Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| Interesting problem. | 1 Relevance | 14 years ago | SDR | General discussion | |
| Interesting problem. The manufacturing goal would have been (presumably) to make a metal frame with holes located so perfectly that any pre-drilled petal could be placed in any location without worry. In the pre-CNC age this would have been be a challenge. The fall-back position for the manufacturer would be to assemble the table by placing the frame onto a jigged (accurately located) array of petals (upside down) and screwing them in place. The positions on the frame and the individual petals could have been marked, 1 through 8, so that even if disassembly were necessary (for refinishing, or shipping ?), the array could be reassembled with perfect placement -- the gaps between petals would be very noticeable if inconsistent. Doing things in batches -- repeated fabrication or milling steps done sequentially -- is one of the great time-savers in manufacture at all levels, from craft shop to giant factory operation. And, one thing we learn to do, in operations as varied as rough-stock milling to prepping for finish, is to deal with the exceptional problems and issues first -- the "problem areas" of the material -- before proceeding to the majority of the material being worked. If I had to take on this job of combining original and replacement petals, where the material is soft and where some (many ?) exiting holes might need to be "moved" slightly -- and a bad repaired hole needs to be dealt with -- I would probably take the trouble to drill out ALL existing bores, and make cross-grain plugs (not long-grain dowels) to fit these new holes. Then assembly could proceed using the method outlined in my first paragraph. The positions on the frame, and the petals, would be unique for each location, so the petals and the frame would be numbered. All of the operations -- drilling the petals for plugs, and making the plugs -- would involve easily-made jigs and fixtures on the drill press and elsewhere, easing the job of accurate repetition. So, with more patience than actual effort, an entirely remanufactured -- and improved -- product would be the result, with all problems of accurate placement accounted for and solved, once and for all. Isn't that a desirable goal ? | |||||
| Rather than give you the... | 1 Relevance | 14 years ago | Killian | General discussion | |
| Rather than give you the... Rather than give you the price I hope this info will give you the tools to determine what your chairs are worth. In order to settle on a price you need to figure out what type of seller you might be and base your value on that....obviously because you are asking this question then I imagine your level is going to be general public selling nice thing level. Go to ebay and see what range highest to lowest these are priced at. There will always be one or two mad figures but you should be able to spot an average. Try to figure out if there might be a difference in value due to colour / condition / age etc and see where your chairs lie in that sphere. Beside the search box on ebay is the word "advanced"...do the same search again and then click advanced...tick the box for completed listings and click search. Now take note of any chairs that have actually sold and take note of their prices. Then create an account on Live auctioneers and do a search for your chairs and again look in their "sold" section. This time take note of what price the items made but more importantly check the year in which the sale occured and work out if the price graph is on the rise, evened out or falling. With the auction prices you have to take in to account that the seller paid fees to the auction house, maybe 20 - 25% so dont forget to factor that in to your calculations. Also the auction method quite often leaves a seller waiting a few months minimum to get any money so that needs to be factored in too. Take all the info you have and decide do you want to sell quickly or slowly. Leave some profit in them to draw in dealers if you want quick money and maybe list them on craigslist / ebay or go for as much as you can get by listing them at the top end of your figure on ebay / design radar / or through a good auction house. If it turns out that your version of the chair are the holy grail of all chairs then dont forget to write your listings entirely in CAPS and then put a massive price with lots of zeros on it. Finally...dont waste your time looking at 1stdibs, you cannot achieve those prices if you dont have a well regarded shop. I hope this helps, Killian. | |||||
| They already do...Part II | 1 Relevance | 21 years ago | dcwilson | General discussion | |
| They already do...Part II Sprawl is only bad if it is energy inefficient and harmful to the environment. Manufactured homes can be designed with solar panels and compost toilets. The only thing they need is a water line. The grey water, which should never be flushed into a system a system, should be used to water the landscaping. Eliminating sewer, gas and electricity infrastructure would almost by definition make dense packing or sprawling manufactured housing so much more cost efficient and environmentally friendly that it would be absolutely preferrable to what we are doing now. And regarding the notion that sprawl is inherently incompatible with mass transit, always remember that Los Angeles, when it was seven suburbs in search of a city, before it ever had a highrise building, functioned marvelously on a Red Car system--a surface rail system that served much of then sprawling, low density metropolitan Los Angeles. We have to use the same kind of elegant reason designers use in making a chair--branded or otherwise--in architecture and urban planning. Designs job is to make things beautiful, whether they are mass produced or one off. For god's sakes, design us some beautiful manufactured house that is environmentally friendly and cost efficient, and customers will flock to it. Right now they are buying crappy manufactured housing in record numbers, because there is no alternative. This is the chance of a life time for some designer and home manufacturer. Who will be the Charles and Rae Eames and Herman Miller of manufactured housing? Who ever it is, I hope they brand the hell out of it, if it helps them get market acceptance. Our society desparately needs affordable housing. Every year there are millions of kids entering the job market and millions of immigrants entering the job market and these people deserve houses they can afford and be proud of. They shouldn't have make themselve wage and debt slaves to have a house. It is not right. Converging manufactured housing, with solar, heat exchangers and compost toilets, is the way to go. If someone would just design them beautifully. | |||||
| part two of restoring | 1 Relevance | 15 years ago | TinyArmada | General discussion | |
| part two of restoring If there are no sanding marks, then go straight to grit 100 and sand it down. Do not overdo one area. Typically veneer is very thin so you will have about 1/32 of an inch to work with - which is actually a lot. DO NOT use a sanding pad because this applies pressure to the edge of the pad when it passes over a curved surface and you will have portions of the veneer sanded more than others - which can result in penetration = you've wrecked it. By hand all the way and follow the grain in every case. Once this is done, redo mineral spirits - why? Because mineral spirits will "lift the grain" and show you deep sand marks you will not see with the naked eye. It literally is an index to what the finish will look like. If they are found, sand using the 100 until they go away. Next use 150 grit and go over the surface, then 180. Once you are at this point you can opt to also go to 220 - this will give you a very mirror like surface. A good test at this point is to take a piece of the underside and now clean with mineral spirits and after half an hour, put polyurethane on a patch. Why? Because some wood will automatically give you a rich finish - like walnut which can look light until you apply polyurethane. After it has dried (4 hours) judge for yourself - either decide to do the whole thing without staining if the finish is excellent. If you decide to stain then make sure you get an expert to match the stain - take the wood and test near the area you polyurethaned. Do the stain lightly. Wipe if off the little area immediately and allow to dry and 8-12 hours later do it again etc until you reach the desired stain depth. Never ever let stain sit on the wood surface because it the acts like paint rather than stain. Wipe it on, then wipe it off. Better to do several stains then a thick one. Once you have got the stain to the desired point excellent, now take it off with sanding as well as the polyurethane patch. You need the while surface done as one. Apply wood conditioner and let it settle overnight. Stain as needed - and for gods sake do not rush it - let it dry a day between each light stain - and very very very important ensure every time you stain the stain has been thoroughly stirred right down to the bottom of the can. If you do not, you will not have the same stain color because some of the components of stain settle in the bottom of the can. Once you have the stain done, now polyurethane. A LITE coat! The first coat is designed to seal the wood, not give you a finish. | |||||
| Pt.3 | 1 Relevance | 20 years ago | dcwilson | General discussion | |
| Pt.3 And global warming is not exactly the crisis that i would seem to be either. it is happening for an absolute empirical fact based on all the research to day, imho. and it is almost certain that human activity is contributing to the process. but here is where it gets fuzzy. global warming is proven to be tied up in solar cycles. global warming episodes have always taken place throughout earth's history. these solar cycles almost certainly contribute a much larger driver to global warming than do human activities. further, these solar cycles are apparently moving us toward a global warming episode at present. and there is apparently no way to prove by refutation of null hypotheses that the increment of human emissions is going to play a significant role in tipping the earth into a global warming episode. but the policy institutes are increasingly asking/propagandizing citizens to submit to reduced consumption to save the earth's climate, at a time when it is quite likely that it cannot be saved from a warming episode that may not occur for several centuries or even millenia. and they are asking us to do this coincident with their desire to impose a short to midterm demand destruction on usa to help bring china and india on line without destabilizing the status quo to the extent that the current western political and economic hegemony will be toppled. again, i'm not taking sides here on what's the moral and rational thing to do about global warming. some would say cut human emmission as much as possible regardless of suffering to save mother earth. others would say, make ordinary folks bear all the consumption cutting so that the powers that be can stay in power. still others would say, can't we find some equitable sharing of the burden across the broadest possible spectrum of society. judging from the crazy wars to control oil fields to protect against the volatility of oversupply and potential for unrestricted growth across the planet if every nation gets its own independent oil supplies, i'm guessing we're already well on the way to goring the calf in favor of the elites, but who knows? again, i'm not trying to take sides here. i'm just trying to point out some of the macro dynamics operating on context that producers and their designers will have to feasibly fit with to survive or prosper. | |||||
| I obsess about color... | 1 Relevance | 21 years ago | Olive | General discussion | |
| I obsess about color... I am forever looking at shades, hues tones and tints. I think about how color affects mood, how light affects color and how people respond to color seasonally. It all fascinates me. DCW, you are right about the link of fashion to interior design and about this year's runway colors. I find your link to current events interesting and unfortunately, probably accurate, our world is not in a happy place right now. I shouldn't have read last week's Time magazine on global warming, I've been depressed ever since. DavidDC, nice to hear from you, you've not been around for a bit. Yours and whitepsike's observation on orange are, I believe, both correct. It is the color most associated with 'modern', I think. And it does seem to be enjoying a rather long run of positive opinion at the moment. I'm betting it will stay on for a bit longer mostly due to it's shock value. However, orange is, traditionally, the color most disliked by the general public. Blue being generally the most popular. I always found that curious as they are complements and complementary color schemes are very popular. But blue seems to end up paired mostly with yellow instead. Cracker's comment about the Color Marketing Group is also spot on. The idea that there are pontificates of color somewhere that predict, and to some degree control, the colors that are used in the marketplace is such a peculiar thought to me. Color is a very personal thing, to me nearly holy. Everyone responds differently to color and everyone should use only those color that please them. The idea that DavidDC will have to repaint his bedroom when chocolate brown goes out of style is a sad thought in my book. Keep the color if it pleases you and paint it over only when you feel a change of heart, not because it's 'in'. Several years ago I hit on a citron green color that really looked great in my home, made me feel happy and kept a feeling of summer in the house in the dead of winter. We use a lot of it in differing shades and touches here and there. Then a couple of year's ago, suddenly, the color was trendy and it overwhelmed the senses from every venue. I have held my breath since then waiting for it to go 'out' so that I can feel my sense ownership come back this color. In my head I think of it as mine and I don't want to share. Color should be like that, personal and emotional, but somehow it doesn't work that way. | |||||
| con't | 1 Relevance | 17 years ago | Friend of Design | General discussion | |
| con't Sorry I'm not able to post an image here (anyone help?) but I do have an image from Accurato with an overlay of the HMI image from their website of the "borrowed" image of the Eames Wire Chair. Now, I don't want to get into why HMI has to price the product higher ? but perhaps if they didn?t have to foot the bill for photography that Modernica and others (we won?t say Accurato again) ?borrow??. Humm? And yes ? the more people buy knock-offs the less money companies like Herman Miller have to put into releasing additional authentic designs or defend their design rights in court. Would seem to be the same for drug companies - they need to sell at a very high price while they have the rights to the products they spent years developing, testing and defending - guess that is the way - get as much as you can now because it won't last. Maybe if companies felt secure that they would be able to make up their investment over more years they could lower the initial go to market pricing - save more grandmas?? That seems like a departure from the original conversation - sorry. Second, while I appreciate the thoughtful and in-depth legal discussion ? it does not alter the fact that Modernica and others are infringing on the Trade Dress rights Herman Miller owns in the US for the Eames product, (they also have some of the Nelson products and the Noguchi table) by producing these designs. See http://legal-dictionary.thefreedictionary.com/Trade+Dress for definition. Lastly, to build upon a legacy of historic designs and bring them forward with new fresh innovations and claim as ?new? is one thing? I mean look at what Apple has done for the Bell Telephone ? but to re-produce a product with as claimed the original tooling ? (another debate for later) and then claim to be producing the ?authorized or licensed? product feels deceitful to me. Although, I do give them the Prince Charles chair as a new innovation built on an old design (but really my personal opinion ? Yuck!) ? and still they had to have some sort of reference to Charles Eames to bring it some legitimacy I guess. Thank you everyone for participating in the discussion ? hopefully we can respect and protect artist?s and designer?s creative work and legacies. | |||||
| Renzo Piano: Lingotto Factory Conversion: Is it as good as the slide show suggests? | 1 Relevance | 20 years ago | dcwilson | General discussion | |
| In Koen's never ending quest to kick the tumbleweeds and dust bunnies off me, he dangled Renzo Piano before me in a recent link, so I looked beyond the Pompidou Center, which I'm conflicted about, and read a bit, looked at a few pictures, and then clicked on Piano's slideshow of his workshop. Now, aside from liking most of what I saw and being flabbergasted (one of the truly wonderful words in the English language) by one or two where his facility with forms is equally virtuosic at the extremes of overwhelming visual complexity and utter visual simplicity, I have to ask about one called the Lingotto Factory Conversion. Is it as MAGNIFICIENT as the fleeting picture suggests? Talented photographers can, afterall, dramatize some buildings beyond what meets the eye when one comes face to face with some buildings. But some buildings, like Wright's Guggenheim or Falling Water, live up to their most flattering photographs in person. If in person this Lingotto Factory Conversion lives up to its photograph, then it is easily one of the greatest buildings I have ever seen. In alot of Piano's buildings, I can see him playing with form progressions the way a pianist might play with chord progressions and its all very, very fascinating. But something happened with the Lingotto Factory Conversion. Its like all of his formidable experimenting came together in a lighting bolt of design integration. The building transcends by becoming greater than the sum of its searching formal development. It is like the building equivalent of a Wegner chair or something. Has anyone seen this building? Can anyone tell me about it? What the hell was it before conversion? What the hell is it now? What kind of design Mt. Olympus did this guy go up on before coming down and doing this thing? If artists are the antennaes of the race, as poet Ezra Pound once said, the antennae called Renzo Piano has caught lightening in a sky very far in humanity's future and grounded it utterly without buffer in the present. I can't say it any other way: it is frightening beauty. P.S: I apologize for not finding a free-standing picture of Lingotto. The link below is for the slideshow and Lingotto is quite far into the slideshow. Perhaps someone will know how to patch a more accessible picture. Regardless, one could do a lot worse than watching this Piano slideshow. http://www.rpbw.com/ | |||||
| Does this qualify as "mid century modern"? | 1 Relevance | 16 years ago | fotzepolitic | General discussion | |
| Its official name is "Deluxe Zig Zag Model 5700". That's on the instruction manual. It has no brand name on the machine itself. After much research, I believe it to be a "Morse" brand. Guess who made "Morse"? Toyota. Yeah, -that- Toyota. It was supposed to be a gift for my friend's daughter. I was supposed to store it at my place, while I learned how to operate and maintain (ie. oil) it, so that I could later show her how it works. I have never used a sewing machine before in my life. Basically, I do not sew. But the more I used it, the more I appreciated it. The more I appreciated it, the more I fell in love with it. (And what we do in the privacy of our home is none of anyone's business, okay...). Then it got to the "Screw your daughter, this is too good for her!" point. I couldn't in good conscience give it up to someone who rides a quality bike in the winter. The winter!! I can't believe how quickly I went from "If I was the type to own a sewing machine, this is the sewing mcahine I would want to own".... to being the type to own a sewing machine. With the Morse 5700, it was easy. For one, she was the nicest looking sewing machine I'd seen. Clean lines, turquoise grill, and an engine lifted straight from a '57 Chevy. No, maybe a Tercel. Still. This was way too much machine for a 21 year old girl. She could never hope to appreciate the quality that went into this thing, as much as I did. So I got her a plastic Singer jobbie, kept the Morse, oiled her insides, cleaned her bobbin well, re-tensioned her bobbin holder and 72 hours later.... voila, I'm now an expert on sewing machines. Plus, all those pants I chewed up on my bike are now officially unchewed. Being the son of a tailor (who never learned anything from his dad...) ...it must be something in the blood. Now I'm hoping that something else gets torn, in order to practice my new-found sewing skills.... | |||||
| The reason question and answer is so crucial to... | 1 Relevance | 19 years ago | dcwilson | General discussion | |
| The reason question and answer is so crucial to... civilization is that we don't know what we don't know. The best question is not the one that exposes the best answer, but the one that exposes the most profound thing that you don't know. You see Koen, and others like him, don't know what we don't know about how they do what they do. My years as a consultant taught me that what I knew was never the crux of solving any problem worth solving for a client. The best solutions came from discovering what the client didn't know that I didn't know. When I discovered that, THEN I could alter this or tweak that among what he already knew how to do better than most anyone and then the client was off and running and leaving me in the dust...hopefully with a check. Once we discover what we don't know, THEN we can get about the business of solving the procedural problems obstructing basically sound and experienced professionals doing great things for society (or evil if they've got black hearts). I hound Koen with questions, not like a lawyer (i.e., lawyers are taught to ask only questions they know the answers to, because discovering what they don't know in court risks blowing the explanation of the crime they have already contrived), and not because I'm just looking for any old right answer. I could read any design text book and learn a million right answers. Rather, I'm trying to reveal what he doesn't know I (we) don't know; that gets to the deeper level of his mastery of technique. I wish I knew how to get to the still deeper level of his genius, so he could share it, but in my 18 years of working with some extremely brilliant clients and colleagues, I came to the conclusion that genius is simply rooted in the unique way one sees the world regardless of training. Genius is delicious, but it is icing and not cake. I am just trying to help him reveal what he doesn't know we don't know, not his genius. To do it, I am questioning him in the role of something even less than a student. I am the village idiot here. I am uniquely equiped to trigger the discovery of what he doesn't know we don't know. Why? Because I bring almost no assumptions or expectations (or utterly the wrong ones) from prior training, for I haven't any. I just have a nose for "it," and a shit detector for "about it." If I see "it," like Wegner's credenza, something so elegantly simple that it is "understood implicitly" by his particular legacy breed of mastercraftsmen, and so "it" that it is viewed as impenetrable genius by other highly talented designers from other legacies, I just ask the question as simply and naively as humanly possible and he just turns on the lights and starts. | |||||
| dcwilson and koen, thanks... | 1 Relevance | 18 years ago | Gustaf | General discussion | |
| dcwilson and koen, thanks... dcwilson and koen, thanks for your elaborate insights. I learned a lot. Sadly, I think you are right in that it is very hard to change the industry, yet it could make such a difference to so many people. I am not familiar with what has been done, but assume many great minds have thought about it. My inspiration came mainly from an article I read a while back about building on the moon, as well as from igloos and from having worked for a couple of summers on a construction site. I still think there could be a right place and time for this technology, but that it is not here and now. Perhaps it could be something good coming out of the space program, an otherwise tragic waste of money. However, with all these factors you mention working against a change, the high cost of today's methods must be working in the other direction. Productivity has remained almost the same for a long time, as has the amount of material lost (around 10% in Sweden I think). One would expect the builders themselves to start realising that something needs to be done. They are not the British Museum, after all. As one example that the industry, at least in Sweden, is trying to cut costs in radical ways is in the provided links. In brief, it tells the story of a major project undertaken by NCC, one of Sweden's largest construction companies to build a prefab house factory using Lean manufacturing inspired assembly methods. They hired people from the auto and manufacturing industry. The whole thing got axed after little more than a year because they hadn't been able to reduce costs as much as expected. Very different from what we are discussing here, but nevertheless interesting (I had a hard time finding good write-up in English though): http://www.cisionwire.com/ncc/ncc-launches-world-leading-residential-pro... http://www.wmaker.net/immonews/m/index.php?action=article&numero=3196#1 Another case in point is ManuBuild, an ongoing, partially E.U. funded research project: http://www.manubuild.org/summary Still, I am left with the impression that the many laws and regulations, cartels and oligopolies, vested interests and corrupted local governments, make this a very tough business to change. But it would be fun to try. | |||||
| cont... | 1 Relevance | 23 years ago | cedric | General discussion | |
| cont... Let´s take an example to clarify my thought. There was several years ago a "scandal" in France concerning 2 of the biggest companies in the food indutry. Some employees from those companies came to primary schools in order to give nutrition lessons.Praiseworthy intention... But the problem was that during the whole multimedia presentations of those "teachers", packagings and logos of these companies were used to present healthy products (a bottle of brand X milky-drink instead of a glass of milk, etc...). And, to perfect the thing, those "teachers" offered each and every kid a small "breakfast case" including sample-products of their company... What did kids remember of such lessons? : this brand is good, the competitors are not. Just because of visual associations and because a teacher is supposed to be right. So the facade was good, maybe the intention too (who knows?) but the result is nothing more than hidden advertising, in order to attract and keep consumers as early as possible.... That´s exactly what I mean by dictorial risk concerning education. Maybe the terminology I use is not the best one (conditioning?). So, yes, in my opinion an education is necessary, but the problem is then to know who would give this education and how? For me, education must bring first of all pathes (don´t know if it´s the right word, sorry for my english) and tools of analysis in order to build your own opinion (but maybe the word "tools" is already too much because in implies something formated, standardized...). It´s exactly the kind of problems I already noticed concerning the way to teach philosophy in french high schools. We had to learn by heart famous philosophers´ quotations, so that we could write them down during an exam to get good marks. But nobody helped us to build our own opinion concerning humankind, death, time, good/bad... We were not even supposed to do so. It sounded like :"We must all think like Plato or Nietzsche because it´s good, and because there is no need to think by ourselves because some others did it before us : it would be a waste of time". Once more it turns to a kind of mind-dictature, maybe a soft one, but it´s conditioning anyway. Finally, I found really interesting the "slip" you did by specifying "Without adhering to some kind of conspiracy theorie", illustrated by the "perceptive or the princess and the pea syndrome?" in the post just above yours... It sounds like even tackling such a topic is so "abnormal" that people have to specify that they are not dumb or member of a sect before giving their opinion... | |||||
| I'm partial to floor-length | 1 Relevance | 11 years ago | Spanky | General discussion | |
| I'm partial to floor-length pinch-pleated linen drapes that cover the top of the window frame. I also very much prefer the rod and any other hardware to be completely covered by the drapes when they're closed, so none of those big decorative rings! Ugh. They're ok for cafe curtains but not for drapes. I have floor-to-ceiling sliding glass doors and I had to hang a sliding track rod thing from the ceiling for my drapes. IKEA actually makes a really nice one, very sleek and simple, and it works well and was pretty easy to install and can be configured a lot of different ways. It's called Kvartal. This photo is closest to what I did, but I posititioned the drapery hooks such that the top of the drapes falls just above the rod. I wanted only the drapes to be visible when they were closed. I'll attach a photo I found online that is pretty much the vibe I have going. I wanted a cozy feel on winter nights, and I like the luxury of all that fabric hanging in perfect folds. There are lots of other looks that work too, though. I would just avoid super trendy stuff like those giant grommets at the top or the deep hems in a contrasting fabric. Also be careful of prints---make sure it's something you can live with for awhile if you're doing custom drapes because they are a big investment. I think any style pleats are ok. I would definitely do pleats as opposed to gathered curtains, though. Gathered curtains seem to me like a better fit for overstuffed furniture and generally a softer look than mid-century modern. Blinds are great too! I've actually had just blinds for many years. My faves were roman blinds that I made of cream linen, but I like anything with a clean, spare look. | |||||
| Koen...Synchronicity lives. | 1 Relevance | 17 years ago | dcwilson | General discussion | |
| Koen...Synchronicity lives. Wow! Our minds were thinking of exactly the same thing. After my last post on this thread, I began to recall a post I made quite some time back about an influential California home builder and architect named Cliff May. May is often credited as being the father of the California ranch house. The core of May's thinking was exactly that the space outside and inside a ranch house should be part of the house program. Rooms inside should continue outside through glass walls, or sliding glass doors, and should share common floor surfaces inside and out. Rooms, or more accurately areas of use in the house should have inside and outside portions. The patio should not stop at the outer wall. The family room should not stop at the inner wall. It is a magnificient conception of space and one that I have always loved about many of the old ranch houses in California. May said his idea came from a combination of the way the old California Missions were built and the way FLW talked about certain kinds of houses that he built in the southwest. If you look at the link below you will see pictures of some Cliff May houses and, whether or not the architectural execution appeals to you,or not, you will see that he was long ago walking the talk on this idea of connecting space inside and outside the house. You will also notice that ceramic furniture would look vastly superior and more organic to this sort of architectural program than does any metal outdoor furniture, or wood indoor furniture. Ceramic furniture is the origin of the future! Screw getting old. There isn't time to worry about it. Maybe kilns can be built on trucks and towed along with materials and molds and the ceramic furniture can be fired on sight! I can see ceramic furniture greatly reducing the need to cut down forests. I can see it connecting us with our past and with the earth the same way your kitchen products do. I can see wonderful new forms for furniture. I can see furniture that can finally unify the inside and the outside of the house in a way that is an organic part of the foundation. I see earthfurniture. The stuff would take the southwestern USA by storm. http://www.designaddict.com/design_addict/forums/index.cfm/fuseaction/th... | |||||
| Part 2 | 1 Relevance | 22 years ago | starcat | General discussion | |
| Part 2 - "Starcat, perhaps you feel very different on this particular issue than many other Christians do, but indeed the persecution I felt was done in the name of THEIR churches and THEIR God. " OK, as I've mentioned before in this very thread, nothing I've said has indicated any religious preference. And it's really none of anyone's business. - "But if you or a group that you belong to stick their neck out to antagonize another group, there's a good chance that the same group (or their supporters) will take a shot back at you." Ah, guilt by association. Many religions, including Christianity (although not to the degree of Hinduism), are pretty broad confederations. Christians don't all know each other, nor is there a licensing board to determine who can call himself a Christian. (Off the top of my head, I can think of two groups that may or may not be Christian: Mormons and Unitarians.) - "If you take my self-defense from an outside attack as "disparaging" or "persecution" against you or your faith, I suggest that you first search within yourself or your chuch, before the "victim" flag is raised." Uh, I didn't use the words "persecution" or "victim" or any derivation thereof, so I don't know what the quotes are for. Please don't do that. I don't think this misquoting thing is a small point: I didn't use those words because in larger western society, no group has the ability to persecute Christians, and to suggest so would be silly. However, in environments such as this one (by which I mean this board), people are saying some remarkably smug, childish, and untrue things that they'd never dream of saying at a cocktail party (or any place they'd expect to meet opposition), so forgive me for pointing them out. I don't see how this is better than the infamous Chicano comment. Good luck on your "fight to the absolute destruction". You're certainly within your rights to dislike Christians and Christianity and to defend yourself against attack. I cheerfully support your right to do it. But if the response isn't thoughtful and well-reasoned, don't be surprised if someone calls you on it. Re: SDR. I've only studied applied psych, so I'm out of my element. But how widely accepted are these theories? I'd imagine that once one ventures from the 'how' into the 'why', things get a lot more controversial. Re: Olive. "If more people were scared of organized religion, fewer people would die in the name of god." 1. The statement would still be true if I substituted in 'people from Massachusetts'. We could have saved a lot of bloodshed in the last 1700s if it hadn't been for them. (I'm being flippant because a lot of words would make that statement true. As I said before.) 2. Hey, weren't you the one who damned Christianity for being "fearful"? | |||||
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