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#	Post Title	Result Info	Date	User	Forum
	Heh-heh. "Deep MCM" -- what	1 Relevance	12 years ago	SDR	General discussion
	Heh-heh. "Deep MCM" -- what is that, exactly ? I guess we should distinguish between the surface and the underlying prinicple -- perhaps that's what you refer to. I don't suggest that designers of the future will continue to copy the form of the Egg Chair, or the Swan Chair, or the Womb Chair. That would be pointless -- though it could be argued that each new chair design in "pointless" when we already have so many good chairs. But that's never stopped the creators from making new ones . . . The principle of functional minimalism, combined with a healty dash or dose of humanism and even wit, is what seems to characterize MCM design. As I mentioned, MCM is a direct descendent of Bauhaus design; it might be described as "Bauhaus in Technicolor," or some such. It acknowledges both Deco and Moderne, while politely leaving them behind as lacking directness of purpose. With variants originating on the Continent, Great Britain and Scandinavia and America, the princple saw full flowering. Any of that might have faded out of sight with time, and some of it did, surely -- yet so much remains vital, as is made clear by the number of copiers, and retailers of new and used MCM, and journalism like Dwell Magazine and, yes, Design Addict. MCM seems surprisingly alive and well, seventy years on. For those who got bored early with MCM architecture and design, Postmodern seemed, briefly, to offer a way out. Nope -- didn't fly. Honest design seems to require something more -- or less ? Is the real meaning of MCM not the catalog of individual pieces but instead the underlying principle -- which seems to be so vital that it could and should survive indefinitely ? Where do we disagree, ScanDesign ? What do you see in the future ? Will what we call MCM finally disappear, to be replaced by far-out form only possible with "The Technology" ? Check what's come from the minds of Gehry and Hadid -- their furniture pieces don't seem to have caught on as the "next thing." We haven't seen furniture from Richard Rogers or Renzo Piano, as far as I know -- but I'd expect to like it more. What characterises their work ? Well, it's technically up-to-date yet it reflects the realities of our material palette, where the straight line and the plane continue to be the most practical and efficient ways to to make useful products from raw material. Another prinicple not to be ignored or left behind . . . ?
	Kalling Koen...Wegner credenza analysis request...	1 Relevance	19 years ago	dcwilson	General discussion
	Okay, why does this apparently rather simple and ordinary credenza, or cabinet, or whatever it is, look so unsual? What was Wegner doing with proportions, or whatever aesthetic tricks he might have been using, to make this look like no other Danish Modern credenza I've seen. Every other Danish Modern credenza I've seen looks very rectilinear and horizontal and low. It is usually very deep front to back and so looks very horizontal and low end to end and front to back. And they all tend to have skinny, slightly conic shaped legs that make the piece look like it is a bit fragile. Oddly, the effect of these skinny legs does not truly make the credenza float in air, rather the horizontal massing of the credenza usually visually overwhelms the skinny legs and the resulting effect is to make the typical Danish Modern credenza kind of hug a flat floor the way Philip Johnson's glass house hugs the ground, even though it has an airey space between floor and ceiling. Wegner, on the other hand, creates an utterly different effect. He makes his piece much more shallow front to back, so shallow that its obviously taller than it is deep. And instead of using skinny, slightly conic legs, he uses thick, cylinders attached to obvious cross pieces that in turn appear to carry the credenza kind of like a wooden coffin from an old movie western resting on carrying poles. In fact the whole piece reminds me vaguely of what a really nice Danish Modern coffin might look like, if such a thing existed. Relating it to a coffin is not to suggest that it is depressing piece of furniture. Rather, I don't know what else to relate it to. This piece seems fantastically sophisticated in effect in visual effect. And I'm not suggesting Wegner was punning on coffins. Its just such a powerful, archetypal design, I think it dredged that image up in me coincidentally (probably saying more about my present state of mind that about Wegner or his furniture). But it still seems a remarkable piece of work to me, at least as different from other designers' crendenzas as his chairs are from others' designers' chairs. Did Hans just like to screw with everyone's senses from time to time? 🙂
	I.D. Anyone?	1 Relevance	17 years ago	Cream and Chrome	General discussion
	Hi, I'm quite new to the whole forum thing, so I'm hoping this thread won't irritate anyone, as I've a load of stuff which I can't 100% identify... And hopefully some of you will enjoy sharing your knowledge with me... Please see the link. I know roughly what some of these items are (and I'm sure some of them will probably be simply nice vintage lamps and nothing special), but if there is any additional info you guys can add (i.e. designers / manufacturers/ date) please let me know. It would be most appreciated. 1) Large german 1970s lightbulb light - Ingo Maurer style 2) Blue vase. Holmegaarde? Whitefriars? 3) Large 1970s Table lamp - similar to Staff Leuchten W Germany? 4) Large german floor lamp 5) Chrome 1970s german table lamp 6) Pair of leather lounge chairs. Danish? 7) Pair of teak lounge chairs. Danish? 8) 50s desk lamp, similar to Pierre Guariche Lampadaire de 1953 9) France and Sons teak coffee table - Finn Juhl? 10) Chrome & Glass Table lamp 11) Pair of 50s desk lamps - swedish? 12) Large space age lamp - dutch i think (the colani elephant is one of the big ones, just in terms of scale etc) (edited by Design Addict - no direct link to your website - no advertising please) I have posted your 3 first pictures, you can post the others in 3 other posts, if you wish. http://d1t1u890k7d3ys.cloudfront.net/cdn/farfuture/n00EU5HkJ5aUDEfOPKX26PD9GA2kfAXGvXLeg0ycSd8/mtime:1487902580/sites/default/files/forum/Image3.pn g" />
	Well, yes, there is always...	1 Relevance	17 years ago	ite (BE)	General discussion
	Well, yes, there is always... Well, yes, there is always that risk. I actually let the chance slip to buy my radio model earlier, from a website of a vintage dealer in Holland - and purchased the model later on Ebay from a German seller. In the end, the feedback system convinced me: I could see in the feedback that the seller had sold something similar earlier - and had received positive fb for it (so assumedly it arrived unharmed). Additionally, he did have very good overall feedback, so it did not seem like he was taking liberties with the item descriptions. The parcel indeed arrived very well packaged -in a massive oversized box with lots of protective stuffing-, and truthful to the photos and item description, exactly as promised. I chickened out of buying directly from a non-feedback website though. There is no way of telling whether the seller ever had to ship more tricky items, or would play tricks as you describe. You'll have to take a chance with both venues, but you have more information beforehand with Ebay - so the chances you take with Ebay sellers seem smaller (at least to me). Nonetheless, buying vintage audio equipment is always scary, even if you can test it beforehand. The equipment inevitably comes with mileage on the teller from previous use. And if it has been stored, dust is a big enemy of electronics. Even if you test it before you buy, you only know whether it is broken or not at that time; if it works, you never know beforehand how much life it still has left. However, that time I really wanted that piece and it was not too expensive, so I felt like taking the gamble. (I did not buy the speaker boxes, I later combined it later with new ones). For a more expensive audio piece, I prefer to buy new, with warranty, from a local dealer. There is no way of making this thing 100% safe, basically. This transaction equals a gamble. It's your call whether this is worth it to you or not. You can minimize your chances: - Check the seller's reputation if you can, feedback systems are great for that. - Also, as someone mentioned earlier on another thread, when in doubt about packaging, simply ask the seller how the item would be packaged. If the seller cannot or will not tell you, bad sign. Or if you are told, that there would only be one layer of bubble wrap around the radio, bad sign, that will not keep it safe in transport. OR try to be the one responsible for the transportation, then it's in your own hands.
	continued	1 Relevance	17 years ago	dcwilson	General discussion
	continued But deeper than that, modernisti, if they explore the philosophical differences, find, ironically, that they, the modernisti, are the conservatives, the protectors of legacy, and of order. And it is the post moderns that are the rebells. And this is unnerving to modernisti who view modernism as an avant garde activity, a rebellion against the Victorian and functionalist philosophy's and aesthetics that modernism departed from. Post modernism raises a real problem for modernism. The enfant terrible of modernist becomes the Daddy in the dynamic between the modern and the post modern. The modern response tends to be that of the father of the bastard son. He tries to ignore it. Or as Michael once sung, "But the kid is not my son." And yet, on some level, we know the kid is his son in that song. And we know post modernism is the child of modernism. And there is a very dysfunctional parent-child dynamic between them manifesting as near total lack of communication and a wish by the parent that the kid would just go away. But the more the parent tries to ignore the child and go on doing its own thing, the more the ignored child tries to call attention to itself by confronting and challenging and ridiculing the unloving parent. Modernism can never escape post modernism so long as it permits this dynamic to continue, so long as it continues to permit itself to be defined in this dysfunctional dynamic. To me, Piano's engineered functionalism and Gehry's Deformism are clear efforts to move beyond the modern/post modern dynamic, by synthesising both, albeit in different ways. Piano picks up the intrinsic strand of functionalism embedded (and largely overlooked) in both the modern and the post modern and simply engineers buildings that combine formal and ornamental elements of both. Gehry uses deformism to basically destroy both modernism and post modernism at the same time. Gehry is working in the architectural equivalent of what neoconservative economists call creative destruction. Annihilation of obsolete orders and ways of thinking, like burning a pasture to get rid of last years dead growth, yields its own kind of re-juvenation, its own kind of rebirth of the green grass of life.
	Influential	1 Relevance	22 years ago	koen	General discussion
	Influential Hi Annette, I can not disagree with your comments, including some of the nostalgic ones. I am exactly as old as Ikea and can vividly remember their first steps out of Sweden and even more so the first ones into North America.I am sure that Ikea's achievements outside Sweden were viewed differently from inside Sweden. By the time Ikea became an important player on the swedish furniture retail scene there were a number of other swedish retailers, including the powerful KF, the consumer cooperative, offering similar knock-down (as it was called) furniture, as affordable, equivalent design and similar quality...although the simultaneous publication and mailing of 80.000 catalogues in the same month that the popular magazine "Allt i Hemmet" (everything in the home) published a survey showing that Ikea had lower prices for the same quality as some higher end retailers was seen as one of the most successful marketing moves they ever made... As you know and we all where reminded of in Crafts # 191 the highly influential Gregor Paulsson wrote "vackrare vardagsvaror" (more beautiful everyday goods) already in 1919. It is my impression that Ikea is one of the many legacies of prof.Paulssen and others of his generation. I am not disputing the fact that when they started to open stores outside Sweden it had the effects you described, but seen from the inside it was seen as exporting swedish middle class culture and less as introducing a new design culture or even a new kind of furniture. This being said, I think we agree on most points. I just found it strange to see Ikea identified as influential in design in 2005. In my view it has been influential, yes, but much earlier (probably when you shipped an Ikea kitchen to the british islands) and more outside Sweden than inside and not as much in design as in retailing. Igvar Kamprad is an unusual entrepreneur combining large scale vision with micro-management and un-limited interest in his own products. He is known for being a slow thinker, but the time he takes to make a decision has never affected his perfect sense of timing. And that is the only thing I am uncomfortable with: "Icon"'s timing.
	RE: Lurashell ?	1 Relevance	5 years ago	bartlebobton	Identification
	Hello Lexi .... Thank you for writing back.... A big thanks for the picture....and the link to the video on YouTube. I loved the 1st class lounge on the QE2 ...very stylish, I'm a little bit unsure of the "dogtooth finish". It's seems Lurashell were quite prolific with their designs, no mediocre styles, they just went for it, I'm guessing, but I suppose there would have been a premium price on them. It is odd there is so little written about them, when searching for information I found their factory/offices/warehouse buildings in Ware (Herts) were up for sale in March this year, that got me to wonder if there would be the odd faded picture/poster of a chair or two on a wall somewhere; I'm half tempted to drive up there and have a look around. I pulled one of my chairs apart yesterday, the weirdest thing are the fixings for the fabric; currently the chair has velcro wrapped around x2 rails, which pulls the fabric to the shell, I now understand that's not correct. The x2 rails act as anchor points, one rail is fixed to the back of the chair/shell, the other to the seat/shell. They act together as anchor points with double hooks which pull/hold the fabric down towards the shell. It looks like a really fiddly job to replace the fabric. Also the out edges of the fabric are elasticated, this allows the seat cover to be pulled over the edges of the shell, a bit like an old fashioned shower cap, if that makes sense. A friend has some lovely thick 60s fabric which I think might work, but I'm very nervous about the execution. Rather than use an upholsterer, I'm thinking of trying a dressmakers, there are one or two in the town where I live, both shops have been going for years and years, for some reason I don't think it would be so difficult for them. I have no upholstery skills, so I'll ponder a bit about what to do next. Again, many thanks for your help. I'll report back, with some pictures if I decide to get the chairs recovered. Best wishes... Phil
	This oak has actually gotten	1 Relevance	11 years ago	leif ericson - Zephyr Renner	General discussion
	This oak has actually gotten a lot darker with time. Generally this is said to be oxidation, although I know that ammonia, either the low ambient levels that are in the air (some places have much higher ambient levels due to pollution or dairy farms or lots of fun things) or due to intentional fuming of the oak. This surface patina does not go very deep, but it will look dramatically lighter once you go through it by sanding. I would not be surprised if the oak was unfinished or soap finished (the Mogensen for Søborg coffee table I have has oak legs which were either unfinished or soap finished, which is about the same thing after 50 years without renewal of the soap). The other reason I suspect that there is not a film finish, like a polyurethane or oil, is specifically because the oak has patinated so much. A film finish would much more protect the oak from ambient oxygen or ammonia. A final reason I suspect there is no film finish is the pattern of the water stain on the top. It is diffuse, without sharp edges, as thought the water easily wicked across the surface. This sort of stain is just about the perfect use case for oxalic acid. White oak has very, very high levels of tannin in it, and in the presence of water a chemical reaction occurs with iron that is also in the wood, and/or in the water that creates a new substance ferric tannate, which happens to be black. Oxalic acid effectively reverses the chemical change. One simple test would be to wipe the top of the nightstand with water. If the wood uniformly wets, which is to say there is no beading of the water, that would indicate you can use oxalic acid without the need to remove any finish. I would first use oxalic acid on the top, applied carefully so it does not get on the other surfaces. It is possible this will just immediately fix the problem. It is also possible that it makes the top a little lighter than the rest, in which case I would apply it everywhere. If you do need to sand for scrapes or dings, I would look into disassembling the piece, and plan to commit to sanding everywhere, because it is very likely you will go through the brown patina. I would absolutely not look to sanding to remove the dark stain. At least not until I had tried oxalic a few times. I strongly suspect it will be gone with the first treatment of oxalic. And the nightstand is veneer, so be very careful not to sand through if you do sand at all.
	Hey BJ, after Paris, probably my favorite region on the planet	1 Relevance	18 years ago	Big Television Man	General discussion
	Hey BJ, after Paris, probably my favorite region on the planet although Dublin is pretty easy to take also. Florence is amazing, but it is a big city with a ton to see. Pisa of course, you have to see the leaning tower, yes it is touristy, but rather arresting in person, it leans and if you come upon it for the first time from the church side which would have it leaning to your right it can be kind of disorienting. Southeast of Pisa is the great little town of San Gimignano, again somewhat touristy but then again Tuscany has been "discovered." Great towers, some great local pottery on the main street up through the center of town, and maybe the best Gelatto in Italy at the top of the street in the Piazza Cisterna, but not the shop on the left, but the first one on the right as you come through the arch. Great drinks on the Piazza across the way at the hotel with tables on the Piazza. If you can rent a car for two days in Pisa you can easily get here in about 90 minutes. Great hotel near here is the Hotel Pescille. You exit San G and take the road down into the valley in the direction of Volterra. Ask in town and they can point you in the right direction. Pescille is an 800 plus year old series of buildings that is now a hotel. If you stay there try and secure room #50 which they call the "Room with a View". It is a tower room with windows on all 4 sides, bathroom on one level, bed one circular staircase level up. You can lie in bed with a glass of the cold local white and watch the lights come up on the town of San G, or sit in the bathtub downstairs and do the same thing. Great restaurant here is the Antica Rosa, out the Pescille driveway, make a left and a mile or so on the right is some of the best food in all of Italy. Friends ate there, went back to the hotel and made a baby, that's how inspiring it is. A bit further south is the town of Sinalunga, which isn't really much of a town, but one of the great hotels is here. Locando dell'Amoraso. Essentially they took an entire Tuscan Village and turned it into a hotel. It is a Relais & Chateau property. While down in this region, which the English call Chiantishire, a sunrise hot air balloon ride with Rob Etherington is completely worth it. 2 hours aloft and land to a champagne breakfast in a Tuscan field.
	Was the sofa with Field	1 Relevance	10 years ago	Spanky	General discussion
	Was the sofa with Field fabric reupholstered or was the sofa produced with that fabric? Personally, I would not put a 100% polyester fabric on a sofa that was designed in 1954. (I also just don't like the feel of poly fabrics but that's a personal thing.) http://kvadrat.dk/collection/detail/uid/5298-0142/all-colours/show I think a wool would be a way more authentic choice but if these sofas were produced more recently with synthetic fabric, then ok. The Lana Diagonale is wool, for what it's worth. I don't know Italian fabric mills at all so I can't suggest an Italian wool, but Kvadrat (a Danish company) makes a few that I'd seriously consider if I were reupholstering this piece. Photo #1 is Hallingdal 126 (166 is the same but with black and white threads). This has a very wooly texture, not what I think of when I picture an Italian suit---and it's rather scratchy if you are bothered by that characteristic of wool. But it wears well and looks great. http://maharam.com/products/hallingdal-by-kvadrat/colors/126 Photo #2 is Steelcut Trio, also wool but with a very smooth texture, closer in looks to the polyester Field. The subtle striations you see in the photo are for real and are an intentional characteristic of the fabric--some people prefer a cleaner (?) weave. Both of these have a smaller scale pattern than the Field, I think, but definitely big enough to see when you're sitting on the sofa. I think "playful" is a very subjective term so I can't say if it applies to them or not. Where are you located? If in the US, you can get swatches from Maharam but if you want to order from them you either need a resale tax number or your upholsterer has to order. (Unless you find the right color and yardage from a third party online or locally._
	Wow, I'm surprised at the negative reactions...	1 Relevance	18 years ago	Olive	General discussion
	Wow, I'm surprised at the negative reactions... especially from you, whitespike. I've always thought that you and I had very similar sensibilities. I truly think you'd like these homes if you saw them. So some thoughts... Northern New Mexico is a challenging climate to build homes in. First, you have the environmental stuff, broad temperature ranges, dusty and strong summer winds, pounding rain storms and cold, snowy winters. Add to that the contant factor of intense sunshine 300+ days a year. No surprise that a deeply entrenched local vernacular style resulted. And that style is rabidly defended by the locals. Almost every structure out here adhers to the 'santafe' style in some way. So you can see that there are a lot of reasons that homes out here look the way they do. Modernists find themselves needing to conform to exterior styles to get permits and keeping certain design features in order to maintain an environmentally sound house. In the case of the Neutra house, it had to conform to a style of a coal mining town that looks like a movie set and has in fact been used as one. Personally, I like what this architect does with the limited range of forms and colors he has in his arsenal. And he uses off-the-shelf materials, reclaimed and reused stuff and other things I admire and desire in my 'green' home-to-be. I really liked the house I saw today. It was intellgently laid out and the owners really enjoy living in it. I also thought it had good siting on the land. It framed the views beautifully and took advantage of the abundant sun and wind to naturally heat a cool the house. The finishes were really attractive. Concrete floors with radiant heating. An open kitchen with minimal upper cabinetry so that the cook has great views. The bedroom was simple, serene and loaded with storage. One final thing I noticed, the colors of all the photos I've shown above are way off tone-wise. What I saw today was far more muted than what is shown here. The house was lovely. Colorful, but not bright. So there's my thoughts...
	Thanks for the additional...	1 Relevance	18 years ago	fotzepolitic	General discussion
	Thanks for the additional... Thanks for the additional responses. It's been educational for me, allowing me to expand my thoughts on the subject. I asked about wall paint color because being no expert on modern interior design, I thought that there was a certain "post-modern aesthetic" that I should follow; at least for my post-modern room (the others are done in a warmer mid century modern). You know, like you shouldn't wear white after Labour Day, so maybe, you're not supposed to paint your walls in color (other than white), if you have a post-modern clinical room, as shown in the above picture with the Le Corbusiers everywhere. (I dont have Le Corbusiers in this room, but I have the same Kandinsky chair in that photo, and the sofa is pretty close to the LC). It didn't occur to me that the "paint squiggle" idea I threw out, for example, does not follow the post-modern or Bauhaus aesthetic, because of the curves. I had seen documentaries on the Bauhaus institute, but never saw rooms with that kind of color - or perhaps I didn't notice that. So I guess this means that there are no hard and fast rules for what color the walls should be, whether we're talking about post-modern rooms or mid-century modern ones. In my post-modern room, my intention was to add color by way of accents, like paintings, rather than large spaces like walls. I was afraid that colored walls would upset the austere, minimalist environment I was trying to create with the furniture, and look amateurish. Otherwise it might end up looking like post-modern furniture in a victorian house - or someone just didn't bother to paint the walls when they moved in. Olive: All that stuff about where the sun is coming in and the activities of the room dicating its color mood well.... the thing is, I don't really use the post-modern Bauhaus room, whether day or night. Only on a rare occasion when I want to watch a movie. But its the first room you see when someone enters, so I don't mind if it reminds one of a museum. I like modern art museums! That's why I wanted the (modern Bauhaus type) furniture to dictate what the walls and entire room looks like. Since the furniture is minimalist, it seemed to make the most sense that the walls be minimalist. Even if I were to color the walls in this room, I'm not sure what would work with the furniture, since its kind of sort of like the LC picture above - a room where the furniture, and even some paintings, is mostly absent of colors (other than black, grey, white, and some red).
	Hi Don...	1 Relevance	20 years ago	koen	General discussion
	Hi Don... Thank you for the cat story! the first reply to a question on DA is often the request for a picture. In your case the text is so evocative that a picture would take away from enjoying one's imagination. The cleaning...from the start I considered this an important point and to some extend it kept me away from some obvious solutions. It was not until Gerrit posted the collection that Frédéric Ruyant designed that I realized that it is probably not such an important thing. Old vases often have this very unpleasant decomposed flower smell but as long as you can rinse it generously and as long as there are not nasty rims that hold the water back when you empty the rinsing water I do not see a problem. I also have to admit that I did not expect the reactions I have been reading, so to me there are still quite a number of problems to be solved and I thought we would just go on until Patrick sets the deadline. Somehow the quality of computer rendering and the fact that the total started to look more than the sum of the parts put a break on our collective creativity. It does not surprise me because I have seen it now repeatedly. As some of you have noticed the early sketches are less elaborate than the later ones. Normally we designers put some kind of progression in the quality of the renderings. We do this for a number of reasons. The first one is that the skill itself (drawing I mean) is a barrier for dialogue at the start of the project. The client often feels that because it is so nicely put on paper, there is less space for his (or his staff's)imput. I almost made it a routine during presentations to draw with a red marker on the sketches the moment my client or his staff would make the first comment, just to show that it is just paper, just an idea, just soemthing to discuss. But it is good practice to gradually improuve on the representations and the closer one comes to the end choice the more affordable it is to spend time on these representations. To elaborate presentation drawings in the beginning might remind the client that he is paying for all thes nice drawings that are useless after the first meetings. Before computer rendering we would introduce airbrush in the renderings and finally airbrush almost realistic pictures. With the computer we have a little bit of a problem in making a smooth transition between handmade and computer.
	bubbles	1 Relevance	17 years ago	Friend of Design	General discussion
	bubbles The bubble light situation was very similar to the ESUs. HMH ? was purchasing them from Modernica after assisting the manufacturer (who is not Modernica ? see below) with adjusting the formula to correct issues with cracking during shipping in really cold and really hot conditions, gaving them a bit more elasticity. HMH engineering also helped with the packaging updates. The Bubbles were discontinued by HMH at the time the relationship ended with Modernica. It was another attempt to try to get Modernica to be legitimate. There was a question above about the differences seen in some of the other bubble like materials used ? a big part of that is the formula of the web spray and the thickness of the application. There is even a difference between current bubbles compared to when Howard Miller was producing them. The updates in the formula also help them stay white longer than the old ones too ? of course not as many people smoke around the dining room table as in the old day either. Modernica is very good at ?seeking? out sources and marketing. And actually even though Modernica claims to be the ?manufacturer? of these lights, someone else bought the original frames / fixtures and formula from Howard Miller and had tucked them away. Modernica found this person and convinced them to manufacture the lights only for Modernica, but this other person maintains ownership. The rub with the lights is that while they are ?real? in the fact that they are the original tooling and such ? they are not truly official or authorized. And just to be clear, because again I know everyone has their own definition of these circumstances and I?m not looking to argue ? to me official and authorized is approved by the designer, their foundation and or family. There is no royalty paid to George Nelson?s family for any of the Bubbles currently being sold. One last thing - I don?t know this for sure as I?ve not done a ton of research on all the designs that were ever thought of by George and his associates but there seems to be some options available now that Modernica takes creative license on to expanded designs on their own and claim them as Nelson designs. This is also true for the ESUs and or course the Shell chairs ? While I think updates are good in general and some very necessary in today?s environment, I just have got to think Charles must be rolling in his life-ever-after with that Prince Charles concoction. Again, must give Modernica credit for some shrewd marketing getting the name Charles associated with the product and not violating the trade rights of Herman Miller.
	Koen, Stockmans is fascinating...	1 Relevance	19 years ago	dcwilson	General discussion
	Koen, Stockmans is fascinating... Talk about a man who straddles the art vs. design frontier. I find his art and his artifacts a quite logical extention of design. Why not design art the same form language one uses to design cups and saucers. He is truly an interior designer, rather than an interior decorator. It would be fascinating to see an interior designed entirely by Stockmans. What is so cool about this is that he is extending design into the interior of a house or office, the way Frank Lloyd Wright extended architecture into the interior of a house or architecture. To be honest, I would be very excited by this man daring to take on a building commission the way you have. I think this is a wonderfully underexplored dimension of design. Use a form language and aesthetic sensibility of an industrial designer not only on the toaster, coffee pot and so forth, but on the art and architecture of a place. Do you recall when I said I would be fascinated to see the form language and design philosophy of your ceramic pieces carried over into a building? This is what I am talking about again. Put another way, I think in the long run that it may be more sensible to design a building and the furniture and appliances and vases and the decorative art in it with the design philosophy and sensibility of an exceptional industrial designer like you or Stockmans, than it would be to generalize the principles of architecture to all of the above. Now, I know one may not wish to generalize at all and leave all the methodologies and sensibilities of all these different disciplines (architecture, industrial design, interior design, decorative arts, landscape architecture, etc.) separate. But I sense that our living spaces/environments could benefit greatly from a more profound and transcendent integration of these presently discrete disciplines. Persons are often trying to blur the boundaries among these disciplines. Stockmans, the architect, has combined designing products with designing decortive arts. Wright architected buildings and architected furntiture. If you are still working on the music hall, or if you are not, what do you say you take one more building commission and "industrially design" the whole goddamn thing. I'm not looking for an egomaniacal, virtuoso performance here. You could sub contract out various parts of the building to other designers with a shared sensibility about design. But th idea is: Industrially design everything--the appliances, lamps, vases, carpets, building, landscape, and all the decorative art.