wood, which can now and then cause issues in sticking the wood. Most varnishes work delightfully on the rosewood, and can truly increase the differentiation and shades of the wood.

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6.2. DIMENSIONS AND WEIGHT OF THE PRODUCT

6.2.1. TABLE

IMAGE NAME HEIGHT LENGTH WIDTH WEIGHT QAUNTITY

Base 3,40cm 50cm 90cm 5,4Kg 1

Leg 1 79.24cm 35cm 1,06m 2,7Kg 1

Leg 2 79.24cm 35cm 1,06cm 2,7Kg 1

Fig 126. Table weight and dimensions chart. TOTAL 10.4KG WEIGHT

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6.2.2. STOOL

IMAGE NAME HEIGHT LENGTH WIDTH WEIGHT QAUNTITY Base 3cm 26cm 46cm 2,8Kg 1

Leg 24cm 26cm 8cm 1,01Kg 2

Fig 127. Stool weight and dimensions chart. TOTAL 4.8KG WEIGHT

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6.2.3. CHAIR

IMAGE NAME HEIGHT LENGTH WIDTH WEIGHT QAUNTITY Back 81,38cm 40cm 2cm 5,2Kg 1

Base 67,2cm 40cm 1,89cm 2,66Kg 1

Fig 128. Chair weight and dimensions chart. TOTAL 13,83KG WEIGHT

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6.2.4. MAIN BED

IMAGE NAME HEIGHT LENGTH WIDTH WEIGHT QAUNTITY

Back 46cm 96cm 2cm 7Kg 1

Base 2cm 100cm 67,5cm 10Kg 1

Top 2cm 100cm 67,5cm 10Kg 1

Sides 46cm 67,5cm 2cm 4Kg 2

Doors 46cm 48cm 1cm 1,7Kg 2

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Shelf 2cm 96cm 64,4cm 8Kg 1

Knobs 4cm Ø4,87cm Ø4,87 0,1Kg 2

Link 4cm Ø0,75cm Ø0,75cm 0.05Kg 51

Hinge 4cm 4cm 0.2cm 0.0256Kg 4

Socket 1,5cm Ø0,35cm Ø0,35cm 0.004Kg 34

Wheels 5cm 4cm 2,5cm 0.4Kg 4

Fig 129. Main bed weight and dimensions chart. TOTAL 42,61KG WEIGHT

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6.2.5. BIG BOX

IMAGE NAME HEIGHT LENGTH WIDTH WEIGHT QAUNTITY Back 135cm 203cm 1,5cm 30Kg 1

Front 135cm 203cm 1,5cm 30Kg 1

Base 3cm 203cm 28cm 13Kg 1

Sides 135cm 25cm 1,5cm 4Kg 2

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Bed 2cm 80cm 200cm 25Kg 1

Shelf 2cm 30cm 200cm 9Kg 1

Baby 61,4cm 81,4cm 1cm 1,9Kg 2 crib – bed sides

Baby 61,5cm 60cm 1cm 1,44Kg 1 crib – left side

Baby 61,5cm 60cm 1cm 1,44Kg 1 crib – right side

Left 1cm 3,5cm 5cm 0.014Kg 1 wall link

Right 1cm 3,5cm 5cm 0.014Kg 1 wall link

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Round 2,7cm 2,92cm 0,1cm 0,0089Kg 1 wall Attachm ent

Straight 2,7cm 2,8cm 0,1cm 0,0088Kg 1 wall attachm ent

Link 4cm Ø0,75cm Ø0,75c 0.05Kg 72 m

Shelf 26cm 30cm 2cm 0.104Kg 4 folders

Legs 21cm 4cm 3cm 1,1Kg 2

Socket 1,5cm Ø0,35cm Ø0,35c 0.004Kg 42 s m

Fig 130. Big box weight and dimensions chart. TOTAL 121,37KG WEIGHT

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6.2.6. JUSTIFICATION OF DIMENSIONS AND WEIGHT As explained before (segments 4.2. Product Constellation, p. 72 and 4.3. Brainstorming, p. 73) the designs were created with the actual dimensions so they could fit in both a round and a squared room. When I was drawing the first ideas, I thought the best dimensions for this adaptable furniture would be 2 meters wide by 2.50 meters long (when the individual bed is also being used). After creating the 3D designs and measuring all the parts together (main bed and a big box with the individual bed opened, since the table, the chairs and the stools will be stored in the main bed boxes while there are not being used), the dimensions of the whole thing came up to 2.3 meters wide to 2.54 meters long. The increment of the length is due to the knobs on the boxes’ doors, while the increase of the widths is due to the mattresses being able to be stored inside the big box because the mattress of the main bed is going to be 2 meters long. This way, even with a little bit of an increase the different parts of my product will be able to fit into most of the rooms or houses of the villages in Senegal. Even though one of my main goals while creating this product was to make it as lightweight as possible, the choosing of hardwood such as rosewood increased the weight of all the parts of the furniture. Since the big box is going to be attached to a wall, the only weight that matters is from the bed and the shelf which weigh, 25Kg and 9Kg respectively. The small boxes that form the main bed, on the other hand, weigh 42.61Kg each. But with the help of the four wheels in each, it should not be hard for the users to move them around. While talking to some villagers in Senegal, and showing them what the chairs and stools weigh, I realized that their weight is similar to the existing products that we can find in those villages. So, for them, it wouldn’t make a difference to assemble, disassemble and store them inside the boxes. Another option that they gave me, is that, if they have space in their rooms or houses, sometimes they could lean the parts of the table, chairs, stools, and baby crib into one of the walls, for easy access.

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6.3. ORNAMENTATION AND NAME One of the most important aspects of my product is the ornamentation.

In architecture, product design, and decorative art, ornamentation is used as a way to embellish parts of a or an object. In textiles, wallpaper, and other objects, the decoration works as the main justification for its existence, they play an important role in different cultures and communities since each one has its specific decoration and designs with its own specific colours and patterns. Ornaments can be conceived in many ways; they appear in different places, colours, scales, and patterns depending on the culture from where the ornaments originate.

Decoration and ornament have been evident in civilization since the beginning of recorded history, ranging from Ancient Egyptian architecture to the apparent lack of ornament of 20th-century modernist architecture.

Adolf Loos states in his essay Ornament and Crime, published in 1931 that an ornamentation is a form of crime, saying that there is no need to decorate objects and and goes to compare it to getting tattoos in your body. He talks about how “the objects created by mankind in early millennial without ornamentation have been tossed aside and allowed to go wrack and ruin [1] and how “every piece of trash having even the slightest decoration was collected, cleaned up and put in an ostentatious palace built specifically to house it” [2].

He also states that craftsmen and wood cravers are not paid fairly nor rewarded for their labour, so why are there still these types of workers, and why people still prefer to buy products that have any kind of decoration in them? If the craftsmen have to spend hours of their time to ornament their objects and thus making them more expensive?

Because even Adolf Loos realizes that, even if the functionality of an object remains the same whether it is decorated or not, it provides even more than the mere decoration of a product. It pleasures the craftsmen, it provides part of the history and culture of a country, a land; it brings pleasure to the people who will own it. For some people, ornamentation is a part of their lives, their traditions, and religions, a part that cannot be taken away, thus it would take away part of the meaning of their own self.

[1] Adolf Loos, 1931, Ornament and Crime, chapter 13, page 98 [2] Adolf Loos, 1931, Ornament and Crime, chapter 13, page 99

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Fig 131. Senegalese architecture with traditional ornamentation.

Aesthetic criteria are not necessarily the same everywhere, neither are the availability of materials and sophisticated technical processes. A certain sacralization of this discipline often places it on a pedestal aiming, deliberately or not, to exclude the less well-off. Like in Senegal, people think that design only consists of the production of beautiful objects, In Senegal, recovery, and reutilization is an adaptation, a means of subsistence motivated by several factors, the most important of which is the lack of means, but they can also be interpreted as a manifestation of creativity and invention. To talk about Senegal ornamentation is to talk about African ornamentation and arts. African arts and crafts have a different meaning to the western definition of art. It is difficult to give a summary of the characteristics of African art since the variety of forms and practices is so great. Some art is valued as entertainment, some as political or ideological, some as part of a ritual context, and others have an aesthetic value. Most times though, the art combines several of these elements. When it comes to the artists, there are full-time or part-time, artists who do it because of a political statement. Some can be made by anyone; some demand the devotion of an expert.

Fig 132. Senegalese furniture with colourful ornamentation.

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The concept of art in the African language is the meaning of something other than skill. While the western countries might agree that works of art are simply designs made to be aesthetically pleasing and have a higher decorative value, African art needs to be understood through the investigation and understanding of the local history rather than through the imposition of external origins, like the colonial exposition. One can say that pre-colonial African art is also created to have a function, the artistic artifacts were made with some practical use in mind, but they could be also be valued as sources of aesthetic pleasure. The differences in African art can be attributed to four variables, geography, the technology (the sources available in one place), the individuality of the work of the individual artists, and the institution, in that the creation of art takes place under the influence of the social and cultural institutions of any given location. But these works of art can be traded, moved, or spread from one place to another, and the result is a stylistic complexity in African art. African craft not only represents the visual but the symbolism and spiritual dimensions alongside the decorative and aesthetic qualities. In the past, master craftsmen and women had a special status within societies and were respected members of their communities. Old African specialists accepted that they approached a specific pool of higher thoughts, supposed to be the beginning of creation and that a man's hands were just devices used to mirror a portion of the heavenliness he could at times have transient sight of. A particularly basic center conviction can just take a modest specialty to another domain where an alternate assessment framework needs to happen. In African tribes, ornamentation in craftsmanship associates most neighbourhood clans to their previous human advancements and ancestral cosmologies. Without the ornamentation, the historical backdrop of most African clans would be fragmented. The images that we can see in the African ornamentation are not just enhancement, there is a profound and unobtrusive piece of their set of experiences. The ornamentation recounts stories through the examples and shadings, it functions as an approach to impart. The intricacy of the individual dialects and phonetic limits frequently made it hard to share their chronicles in a composed structure, so most clans utilized the beautiful expressions as an approach to share stories and customs. In Africa, there are a lot of languages that have words that cannot be literally translated to other languages, so art works as a universal language to understand one another. Unlike what Adolf Loos thought, African societies, and maybe all societies, won’t move forward by discarding their ornaments. The real crime nowadays is erasing history and rejecting the past.

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Fig 133. traditional chairs with ornamentation. Fig 134. decorated Senegalese baskets.

African works of art will in general support abstract reflection over naturalistic portrayal. This is on the grounds that numerous African craftsmanship sums up elaborate standards. Likewise, African craftsmen will in general support three- dimensional fine arts more than two-dimensional works. Indeed, even numerous African canvases or fabric works were intended to be capable three- dimensionally. Regularly a little piece of an African plan will appear to be like a bigger part, Louis Senghor, Senegal's first president, alluded to this as "dynamic balance."

The African expressions are regularly unique understanding of creatures, plants, or common shapes. Since there is plenty of Muslim nations in Africa, Islam workmanship had a ton of impact as well. There is an aversion of the void in Islamic workmanship, so space must be loaded up with something, in which a lot of cases is ornamentation. The examples that we can discover in African ornamentation, and this case in Senegalese ornamentation, are similar to what we can see in furnishings, dress textiles and other objects, are frequently supposed to be vacant of substance, which makes us think about a current god and it gets the brain to think all kind of things. So, in Islamic craftsmanship, the types of ornamentation are not just used to viably deliver delightful plans and articles, but on the other hand, are utilized to create specific plans for the watchers and proprietors of said items.

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That is why I decided to incorporate different types of ornamentation in my products. The designs that I have chosen have been inspired by traditional Senegalese furniture that has traditional ornamentation alongside the decoration and patterns that we can find in Senegalese clothing textiles, that are used to create traditional dresses, which are known to have a bast variety of colours and patterns, most of them which are geometrical and abstract. Even though I have added different types of patterns, these just work as an example of how my product would look once ornamented by the manufacturers and craftsmen from Senegal. It works as a way to visualise how a modern product that takes inspiration from modern and traditional concepts from all over the world (as we have seen in the study cases) blends with the traditional arts and crafts of Senegal, the arts that as I have explained not only work as a way to make a product or an object more aesthetically pleasing, but also as a way to not lose the traditions and culture from Senegal and preserve the history and the essence of a country that has so much beauty. Each craftsman and manufacturer will have total liberty and independence to decorate each product, as they each please. As a way to showcase their talents and their skills, and to make every product independent and beautifully different from the rest. As we can see in the images below there is a bast variety of shapes and colours that can be used for different products and objects in Senegal and other African countries. Each one of these patterns transmits different feelings and emotions, because of the symmetry and repetitiveness of the same shapes, it gives the illusion of being infinite, so it will leave a great impact on the individuals that are looking at them, even though each one is unique on its own, it’s easy to know that they come from the same traditions and cultures, and are capable of blending perfectly with one another.

Fig 135. Traditional African/Senegalese patters.

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In the following images, I show some of the ornamentations that I have chosen as an example of how the product would look when it’s decorated. I have also taken inspiration from existing patterns that we can find in Senegalese clothing textiles. All the forms that we see in the different parts that compose the adaptable furniture are not painted but engraved in the wood.

Fig 136. Chair with ornamentation. Front.

For the chair, I have decided to use a pattern that is similar to a flower and a butterfly combined together. This ornamentation could be carved into both sides of the back part of the chair and the leg part of the base. Since the drawings are carved in the wood, it would be uncomfortable to put them also in the base where the user will sit. And because the back of the base is not visible, it won’t need any ornamentation.

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Fig 137. Chair with ornamentation. Back.

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Fig 138. Chair with ornamentation. Side view.

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Fig 139. Chair with ornamentation. View of the ornamentation details.

Fig 140. Chair with ornamentation. View of the ornamentation details.

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Fig 141. Stool with ornamentation.

Fig 142. Stool with ornamentation.

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Fig 143. Stool with ornamentation. Side view.

For the stools, I have decided to put the decoration on the legs since it would also be uncomfortable to crave the wood of the base. As an example, I have put decorations with triangular and rectangular geometrical shapes that are symmetrical and give the feeling of never stopping, because it repeats in all the front and back of the legs.

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Fig 144. Table with ornamentation.

Fig 145. Table with ornamentation. View of the ornamentation details.

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Fig 146. Table with ornamentation on both legs.

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Fig 147. Table with decorations top view.

Similar to the stool, the table will have the ornamentation craved in the legs, so the users will be able to use the base to study and eat without any discomfort, as it is better to have a smooth and straight surface for the base. The shapes, that in this example are also geometrical, straight and repetitive, will be on both sides of the two legs, so no matter from what angle you are looking at the table, they will be visible.

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Fig 148. Table with decoration. Side view.

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Fig 149. Example of a configuration with the table, some chairs, and stools.

Fig 150. Example of a configuration with the table, some chairs, and stools.

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Fig 151. Main bed boxes with ornamentation.

Fig 152. Main bed boxes with ornamentation.

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Fig 153. Main bed boxes with ornamentation. Side view.

Fig 154. Main bed boxes with ornamentation. Front view.

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Fig 155. Main bed boxes with ornamentation. Doors closed.

Fig 156. Main bed boxes with ornamentation. Doors closed.

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Unlike the first three products, the boxes that make the main bed could have two different types of decoration, one for the sides, and another for the doors. Even though the ones on the doors have rounded shapes and the ones on the sides have more straight lines, because of the repetitions of both, they balance each other and blend with the rest of the parts of the adaptable furniture. This way, depending on what side the user is located on, they will either see the ornamentation of the sides, the ornamentation of the doors, or both.

Fig 157. Box with ornamentation. View of the ornamentation details.

Fig 158. Main bed with the four boxes decorated.

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Fig 159. Main bed with the four boxes decorated.

Fig 160. Big box with the ornamentation.

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On the bigger box, I have decided that it will be good to put cravings on the sides, which in these examples are circular shapes, and on the front of the box, where I have put repetitive shapes that give the illusion of them being two eyes that are looking at you. Therefore, it would create the same visual effect as the smaller boxes. Two different patterns that individually, produce different emotions and feelings, but when they are together, they enhance the beauty of each. Because the front part has the insertion holes of the baby crib, the ornamentation will be put on the center and not on the whole surface area.

Fig 161. Big box with the ornamentation. Side view.

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Fig 162. Big box with the ornamentation. Side front view.

Fig 163. Big box with the ornamentation.

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Fig 164. Big box with the ornamentation. Top view

Fig 165. Close up of the big box decoration.

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Fig 166. Big box with the shelf closed and the bed without the baby crib. With these images, we can see the contrast between the ornamentation in the front part of the big box and the back of the shelf when this is closed. And depending on the angle, the user can also appreciate the decoration of the sides. Therefore, if the bed is being used as a sitting area with a mattress on top, the different types of ornamentations will be visible through the whole box.

Fig 167. Big box with the shelf closed and the bed without the baby crib.

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Fig 168. Big box with the ornamentation. With bed and shelf closed.

Fig 169. Big box with the ornamentation. With bed and shelf closed. Front view

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When the shelf and the additional bed are not being used, they will be folded, so the back of both parts will be visible. Hence why I thought it would be a good idea to also add patterns in these areas. To create a feeling of a relationship between this box and the other parts of the product, I have decided to add the same patterns that we can find on the doors of the boxes that compose the main bed. So, when they are together, they will be visually linked to one another. Consequently, when the shelf is closed or opened, the user will see different shapes and forms, which is also another way to make the same object different, just by changing the patterns.

Fig 170. Big box with the ornamentation. With bed and shelf closed.

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With the main configuration (while the table, stools, and chairs are stored inside the four boxes that make the main bed) the user will see the ornamentation in the sides of the main bed and the big box, which are all different but related to the traditional Senegalese arts.

Fig 171. Main bed and big box with ornamentation.

Fig 172. Main bed and big box with ornamentation.

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Fig 173. Main bed and big box with ornamentation. Front view

Fig 174. Main bed and big box with ornamentation.

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Fig 175. Main bed and big box with ornamentation. Bed closed.

Fig 176. Main bed and big box with ornamentation. Back side

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Another type of arrangement that the user could make with the furniture is with the additional bed and shelf closed, and the four boxes set out on the sides of the big box, with two on each side facing the other two. This way, while the table, chairs, and stools are stored inside, the boxes can be used as a sitting area. And since two people can sit in one box comfortably, there could be up to 8 people in the room seated without being crowded.

Fig 177. Big Box and main bed as sitting areas.

Fig 178. Big Box and main bed as sitting areas.

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NAME OF THE PRODUCT There is another important aspect that one has to take into consideration while developing a product, and that is the name. Even though it can be a random word, the name of the product has to have a meaning related to the product itself, a reason as to why it is going to be called like that. A name has to be linked to the context in which the interaction between the product and the user will take place, and with the user itself. A name can make a product more or less desirable, and with just one word, it could also have the ability to explain what the whole product is about.

As explained at the beginning of this project in the second chapter (segment 2.1.2. Ethnic Groups, p. 18), Senegal is a country with a lot of ethnic groups with their own traditions and languages, but because most of the villages in Senegal are habituated by Fulani people, I have decided to name my product in that language.

The different parts are not going to be named in one specific way, since each language spoken in Senegal already have words for each one of them. In Pulaar (Fulani’s language), chair is sirang, stool is sirangel (little chair), table is tabal (a derivation from the French word, tableau) and bed is baldi (baldi maudo being big bed and baldi tokosel being small bed).

Galle tokoso is the name that I have decided to give to my product. Galle means house, while tokoso means small, so the name can be translated as “small house”.

Because one of the main objectives of this project was to create a product that will have all the aspects necessary to be used by the users as a place to sleep with multiple people, a place to interact with other members of the family and visitors, and a place where the children could study and do their homework, I needed to create a product that could work as a little house inside a room. A product that will have everything needed except for the bathroom and a kitchen. A little house within a bigger house. So, when the user hears the name, they will hopefully get the idea of the reason as to why my product was created. A Galle Tokoso, that can be adapted depending on their needs and problems.

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6.4. MANUFACTURING PROCESS AND TRANSPORTATION Different types of individuals will participate in the manufacturing and transportation process. The ones that will extract the wood to manufacture the parts, the manufacturers who will create the parts of the furniture, the woodcarvers and the transporters. There are times where the ones that extract the wood, manufacture the products and transport it to their destinations are the same. While the woodcarvers can also take part in the manufacturing processes. It is typical for them to be skilled in more than one job. The manufacturers will have the 2D plans of each furniture and their parts for free. They will also have liberty to change some parts if they feel it convenient, since they are experts in creating different types of furniture. The carpenters of Senegal are excellent craftsmen. They carve wood with dexterity to create and repair furniture of all kinds. Senegalese carpentry is developed to such an extent that it serves as a reference for foreign furniture wood carver students. Many apprentices do their internships in Senegal. Since independence, furniture made in Senegal has had followers from all kinds of people. They can create anything from sofas, beds, wardrobes, armchairs, tables, chairs, doors, windows, stair rails, floor and wall coverings. The mixture of wood used, local or imported, guarantees the quality and longevity of the furniture. Even though the creation of the product is probably the most important part, the carving of the different parts to add the ornamentation is also implicit in this project. 6.4.1. History of The Fulani Woodcarvers Most wood carvers in Senegal either come from the Wolof or Fulani ethnic groups. While the first ones are concentrated on the north of Senegal, the Fulani wood carvers have existed for a longer time in the south. The lawbe carvers from Fulani descend, were usually nomads from a lower caste that worked for other Fulani from higher castes. Until today, most lawbe still carve items that are mostly used for domestic purposes. They lived in some regions like Senegal, Gambia and Lake Chad. They would obtain the wood from craftsmen linked with dominant ethnic groups such as the Tuareg, and Hausa, and were also located in the where they dominated the wood carving monopoly. Even nowadays, the lawbe are still considered as a separate group from other ethnic groups and are counted apart from the Wolof, Fulani and Tuculours. During the beginning of the Fulani conquest, woodcarvers became more sedentary. In regions like Mali, they weren’t the only group that focused of wood carving, unlike in Senegal and Gambia.

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The different objects made out of wood that we could find in Fulani societies were linked to the presence or absence of lawbe. Some items such as mortars and pestles used to prepare flour, objects to water animals and food bowls, where found in societies with lawbes. Lawbe artisans would migrate because they needed to find quality trees to make domestic items, and to find costumers since solid objects didn’t need to get repaired. Both women and men would work on chopping, shaping and decorating the wooden objects. To do that, they would have to settle temporarily, on the edge of a village. They would follow the Fulani seasonal cycle and stop on landings near the Senegal River. The skills and tools they would use to create the objects such as an axe, an adze and a gouge would be passed from father to son. They would not cultivate the lands they lived in, but trade their products for a quantity of harvested product. Today, they are paid in cash even though it is also common to add a gift, mostly when they create products such as bowls and milking vessels that have been blessed by their incantations. Even if they are socially inferior, the material of their craft deserves a reward and prayers would be made while cutting the tree, since they believed the trees had spirits who lived on the inside. Although now lawbe are mostly sedentary people, they are still really mobile. They change place of residence and even migrate to Europe to work as traders. Now we can find to types of lawbe. Lawbe-yett who are still working as traditional wood carvers and sculptors, and lawbe-dyula who work in commerce. The carved items and sculptures are sold to the tourists and made in workshops in Dakar and Cape Verde, which are usually run by a family and some apprentices. Some of these artisans have become artists who are well integrated into the European economic system, regulated by the law of supply and demand. Despite this success, in Senegal and other countries with Fulanis, they are still considered as an inferior caste.

Fig 179. Antique wood objects made by the lawbe.

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6.4.2. Manufacturing process Nowadays, handicrafts are undoubtedly the sector offering the most export opportunities and constitute the most important in terms of the number of businesses. Senegalese craftsmanship is rich and diverse, and many Senegalese artisans and artists are renowned in the sub-region and internationally. Senegalese woodwork is now more prominent in the southern region, since the climate there is wetter, allowing for several varieties of trees to grow. Crafters work inside makeshift studios near local open markets, or within their own small, family-run factories. Inside the factory and shop, working spaces are divided by different jobs. One of the most known areas for crafters is The Artisanal Village of Soumbédioune, created in 1961. Is located in the Medina district of Dakar on the west corniche. A showcase for Senegalese craftsmanship, it has made a name for itself over time.

Fig 180. Image of wood workers in Dakar, Senegal.

The way Senegalese woodworkers learn the techniques is by doing an apprenticeship with an experienced woodcarver or wood sculptor. These wood carvers come from lawbe castes who would pass their knowledge to their family members. They create objects that the Senegalese use daily. That is why wood carving is considered a profession with a steady income and lots of clients. The majority of apprentices are not studying these skills to make art, but for them to be able to acquire a skill that will help them find a job in the future, which is an acceptable thing to do since wood carving is not only seen as an art form in Senegal. It is a useful practice within Senegalese society and it is a way to make a living. In Senegal, individual skills are valued in a community and they do not

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view an artist as a single entity, but as part of a functioning community that works for the same goal. This shows evidence in the way in which the knowledge is thought to wood carving students. The knowledge is transmitted through apprenticeship, and so is the teacher’s style and the cultural significance of the arts and skills of these artisans. This practice also highlights how art is held as a communal practice. At present, Craftsmen are faced with the problem of space and land in Dakar. The lack of a place to work for workers is slowing down the craft sector. That is why The National Organization of Wood Professionals (L'Organisation nationale des professionnels du bois (ONPB)) was created. This organization that also works with different NGOs in Senegal, brings together all the actors involved in crafts, both private (training centers, production players, professional organizations, and associations) and public (training centers, chambers of trades and crafts, local communities). They discuss and, share practices and experiences with each other. Another of their objectives is to join their work, strengthen the relationships and equip the various workshops with training methods and tools to better accommodate future craftsmen. The regions of Dakar, Thiès, and Diourbel are the main target of this organization, the areas where the needs and challenges of training and integration of young people are high. They are also the three regions where artisan workshops are the most numerous in Senegal (besides the workshops in the south). To understand more the manufacturing process, I asked a couple of questions to a Menuiserie, a woodworker, in Dakar about how they make furniture.

• When did you start learning to make furniture and why? I started learning the carpentry trade at the age of 13. I had just left school and needed to help my uncle in his studio.

• Where did you learn and who taught you to make furniture? I learned the trade in the neighbourhood with my uncle.

• What do you like most of your work? The decoration process.

• Is there a lot of people in Senegal who are engaged in this? Yes, there is a lot of people who work in this sector

• Do you think it's important that future generations learn to make furniture the same way you do it? At all, future generations must industrialize the sector with completely modern and automated procedures.

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• What kind of wood do you use to make furniture? We use local woods: teak wood, dimb wood, cailcédrat wood (Khaya senegalensis), palissandre (rosewood), vène wood (Pterocarpus erinaceus) and imported wood such as fraké wood (Terminalia superba), djibouti wood, etc.

• How much time does it take you to make a piece of furniture? The manufacturing time depends on the piece of furniture and its size. It can range from 5 days to 25 days.

• The furniture that you create, are those your designs or do you get them from somewhere? We do the design ourselves based on the models chosen by the customer.

• Can you tell me about the manufacturing process of furniture made from wood? From getting the wood from the trees to the creation of the final product? ➢ The wood is either purchased locally from forest areas (South and East of the country). In this case, the planks are produced from the harvested trunks. ➢ The other source is imported timber from other forest countries in Africa. ➢ The logs cut in the forest are transformed into planks in sawmills. ➢ The wooden boards are sawn according to the size of the elements in front of the furniture to be created. ➢ Then the patterns of the furniture are traced by hand before being cut by the machine. ➢ The assembly of the different parts is done by hand as well as the polishing and ornaments.

• Do you think the ornamentation of furniture in Senegal is an important part? Ornamentation is a very important element in Senegal. It is probably the most important element.

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• Do you think a lot of people in Senegal, specifically people who live in villages, can afford the furniture you make? No, the people who live in the villages cannot financially access the furniture that we make.

• Do you think more furniture should be created to be more accessible to people who do not have financial resources? Access to wooden furniture is not a question of financial availability but a problem of manufacturing and access to the raw material (wood).

• Do you know if there's any organization in Senegal that helps families that can't afford to have furniture in their homes? No, to my knowledge in Senegal there is no association to help families who cannot afford to have furniture in their homes.

• How do you transport the furniture from the city to the villages? On the rare occasion that we have clients from the villages, the transport costs are theirs. In this case intercity transport vehicles are used. (a mini bus)

• How do you assemble the furniture? The assembly of the furniture once it’s on the client’s place is done manually.

With the answers to these questions, I know that the process is going to be divided into four parts. The first one is wood harvesting. The rosewood timber will be extracted from the forests of Casamance. They will fell and prepare the tree for extraction through delimbing, tipping, and segmenting the three. After it is extracted, they will load the tree into the vehicle and it will be transported into the manufacturers' place. There, they will transform into planks in the sawmills. This first part can be substituted by getting rosewood timber from recycled parts that can be found in waste areas around Senegal.

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Fig 181. Sawmilling factory in Dakar, Senegal. In the second part, the wood boards will be cut according to the size and shape of the parts that compose the product. Then, the patterns of the furniture are traced by hand before being cut by the machine.

Fig 182. Wood shop in Malika, Senegal.

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After this step, the third one is ornamenting the different parts.

1. The carving begins with a layer in the wood being removed, this is done with a tool called sowtah in the Wolof language, a large metal blade with a flattened or curved head on one end. They can range in different centimetres depending on what they will be used. The tool is tricked into the wood with force. 2. Once the first layer is removed, the drawing of the desired shape with chalk to know where the shapes will be carved. After the drawing is put in, the lines are marked with light taps of the sowtah to make the lines visible. 3. To get the shapes, they use the tool to take chop straight into the piece along with the drawn lines, and the wood is removed. This process can be difficult if the areas are small and there are a lot of details. And it’s probably the hardest part since it demands physical and visual skills. 4. The process of finishing is next. They use a double-sided file with large teeth, a rasp, to define the edges and smooth the surfaces of the different parts. 5. Then a knife is used to scrape off the texture left by the rasp. 6. After that, they use three different grits of sandpaper to make the surface of all the parts really smooth. Each tool must be used correctly or else the next part will be even more difficult. 7. To finish with the ornamentation process, they coat the parts with shoe polish or other varnished.

Fig 183. Tools used by the wood carvers in Senegal.

After all the parts are finally created and decorated, they will be transported to the user’s village, where the same manufacturers will assemble the different parts by hand. Even if the highways in Dakar and other urban cities in Senegal tend to be chaotic and there is a lack of light at night, most roads have been fixed during the past few years, so it is safer to drive, even in the village areas. therefore, since there are no bumpy roads, the products won’t get damaged. Drivers have to be careful to not hit any animals, since there is a lot of wild animals in the village regions, mostly in the south.

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6.4.3. PACKAGING For the product to not get damaged while it is being transported to the user’s village, I have included packaging make out of thick cardboard for each part of the Galle Tokoso. Each part will be put into its respective boxes once the manufacturing and ornamentation processes are done, and will be secured in the vehicle. Once the furniture has been assembled, the boxes won’t be thrown out but will go back to the manufacture’s place to be used again for another client.

This way, won’t have to spend a lot of money on packaging and I won’t have to use a lot of material, reducing both the final cost and the environmental impact, since each cardboard box will be used multiple times.

Since they only work as a way to protect the product until it arrives at its final destination, the only graphics aspects that have included are the name of each piece of furniture and an image, so the manufacturers know where to put each piece.

Fig 184. Image of the structure of the packaging.

Fig 185. Packaging of the big box. Fig 186. Packaging of the Main bed.

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Fig 187. Packaging of the stool. Fig 188. Packaging of the chair.

Fig 189. Packaging of the table.

Since there will be three stools and three chairs for the user, all of them will be included in the same packaging (one for the three stools and one for the three chairs). The four boxes that compose the main bed are going to be distributed into two packaging, so each one will have two of the four boxes. There will be 6 boxes in total.

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6.5. THE PRODUCT IN ITS CONTEXT Putting the product into its context to know how it would look like is important. This will let us know if it really works. The chairs and stools can not only be used inside the rooms but also on the outside, between the houses as outdoor sitting spaces. As we can see in the images below, the chairs and stools can be placed both on the ground or on the porch, where both adults and kids can sit. They can be assembled in the room and brought outside or be assembled in the exterior. It is a great way to use this furniture outside if it’s not really hot outside.

Fig 190. The chairs and stools outside the houses in a Senegalese Village.

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Fig 191. The chairs and stools in the house’s porch.

Fig 192. The chairs and stools in the house’s porch.

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The chairs, stools, and table can also be used independently as dining or study are inside a room, with different types of arrangements, depending on how many people will be using the table. They can be placed in one corner of the room,

Fig 193. Dinning arrangement in a village room.

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Fig 194. Dinning arrangement in a village room.

Fig 195. Dinning arrangement, a made out of wood and straw.

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When the main box and the big box are being used as sleeping spaces, they will occupy the most space in the room. The rest of the furniture and other belongings will be stored away. When they go to sleep, the user will only have to put the mosquito net, which is already hanging in the ceiling and put it in the baby crib’s hooks if these are being used, and took it between the mattress and the main bed.

Fig 196. Main bed and additional bed opened with the baby crib.

Fig 197. Main bed and additional bed opened with the baby crib. Back view

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When the additional bed is not being used it can be folded to the main bed gets closer to the big box, so there is more space available in the room. If the user is only going to use the main bed to sleep, the shelf can also be folded to be able to tuck the mosquito net in the mattress.

There are different ways of hanging a net, in some cases, it is in the center of the room and might be connected through the ceiling with only one rope instead of four, like in the picture below.

Fig 198. Main bed and additional bed closed.

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In this type of setup, the chairs, stools, and table can be used in front of the beds, so the user can use the last two and the little boxes as sitting areas in the room. they will also have access to the interior of two of the main bed boxes. Depending on the room the furniture can be placed in front of the beds or in one side, and if the table is not being used, more chairs and stools can be out in the same area.

Fig 199. Main bed and additional bed closed with the dinning arrangement.

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Fig 200. Main bed and additional bed closed with the dinning arrangement. Inside a roundhouse

Fig 201. Main bed and additional bed closed with the dinning arrangement.

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Fig 202. Main bed and additional bed closed with the dinning arrangement. Inside a roundhouse

One more way to set up the furniture, as mentioned before, is to have the little boxes on each side of the big box, so two of them would be facing the other two. They could work as a sitting space and the user would have access to the interior of the four boxes. The shelf could also be opened to have more storage space.

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Fig 203. Big Box and main bed as sitting areas.

Fig 204. Big Box and main bed as sitting areas.

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Fig 205. Big Box and main bed as sitting areas inside a roundhouse.

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6.6. STUDY OF THE RESISTANCE Once the designs have been created and the materials used to make the different parts of the final product have been chosen, a study can be made of the strength of those parts that can be broken or damaged more easily, to see how much force can be applied to them. The parts that will be analysed will be the legs of the additional bed, the base, and legs of the chair, the stool, and the table, alongside the shelf of the small boxes and the shelf of the big box, the top parts of the small boxes and the baby crib parts. Because these components are made of rosewood and 304L stainless steel, the studies will be based on the mechanical properties of these two materials.

MATERIAL DENSITY MODULUS OF TRACTION COMPRESION BREAKING [kg/m3] ELASTICITY RESISTANCE REISTANCE MODE [MPa] [MPa] [MPa] [MPa] ROSEWOOD 810 15.207 102 50,4 124,4 STAINLESS 7900 193 485 35.5 517 STELL 304L Fig 206. Table with the mechanical properties of rosewood and stainless steel 304L

ADDITIONAL BED LEGS AREA: 1200mm2 WEIGHT: Let’s suppose that there are two children on the additional bed whose total weight is 90kg, 882.9N (N being in Newtons), but since there are two legs, we will divide the weight by two, being 441,45N TENSION CALCULATION: σ = P/A σ = 441,45/1200 = 0,367 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ = 0.367/210 = 1.75x10-3 MPa E = 0.367/1.75x10-3 = 190 MPa TABLE LEGS AREA: 37.100mm2 WEIGHT: The base of the table weights 5kg and if we add up to 10kg it will be a total of 15kg, that if we dive by the two legs it will come to 7,5kg, 73,575N. So, we will use this hypothetical weight to do the calculations. TENSION CALCULATION: σ = P/A σ = 73,575/37.100 = 1.98x10-3 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ = 1.98x10-3 / 792,4 = 2.5x10-6 MPa E = 1.98x10-3 / 2.5x10-6 = 792,4 MPa

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CHAIR: AREA: 120.000mm2 WEIGHT: An average adult in Senegal weights no more than 70kg, therefore we will use 80kg, 784,8N, as the hypothetical maximum weight. TENSION CALCULATION: σ = P/A σ = 784,8/120.000 = 6.54x103 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ= 6.54x103/18,9 = 3.46x10-4 MPa E = 6.54x103 /3.46x10-4 = 18.9 MPa Given that the parts of the chair also work as the legs and they are linked in the middle, we will also do the calculations for the legs, with the same weight, divided between the two legs. AREA: 4.000mm2 WEIGHT: 392,4N TENSION CALCULATION: σ = P/A σ = 392,4/4000 = 0.0981 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ= 0.0981/400 = 2.45x10-4 MPa E = 0.0981 /2.45x10-4 = 400 MPa

STOOL LEGS: AREA: 260mm2 WEIGHT: If we use the weight of an average child, which is 30kg, we can use a maximum weight of 45kg divided by the two legs. That, added to the weight of the base, 2.8kg, gives us 234,46N TENSION CALCULATION: σ = P/A σ= 234,46/260 = 0,90 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ= 0,90/230 = 3,92x10-3 MPa E = 0,90/3,92x10-3 = 229,54 MPa

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INTERIOR SHELFS: AREA: 618.240mm2 WEIGHT: We can suppose that the hypothetical weight will be 5kg, that gives us 49,05N. TENSION CALCULATION: σ = P/A σ= 49,05/618.240 = 7.93x10-5 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ = 7.93x10-5/20 = 3.95x10-6 MPa E = 7.93x10-5/ 3.95x10-6 = 20 MPa

ADDITIONAL BED: AREA: 1.600.000mm2 WEIGHT: Similar to the bed legs, let’s suppose that there are two children on the additional bed whose total weight is 90kg, 882.9N TENSION CALCULATION: σ = P/A σ = 882.9/1.600.000 = 5.52x10-4 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ=5.52x10-4/ 20 = 2.75x10-5 MPa E = 5.52x10-4/ 2.75x10-5 = 20 MPa

BIG SHELF: AREA: 600.000mm2 WEIGHT: Because there will be mainly the belongings of the user in the big shelf, we could assume that the total weight of the object won’t be superior to 15kg, 147,15N TENSION CALCULATION: σ = P/A σ= 147,15/600.000 = 2.45x10-4 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ = 2.45x10-4/ 20 = 1.22x10-5 MPa E = 2.45x10-4/ 1.22x10-5 = 19,97 MPa

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BABY CRIB: AREA: 700mm2 WEIGHT: For the baby crib we will analyzing the union parts between the crib and the bed. If a baby weights no more than 20kg, that weight will be divided by the number of unions, which is between 6 and 8. Therefore the weight that we are going to use is 28N TENSION CALCULATION: σ = P/A σ= 28/700 = 0.04 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ= 0.04/14 = 2.58x10-3 MPa E = 0.04/2.58x10-3 = 15,50 MPa

TOP OF SMALL BOXES: AREA: 675.000mm2 WEIGHT: Similar to the chair, we could use the maximum weight of an average adult, which is 80kg, 784,8N. TENSION CALCULATION: σ = P/A σ= 784,8/675.000=1.16x10-3 MPa MODULUS OF ELASTICITY: E = σ/ Ɛ Ɛ= σ/L (L being the length) Ɛ= 1.16x10-3/20 = 5.81x10-5 MPa E = 1.16x10-3/ 5.81x10-5 = 19,95 MPa

Given these results, if we compare them with the table that was created at the beginning with the mechanical properties of 304L stainless steel and rosewood while applying the weights we have assumed, the different parts that compose the chair, stool, table, main bed, and the big box should be strong enough to not break or get damaged easily. Consequently, I can assume that my product has met one of my objectives, the product being resistant, durable and long-lasting.

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6.7. ENVIORNMENTAL IMPACT Rosewood is the most widely trafficked type of tree in the world, generating over a billion dollars a year. This tree has been classified as endangered in a lot of African countries like Gambia and Senegal. When demand started to increase in West Africa around 2010, exports went from zero to hundreds of millions of dollars in just a few years. And, rosewood’s exploitation is causing a range of environmental and socio-economic disasters. One of the main reasons as to why rosewood is rapidly disappearing from Senegal and other west and sub-Saharan African countries is because of the large exportation to China. China’s insatiable demand for rosewood is driving illegal deforestation across and Africa, killing forests there. The rising demand comes from an insatiable call to produce hongmu (antique furniture) since historically, hongmu was used by the imperial elite society in China, hence it has become related to class wealth and success. A 40% increase in demand for rosewood has been attributed to the increasing interest of the Chinese middle class to own rosewood furniture. This increase in demand is associated with a 15-40% rise in rosewood costs over the last few years.

Fig 207. Graphic image of the continents that export rosewood to China from 2014 to 2019.

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Unfortunately, rosewood harvesting in Africa is often not done sustainably. Because of this, tree populations have begun to disappear, which resulted in multiple species being put under the protection of the Convention on Trade in Endangered Species. This decrease in trees has also led to an increase in rosewood prices. The rarer the trees become; the more producers can charge for it.

Rosewood is a tree that is classified in the family of slow-growing hardwood trees. The high demand is putting these forests at significant risk along with the forest communities dependent on this tree. The over-harvesting of rosewood is increasing not only the risk of desertification but also, it’s depriving local communities of a resource traditionally used for fuel, construction, musical instruments, traditional medicine, and animal fodder.

The wood trade is often linked to violence in the countries where we can find these woods, according to the EIA (Environmental Investigation Agency) report. In West Africa, rosewood species have even come to be called “blood timbers” because of the connections between the illegal rosewood trade and rebel uprisings in Senegal and elsewhere.

Most West African countries have already banned the cutting and export of rosewood trees, but the destination country for the majority of the illicit trade, China, whose rosewood imports increased up to 1,250% since 2000, hasn’t stopped playing a part in the illegal rosewood imports.

Fig 208. Image of a Senegalese rosewood tree being cut.

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Criminal networks using sophisticated smuggling tactics and working with corrupt officials in West Africa have become a key source of the exportation of rosewood for China. 95% of rosewood listed as coming from the Gambia is actually coming from Senegal, and its harvest is contributing to a separatist movement along the nation’s southern border. The two countries have logging bans on tree exportation, but they are constantly violated not only by these countries but others like Mali, Nigeria, and Togo.

Fig 209. Distribution of Asian countries imports of rosewood logs from West Africa (Cubic metres) by exporting country, 2017

Senegal adopted a complete ban on wood export in 1998 and the government has attempted to combat the illegal trade, calling rosewood “conflict timber”. But with the active involvement of the rebel forces from the Casamance (The Casamance conflict is an ongoing low-level conflict that has been waged between the Government of Senegal and the Movement of Democratic Forces of Casamance (MFDC) since 1982), continues to be smuggled out. These rebels get most of their income from the illegal trade, earning 15.9 million euros between 2010 and 2014. Tens of thousands of people have been internally displaced by the long-running conflict for independence. For Senegal, the illicit timber trade is as much an economic issue as an environmental one. A high number of tax revenues are lost to the illegal trade, while it also diminished the vital resources used by local communities and increases the threat of desertification by degrading fragile forest ecosystems.

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Fig 210. Aerial image of the deforestation of Casamance. July 2020 vs October 2020.

Much of northern Senegal, which borders the Sahara Desert, has been decertified, a process in which land becomes increasingly parched as a result of drought and climate change, rendering forests unsustainable. Since 2010, traffickers have cut down 1 million trees (10,000 hectares) in the Casamance region. On the other hand, the Gambia exported approximately 1.6 million rosewood trees between June 2012 and April 2020. According to EIA’s findings, most of these exports are in violation of the Convention on International Trade in Endangered Species (CITES), under which P. erinaceus has been listed since 2017. Even though in 2018 the presidents of Gambia and Senegal made a declaration on joint enforcement by banning rosewood exports and implementing army patrols along the border to crack down the smuggling, EIA’s data shows the rate of trafficking has not lowered, but worsened over the past two years, with China importing 329,351 tons of rosewood from the Gambia, as of April 2020. Traffickers and corrupt politicians support the unlawful system by threatening officials who try to stop the smuggling. Rosewood traffickers operate inside a convoluted and illegal system that essentially permits trafficking. After taking off during Jammeh's terrible regime, this has been going on for years. Some vendors, in particular, have alleged to rely on Lamin Dib, the Minister for the Environment, Climate Change, and Natural Resources in The Gambia, to facilitate the rosewood trade. Even those working in the local timber industry in Senegal and Gambia understand that participating in the illegal trade is akin to participating in one of the region's largest businesses, and with high unemployment and a lack of economic opportunities, especially among young adults in Senegal, it's difficult to

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avoid becoming involved in the rosewood trafficking network. Since the natural resources belong to everybody, those who are not benefiting from the trafficking are seeing those who are doing it and making a lot of money, so it pushes them to also join. In some villages, even if it’s only a few people, the destruction caused is so big. The majority of people in Senegal's southern region, including Casamance, where the majority of the villages are located, rely on agriculture, but due to the illegal sale of rosewood, the edible fruits in the forests are no longer growing. Women, in particular, lack the financial means to sell and are frightened to enter the forests for fear of being confronted by human traffickers. As a result, not only the country's economy is impacted, but so is the way of life of millions of people who live in rural areas and rely on the forests that surround them. The Casamance region of Senegal has a vast subtropical environment. In the mangrove-swaddled canals or bolongs, of its eponymous river, women customarily pick oysters. However, widespread deforestation has altered the landscape, with the country losing almost 10% of its sparse forest cover between 2001 and 2019. Ziguinchor, which abuts the ocean at the end of the Casamance and holds much of Senegal's final tracts of primary forest, accounted for nearly all of that loss (93 percent).

Fig 211. Aerial image of the deforestation of Casamance. January 2020 vs October 2020.

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The Casamance region of West Africa was formerly noted for its lush greenery, wildlife, and vast forests. However, these woodlands are disappearing at an alarming rate, to the point that a critical level has been reached. Casamance has lost roughly 10.000 hectares, or around 1 million trees, to date. This loss is a long- term calamity in a location where climate change is a severe threat.

The loss of these forests has repercussions on the local population, making agricultural practices much more difficult, and driving millions of people to abandon their homes and country. Farmers affirm that rainfall patterns have changed since the exploitation began, crops are exposed to severe temperatures, and the sources of water for domestic and farm use are quite affected too.

Rosewood is one of the few species that can survive the region's conditions and wildlife depends on it. if it’s removed, the forests are exposed to instability. Illegal logging is creating a feedback loop as poor crop yields compel residents to log yet more timber to trade for food. Harvests are not lasting the entire season, and people are swapping timber for bags of rice out of desperation.

Southern Senegal is quite dry, with a savannah atmosphere. A large area of the landscape has been depleted, and because of that people are experiencing rising temperature and the drying up of river bodies from loss of tree cover. Despite growing awareness of these issues, the trafficking continues apace, with bribes greasing palms at the many military and police checkpoints along the route.

Fig 212. Aerial image of how the forest looked in the northern border of Casamance before.

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Fig 213. Aerial image of how the forest looks in the northern border of Casamance now

THEREFORE, WHY DID I CHOOSE TO USE ROSEWOOD TO MAKE MY PRODUCT? Until this day, even if Senegal, the Gambia, and other African countries have created measurements to stop the illegal trading of rosewood, there are still people who take part in this illegal exportation and selling of this timber. And because of this, the forests of all of these countries are rapidly disappearing, not only causing a climate crisis, but also an economic and humanitarian crisis. Rosewood has been used in Senegal to make furniture for a long time, even before the illegal mass exportation began because it is a great material that lasts for years and can be found in a lot of forests in Senegal. Using another type of wood from Senegal would mean that there is a high chance that the product won’t have a similar quality and wouldn’t last as much as furniture made out of rosewood. Also, if I manufacture my product with materials that come from other countries, it would increase the price of the furniture. The manufacturers and crafters of Senegal already know how to work with rosewood so it can last for lots of years without deteriorating. The amount of rosewood that I would need to create furniture for people in the villages of Senegal would be way lower than the amount of rosewood that is imported illegally every year. Old products made out of rosewood could also be recycled and reused to create parts of the product. One of the objectives of this project was to take advantage of the natural resources that can be found in Senegal. If with the creation of this product I can also educate and inform people on the impact that the illegal trading of rosewood is causing to the forests of so many African countries, maybe I can help stop the illegal trading and regrow the forests, even if it’s just a little part of them. Part of the money that we get from selling the product could be aimed to help the

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reforestation of the Senegalese forests in Casamance, and by doing so, I could also help all of those people, mostly villagers who depend on the forests that provide them with food to sell and eat. What is the point of having a great resource if the inhabitants of the country where this resource is found cannot take advantage of it and benefit from it, but only causes environmental, economic, and humanitarian crises? Senegalese rosewood should be used first and foremost by the people who live in that land, people who have been using this wood for decades and know the best way to take advantage of it without exploiting their own forests and natural resources.

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ENVIORMENTAL IMPACT OF OUR PRODUCT The tables below show how much waste the adaptable furniture would generate, and the amount of energy it would consume. 1kg of stainless steel generates 1.83kg of CO2 and it can release heavy metals which are toxic to humans, but it can be 100% recycled to produce other steel products. On the other hand, Rosewood generates 0.04kg of CO2 by 1kg of wood, and the dust created from sanding it can be irritant and trigger asthma and other respiratory illness. It can also be recycled and reused for other purposes. The only plastic in the furniture will come from the LED strip lights, which are commonly made out of PC. It can be toxic for humans during the degradation of the material and it generates 0.007300kg of CO2 for 1 kg of PC. Unlike the other two materials, it is difficult to recycle.

MATERIAL TOXICITY IN GENERATED RECYCLING CONSUMED HUMANS WASTE BY ENERGY KG -11 STAINLESS Since it is an alloy, it 1,83 kg of CO2 It is 100% 1,224x10 STEEL 304L can release heavy by 1kg of recycled to kg of oxygen, metals that are toxic to stainless produce other 0,625 kwh of humans, 0.15kg per kg steel. products with electric of steel stainless steel. energy and 283,905 litres of water for 1 kg of stainless steel. ROSEWOOD The dust created from 0.04 kg of CO2 Because of its 0.416667 kwh sanding rosewood is by 1kg of good of fossil fuel known to be a rosewood. mechanical for 1kg of sensitizing irritant and properties and wood can trigger asthma and long durability, other respiratory it can be ailments recycled and reused for other purposes PC Polycarbonates are 0.007300kg of PC is difficult to 4.2889 kwh (Polycarbonate considered to be CO2 for 1 kg of recycle. of energy to plastic, for the hazardous when they PC. One method of produce 1kg LED lights) come in contact with food recycling of PC. due to the release of polycarbonate is 6.2194 kwh of bisphenol A, popularly by chemical known as BPA, during the recycling. PC is oil fuels for degradation to the made to react 1kg of PC. material’s contact with with phenol in 142 litres of water. BPA at levels the presence of water to typical in the environment a catalyst to form produce 1kg acts like an estrogen on BPA and DPC of PC. breast, ovarian and monomers. After prostate tissue, some purification, both researchers point to a these monomers possible connection to are used to obesity, diabetes and produce the heart diseases. polymer. Fig 214. Environmental impact of rosewood, stainless steel and pc.

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MATERIAL GENERATED KG OF THE TOTAL OF WASTE BY KG MATERIAL IN THE GENERATED PRODUCT WASTE STAINLESS STEEL 1,83 kg de CO2 4.63 8.47 kg of CO2. 304L ROSEWOOD 0.04 kg of CO2 by 214.916 8.6 kg of CO2. 1kg of rosewood. PC (Polycarbonate 0.11 0.007300kg of 0.0008 kg of CO2 plastic, for the LED CO2 for 1 kg of PC lights) Fig 215. Environmental impact of rosewood, stainless steel and pc in the product.

6.6.1. WASTE MANAGEMENT AND RECYCLING Senegal produces 2.4 million tons of waste in a year, from which 9.04% are plastics, 3.78% of wood, and 2.49% of metal. From that sum, just 1.1 tons are uncollected. The current waste administration of various dump destinations in Senegal comprises assortment, transport, and uncontrolled unloading. These dumpsites, one of them being in Thies, the third largest and most populated city in Senegal, cause major issues connected to general health problems and the climate. Previously, no preventive measures have been taken to waterproof the dirt and cover squander. Another issue is that the dumpsters are not fenced and are misused by rescue vendors who gather the waste to sell it and gain some benefit. Likewise, there isn't any proficient arrangement of waste assortment and specific solutions for the health problems that people who live near these dumpsites suffer. Every once in a while, different measures of squanders are burned to acquire space and welcome new sums. Once in a while, because of the calorific worth of squanders, auto-cremation can happen. As a result of the creation of dioxins, furans and other toxic items that a few materials like plastic products, there are numerous towns found not a long way from where the dumpsters are that are experiencing wellbeing-related issues. Despite the fact that the waste administration and recycling of materials in Senegal hasn't been acceptable, for the past couple of years, a couple of changes have been made to take care of this issue. The objective of the Project for the Promotion of Integrated Waste Management and the Economy of Solid Waste (Promoged), is to improve and strengthen waste administration for 6,000,000 individuals in Senegal. There are various focuses on this venture.

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• The private administrator would be answerable for building, co-financing, and working in five waste areas, preparing and arranging offices in the Dakar metropolitan regions. • The private administrator will use corporate ability to construct a vigorous waste administration framework and accomplish systemwide operational efficiencies. • Public accomplice addressed by the Public Strong Waste Organizing Organization (UCG), would be liable for squander assortment and moving up to the five areas, helping the locals who live near these areas and might depend on it.

The point of this Senegalese government drive is to fortify strong waste management in Senegal and improve strong waste management administrations in a few regions. The task will likewise reinforce the institutional structure overseeing the waste areas. The goal is to guarantee the proficiency of interests in the waste area and the formation of an empowering climate for the private area.

The city's strong waste management project in Senegal explicitly anticipates the foundation of a waste treatment and removal framework to be financed under a public-private organization (PPP). As per the World Bank, the Senegalese government is planning practicality studies and solicitations to delicate for the recovery of the Mbeubeuss landfill site.

The Mbeubeuss landfill, which serves the more renowned Dakar region, is the Senegalese government's main challenge in squandering the board. This open- air landfill is the source of tensions between the local population and the experts. The project will result in the construction of seven specialized landfill habitats, standardized collection points, and strong garbage arranging and movement points. The undertaking will likewise add to the conclusion or restoration of certain landfills in Senegal, with an immediate effect on the environment through the moderation of CO2 discharges.

This project could take advantage of the Management and Economy of Solid Waste program when the furniture has to be recycled. The wood and steel parts of the furniture could be collected and reused by the same manufacturers that create the adaptable furniture, by the Solid and Waste program to be reused for other products, or for the salvage dealers so they can sell it and make some profit.

The same transporters that bring the product to the villagers could also collect them once they have no purpose and bring them to the manufacturer’s location. Once they have been inspected, the manufacturers could decide if they can reuse some of the parts or dispose of them using the Solid and Waste program. Once

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they are there, the program will decide whether to recycle and reuse them for other products or to give them to the salvage dealers.

When it comes to the plastic of the LED strip lights, there is a company called Proplast Industrie, a Senegalese company specializing in plastic waste recycling, The company has a system for collecting and selling plastic waste and products from recycling. They help protect the environment by reducing the proliferation of plastic waste in Senegalese streets.

If I use this company to recycle the LED lights, I will help reduce the amount of plastic waste and toxins that the materials release once it is dumped.

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6.8. BUSINES CANVAS

6.8.1. THE ECONOMIC SITUATION OF SENEGAL As stated at the beginning of this project (in segment 2.1.6. Economy, p. 22) Senegal’s economy mainly comes from the trade of peanuts, fish, and tourism. Agriculture in rural areas makes up two-thirds of the economy and provides the basis for the industry sector. Agriculture is highly vulnerable to the climate crisis and changes in world commodity prices. Industrial production in Senegal is more evolved than in most Western African nations. Both food-handling and handiwork businesses are grounded. The exploitation of mineral resources like gold, petroleum, and natural gas has also diversified the economy. Senegal’s economy also depends on foreign assistance. It is one of the most politically stable countries in Africa, which has helped with economic growth. And thanks to that the economy has grown by more than 6% from 2014 to 2018. The services sector is the main engine of GDP growth. Because of the pandemic, the economy has fallen -0.7% in 2020, and that has set back services like tourism, transport, and exports. For that reason, Senegal created and implemented a measure classed the Economic and Social Resilience Program (PRES). From the plan’s budget of 5.7 billion euros in funding commitments, a big part is going to be used for infrastructure, agriculture, and food processing industry, along with mining and tourism. As of April 2021, Senegal has recorded a growth of 0.8% compared to 2020. That has been helped by the performance of agriculture and the normalization of the transport sector.

Fig 216. GDP table of Senegal.

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6.8.2. MY BUSINESS PLAN While creating a business plan I have to review a few points. • The minimum wage and average monthly income in Senegal. • The users that are going to buy my product. • The cost of the manufacturing and transportation of the product. • The cost of the parts that will have to be bought. • The different people who are going to be involved in the development and creation of the different parts that compose the adaptable furniture that needs to get paid. • The place where the products will be manufactured and stored until their distribution. • Part of the income will go to the reforestation of the Casamance forests where we can find rosewood and other endangered trees and plants. • All the organizations, whether they are from the government or NGOs that can help us finance this project. To understand better what are the important aspects in order to create a business plan, I have created a business canvas that lists all the features of my plan, such as the partners that will work with us, the activities that will take place during the development of the product, the resources we will have and the costumers’ relationships. Along with the costs and revenue streams.

Fig 217. Image of my business canvas.

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The minimum wage in Senegal, as of 2021 is 210 XOF (Senegalese franc CFA), 0.32€/h. While the average monthly salary is 350.000 XOF (535,67€), with 88.600 XOF (135,60€) being the lowest and 1.560.000 (2387,55€) being the highest.

Since my target users are the villagers, their main income comes from the selling of agricultural goods such as fruits and vegetables along with the trade of animals as cows, sheep, and goats, their monthly salary can be way below the lowest salary of 135,60€. While transporters and manufacturers get an average monthly salary, I will also need people who will get the rosewood from the forests in the region of Casamance.

This project could take advantage of different existent organizations in Senegal such as the Economic and Social Resilience Program to help the unemployed with their economic situation and to find jobs, the Project for the Promotion of Integrated Waste Management and the Economy of Solid Waste (Promoged) to help fight the climate crisis and create a better waste and recycling management, and Proplast Industrie, which helps the unemployed and those that in bad economic situations to participate in activities and work in the field of recovery and recycling of waste through the “Récuplast Points” we can find in some cities of Senegal.

There is also ILO, International Labour Organization, that can be found in Senegal. They support the government in the development of women's entrepreneurship and the improvement of the business environment and competitiveness of enterprises. They have technical training that helps the integration of young adults into the professional world and improves their incomes.

YouthMap is another organization from the United States of America that works in different African countries such as Senegal. They help their participants fight the lack of entrepreneurial opportunities in different sectors. They also help with the training and integration of practical life skills and add agricultural education into school curriculums.

The USAID and The World Bank along with the International Youth Foundation created a project, called Global Partnership for Youth Employment (GPYE) in 2013 for youth employment in the rural areas of Senegal.

To help fund this project I could also work with Global Living, a non-profit organization from US, that has created and financed several projects in Senegal such as education for girls, fighting the poverty levels in the rural areas, and creating sustainable livelihoods for talibes (the term "talibé" is a French word derived from the Arabic word "talib" which means a "person who seeks knowledge". It is used to describe boys generally between the ages of 4 and 18, who live under the tutelage of marabouts (Quranic school teachers) who at the same time play the role of Islamic teachers).

In 2016 Senegal created a project called #MadeInDakar, in collaboration with the 100 Resilience Cities, a global initiative of the Rockefeller Foundation. #MadiInDakar aims to promote local crafts and goods while increasing the

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visibility of the artisans by helping them partner with formal businesses. The label works as a way to brand locally sourced and produced goods and combines quality assurance, cultural grounding, and community resilience. It also helps a large number of businesses in waste management and environmental protection.

On the first table we can see how much money we would need for the workers' annual salary, if hypothetically, I have ten workers, 5 being manufacturers. Both the ones that get the wood and the ones that create the parts of the product, (MN), 2 transporters (TR), and 3 carvers – craftsmen (CR). In the second table, we have calculated how the cost of all the parts that we will need to but for one Galle Tokoso.

So, during the first year, if I hypothetically have ten workers and sell 15 packs. The amount of money we will need will be 85,192.5€ I also have to include the gas for the transportation vehicles, the salary of the teachers who would teach young adults who want to work as manufacturers, cravers, or transporters.

A place where the workers can do their job and store the stools and the products are also needed.

EMPLOYERS MN 1 MN 2 MN 3 MN4 MN5 TR1 TR 2 CR 1 CR2 CR 3

MONHTLY 700€ 700€ 700€ 700€ 700€ 700€ 700€ 700€ 700€ 700€ SALARY YEARLY 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ 8,400€ SALARY Fig 218. Hypothetical chart of how much we would pay the workers. TOTAL 84,000€

PARTS TO BED LEGS SHELF SOCKETS HINGES WHEELS LED BUY FOLDERS stripes QUANITY 2 4 180 16 16 1 FOR 1 GALLE TOKOSO PRICE 4.5€ 30€ 20€ 10€ 15€ 15 Fig 219. Chart with the prices of the parts we need to buy. TOTAL 85.5€

In order to estimate the price of my product, I have created a way to calculate how much a person should pay depending on their monthly income and the number of members in the family unit (how many children sleep with the mother in the same room).

The price will be calculated with 50€ as a fixed price for every Galle Tokoso plus half of their monthly income. If the women have more than five children, the number of children will be multiplied by five and the result will be extracted from the final price.

• 50€ + monthly income/2 • 50€ + monthly income/2 – number of children*5

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In order to pay for the parts that we need to buy, the worker’s salary and other services. I will need to have different investors from private businesses or organizations like the ones I have named before. Another way to get the amount of money that we need is to get donations from different sponsors.

6.8.3. THE GALLE TOKOSO APP To achieve that, I have created an app prototype that could work as a way for workers to apply for a job, for villagers to calculate how much they would have to pay for my product and two learn about the dimensions of the different parts of the product.

And also on the app, people will be able to learn about different aspects such as the illegal trading of rosewood and the deforestation of the forests in Casamance, along with the craftsman and artists in Senegal and donate money to reforest and manufacture more products. There is also the option for people to volunteer as workers or teachers.

I decided to create an app prototype that could also work as a website on a phone, since most people in the villages have smartphones, yet it is uncommon to find people in these places that have laptops. Organizations that could work with us:

Fig 220. Organizations that work with Senegal.

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The app will have more than one objective. People who want to apply for a job related to the making of the product will be able to do so through the app, and if they don’t have experience, they will have the possibility of learning from professional people, who can also apply as teachers. Once they have submitted their information, the manufacturers that work on the product will decide whether to choose them or not. On the other hand, if a possible user wants to know information about the different parts that compose the product, such as the dimensions and weight, they will be able to do so, and also, they can calculate an estimated price on how much money they would have to pay for the product, depending on their income and number of family members. Since most people in the villages in Senegal do not have credit cards, they will have to call the manufacturers to buy the product and pay it in cash. To finance the project and the creation of my product, I could also sell limited amounts of Galle Tokoso or parts of it outside of Senegal. The price would be way higher for them, since the money that we would get from these sales, which should not be higher than 10 per year, are going to be used to pay the manufacturers, create products for free for people who cannot afford it at all, and help fight the deforestation of the forests of Casamance and the illegal trading of rosewood.

Fig 221. App prototype. Menu and job section.

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Fig 222 App prototype. Product parts section.

Fig 223. App prototype. Product parts section.

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Fig 224. App prototype. Calculation of the prices section.

Fig 225. App prototype. Calculation of the prices section.

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Fig 226. App prototype. Informative section.

Fig 227. App prototype. Informative section.

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Fig 228. App prototype. Donation section.

(https://www.figma.com/proto/VMIUWZwqFqVbRzcqmoJPAJ/Galle-Tokoso--app?node- id=0%3A3&scaling=scale-down&page-id=0%3A1) The calculation of how much people from outside of Senegal would pay is based on their monthly income plus the price of what someone from the villages of Senegal would have to pay for the product. So, if hypothetically an individual earns 2,500€/month and a villager’s estimated price is 150€, they will have to pay 2,650€ (excluding shipping and customs costs, that would be paid by the customer too). In this app, people would also learn about the craftsmen and artisans in Senegal, their skills, and the history and importance of ornamentation in Africa. They would also learn about the problems related to the illegal trafficking of rosewood. If they want to, they could also volunteer to work for the manufacturers or donate money in order to help create more products. If we round up the workers’ income to 100.000€ a year and add the parts that we have to buy, the expenses are going to be 101,192.5€ the first year. If we achieve to get donations as high as 200,000 and sell ten products outside of Senegal the first year, we would have 230,000€. Along with the products sold to the villagers and the money that we would get from the investments of different organizations, we could get 283,000€ in total.

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Workers’ Gas for Small Parts to buy Products Donations Products Investments income transportation factory for 15 packs sold sold rent outside of Senegal 100,000€ 2,066€ 2,400€ 1,192.5€ 3,000€ 200,000€ 30,000€ 50,000€ Fig 229. First year income and expenses.

During the first year, after paying the workers and using part of the money to fund the reforestation, stopping the illegal trade and helping the villages in need, as well as returning the initial investments, paying the gas for transportation for a year, and renting a small place for the workers and to store the products, we will have 163,534€ left.

Funding Workers’ Gas for Small Reforestation Stopping Helping Returning income transportation factory in Casamance the illegal the the rent trade of villages investment rosewood 283,000 100,000€ 2,066€ 2,400€ 5,000€ 5,000€ 5,000€ 50,000€ Fig 230. First year income and expenses with the funding. Total left 163,534€

During the second year, if we manage to sell 5 models outside of Senegal, the initial funding will be 178,534€. If I increase the number of workers to 15, the amount of money left will be 59,077€. So, for the third and upcoming year, we would need donations of at least 200,000€. This way we won’t have to increase the price of the product for the villagers or lower the workers’ salary.

Funding Workers’ Gas for Small Reforestation Stopping Helping income transportation factory in Casamance the illegal the rent trade of villages rosewood 178,534€ 115,000€ 2,066€ 2,400€ 5,000€ 5,000€ 5,000€ Fig 231. Second year income and expenses. Total left 59,077€

6.8.4. CONCLUSIONS OF THE BUSINESS PLAN If I want the Galle Tokoso to reach a big amount of people in the villages of Senegal, I need to make it at cheap as possible, and even free for those who have no means to purchase it. This project can only be done with big amounts of donations. Since only relying on investments would mean that I would have to lower our worker’s income and raise the price of the furniture, because I would have to return the money invested. The salaries, the reforestation of Casamance, and the stopping of the illegal trade could only be done with the donations because the earnings from the products that would sell on the villages wouldn’t be enough even to begin with.

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7. CONCLUSIONS At the beginning of this project, my main goal was to create a product that would help the villagers in Senegal. A product that was both functional and showcased the traditional ornamentations and the skills of the crafters of Senegal. I wanted to create adaptable furniture that would include all the characteristics needed to help the women of the villages in Senegal and their children while keeping in mind the dimensions and shape of the traditional houses in the villages. Even if I solved the majority of their problems, there are still a few that could have been different. While designing the final product I talked to people who have lived or still live in a Senegalese village, to know if they really think my product would help them since there is no point in creating a product that doesn’t meet the expectations of the target users. THE MATERIALS One of my objectives was that I wanted to create a lightweight product. But after discovering and learning about the rosewood tree and how it has been used for decades by the Senegalese woodworkers and woodcarvers to create furniture for people that live in that country, I decided to choose it, even if it’s density it on the higher side since it is a hardwood. It is timber whose quality is way higher compared to other timbers that I wanted to use. And while learning about the illegal trade of rosewood that has been happening since more than a decade ago, my objectives changed. THE ILLEGAL TRADE OF ROSEWOOD I realized that the lack of furniture in the villages of Senegal was not the only problem and that creating a product wouldn’t be the only solution. The illegal trade of rosewood and other trees from the region of Casamance not only affects the fauna of that region, but the villagers of Senegal, my main target. It affects their way of living and their lands. If the deforestation doesn’t stop, the villages will cease to exist. So, what is the point of creating a product if the villages won’t be there anymore? The use of rosewood is not only about choosing a material that is convenient to us. But it’s about choosing a material that is native to Senegal and has been used for a long time by the Senegalese people, who know the best way to work this timber. I have this resource that can help us create this product aimed at the villagers and by doing so, I want to help stop the illegal trading, and inform the people about the deforestation of Senegalese and other African lands. The amount of wood that I would use is nothing compared to the amount of rosewood that is exported to China every year. So, by helping stop the illegal exportation and educating people in the matter, I am already helping the villagers in another way.

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THE RESOURCES Another of my objectives was to only use resources from Senegal to create my product. But since most furniture manufacturers in Senegal are mostly skilled in wood, I decided that the steel and plastic parts of the product would be purchased, so the manufactures and woodcarvers would focus on the wood parts. Adding some type of illumination to the product seemed important to us at the beginning, but because some villages in Senegal don’t have electricity in all the houses the only type of light we could as was portable LEDS with changeable or chargeable batteries. So, they can be moved around along with the different parts of the product. Adding a portable battery to my product, where the users can plug their appliances would have increased the price of the adaptable furniture a lot. THE IMPORTANCE OF ORNAMENTATION The ornamentation of the product was probably one of the most important parts of this project. I have learned that ornamentation and decoration have different meanings in Senegal, and all of Africa, compared to the . While one might think that decorating an object is optional and unnecessary and adds no value to the function and use of the product, in Senegal it’s different. In the western world, a decorated object is more expensive, it means luxury, it means that the owner has the economic status to afford it, not because of its functionality, but because of its aesthetics. In Senegal, ornamentation means a way to keep part of the traditions and history of the land, a way to showcase the beauty of the country, and a way to teach the new generations about the culture. I learned the history of ornamentation in Senegal and the techniques they use to incorporate it into wood objects. I also learned about the importance of adding it to my design and the connection between Senegalese decoration and Islam. Out product would solve the problems and needs of the users, but it wouldn’t be the same. Just because a product is ornamented doesn’t mean that it has to be more expensive or only targeted as a luxury product. Unlike in the western world, in Senegal and other African countries, well hand-crafted products are available for everyone. Just because a product is cheap, doesn’t mean it should like cheap. It can be both beautiful, functional, and aesthetic. Therefore, with this project, I wanted to create a product that was both functional and representative of the arts and crafts of Senegal, and I would like to believe I achieved that part. THE ENVIORMENTAL IMPACT AND WASTE MANAGMENT While thinking about minimizing the environmental impact I came across a lot of organizations in Senegal that work to create better waste and recycling management in the city, to create a healthier environment for its residents, and to fight the climate crisis in the country. That is why I mostly used materials that were 100%, like stainless steel and rosewood. This way, once the life of the product has come to an end, the different parts will either reused or recycled.

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THE GALLE TOKOSO APP Another of my main objectives was that the product had to be as cheap as possible in order for people in the villages to be able to afford it. I also wanted to pay fair salaries to the workers who deserve it. And after learning about the illegal trade of rosewood and deforestation of Casamance, I decided to destine part of the money I would get through the donations for these matters. The creation of the Galle Tokoso app works as a way for the users to calculate how much they would have to pay for the furniture, for people two apply for jobs, and for other individuals to learn about the Senegalese arts and crafts and the problems related to the rosewood timber, and if they want so they can also donate money. This way I can fund my project while meeting one of my objectives, to make my product as affordable as possible. Overall, I think I’ve met the majority of the objectives stated at the beginning of this project. Granted that some changes could be made in the project such as changing the dimensions of the different parts of the product, such as the thicknesses to make it more lightweight, I have created a product that meets the requirements established for this project. Galle Tokoso not only works as adaptable furniture for women and their children in the villages in Senegal. it also works as a way to showcase to the world the importance of Senegalese craftsmen, the essence of Senegalese ornamentation, woodworkers, and the villages in Senegal. Each of them is an important pillar to the country of Senegal, and preserving their skills, history, and culture is crucial.

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8.BIBLIOGRAPHY

History of Senegal Lonely Planet, History Of Senegal, 2018, [Retrived: 08/03/2021], Available To: Boug El Mogdad, History Of Senegal, 2016, [Retrived: 08/03/2021], Available To: Britanica, Senegal, Camille Camara, [Retrived: 08/03/2021], Available To: Nations Enciclopedia, Senegal Flora And Fauna, [Retrived: 08/03/2021], Available To: Climates To Travel, Climae Senegal, [Retrived: 08/03/2021], Available To: Wikipedia, Geography Of Senegal, Last Edited On 25/01/2021, [Retrived: 08/03/2021], Available To: Wikipedia, Ethnic Groups In Senegal, Last Edited On 24/01/2021, [Retrived: 08/03/2021], Available To:

Target User Briannica, Settlement Patterns, [Retrived: 11/03/2021], Available To: African Equalities, Inequalities In The Context Of Structural Transformation: The Case Of Senegal, Diene Mbaye, 2014, [Retrived: 11/03/2021], Available To: African Volunteer, Life In Senegal, 2014, [Retrived: 11/03/2021], Available To: Briannica, Housing, [Retrived: 11/03/2021], Available To: Wikipedia, Villages In Senegal, Last Edited On 21/09/2019, [Retrived: 11/03/2021], Available To: Fish Money Blog, Senegal Traditional Houses, 24/08/2015, [Retrived: 11/03/2021], Available To: Village Monde, Senegal, [Retrived: 11/03/2021], Available To:

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Study Cases Sapporo, The Art Of Less Is More: Japanese Minimalism And Its Influence On Western Design Aesthetics, [Retrived: 15/03/2021], Available To: Minimalisim, Japanese Aesthetics: Minimalist Simple Living Concepts For Everyone, [Retrived: 15/03/2021], Available To: Japan Home, Japanese Minimalism What Japan Minimalism Can Teach You About Living Simply, 2018, [Retrived: 15/03/2021] Japan Junky, Why Do The Japanese Sleep On Floors, Nicola Spendlove, 16/05/2020, [Retrived: 15/03/2021] Jlife International, A Complete Guide To The Japanese Sleep System, Ashok R, 26/08/2019, [Retrived: 15/03/2021] Scandification, What Is Scandinavian Minimalisim, [Retrived: 15/03/2021] The Modern Dane, The Difference Between Scandinavian Design And Minimalism, Updated 04/04/2020, [Retrieved: 15/03/2021] European Leather Gallery, Scandinavian Design Vs Minimalism, Updated 24/03/2020, [Retrieved: 15/03/2021] War Paths 2 Peace Pipes, Pueblo Tribe, 16/01/2018, [Retrieved: 18/03/2021] Britanica, Pueblo Indians, [Retrieved: 18/03/2021] Facing History And Ourselves, The Inuit, [Retrieved: 18/03/2021] Ocean Wide, Lifestyles Of The Inuit, [Retrieved: 18/03/2021] First People Of Canada, Enviorment, 2007, [Retrieved: 18/03/2021] The Canadian Encyclpedia, Tupic, Eduard Mills, Harold D. Kalman, 30/04/2020, [Retrieved: 18/03/2021] Transun, How Does And Igloo Work, Tracy Greenway, 14/02/2019, [Retrieved: 18/03/2021]

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Work#:~:Text=Igloos%20are%20built%20from%20compressed,Hole%20in%20the%20 snowy%20ground.&Text=While%20it%20looks%20solid%2c%20as,Air%20trapped%2 0inside%20tiny%20crystals> Britanica, Mongol, [Retrieved: 19/03/2021] Original Yurts, History About Yurts, [Retrieved: 19/03/2021] National Geopraphyc, Yurts, Philip Arneill, [Retrieved: 19/03/2021] World Of History, Yurt, Mark Catwright, 17/09/2019, [Retrieved: 19/03/2021] Borders Of Adventure, Visiting A Mongolian Ger, Becki, [Retrieved: 19/03/2021] Mongolia Travel And Tours, Yurts Of Mongolian Nomads, [Retrieved: 19/03/2021] State Of Art Vox Furniture, Custom Couch, [Retrieved: 25/03/2021] Décor Tips, Modular Furniture For Small Spaces, [Retrieved: 25/03/2021] Beton Concepts, What Is Modular Furniture, 13/08/2019, [Retrieved: 25/03/2021] Senegalese Furniture Design Plus Gallery, Vintage Senegalese Hand Crafted Wood Stool, [Retrieved: 01/04/2021] Novice, African Furniture, [Retrieved: 01/04/2021] Leuk Senegal, The Senegalese Palaver Chair Or "Lazy" Chair, 2019, [Retrieved: 01/04/2021] Senalioune, Artistic Furniture, A Little Valued Artisan Profession In Senegal, Salam Oseydi, 03/07/2018, [Retrieved: 01/04/2021] Add (African Design Dayly), The Togou Stool From The Brand Dioumpapa, 12/09/2017, [Retrieved: 01/04/2021]

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Materials

World Steel Association, About Steel, 2021, [Retrieved: 10/05/2021]

Marlin Wire, What’s The Difference Between Grade 304 And 304L Stainless Steel?, 06/01/2017, [Retrieved: 10/05/2021]

Thyssenkrupp, Stainless Steel 304, [Retrieved: 10/05/2021]

Home Steady, Properties Of Rosewood, Jay Leone, Updated 21/07/2017, [Retrieved: 10/05/2021]

Hobbit House Inc, Senegal Rosewood, [Retrieved: 10/05/2021]

Wood Monsters, Density Chart, [Retrieved: 10/05/2021]

Research Gate, Rosewood Mechanical Properties, Xiaobin Song, 01/07/2018, [Retrieved: 10/05/2021]

Ornamentation

JSTOR, Crafts And The Concept Of Art In Africa, James S. Coleman, 01/11/1978, [Retrieved: 14/05/2021]

Britannica, Sculpture And Associated Arts, [Retrieved: 14/05/2021]

Cairn Info, Du Design Par La Débrouille Au Sénégal, Papa Dijbril Diop, 05/02/2014, [Retrieved: 14/05/2021]

Ivy Panda, Ways Through Which Space Is Defined By Cultural Ornamentation Essay, Updated 19/04/2019, [Retrieved: 14/05/2021]

Design Inaba, African Architecture: Ornaments, Crime & Prejudice, Mathias Agbo, Jr., 07/06/2019 [Retrieved: 16/05/2021]

Contemporary African Art, African Craft, [Retrieved: 16/05/2021]

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Britanica, Personal Decoration, [Retrieved: 16/05/2021]

Thestar, Hanmade Furniture Forged In Dakar, Catherine Porter, 08/11/2013, [Retrieved: 16/05/2021]

Detroit News, Handmade: Senegalese Woodworker Makes Custom Furniture, Jocelynn Brown, [Retrieved: 16/05/2021]

Makenzie, Made In Senegal, Laura Cochrane, 19/10/2012, [Retrieved: 16/05/2021]

Manufacturing

Dupire, Marguerite. “A Nomadic Caste: The Fulani Woodcarvers Historical Background and Evolution.” Anthropos, vol. 80, no. 1/3, 1985, pp. 85–100. JSTOR, www.jstor.org/stable/40460882. Accessed 3 June 2021.

Au-Senegal, Le Village De Soumbédioune, Vitrine De L’artisanat Sénégalais, 6/12/2013, [Retrieved: 28/05/2021] Digital Collections, Did You Make That? : Wood Carving, Apprenticeships, And Collective Art In Senegal, Christina Schueler, 2010, [Retrieved: 28/05/2021] Export Senegal, Epiez Les Meubles Du Sénégal 11/11/2015, [Retrieved: 01/06/2021] La Vie Senegalaise, L’ONPB Sollicite Auprès Du Chef De l’Etat, Macky Sall Des Terres À Diamniadio Et Au Lac Rose, 28/11/2017 [Retrieved: 01/06/2021] Frères Des Hommes, Sérigne Moussa Mbaye, Menuisier Et Président, 2017, [Retrieved: 01/06/2021] Environmental Impact

Azo Life Sciences, Why Is Rosewood So Expensive, Sarah Moore, M.Sc., Updated: 21/01/2021 [Retrieved: 16/05/2021]

Science Direct, Vulnerability Of African Rosewood, 06/06/2020, [Retrieved: 16/05/2021]

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

QZ, Chinese Demand For Rosewood Furniture Is Decimating A Rare, Slow-Growing Species Of African Tree, Lily Kuo 09/06/2017 [Retrieved: 16/05/2021]

Mongabay, Threatened West African Rosewood Species Gets CITES Protection, Mike Gaworecki , 16/02/2016, [Retrieved: 16/05/2021]

BBC, Rosewood Smuggling In The Gambia: Shipping Firm Halts Timber Exports, Charlotte Attwood, 08/07/2020, [Retrieved: 16/05/2021]

Trade For Development News, A Traded Tree: What Rosewood Means For Africa, Paolo Omar Cerutti , 14/04/2020, [Retrieved: 16/05/2021]

Reuters, Timber Smugglers Could Make Senegal's Last Forests Disappear Soon, Reuters Staff, 26/05/2016, [Retrieved: 17/05/2021]

Ecosystem Marketplace, Is China’s Demand For Rosewood Turning Africa’s Forests Into Furniture, Kelli Barret, 22/12/2015, [Retrieved: 17/05/2021]

Life Gate, The Illegal Rosewood Trade Is Funding Armed Conflict In Senegal, Luigi Mastrodonato, 06/07/2020, [Retrieved: 17/05/2021]

Science The Wire, Demand In China Is Helping Wipe Out Senegal’s Last Rosewood Forests, Louise Hunt, 14/11/2020, [Retrieved: 17/05/2021]

China Dialoge, Rosewood Trafficking Worsens In The Gambia, Louise Hunt 23/072020 [Retrieved: 17/05/2021]

Unodc, Rosewood Timber, 2018, [Retrieved: 17/05/2021]

Universisty Of Rocherster Medical Center A Common Plastic Comes Under Scrutiny, [Retrieved: 17/05/2021]

212

ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Tuflite, Do You Know All The Pros And Cons Of Plycarbonate? [Retrieved: 17/05/2021]

Inference, Plastics Europe, 01/03/2005, [Retrieved: 17/05/2021]

Azom, Polycarbonate Recycling, 11/12/2012, [Retrieved: 17/05/2021]

IPEN, The Waste Management Issue In Senegal: Outlining Solutions To Waste Incineration In Thies, 2006, [Retrieved: 17/05/2021]

The World Bank, Senegal To Improve Governance And Solid Waste Management, 05/03/2020, [Retrieved: 17/05/2021]

World Bank Blogs, Why Waste Management In Senegal Is A Critical Step Toward Sustainability, Semeon Ehui, 09/03/2020, [Retrieved: 17/05/2021]

GFDDR, Minimizing Waste Challenges, Maximizing Urban Resilience, [Retrieved: 17/05/2021]

AFRIK21, SENEGAL: « Promoged » Will Improve Waste Management For 6 Million People, Inès Magoum, 03/05/2021, [Retrieved: 17/05/2021]

AFRIK21, SENEGAL: Mbeubeuss Landfill Rehabilitation Benefits From IDA Loan, Jean Marie Takouleu , 30/03/2020 [Retrieved: 18/05/2021]

Insitute For Security Studies, The Silent Destruction Of Senegal’s Last Forests, Mouhamadou Kane, 17/01/2019, [Retrieved: 18/05/2021]

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Business Model

AFRIK21, SENEGAL: Proplast Launches « Récuplast » Against Plastic Waste Pollution, Inès Magoum, 10/09/2020, [Retrieved: 25/05/2021]

Voanews, From Recycling To #Madeindakar, Senegal's Capital Maps Route To Resilience, 03/02//2017, [Retrieved: 25/05/2021]

Resilient Cities Network, Dakar Resilience Strategy, 01/12/2016, [Retrieved: 25/05/2021]

Britannica, Manufacturing Of Senegal, 25/05/2021]

Paylab, Average Salary In Senegal, [Retrieved: 27/05/2021]

Salary Explorer, Average Salary In Senegal 2021, [Retrieved: 27/05/2021]

World Bank, Senegal Overview, 03/05/2021, [Retrieved: 27/05/2021]

Santander Trade, Senegalese Economic Outline, Updated 2021, [Retrieved: 27/05/2021]

Global Giving, Senegal, [Retrieved: 27/05/2021]

Iyf Global, Youth Employment In Northern Senegal, March 2013, [Retrieved: 27/05/2021]

Iyf Global, Youth Assessment: The Road Ahead, [Retrieved: 27/05/2021]

International Labour Organization, Senegal And Decent Work, April 2018, [Retrieved: 27/05/2021]

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8.1. List of figures

Fig 0. Double diamond methodology. Source/ https://en.wikipedia.org/wiki/Double_Diamond_(design_process_model)

Fig 1. Political map of Senegal. Source/ https://www.wikiwand.com/en/Senegal

Fig 2. Coats of arms of Senegal. Source/ https://en.wikipedia.org/wiki/Coat_of_arms_of_Senegal

Fig 3. Image of the house of slaves on the Gorée island. Source/ https://www.bouelmogdad.com/history/

Fig 4. Map of Senegambia from 1707 by Guillaume Delisle. Source/ https://www.bouelmogdad.com/history/

Fig 5. Image of Lat Dior Diop. Source/ https://www.bouelmogdad.com/history/

Fig 6. Graphic of Senegal’s Ethnic groups. Source/ https://www.haikudeck.com/senegal-how-to-presentation-

9R4AkYI61h#slide1

Fig 7. Map of the distribution of the Senegalese ethnic groups. Source/

https://maryfaheyfieldsblog.wordpress.com/2016/04/19/na-nga-def-mangi-fi-rekk/

Fig 8. Image of the Grand Mosque of Touba. Source/ https://www.beautifulmosque.com/great-mosque-in-touba-

senegal

Fig 9. Image of a baobab tree in Senegal. Source/

https://commons.wikimedia.org/wiki/File:Baobab_tree,_Senegal,_3_January_2006.jpg

Fig 10. Image of goats taken in a village in Senegal. Own Source

Fig 11. Summarizing table of Senegal. Own source.

Fig 12. Graphic of the demographics in Senegal. Source/ https://www.britannica.com/place/Senegal/Land

Fig 13. Image of traditional houses in a Senegalese village. Source/ https://www.dyxum.com/dforum/senegal-

villages_topic68978.html

Fig 14. Image of newer type of houses in a village in Senegal, Hinnako. Own source.

Fig 15. Image of newer type of houses in a village in Senegal, Hinnako. Own source.

Fig 16. Image of newest type of house in a village in Senegal, Hinnako. Own source.

Fig 17. Image of newest type of house in a village in Senegal, Hinnako. Own source.

Fig 18. Image of newest type of house in a village in Senegal, Hinnako. Own source.

Fig 19. Image of the men’s house in a village in Senegal, Hinnako. Own source.

Fig 20. Image of a typical distribution of the homes in a village in Senegal. Own source.

Fig 21. Image of the distribution of the houses in a village in Senegal Hinnako. Own source.

Fig 22. Image of the distribution of the newest home in a village in Senegal Hinnako. Own source.

Fig 23. Functional chart. Own source.

Fig 24. Target user chart. Own source.

Fig 25. Manufacturer chart. Own source.

Fig 26. Transporter’s chart Own source.

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 27. Image of a man sleeping on a futon on the floor. Source/ https://japanjunky.com/why-do-the-japanese-sleep-on-

floors/

Fig 28. Image of a traditional Japanese bedroom with the futons rolled on the side. Source/ https://japanjunky.com/why-

do-the-japanese-sleep-on-floors/

Fig 29. Image of a living room with Scandinavian design style. Source/ https://obliquenewyork.com/2018/05/24/6-best-

scandinavian-design-blogs/

Fig 30. Image of a living room with Scandinavian design style. Source/ https://obliquenewyork.com/2018/05/24/6-best-

scandinavian-design-blogs/

Fig 31. Image of a typical house structure of Pueblo Indians. Source/ https://taospueblo.org/cms/department-of-public-

safety

Fig 32. Image of the inside of a Pueblo Indian house. Source/

https://i.pinimg.com/originals/11/b6/88/11b688231ada101edaa02bf722f69d8f.jpg

Fig 33. Image of a traditional native American igloo house. Source/ https://www.dkfindout.com/us/history/native-

americans/inuit/

Fig 34. Image of the inside of an igloo house. Source/ https://www.sciencephoto.com/media/1070710/view/igloo-interior

Fig 35. Image of a typical tupiq tent. Source/ http://warearthissue2010.blogspot.com/2010/09/inuit-people.html

Fig 36. Image of a typical Monilla Amena house. Source/ http://www.experienciacolombia.com/directorio-

turistico.php?Colombia=Leticia(Amazonas)&Monilla-Amena---Posada-Turistica&d=354

Fig 37. Image of a typical Monilla house on the inside. Source/

https://revistas.unal.edu.co/index.php/bitacora/article/view/28011/html_54

Fig 38. Image of parts of a Monilla house. Source/

https://revistas.unal.edu.co/index.php/bitacora/article/view/28011/html_54

Fig 39. Image of a typical Mongolian ger. Source/ http://mongolianconsulate.org/Images/PC150068.JPG

Fig 40. Image of the inside of a ger. Source/ https://news.cgtn.com/news/3d41544e7945544e/share_p.html

Fig 41. Image of the inside of a ger. Source/

https://i.pinimg.com/originals/62/e5/e1/62e5e18c30024800b42119c23e8c333d.jpg

Fig 42. Image of a foldable bed. Source/ https://www.manomano.es/colchones-y-bases-

4633?model_id=11175335&g=1&referer_id=689880&gclid=Cj0KCQjwktKFBhCkARIsAJeDT0gsYs9ZdkgpB8zjeK83xDl3

ppy2CCmK4hqyfldKCDpVWv0I6tmO5Y0aAkAbEALw_wcB

Fig 43. Image of a foldable bed with a box. Source/ https://solocamas.es/producto/cama-plegable-con-mueble-y-

colchon-espuma-hr/

Fig 44. Image of a foldable single bed with a closet. Source/ https://mobiprix.com/es/camas-abatibles/2916-175353-

cama-abatible-armario.html

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 45. Image of a foldable double bed with a closet. Source/ http://www.mueblesmobelsanz.es/camas-abatibles-

juveniles/1263-composicion-cama-abatible-vertical-con-armarios.html

Fig 46. Image of a foldable table inside a wardrobe. Source/ https://bahrain.danubehome.com/coldron-multifunctional-

cabinet-white

Fig 47. Image of a foldable table on an anchored shelf. Source/ https://www.magazineluiza.com.br/armario-com-mesa-

dobravel-de-parede-multimoveis/p/216032900/mo/otmo/

Fig 48. Image of a foldable table and benches anchored to the wall. Source/ https://decortips.com/homes/modular-

furniture-for-small-apartments/

Fig 49. Image of a foldable bed with a sofa and a shelf at the bottom. Source/ https://decortips.com/homes/modular-

furniture-for-small-apartments/

Fig 50. Image of a sofa-bed. Source/ https://teresayabarsterling.blogspot.com/2019/10/furniture-design-images.html

Fig 51. Image of a sofa with drawers. Source/ https://decorinteriorsus.com/blog/resources/style-glossary/

Fig 52. summarizing table of state of the art. Own source

Fig 53. Image of a traditional Senegalese stool. Source/ https://www.1stdibs.com/furniture/seating/stools/antique-small-

senufo-stools/id-f_16401491/

Fig 54. Image of a traditional ornamented Senegalese stool. Source/

https://www.designplusgallery.com/product/vintage-senegalese-hand-crafted-wood-stool/

Fig 55. Image of modern Senegalese stools. Source/ https://www.afriquedesigndaily.com/tabouret-togou-de-marque-

dioumpapa/

Fig 56. Image of traditional Senegalese chairs. http://www.simbacraftware.com/african-furniture/handcarved-west-

african-lazy-chair.html

Fig 57. Image of traditional Senegalese chairs and table. Source/ http://www.leuksenegal.com/2019/10/la-chaise-

palabre-senegalaise-ou.html

Fig 58. Image of a modern Senegalese bed. Source/ https://www.pinterest.es/ahmadoubamba939/amadou/

Fig 59. Image of the conceptual map. Own source

Fig 60. Image of the product constellation with all the relationships between the concepts. Own source

Fig 61. Image of the first idea, the main bed, the second bed and the baby crib. Own source

Fig 62. Image of the first idea, the storage area and an example of how it would fold. Own source

Fig 63. Image of the second idea. the mattress and additional bed box. Own source

Fig 64. Image of the second idea. main sofa-bed, chairs, stools and table. Own source

Fig 65. Common dimensions of the houses in the villages in Senegal Own source

Fig 66. Image of traditional round house in Hinnako. Own source

Fig 67. Image of traditional round house in Hinnako. made out of straw, earth and cement. Own source

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 68. Image of the rood of a traditional round house. Own source

Fig 69. Image the interior of a round house. Own source

Fig 70. Image of newer style of house in Hinnako. Own source

Fig 71. Image of a small house in Hinnako. Own source

Fig 72. Image of a room of a newer style of house in Hinnako. Own source

Fig 73. Image of a room in Senegal with the mosquito nets secured in the bed. Own source

Fig 74. Image of a village during the night without lights. Own source

Fig 75. 3D of the boxes that form the main bed. Own source

Fig 76. 3D of the boxes that form the main bed, with the doors closed. Own source

Fig 77. 3D of the configuration of the main bed with the four boxes. Own source

Fig 78. 3D of the main bed configuration, the doors can be opened anyways. Own source

Fig 79. 3D of the big box. Own source

Fig 80. 3D of the table. Own source

Fig 81. 3D of the stool. Own source

Fig 82. 3D of the chair. Own source

Fig 83. Base of the box. Own source

Fig 84. Back and shelf of the box. Own source

Fig 85. Sides of box. Own source

Fig 86. Top of the box. Own source

Fig 87. Image of the box with the doors. Own source

Fig 88. Door knobs. Own source

Fig 89. Base and sides of the big box. Own source

Fig 90. Back and front of the big box. Own source

Fig 91. Big box with the shelf folders. Own source

Fig 92. Big box with the bed and the shelf. Own source

Fig 93. Big box with the legs on the bed. Own source

Fig 94. Big box with the bed and shelf folded. Own source

Fig 95. big box with the baby crib parts inserted in the additional bed. Own source

Fig 96. Image of the baby crib side with the mosquito net’s hook. Own source

Fig 97. Image of the baby crib sides that are inserted in the other parts and the bed. Own source

Fig 98. image of the two types of wall attachment. Own source

Fig 99. image of the LEDs that could be used in the big box. Source/ https://www.amazon.com/HIKENRI-Battery-

Controlled-Decoration-Waterproof/dp/B077TV48MM

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 100. image of the legs of the table. Own source

Fig 101. Image on how the table base is inserted into the legs. Own source

Fig 102. Image of the union between the legs and the table base. Own source

Fig 103. Image of the stool’s base. Own source

Fig 104. Image of the stool’s legs. Own source

Fig 105. Image of how the stool base would be inserted into the legs. Own source

Fig 106. Image of the chair’s parts. Own source

Fig 107. Image of how the base would be inserted. Own source

Fig 108. Image of the big box with the main bed. Own source

Fig 109. Image of the sides of the box and the main bed. Own source

Fig 110. Image of the box and the main bed without the baby crib. Own source

Fig 111. The box with the shelf and bed folded. Own source

Fig 112. image of the side with the bed and shelf folded. Own source

Fig 113. Image of the chair and the table together. Own source

Fig 114. Image of the table and the stool together. Own source

Fig 115. Image of the stool and the chair together. Own source

Fig 116. Image of the bed box, the chair and the stool together. Own source

Fig 117. Image of the bed box, the chair and the stool together, front side. Own source

Fig 117. Image of how the parts of the table would look like stored in the boxes. Own source

Fig 118. Image of how much space the table parts would occupy inside the box. Own source

Fig 119. Image of how the parts of the chair would look like stored in the boxes. Own source

Fig 120. Image of how much space the chair parts would occupy inside the box. Own source

Fig 121. Image of how the parts of the stool would look like stored in the boxes. Own source

Fig 122. Image of how much space the stool parts would occupy inside the box. Own source

Fig 123. Image of how the parts of the baby crib would look like stored in the boxes. Own source

Fig 124. Image of how much space the baby crib parts would occupy inside the box. Own source

Fig 125. Image of Senegalese rosewood. Source/

http://hobbithouseinc.com/personal/woodpics/senegal%20rosewood.htm

Fig 126. Table weight and dimensions chart. Own source

Fig 127. Stool weight and dimensions chart. Own source

Fig 128. Chair weight and dimensions chart. Own source

Fig 129. Main bed weight and dimensions chart. Own source

Fig 130. Big box weight and dimensions chart. Own source

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 131. Senegalese architecture with traditional ornamentation. Source/ https://www.archdaily.com/country/senegal

Fig 132. Senegalese furniture with colourful ornamentation. Source/

https://i.pinimg.com/736x/48/f1/12/48f1129244685ae59f617bedf7cc5522.jpg

Fig 133. Traditional chairs with ornamentation. Source/ https://www.artsy.net/artwork/anonymous-very-rare-pair-of-

africanist-chairs-in-exotic-wood

Fig 134. Decorated Senegalese baskets. Source/ https://www.omo-7.xyz/products.aspx?cname=african+crafts

Fig 135. Traditional African/Senegalese patters. Source/ https://www.shutterstock.com/es/search/senegal+fabric

Fig 136. Chair with ornamentation. Front. Own source

Fig 137. Chair with ornamentation. Back. Own source

Fig 138. Chair with ornamentation. Side view. Own source

Fig 139. Chair with ornamentation. View of the ornamentation details. Own source

Fig 140. Chair with ornamentation. View of the ornamentation details. Own source

Fig 141. Stool with ornamentation. Own source

Fig 142. Stool with ornamentation. Own source

Fig 143. Stool with ornamentation. Side view. Own source

Fig 144. Table with ornamentation. Own source

Fig 145. Table with ornamentation. View of the ornamentation details. Own source

Fig 146. Table with ornamentation on both legs. Own source

Fig 147. Table with decorations top view. Own source

Fig 148. Table with decoration. Side view. Own source

Fig 149. Example of a configuration with the table, some chairs, and stools. Own source

Fig 150. Example of a configuration with the table, some chairs, and stools. Own source

Fig 151. Main bed boxes with ornamentation. Own source

Fig 152. Main bed boxes with ornamentation. Own source

Fig 153. Main bed boxes with ornamentation. Side view. Own source

Fig 154. Main bed boxes with ornamentation. Front view. Own source

Fig 155. Main bed boxes with ornamentation. Doors closed. Own source

Fig 156. Main bed boxes with ornamentation. Doors closed. Own source

Fig 157. Box with ornamentation. View of the ornamentation details. Own source

Fig 158. Main bed with the four boxes decorated. Own source

Fig 159. Main bed with the four boxes decorated. Own source

Fig 160. Big box with the ornamentation. Own source

Fig 161. Big box with the ornamentation. Side view. Own source

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 162 Big box with the ornamentation. Side front view. Own source

Fig 163. Big box with the ornamentation. Own source

Fig 164. Big box with the ornamentation. Top view. Own source

Fig 165. Close up of the big box decoration. Own source

Fig 166. Big box with the shelf closed and the bed without the baby crib. Own source

Fig 167. Big box with the shelf closed and the bed without the baby crib. Own source

Fig 168. Big box with the ornamentation. With bed and shelf closed. Own source

Fig 169. Big box with the ornamentation. With bed and shelf closed. Front view. Own source

Fig 170. Big box with the ornamentation. With bed and shelf closed. Own source

Fig 171. Main bed and big box with ornamentation. Own source

Fig 172. Main bed and big box with ornamentation. Own source

Fig 173. Main bed and big box with ornamentation. Front view. Own source

Fig 174. Main bed and big box with ornamentation. Own source

Fig 175. Main bed and big box with ornamentation. Bed closed. Own source

Fig 176. Main bed and big box with ornamentation. Back side Own source

Fig 177. Big Box and main bed as sitting areas. Own source

Fig 178. Big Box and main bed as sitting areas. Own source

Fig 179. Antique wood objects made by the lawbe. Source/ https://www.jstor.org/stable/40460882?read-

now=1&seq=12#page_scan_tab_contents

Fig 180. Image of wood workers in Dakar, Senegal. Source/ https://www.woodmizerafrica.com/Blog/News/wood-mizer-

mirror-sawmilling-in-senegal

Fig 181. Sawmilling factory in Dakar, Senegal. Source/ https://www.woodmizerafrica.com/Blog/News/wood-mizer-mirror-

sawmilling-in-senegal

Fig 182. Wood shop in Malika, Senegal. Source/ https://kumbengokoras.com/malika-shop/

Fig 183. Tools used by the wood carvers in Senegal. Source/ https://www.knivesandtools.es/es/pt/-morakniv-hook-

knife-162-cuchillo-de-talla-con-funda.htm?gclid=Cj0KCQjw2NyFBhDoARIsAMtHtZ4mN--Qecz-

N83kgzoFe1V8U_64lVSpAUsn7xzTnojWfcdfJCompkIaAsIzEALw_wcB

Fig 184. Image of the structure of the packaging. Source/ https://packwire.com/mailer-box

Fig 185. Packaging of the big box. Source/ https://packwire.com/mailer-box

Fig 186. Packaging of the Main bed. Source/ https://packwire.com/mailer-box

Fig 187. Packaging of the stool. Source/ https://packwire.com/mailer-box

Fig 188. Packaging of the chair. Source/ https://packwire.com/mailer-box

Fig 189. Packaging of the table. Source/ https://packwire.com/mailer-box

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ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 190. The chairs and stools outside the houses in a Senegalese Village. Own source

Fig 191. The chairs and stools in the house’s porch. Own source

Fig 192. The chairs and stools in the house’s porch. Own source

Fig 193. Dinning arrangement in a village room. Own source

Fig 194. Dinning arrangement in a village room. Own source

Fig 195. Dinning arrangement, a roundhouse made out of wood and straw. Own source

Fig 196. Main bed and additional bed opened with the baby crib. Own source

Fig 197. Main bed and additional bed opened with the baby crib. Back view. Own source

Fig 198. Main bed and additional bed closed. Own source

Fig 199. Main bed and additional bed closed with the dinning arrangement. Own source

Fig 200. Main bed and additional bed closed with the dinning arrangement. Inside a roundhouse Own source

Fig 201. Main bed and additional bed closed with the dinning arrangement. Own source

Fig 202. Fig. Main bed and additional bed closed with the dinning arrangement. Inside a roundhouse. Own source

Fig 203. Big Box and main bed as sitting areas. Own source

Fig 204. Big Box and main bed as sitting areas. Own source

Fig 205. Big Box and main bed as sitting areas inside a roundhouse. Own source

Fig 206. Table with the mechanical properties of rosewood and stainless steel 304L. Source/ https://material-

properties.org/what-are-mechanical-properties-of-steels-definition/

Fig 207. Graphic image of the continents that export rosewood to China from 2014 to 2019. Source/

https://chinadialogue.net/en/nature/rosewood-trafficking-worsens-in-the-gambia/

Fig 208. Image of a Senegalese rosewood tree being cut. Source/ https://www.bbc.com/news/world-africa-53325743

Fig 209. Distribution of Asian countries imports of rosewood logs from West Africa (Cubic metres) by exporting country,

2017. Source/ https://www.unodc.org/documents/data-and-analysis/wildlife/2020/WWLC20_Chapter_2_Rosewood.pdf

Fig 210. Aerial image of the deforestation of Casamance. July 2020 vs October 2020. Source/

https://science.thewire.in/environment/senegal-rosewood-forests-china-demand/

Fig 211. Aerial image of the deforestation of Casamance. January 2020 vs October 2020. Source/

https://science.thewire.in/environment/senegal-rosewood-forests-china-demand/

Fig 212. Aerial image of how the forest looked in the northern border of Casamance before. Source/

https://science.thewire.in/environment/senegal-rosewood-forests-china-demand/

Fig 213. Aerial image of how the forest looks in the northern border of Casamance now. Source/

https://science.thewire.in/environment/senegal-rosewood-forests-china-demand/

Fig 214. Environmental impact of rosewood, stainless steel and pc. Source/

http://www.inference.org.uk/sustainable/LCA/elcd/external_docs/pc_31116f03-fabd-11da-974d-0800200c9a66.pdf

222

ADABTABLE FURNITURE FOR VILLAGES IN SENEGAL HALIMATOU M’BALLO DIAO

Fig 215. Environmental impact of rosewood, stainless steel and pc in our product. Source/

http://www.inference.org.uk/sustainable/LCA/elcd/external_docs/pc_31116f03-fabd-11da-974d-0800200c9a66.pdf

Fig 216. GDP table of Senegal. Source/ https://santandertrade.com/en/portal/analyse-markets/senegal/economic-outline

Fig 217. Image of our business canvas. Own Source

Fig 218. Hypothetical chart of how much we would pay the workers. Source/

https://www.paylab.com/sn/salaryinfo/construction-real-estate/bricklayer?search=1

Fig 219. Chart with the prices of the parts we need to buy. Source/ https://amazon.com

Fig 220. Organizations that work with Senegal. Source/

https://iyfglobal.org/sites/default/files/library/GPYE_Assessment_Creating_Opportunities_for_Youth.pdf

The prototype of the app has been made using Figma.com

(https://www.figma.com/proto/VMIUWZwqFqVbRzcqmoJPAJ/Galle-Tokoso--app?node-id=0%3A3&scaling=scale-

down&page-id=0%3A1)

Fig 221. App prototype. Menu and job section.

Fig 222. App prototype. Product parts section

Fig 223. App prototype. Product parts section.

Fig 224. App prototype. Calculation of the prices section.

Fig 225. App prototype. Calculation of the prices section.

Fig 226. App prototype. Informative section.

Fig 227. App prototype. Informative section.

Fig 228. App prototype. Donation section.

Fig 229. First year income and expenses. Own source

Fig 230. First year income and expenses with the funding. Own source

Fig 231. Second year income and expenses. Own source

223

N8 1.1 74,97 72,14 70,63

DETALLE A 0,76 7,58 A - A' 2 3,41 0,5 1,5 ° 2 0 0,5 6 -0, -0,2 2 0,76 7,5 35 7,5 A

50 R 45 A A'

74,83

DATE COGNOMS, NOM Signatura 90 Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció TABLE BASE Nom projecte: SCALE Num. Plànol: 1:10 Material 2,12 1.2 22,5 33,5 N8

DETALLE C 35 DETALLE B

2 0,5 +0, 2 R 0 C ,18 ,24 79 56 1,06 +0,2

29,5 B B - B' 30

225° 0,29 1,08

B B'

56 DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou 58,12 Professor Id. Se. Nor Projecció

Nom projecte: SCALE TABLE LEG 1 Num. Plànol: 1:10 Material 1.3 58,12 N8 37,33 18,67 2,12

DETALLE D 35

+0,2 C - C' C 0,76 2 0,5

D0,76 56

-0,2 1,06

° 5 4

C' 1,08 0,29 2,5 30 2,5

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció TABLE LEG 2 Nom projecte: SCALE Num. Plànol: 1:10 Material 2 N8

2 1

2 Back 1 Wood 1 Base 1 Wood Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció CONJUNT CHAIR Nom projecte: SCALE Num. Plànol: 1:10 Material 2 N8 2.1 R0,45 R 50,01

D R 0,5 D -D'

63,65 DETALLE E 54

81,38 19 71,64 1,71 +0,2 E

3 4,84 ,5 12,9

0 1,71

R 17,73 1,67 2 ,44 6° R 19 D' 20 40

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció CHAIR BACK Nom projecte: SCALE Num. Plànol: 1:10 Material N8 R 2.2 0 , 52 9,5 39 20 9,5

E 1,71 -0,2

1,89 85 R E' ° 0 ° R0,02 ,5 5 2 4,74 10 10 E - E'

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou 27,54 39 Professor Id. Se. Nor Projecció 67,2 CHAIR BASE Nom projecte: SCALE Num. Plànol: 1:10 Material 3 N8

2

1

2 Base 1 Wood 1 Legs 2 Wood Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció

Nom projecte: SCALE CONJUNT STOOL Num. Plànol: 1:10 Material N8 3.1 8,75 57 8,75

26 DETALLE F 25,5

R 0

1 , F F' 25 1 3 +0,2 2,75

0,7 1 +0,2 25 2 0, 4,75 R 7,75 57 F

F - F'

R 13

4 4 8 46 DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció STOOL BASE Nom projecte: SCALE Num. Plànol: 1:10 Material N8 3.2 3

R 13 26 25,17 23,79

2,74 20,49 2,74 35 5 0, 8 0,2 1 L R -0,2 G - G' R 0, 25 24 22,75

-0,2 3 2 0,69 23,79 0,69 25,17 26

G G'

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor 8 Projecció

Nom projecte: SCALE STOOL LEGS Num. Plànol: 1:10 Material 4 N8

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció CONJUNT MAIN BED Nom projecte: SCALE Num. Plànol: 1:10 Material N8 4' 2 3

4 1

7

7 SOCKET 32 DIN 7991 STEEL 304L 6 WHEELS 4 STEEL 304L 5 5 BASE 1 WOOD 4 SIDES 2 WOOD 6 3 HINGE 4 DIN 7954 STEEL 304L 2 DOOR 2 WOOD 1 DOOR KNOB 2 WOOD Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció CONJUNT MAIN BED Nom projecte: SCALE Num. Plànol: 1:10 Material N8 4'' 10 11 12

9

12 TOP 1 WOOD 8 11 BACK 1 WOOD 10 LINK 51 WOOD 9 SOCKET 2 DIN 7991 STEEL 304L 8 SHELF 1 WOOD Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció

Nom projecte: SCALE CONJUNT MAIN BED Num. Plànol: 1:10 Material 100 82,5 N8 4.1 77,5

O DETALLE G 0,5 G 45 50 67,5

2,5 2,5

50 33,75 H - H' I - I' 1,5 2 1,5 1,5 H 21,88 X 4 = 81,25 9,38 21,88 4,22

I H I' 5 7 0, 14,77 5 O 0,7

O 59,06 DETALLE I DETALLE H 14,77 X 4 =

H'

I DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció MAIN BED BASE Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4.2 4,22 K N8

14,77 J 59,06

0,75 O O

14,77 X 4 = 0 ,7 5 DETALLE J

J J' 9,38 21,88 21,88 X 4 = 81,25 K' K - K' 2 1,5

J - J' 1,5

50 33,75 67,5 67,5

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou 100 Professor Id. Se. Nor Projecció MAIN BED TOP Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4,21 4.3 M N8 14,77 59,08 14,77 X 4 =

DETALLE K M' 33,75 M - M' 5,75 2,5 8,62

K 34,5

15,85 N N' 34 46 38,25 L L - L' 2 AN X 44 = 8,62

4 L' 0,75 13,28 20,47

20,47 X 2 = 40,94

67,5 N - N'

1,5 DATE COGNOMS, NOM Signatura 2 Dibuixat M'ballo Diao, Halimatou DETALLE AN Professor Id. Se. Nor Projecció MAIN BED SIDES Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4.4 2,5 N8 O - O' 32,66 2,5 20,47 X 2 = 40,94 DETALLE L 48 5 12,19 20,47 0,7 O 2 O 16 16 O' 16 X 4 = 64 L 64,4

96 DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció MAIN BED SHELF Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4.5 N8 48 1

1,5 DETALLE N P - P' P Q Q - Q' 4 O 0,5 2 N 0,5 DETALLE O O 34 38 O

6 P' Q'M DETALLE M

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció MAIN BED DOORS Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4.6 N8 96 2

2 2,5 5,76

16 x 4 = 64 8,62 23

16 16 34,48 46 8,62 x 4 = 8,62 2,5

7,37 21,88

21,88 x 4 = 81,26

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció MAIN BED BACK Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 4.7 N8 2 O

O 4,87

O 0,5

R - R' R 2,5 4 R 0,5 15

5 2

RR'

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció MAIN BED KNOBS Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 5 N8

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció

Nom projecte: SCALE CONJUNT BOX Num. Plànol: 1:10 Material 5' N8

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció

Nom projecte: SCALE CONJUNT BOX Num. Plànol: 1:10 Material 4 N8 5'' 3 1 2

AP

DETALLE AP

7 Baby crib front sides 2 Wood 6 Bed 1 Wood 5 Right baby crib 1 Wood 7 4 Folding shelf bracket 4 STEEL 304L 3 Right wall link 1 Wood 6 5 2 Shelf 1 Wood 1 Front 1 Wood Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció CONJUNT BOX Nom projecte: SCALE Num. Plànol: 1:10 Material 12 N8 5''' 11

13 10

9

16 Base 1 Wood 15 Sockets 42 STEEL 304L 14 Legs 2 STEEL 304L 13 Left baby crib 1 Wood 12 Left wall link 1 Wood 11 Wall attachment 2 STEEL 304L 10 Back 1 Wood 8 9 Link 72 Wood 8 Sides 1 Wood Nº Marca Nom peces Normativa Material Dimensions Pes DATE COGNOMS, NOM Signatura 15 Dibuixat M'ballo Diao, Halimatou 14 Professor Id. Se. Nor 16 Projecció CONJUNT BOX Nom projecte: SCALE Num. Plànol: 1:10 Material 11,79 x 16 = 201,2 0,9 11,79 N8 5.1 U U' 1,5

75 0,75 0, Q

O 9

0

,

S 8

8 O 8

0 2 3 ,35 ,

6 S - S' 1

6

,

7

5 DETALLE P +0,2 U - U' 1

2

8

,

2

1

2

9

0

1

6

1

5

3

=

1

7

0

5

x

P 8

=

3

,

6

5

1

x

0

1 1,1

0

1

6

1 5

T +0,2 T'

4 , R

7 2 101,5 S' +0,2 2,5 1,4 203 T - T'

1 196,7 198,9 DETALLE Q DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció BOX FRONT Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: DETALLE R 1:10 Material 200 N8 5.2 11,79 x 16 = 201,3 11,79 V V'

DETALLE T 193

1,5 0,75 2 X - X' W W X 1 4,09 4 7 X' 3 T 3 O 0 ,75 S 16,38 DETALLE W 122,81 135 131 DETALLE S 16,38 x 7 =

W - W' V - V' W'

2,5 4,48 1,6 5 V R R 0,98 DETALLE U 0,52 3,5 DATEU COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció DETALLE V BOX BACK Nom projecte: SCALE Num. Plànol: NOTA: Tolèrancia general S/N ISO 2768 - mK 1:10 Material Y - Y' 2,5 N8

5.3 3,25

15,17 0,13 122,83 Y

9,38 x 2 = 18,75 16,38 x 3 = 49,14 3,12 9,38 8,09 16,38 24,55 DETALLE Y

Y Y' 5 ,7 0 1,5 O X 135

25 DETALLE X

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció BOX SIDES Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 5.4 N8

201,5 28 26,5

,6 R 1

Z - Z' AA - AA' 3 1,5 1,5 1,5

Z Z

AA AA' 3,73 18,75 9,37 9,37 x 2 = 9,37 3,73 Z'

0,9 11,79 12,69 11,79AA 0,89 12,69 x 14 = 177,62 DETALLE Z DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor DETALLE AA Id. Se. Nor Projecció BOX BASE Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 200

1,5 N8 5.5 5 4,5 0,3 O 1,5 AB 2,2 80 DETALLE AB

DETALLE AD CC - CC' BB 11 10 52,5 AD AE BB' 2 1,5 1,5 20 10 180,5 CC 1,4 5 +0,2 1

5 0,35

O 10 26 60

190 10 x 6 = DETALLE AE AC BB - BB' 9,5 4 +0,2

4 4 1 CC' DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor DETALLE AC Projecció BOX BED Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 5.6 N8 200 30

DETALLE AG DD - DD' 2 1,5 AG

DD DD' O

0 26 ,35 AF 0,75 1,5

195,5

198,5

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor DETALLE AF Id. Se. Nor Projecció BOX SHELF Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material N8 5.7 4,04

2 0,48 FF FF'

,35 1,28

0 1,98

O 1,5

5 ,7 0 ,75 0

O O FF - FF'

EE EE' 1 0,75

3,51 2 1,5

EE - EE' R 1,6

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou ° 0 12 Professor Id. Se. Nor 1,5 Projecció BOX LEFT WALL LINK Nom projecte: SCALE Num. Plànol: NOTA: Tolèrancia general S/N ISO 2768 - mK 1:10 Material 5.8 N8 4,04 2 HH HH' 1,28 0,48 5 0,3 O 1,98 1,5 R 1,6 0,75 O

HH - HH' GG GG' 1

2 1,5

GG - GG' 0,75

2 1,5 DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció BOX RIGHT WALL LINK Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 5.9 N8 1 0,5 81,4 3 0,5 1 II 2 AH 7,5 7,5 5 5 -0,2 DETALLE AH 10 10 1,4

-0,2 50 50 II - II' 0,5 57 61,4 10 x 5 = 10 x 5 = 5 -0,2

+0,2 1,5 AI II' 1,4 1,4

-0,2 0,25 1 -0,2 5 DETALLE AI 1

O

1

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció BOX BABY CRIB - BED SIDES Nom projecte: SCALE Num. Plànol: 1:10 Material 50 N8 5.10 20 10 17,5 10 7 AJ 1,5 1 KK 0,5 7,5 5

5 5 -0,2

-0,2 DETALLE AJ 0,5

KK - KK' 50 58 61,5 10 x 5 =

AK 10 0,75 0,75

JJ JJ' 4 1 1,5 KK' JJ - JJ' DETALLE AK

-0,2 9,5 0,5 5 60

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció BOX BABY CRIB - LEFT SIDE Nom projecte: SCALE Num. Plànol: 1:10 Material 60 N8 5.11 LL - LL' 1,5 4,25 0,5 1 2,5 MM 2 1 7,5 -0,2 5 5 10

MM - MM' 50 58 61,5 10 x 5 3,25

1 LL LL' -0,2 MM' 1,5 AL 50 DETALLE AL 20 10 20 10 7 DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor AM Projecció DETALLE AM BOX BABY CRIB - RIGHT SIDE Nom projecte: SCALE Num. Plànol: 1:10 Material 2,92 5.12 N8 2,7

L 0, 13 0,28 1,6 R 0,56

6 1 1,7

,9

0

L 2,46 0,35 O 0,1

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció Round wall attachment Nom projecte: SCALE Num. Plànol: NOTA: Tolèrancia general S/N ISO 2768 - mK 1:10 Material 5.13 0,8 N8 0,1

O 0 1,7 ,35 2,6

,1 R 0 0,15 1,98

O 0,35

2,8

0,1 1

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció Straight wall attachment Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material 0,75 O O 0,65 N8 6 NN NN' 4

NN - NN'

DATE COGNOMS, NOM Signatura Dibuixat M'ballo Diao, Halimatou Professor Id. Se. Nor Projecció LINK Nom projecte: NOTA: Tolèrancia general S/N ISO 2768 - mK SCALE Num. Plànol: 1:10 Material STANDARD COMPONENTS HINGE

SOCKET

SHELF FOLDER

WHEELS

FOLDABLE LEGS