Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| lunchbox, i disagree | 1 Relevance | 13 years ago | Eameshead | General discussion | |
| lunchbox, i disagree I know that "color differences occur due to age/environment" blah blah blah is the standard assumption. In my opinion, that assumption is clearly and simply wrong. I have plenty of "matching sets" that have mellowed a bit differently, and that is not what I am talking about. That is why I decided to post my observations. I know the difference between a color batch and age/exposure. It shows itself on every single chair. There are always places where you can check, the underside, under loose labels or or a chip, or a ghost of a base or whatever. Not that mysterious at all. Why is it so hard for you to imagine Ray Eames WANTING to play around with color once in awhile? According to one interviewed employee, Ray was the one that made most of the calls on color, and had far more of a feel for texture and color than did Charles. Charles didnt even WANT the fiberglass to show, as she told it. (Saw this about two or three years ago when they were doing a special on the Eames office.) The elehphant hide grey chairs also demonstrate various hues from warm to cool, (yes even within a PAIR) but the range is far closer with them. Like I said, if you lay Sea Foam chairs from warm to cool, you get clear hue changes, intensity changes AND even value changes. The aqua Seafoam is almost BLUE green, and the mid range chairs get towards a sage kind of color, and then there is outright OLIVE. But the spectrum doesn't stop there. I also have chairs that might be described as "Griege" but are actually just slight transitions from the Olive Sea Foam. So what I am saying is that the spectrum of color CHANGE is not only incredibly subtle, but that the RATE of change is CONSTANT-- and that rate of change moves RIGHT THROUGH the definition of "Seafoam Green" and keeps on going through "Olive Seafoam"all the way to Olive Beige or Greige! (IE a different color entirely) So WAY PAST simple fading and aging that it is laughable to argue the point in my opinion. With the complexity of the greens and greige colors, you can sit there and look at them and have no way of deciding where to draw the line between the color labels. This is a wonderful thing! Perhaps I should have explained better. I may never convince you of this Lunchbox, but that does not surprise me. I disagree with the notion that everything was standardized, because it just isn't so. Forensics are not THAT difficult. All you need is to be a little OCD to decide to drill into a shell to get to the good stuff! I would like to hear from any others on this board who have had the opportunity to see many shells side by side. Im sorry it sounds like heresy to some, but I say this with a background of teaching color and mixing it for 35 years, and I have collected Eames shells for 25. I well know the difference between age mellowing and a base color shift. I think it is a cool thing and that we should have a discussion about it. | |||||
| Wall-E and Fat people | 1 Relevance | 18 years ago | LuciferSum | General discussion | |
| Wall-E and Fat people Interestingly enough the new Pixar movie Wall-E has a beautiful, if unsubtle, portrayal of future generations of Earthicans. It is funny that the discussion centers around what the designer should do, rather than what the end user should do. This in itself seems like an ingrained American trait - if something isnt working shift responsibility to the next guy. If I'm too fat to use a chair, design me a bigger chair. Not: I should diet and exercise more... If the designer is responding simply to demand, sure - its the designers problem to create a product the people will buy. But what about the designer as social activist? Designer as shaper of society instead of responder? The book "Nudge" gives interesting insights as to why people choose one thing over another, and how folks can be, well, nudged, in the correct decision. http://www.amazon.com/exec/obidos/ASIN/0300122233/bookstorenow30-20 | |||||
| Did you all read the New | 1 Relevance | 10 years ago | Spanky | Off topic | |
| Did you all read the New Yorker article about the guy who ghost-wrote Trump's "Art of the Deal"? I want to wring his neck, though I guess in all fairness he never dreamed back then when he was selling out that this current mess would ever happen. I mean, who would? (OK, probably a few people saw it coming.) http://www.newyorker.com/magazine/2016/07/25/donald-trumps-ghostwriter-t... I wish Trump supporters were smart enough to read that article and give it some very careful consideration...but they won't read it at all and even if they did they would just zero in on that one line that says the guy was a political liberal and then dismiss the entire thing as a pack of lies. People really should be required to take some kind of test before being allowed to vote. I don't mean a written test and I don't mean a test of whether they are right or wrong in their beliefs---but a test of whether they can simply REASON. Or something. And anyone who expresses pride in his or her lack of education gets an immediate fail. Or something. This is just ridiculous. | |||||
| Waaall, let's see. Assuming | 1 Relevance | 12 years ago | tktoo | General discussion | |
| Waaall, let's see. Assuming the base is solid rosewood and the top close to an inch thick, the whole table has got to weigh in excess of 200 lbs. That amount of weight on what is essentially a sturdy tripod would make the structure inherently stable, right? So the question concerns quality of the joinery. By this point in Noguchi's career, he'd had plenty of experience sculpting hard materials on this kind of scale. I've not seen nor heard evidence of poor craftsmanship in any of his work. In fact, only the opposite. I do love it, though. Love it, love it, love it. There's so much tension in that sphere, we can feel it across the decades and even in two-dimensional images squeezed through the intertubes. In the period B&W photo that SDR posted above, Noguchi's work completely steals the show. Just try to take your eyes off of it. Now imagine being in the same room with that thing! | |||||
| Mr. Chair requests Repair | 1 Relevance | 12 years ago | ricknance | General discussion | |
| Mr. Chair requests Repair I've got the sae problem with mine. The web address that everyone gives only supplies replacement bases and swivels, not parts. I think this is because they used several different mechanisms over the years so individual parts may not exist. It's the axel-gasket-tube configuration that's gone wrong I think. I believe they've slipped and changed the angle between the set screw and the axel. but I'm guessing. I've dismantled it and tightened the set screw tightly against the outer tube, which works for a while but eventually slips. The real set screw hole is several degrees over. I'm about ready to take a drill press to it and create a new set-screw indention. Any better ideas? Hate to drill on the thing but i can't turn them back. The gasket's too tight. If what I've said makes sense, or if I'e just missed something entirely and I'm doing it wrong, let me know. I can take it apart again and get pictures (but it's a kind of PIA and I've done it 5 or 6 times already) | |||||
| James, | 1 Relevance | 20 years ago | dcwilson | General discussion | |
| James, The Marina Towers were exactly what I had in mind. I've always thought they were a strong visual statement, but for one thing: the horizontalness of the lines of the floors and of the balconies reinforce each other so much that it creates a pancaking effect that struggles against the majestic verticle cylinder/silo effect of the tower. My thinking was that this vertically oriented, Escher like pattern than Koen came up with by interlacing the NACA ducts could yield the same number of balconies per floor while reinforcing the verticality of the building. I know, I know, we're far afield from a flower vase, but I excited by this pattern of interlaced NACA ducts in the same way that I'm excited by your table with the Escher like frame under the glass table. I feel like there might be a nascent idiom, or form language emerging here. | |||||
| Help needed, does anyone knows this chair? | 1 Relevance | 13 years ago | NULL NULL | General discussion | |
| Hello, Do you know the feeling that you can't sleep untill you find this one song which is on your mind but you don't remember the name. I got the same thing with a chair. On ebay i saw this book about Ray and Charles Eames by Naomi Stungo (see picture). I'm searching all night but without result. Is this a design of Charles Eames or not? If not, why put i on a book about his design? If it isn't Eames, who in the world is it? Questions, questions questions.. Does anyone happen to know this chair (or own the book) who can give me any clues, tips, directions or just something so i can get some sleep! 😛 Thanks!! Rik (edited by DA - no links to ebay sales please) | |||||
| art for the modern home on a modest budget | 1 Relevance | 21 years ago | whitespike | General discussion | |
| there is a lot of talk about reasonably priced furniture. what about your empty walls? do you find random art pieces at flea markets? do you buy famous posters and nicely frame them? is buying a poster considered a 'knockoff' of art? i know art is a very personal thing, but i would think most design addicts would rather not settle. i have a large geometric painting that I found at a used office furniture store. it was from the 60s and was never sold. not 'fine' art by any means. some of the lines aren't perfect. i like the general composition and color choice. i also have a $30 picasso poster in a $130 gallery quality frame. i know that seems silly, but presentation is very important. a bad frame can kill it. how have some of you overcome the "need" for wall art with a design addicts' eye, a modest budget, and a general knowledge of what is good and museum quality? | |||||
| attribution | 1 Relevance | 15 years ago | _ | General discussion | |
| attribution Usually when a piece of collectible vintage furniture or object that had no identifying marks or missing its original labels but could be identified from a reliable and reputable source(s) is usually described as "attributed to" someone or manufacturer, something that no one could give an exact identification is usually described as "in the style of" because it looks like the work of someone but it is not guaranteed. The bottom line is to really know what you are interested in and the more information you know and references you have the better your chances are of acquiring the real thing. I've had instances when I knew more about a piece than the dealer selling it and even with a missing label, I ended up with an original pedigreed piece for the price of a Big Mac. Also, acquire pieces that you like (within your means of course or in my case below my means) because it pleases you, enriches your life and you really have a use or purpose for it as oppose to acquiring stuff based on labels, attribution and pedigree or just to keep up with the Joneses. | |||||
| Anyone have an opinion of the... | 1 Relevance | 12 years ago | keewee | General discussion | |
| Anyone have an opinion of the... Anyone have an opinion of the recent auction prices at a recent big auction house's mass modern sale? Not a small number of auction lots going for 1/3 to 1/2 of estimate. Shocking low prices imho. An auction of Scandinavian pieces from the same house in the spring did not have the same sort of disappointing results though. Proof positive the market is bottoming out? Fluke? Bad auction? I'm still guessing that -after years of not paying attention to the mid century market and assuming DWR had that market, places like Crate and Barrel are picking up the slack and customers have gone to those retailers. -Vintage stock is harder to get and people don't have the time to compete for it. -Too many games on CL (at least in my area) have turned people off to trying to acquire the real thing. | |||||
| Im going to take a guess, | 1 Relevance | 19 years ago | skid | General discussion | |
| Im going to take a guess, First off, I really don't know why they all leave the doors open. I've noticed it all over Southern California. From the 115 deg Valley, down to the Mexico border. It makes no sense. My guess is that an outward swinging door is more a more known piece of hardware? It can be framed and it's hinges can be buried in a structure of sorts, and it must be cheaper? Because it is one way, and somehow, for the un-written law of retailing (that we are trying to figure out), the designer knows that the doors will be left open, he/she creates a vestibule, so the doors don't encroach on the walkway. Or, a door that swings in and out cannot have a traditional door jamb, therefore leaving an unacceptable gap for intrusion of the elements - even though they will leave the doors open all day. I still don't get it. Maybe it's the lemming thing. I will have to get out and take more specific notes on this, because some of these pig chains have real architects and designers work on their plans, yet they do these silly things. Perhaps a larger chain is working from a template, of which, utilizes a large store front, that has room for a vestibule. To save money, they don't have the designer redesign the layout to work with a smaller storefront; instead, they tell the trades to just make the store like the template, and shrink the surrounding elements. The mom and pop store, with no designer, looks at the chain and figures whats good for them is good for us, and does the same thing. Don't you think a chain also has a visual merchandiser on staff as well, and says that they need as much floorspace as possible for their window display. This is supposed to attract customers right? Yet what I notice is that in these malls, they take a 20' face, and stick a 2 doored vestibule right in the middle of it, leaving a strip of merchandising area on each side. Perhaps the chains let the name bring in the customers, while the smaller guy forgets about the art of the store front display, but follows the big guys lead? I'll come clean, I am a designer that has a chain of outdoor mall type stores with small fronts of various layouts (there are corner units with two entries). I am a designer, not an architect, and know nothing of code. I have been looking at some reference material and realized that very few retailers have really nice window displays. I want the the most window space and a single AC/DC door. I will park it inward if I want to be an energy waisting me-tooer. No vestibule. Am I wrong, or will the lemming landlord shoot it down because it doesn't look like everyone else. I actually think that the vestibule is required because of the outdoor nature of the sites, but one also requires an awning. That makes sense, but why indoor stores have vestibules dose not make sense. | |||||
| Something to this, I think | 1 Relevance | 22 years ago | Olive | General discussion | |
| Something to this, I think I have noticed that for myself when I am composing the elements in a room that I can select color, texture, form, etc without thinking too much. These aspects seem to just meld in my head as I think of what I want to acheive. But, when it comes to scale, I have to draw things in plan, I have to think about how it will all fit and if there will be enough room for everything to breathe and not look cluttered. As for my husband, Mr. Engineer, he sees how it will fit. He looks at a lamp and immediately says "it's too big/small". Color, he could care less about but he just sees scale instinctively. For example, he'll pick the correct lid for the tupperware out of a basket of them in one shot while I have to take out several to get the right one. So maybe there is something to this. Maybe it goes back to the hunter-gatherer thing and the male of the species can see better when it comes to forms and the female sees better when it comes to color/texture. That makes me think of one interesting point. Women are VERY rarely color-blind, men are fairly comonly so. That ties into the color/texture versus form idea rather well, no? | |||||
| A Skywalk-home | 1 Relevance | 18 years ago | claus (DE) | General discussion | |
| If anyone in the Minneapolis area is interested in a solid piece of prefab architecture, here's your chance. An architectural firm is selling a 20x83 feet Ed Baker-skywalk. 79,500$ is a fair price, but moving the thing wouldn't be cheap I guess. I would sure love to turn this into an iconic home/studio, hovering above a small shady glen (I admire Craig Ellwood's Art center college of design) but I'm some 7000km from Minneapolis 🙁 http://greg.org/archive/2009/01/22/minnesota_nice_skyway_for_sale_on_craigslist.html http://minneapolis.craigslist.org/bfs/1001523443.html | |||||
| . | 1 Relevance | 22 years ago | Mark | General discussion | |
| . Gosh, Annette, I'm so sorry to go off topic. I just today realized how much I appreciate Aunt b. All my life I've been attracted to the educated,responsible, caring type with no creativity. Kind of like dear old dad. The last two relationships have even held high-ranking positions in dads companies. Boring Boring Boring!! Give me a socialpathic multi-personalitied interior decorator any old day. I probably realized my feelings after reading a post last week accusing b of being dimwitted. This is so not true. I'm still angry about that. Who does that Daisy caracter thing she is anyhow. So please Olive, Annette and the rest of you, make some space in your day for b. Embrace the bitterness. Understand what it must be like to have everyone disagree with you. Learn to accept gingham, misspelled words, and mudslinging. I have, and it feels great. I feel like I am coming out of the closet with you all. Thanks all for letting me get this off my chest. | |||||
| square anna castelli componibili question | 1 Relevance | 20 years ago | ite (BE) | General discussion | |
| hi everybody, Recently i bought a square Anna Castelli Componobili cabinet to use as a bathroom storage unit. im quite pleased with it, but it seems to have one quirk: the door of the larger element does not seem to 'click' into place, and stay there. The door seems to 'pop' out of closure quite easily, and swing back open a little. Which is not really very problematic, only inconvenient. I vaguely remember that the door of the square model (but not the 'round' version which is equipped with sliding doors) on display in the shop was inclined to do the same thing: it did not shut very tightly. So my question is twofold: 1) is this a known problem, and do the doors of square units behave like this in general (due to their specific closing system)? Or were the two cases described above just a few exceptions? 2) and is there something I can do about it to improve matters? thanx for your help, ite http://www.design-conscious.co.uk/mall/designconscious/products/product-829596.stm | |||||
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