Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| Let's see... | 1 Relevance | 19 years ago | dcwilson | General discussion | |
| Let's see... Robert Wise: Star Trek: The Motion Picture (1979) ... aka Star Trek: The Motion Picture - The Director's Edition (USA: DVD title) Audrey Rose (1977) The Hindenburg (1975) Two People (1973) The Andromeda Strain (1971) Star! (1968) ... aka Loves of a Star! (USA: promotional title) ... aka Those Were the Happy Times (USA: reissue title) The Sand Pebbles (1966) The Sound of Music (1965) ... aka Rodgers and Hammerstein's The Sound of Music (UK: complete title) (USA: complete title) The Haunting (1963/I) Two for the Seesaw (1962) West Side Story (1961) Odds Against Tomorrow (1959) I Want to Live! (1958) Run Silent Run Deep (1958) ... aka Run Silent, Run Deep (USA: poster title) Until They Sail (1957) This Could Be the Night (1957) Somebody Up There Likes Me (1956) Tribute to a Bad Man (1956) Helen of Troy (1956) ... aka Elena di Troia (Italy) Executive Suite (1954) So Big (1953) Destination Gobi (1953) The Desert Rats (1953) Something for the Birds (1952) The Captive City (1952) The Day the Earth Stood Still (1951) The House on Telegraph Hill (1951) Three Secrets (1950) Two Flags West (1950) The Set-Up (1949) Blood on the Moon (1948) Mystery in Mexico (1948) Born to Kill (1947) ... aka Lady of Deceit (UK) Criminal Court (1946) A Game of Death (1945) The Body Snatcher (1945) ... aka Robert Louis Stevenson's 'The Body Snatcher' (USA: complete title) The Curse of the Cat People (1944) Mademoiselle Fifi (1944) ... aka Guy de Maupassant's Mademoiselle Fifi (USA: complete title) The Magnificent Ambersons (1942) (additional sequences) (uncredited) John Houseman: Worked on every thing from Citizen Kane to The Paper Chase and more. | |||||
| Vulgar Modernism Pt.3 | 1 Relevance | 20 years ago | dcwilson | General discussion | |
| Vulgar Modernism Pt.3 But in retrospect, we can see this was just the critic--the gatekeeper--getting caught up in the same creeping blight of vulgarity as the dramatist. The dramatist, faced with the problem of topping what came before to keep the revenues flowing into the theater, has succumbed to the pragmatic economic need for more violence and spectacle and in the process moved these characterstics beyond what the form can bear. The critic ceases to criticize dramas in regards to the requirements of the form and begins to criticize them with regards to how well they meet the dramatic form, given the exigencies of the theater economics. It is a subtle shift at first. No one talks about it. But shortly, the Elizabethan drama matures into vulgar spectacle never to ascend to its former glory. IMHO, you can see this same sort of trajectory in modernist art of most kinds, though modernist art has actually had a much longer shelf life as a living breathing movement, I suppose, than did Elizabethan drama. The way to keep a movement alive and healthy is for those with great imagination and craft to keep finding paths forward to artifacts that appeal to consuming persons without exaggeration of elements of the form that tend to vulgarize it. But saying this is one thing and doing it is quite another...and quite a tall order. The way I look at it, it is better for the movement to lapse into well done repetion or even cliche for a time than than it is for it to succumb to the temptation of vulgarizing. Vulgarizing one-ups-manship. Vulgarizing seems to equate to a kind of cannabalization of the medium--a process of devouring itself. I don't recall any movements that have risen to new heights after extended, pronounced periods of vulgarization. I do see some movements that slow down their development, perhaps even to a crawl, and yet regain vitality occassionally. Compare country and western music and blue grass music. Country and western music has been so vulgarized that it is hard to conceive that it will ever produce any music comparable to Hank Williams or some of his contemporaries. Blue grass music, on the other hand, sticks closely to its form language, has avoided vulgarization, and periodically spikes in popularity and revitalizes mainstream pop music with some of its ingredients, only to recede again into the background. There is blue grass music and musicians now as good or better than what were around 50-100 years ago. | |||||
| i have been searching for ... | 1 Relevance | 19 years ago | LRF | General discussion | |
| i have been searching for ... i have been searching for over 20 years for designer classics some of the great stuff that I got was a Florance Knoll stainless steel table for 15.00 I changed the teak top to the most fabulous piece of marble you can buy for 100. look on the knoll website it sells for around 2500.00 that was at a estate sale I bought 4 knoll Barcelona's for 100 each cause the cushions were separated split in the creases. I used super glue on them cause I was not ready to recover them for 500 each . The super glue worked fabulous on the seams and they are perfect. I used a leather cleaner and they look wonderful. The best of the best is a high end office store that closed down 15 years ago. a friend took me my cause he thought I might like to my the building I t was 4 stories and on the top floor just like out of a movie, a Eames lounge chair with no ottoman sitting in the back from 1968 filty dirty but perfect. and 10 lamps from Verner Panton, Arne Jacobsen, Robert Sononoman , Riggli from Italy and 5 lamps from the Mutual sunset lamp company made in Italy, after checking all my books the big lamp was a Paol Hennnginson, lamp tht was to wonderful I bouy books all the time so i have schooled my self in the good stuff I gave 500.00 for every thing loaded up in my SUV and took off, The guy who owned the building was so happy to get $500.00 cash in his pocket he was the one being nice to me . He said the old JUNK has been in the Warehouse for 30 plus years The lamps were in the original boxs with the price on them . and they had store tags from 1968, The Eames chair he told me his Dad was going to sell Herman Miller furniture but a rival store ended up with the contract that his Dad just stuck the chair in the Warehouse never to look at it again. He did end up being a knoll distributor and they had lots of Warren Planter tables. I did go back and buy one for 250.00 just to be a sport I have enclosed a link that you might enjoy reading and it tells about my obsessions it features my home, in Tulsa People magazine this month here is the link on the online edition http://www.tulsapeople-digital.com/tulsapeople/200707/ then hit contents and it is on page 104 I hope you enjoy reading it and keep hunting cause that is what it is all about. | |||||
| The task of any designer is to be true to his time...Pt.1 | 1 Relevance | 21 years ago | dcwilson | General discussion | |
| The task of any designer is to be true to his time...Pt.1 It is the only possiblity a designer has to do anything that kindles the human spirit. That said, there are infinite ways to be true to one's time. This, I believe, is where a designer's epistemology comes into play. The sum total of his/her systematic training plus his/her subjectively arrived at models/heuristics/algorithms of judgement constitute the tools the designer has to work with to work his/her way to "it," it being the truth of his/her times. getting to it takes tenacity, confidence, balance, talent, courage and an ability to be at one's best when one's best is needed (this last maxim comes from a famous basketball coach, but it is expressed in all manner of myths, leadership training and self help books as well). Some can do it within the confines of a corporate environment. Others need to disenfranchise themselves for a time. Regardless, the journey to "it" is not for sissies to crib a little bit from Bette Davis. IMHO iIt" is a truthful, beautiful aligning of everything one has control of in the moment with everything one has partial or no control of either in the moment or over time. Do not despair over the current state of design, or society. Design to it. Don't fix it. Don't judge it. Don't not judge it (pardon the double negative, which Michael Heiser already beat me to). Don't get coopted by it. Don't protest it. Get to it. Make "it" what it can be. What happens is what can happen until you have interacted with "it"; then something else becomes possible. Civilization at its most moribund is quite literally the best, if most harrowing and risky, moment for the great or merely good designer. Almost all of us live in the past, prisoners of our own experience. And yet the artist is not the antennae of the race, as Ezra Pound suggested. Rather, the artist is the antennae of the moment. Some moments in culture are convergences of visions of past and future--what modernists found in their moment. Others moments are ironically nostalgic--what post modernists found in their moment. Others are fascistically judgemental dehumanizing--what the futurists found. But these are all characterizations in retrospect loaded with moral judgements--not the expression of the moment of artist dealing with "it." The thing to remember always is whatever in the past that seems admirable or even coherent with respect to design began as a barely understood, vaguely perceived, conception arrived at simultaneously by a lot of different individuals grappling alone and in groups trying to get to it. All art historians and critics and artists who claim otherwise are full of shit and never actually got to "it." (cont'd.) | |||||
| pt.5 | 1 Relevance | 18 years ago | dcwilson | General discussion | |
| pt.5 That this will inevitably happen is real to older Americans who can recall the crap that European economies and Japanese economies dumped on USA throughout the 1950s. Europe started exporting better stuff to stay a step ahead of the Japanese. The Japanese kept dumping junk throughout the 60s, but when the US manufacturing base hit its sunset age in the 70s, and Europe began to lick its chops at the prospect of selling their increasingly well engineered and made products on USA, the Japanese essentially leap frogged the Europeans in all things electrical and decided to take a slow and steady approach to things like cars and other machines. Europe, though making increasingly superior products, increasingly found itself having to export only the really good stuff they made. It was often not the best stuff the Europeans made, but it had to be better than the increasingly good stuff the Japanese made. But inexorably, the Japanese began to beat the Europeans at more and more industrial items marketable in the USA and the Japanese began to threaten European domestic markets. The Europeans retreated into protective tariffs and began importing cheap labor (Turks and muslims and Indians) in a tactical effort to prevent their producer markets from being obsoleted as the USA had allowed. The USA opted into the high tech and defense sectors and let the rest of its society decline to a service economy with a service economy earning power and cushioned the blow with credit cards and cheap money. But of course the CBCO was busily creating the eclipse (their theorists call it creative destruction of economies at the point that they have proceeded through to the sunset of the bulk of its capital equipment and infrastructure) of Japan by building up first Korea and then China and India. Korea's stuff was junk at first, and now it is almost as good as Japan's, which is either as good as Europes or better, or in some cases, not yet quite as good. China will follow the same trajectory as surely as night follows the day. The only thing that may slow it down is if the CBCO begins to perceive no serious competitor worth using China and India as bulwarks against. | |||||
| Contrary to what Mcgee said, | 1 Relevance | 10 years ago | Zephyr | General discussion | |
| Contrary to what Mcgee said, I do not see any issues oiling the areas where there are dark spots. You will need to remove any existing finish prior to bleaching anyways. So either you go straight to bleaching, and you remove what's left of the current finish ..... or go at it after oiling, and you have to remove the small amount of extra finish you applied. It is important to note that the dark spots will probably not be removed by oiling alone. Any oiling attempts prior to removing the dark stains would mainly be to address the lighter spots, and to blend the darker spots into the surface a bit more. But maybe this will produce satisfactory results for the effort and cost, which is why it has been suggested to try this first. If you do oil first, you can go about it a couple ways. You can lightly sand the whole surface with 0000 steel wool (make sure to remove all sanding dust with tack cloth or mineral spirits soaked rag), and then oil .... Or the way I typically do it is to rub the oil in with the steel wool. In this way you are not trying to clean the dust away, you are smoothing out the surface, as the dust fills the grain and pores. In both cases, you want to flood the oil on, keeping the surface quite wet for at least 15 mins (this can be longer depending on temp, you just don't want to let it sit on there long enough to start thickening. 30 mins is usually plenty for absorption, although I have left oil on wood for over an hour before, without an ill effects). As the wood soaks up the oil, add more. You want it to be visibly wet the whole time the oil is on there. I would do this to the whole top surface, since the whole surface looks rather dry to begin with. If you apply with the steel wool, rub gently, only in the direction of the grain, slowly and equally covering the whole surface (actually this steel wool methodology applies whether it is with, or without oil). Actual steel or synthetic, it really does not matter too much. If you do happen to get any of the steel wool 'fibers' stuck in the grain, there is the potential do have dark discoloration here in the future, but the scotchbrite pads are definitely more expensive than the actual steel wool. The dark stains typically occur due to a reaction between water, iron, and the tannin in the wood. This same thing occurs with cedar, redwood, teak, oak, and numerous other species of wood. If you have ever seen an old redwood deck, there is a black haze around each nail due to this reaction. If you absolutely want to get rid of these, your only option is to bleach it with Oxalic Acid (you could try chlorine bleach or peroxide, but those may or may not help, I know for sure Oxlalic Acid will do the trick). | |||||
| and from me, part 1 | 1 Relevance | 22 years ago | starcat | General discussion | |
| and from me, part 1 Re: SDR. Intentional pun or not, I heartily approve of the subject line of your last message. Very appropriate. As for other people's comments, if I'm understanding correctly, 420 is trying to insult me by implying that I'm a woman, crankyd says I come across as an "instigating smartass", and Koen has me using "classic distortion" and insulting not just "the thousands that lost their lives under the repression that followed their "criticism"", but also "human intelligence" to boot. Re: Koen. "Every event you mention is proof that critisism is not tolerated" Well, you defined tolerance as "willingness and openess to discuss", then my very first example, the Council of Nicea, is a pretty fine counterexample. They called a council, they debated, and the loser of the debate left the church. Arius was excommunicated but not persecuted, and he lived out his days until his bowels burst. Sounds pretty tolerant to me. And it's tough for me to understand how you think Vatican II is "proof that critisism is not tolerated" in any way, shape, or form. So what's with the "Every event" thing? Of course, criticism isn't always tolerated, and I never said it was. The Albigensians inadvertently launched their own Inquisition by assassinating a representative of Rome. I picked mostly big, showy events that people may have heard of, rather than minor doctrinal disputes that wouldn't cause a schism. (Currently the Catholic and Anglican churches are involved in huge efforts to sweep doctrinal divisions under the rug.) Christianity has a turbulent past. Sometimes criticism is accepted and leads to change, sometimes it's rejected and it leads to peaceful schism, and sometimes it's rejected and it leads to a big bloody mess. No big surprise there, except perhaps that sweeping generalities are often wildly inaccurate. I'm not the one who holds an "opinion based on ignorance" here. Not. Even. Close. Re: crankyd. One final comment about your thoughts before you broke out the pissing match: When you overhear people saying bizarre statements about the weird things gays do, maybe you'll remember all the crazy generalizations you've made about the actions of "THEY", the members of the world's largest religion. Which is not minutiae. "Starcat, I'm very through with this entire discussion with you; so if you feel the need to respond, please feel free to do so in a way that is no way directed towards me." Uh, if you want to end the discussion, that's your right, but if you're going to insult me, I don't see why you'd think I'd respect your wish for me not to respond. | |||||
| I believe it can be assumed | 1 Relevance | 11 years ago | leif ericson - Zephyr Renner | General discussion | |
| I believe it can be assumed that that AP Stolen always had another party build the frames. I've read on PP's site that they specifically wanted the frame to be very well done even though it is hidden because they needed to be proud of their work. I forget the exact wording. Johannes Hansen was not part of Wegner's factory production. His was a cabinet maker shop, which in the era was a significantly different thing. They belonged to their guild (not something like the Danish Furniture Control club). They specialized in higher end production, made by hand, at much smaller numbers. Johannes Hansen had to move to a new shop in the mid 50s to accommodate the demand for Wegner's pieces that he was making, specifically the Round Chair. This was sort of not something to make too much noise about, as a cabinet maker, and as a Dane. Wegner worked with a few different cabinetmakers very early on and with Fritz Hansen (Chinese chairs). But he established a sort of "marriage" with Johannes Hansen as his cabinet maker. In 1949 or 1950 or so, he started collaborating with Carl Hansen to produce factory furniture in larger volumes. The wishbone and a few other woven cord seat chairs were the beginning of this collaboration. The factory did not have the tooling or capacity to handle other pieces, so other makers were brought on. The Tuck family was well known to the Hansen family, so that was obvious. RY was started by friends of Wegner from his schooling. AP handled upholstery. And Getama was a big mattress company. I am pretty sure that Getama did their own woodworking though. Getama was a significantly larger company that the others on Salesco and never fully joined the organization to the level the others did. Salesco was a messy organization and there was a time later on when the idea of having the various companies take up slack for each other was attempted, but it was a failure, because they were too specialized. Andreas Tuck was one of the first to go out of business, and this was a major concern for Carl Hansen, because dining chairs need tables to accompany them, and they discovered they no longer were very capable of even making tables at the time. The wishbone chair and its amazing ability to sell endlessly is basically the reason the company has survived. | |||||
| table design | 1 Relevance | 16 years ago | whitespike | General discussion | |
| You guys were so helpful in helping me decide on a credenza (I still owe you a photo in its new locale), that I thought I may discuss tables as well. I have never had the good fortune of having a nice dinner table. And with the way things are going, it doesn't seem likely that I will be purchasing one any time soon. And besides the economical challenges I have, finding one to suit my needs at any price has been a challenge. After a couple more projects of mine are complete, including building a playscape and a fence around my property, I am thinking about getting a table built locally. My needs: 1. White in color: Being that we have a white/concrete home we have filled it to the gills with wooden furniture. I need an eye break from it. I am thinking white laminate. 2. Very airy in appearance: We live in just over 1200 sq ft and have an eat in kitchen. It needs to be large anough fro my six DCMs, but airy enough not to crowd the room visually. Desired dimensions are around 72" x 36" 3. No sharp edges: I am watching out for my son's head here. So I am thinking either a rectangle with slightly rounded edges (think eames tables), an ellipse (think oval Saarinen), or a very rounded rectangle (think Piet Hein Superellipse). You know how the Saarinen tables bevel on the edges? Is that all that it is called? I am wondering how to make this style clear to the builder. I think it adds a very nice touch. And when doing this what would be the best material and why? Ply? MDF? Should I expose the ply? Or paint the bevel on the underside white a la Saarinen? Also, while I don't want to build a 'knock-off' the legs I have found that I like are a bit like Piet Hein's table (link below). What do you think of these? What other legs should I consider? I like how airy these are and they will match the chrome legs of my DCMs. The last thing I am worried about is adding these legs to the 72" x 36" top. Would it need some additional support? How thick should the top be with these legs? Sorry for all the questions. But it just goes to show how complicated a relatively simple design can be. I often hear: "That table costs $XXX! I could build that myself?!!!" But you pay for the design itself. For the right proportions. http://www.homedepot.com/h_d1/N-5yc1v/R-100564477/h_d2/ProductDisplay?langId=-1&storeId=10051&catalogId=10053 | |||||
| Who said? | 1 Relevance | 17 years ago | Gustavo | General discussion | |
| Who said? Who said that advertising is always a poor thing? There are other ways/directions that could be smart and interesting. Brent, thanks for sharing In the store, as once I said, we work with ad. agencies who makes commercial TV ads (the worst or dirty quick work as they say), as well as Tv series and Films (i.e.:Coppola is living/working here now). Most of them are professionals from different areas, and all work together for the same end, each one with his design/profesion/side. Many of them come from UBA (Universidad de Buenos Aires) from Desing Building (With the careers: architecture/Textiles:Fabrics/Cinema/Graphis/Industrial Design ) All the furniture and objects, colours, clothes, etc. are selected very carefully, and goes in order with specific idea of the product (in case of a TV commercial ad) as well as any object in any film set. we rent and/or design and produce different objects, some are generic and some are for specific films with specific ideas. (IE: Lamps for diet-systems couldn't be fat. How would you design a lamp for slim-ads?) Although don't have much time for tv, That's provably why I enjoy many tv ads. Try to detect each object in each ad, where it comes from (Where it have been rented? some professional friend perhaps?) and the connection between the object and the product, they also reflects social interests and subliminal popular ideas and future trends. That's why I wanted to ask you, and didn't know how... I notice that in last years the trend was going to simpler and simpler things. That's in clear contrast with 90's ads with everything perfect and such a glamour. As here in South America, in 90's and now there are very different paradigm, I see that they are very clear reflected in ads, and it's perfectly understandable. Before seeing pepsi ad, I also suspected that all DArs see retro or non-glamorous ads on tv. Why?, how do you read that? In Pepsi Throwback. Happens the same. The face of the blue shirt guy's face.... says everything. Barry, I couldn't find the commercial for Laughing Cow cheese still intrigued searching. 🙂 Gancia Magnetism Here is Gancia Magnetismo. A two years old ad that I liked at the moment, and wanted to share it. By the way some lamps are our, as the two globes tower lamps beside the shop window at the cafe, was the first time we rented them just a two days after we finished them. As I searched Gancia is here a very popular drink as in Italy, but not much in other places, perhaps you don't know it. http://www.landia.com/directores/andy-fogwill/view/?p=gancia%20magnetismo | |||||
| how big of an 'oops' was this? | 1 Relevance | 19 years ago | dandelauro | General discussion | |
| normally, i would try and not talk about something like this out of shame... but... we recently picked up a thayer coggin / baughman living room set from an estate that had 2 pieces of a semi-circular sectional, one chrome-base rosewood sofa table and one chrome-base marble coffee table. the sofa and the sofa table are amazing - totally happy with it. however, the coffee table didn't quite share the same fate. the marble slab must have weighed a good 100 lbs. i managed to get it from the estate into my car, and then into my garage where it sat until my back healed. we then moved it into the kitchen to let it get back up to room temperature before we put it back onto the base. it was leaned up against the counter - and all seemed fine. about 2 minutes later, we heard this loud crash. it fell. here i am thinking to myself... there's no way it could have broken. the thing is like a tombstone. but i was wrong. it shattered into a bunch of pieces (see picture). i'm kind of over it now and i've recovered from the 'loss' but as i think about it, i'm not even sure the marble was original. here's my reasoning: 1. there were 3 screw holes underneath that didn't even line up with the 4 on the base. 2. there was a circular fade mark underneath as well that didn't line up. (too small to match up with a tulip base though) 3. the edge of the marble was somewhat tapered. everything else from tc/baughman i can find is a flat edge. does anyone know if the marble was original? not that we would have even used it since marble is kinda gaudy, but if i can determine that it was not in fact original, i will probably sleep a little better. i think what we're planning to do is either sell the base, since that's clearly baughman. or we'll just get a piece of nice glass cut round to fit and use it as a side table. here are a few photos of the marble. there was a maker's mark on the bottom but it's something i have never seen before. any thoughts / input would be greatly appreciated. | |||||
| Florence Knoll 1503 double desk with modesty panel? was free on craigslist | 1 Relevance | 12 years ago | difeliciantonio | General discussion | |
| Today i drove and picked up a free desk on of craigslist, not really free as it cost 30$ in gas but the item cost 0$. i picked it up cause i am 99.8% sure it is a real Knoll desk, however, i cant find any label. but there is reminants of a few stickers of some kindfirst of all the thing weighs like 160 lbs. and in order to fit it in my car, i took it fully apart and put all the boxes, drawers and legs in car and the top on my roof rack which it still is onI will take pictures tomorrow, but the modesty panel is held on by 3 screws per side with L shapped black brackets. On the very bottom edge of the modesty panel is 2 stright black brackets with 4 screws per bracket, 2 screws on panel and 2 on deskthe drawer boxes are held on by a total of 10 screws per box into the table top and the chrome legs are held on by 2 7/16ish bolt/ washer/ locking nut with a black plastic spacer strip btween leg and wooden box per leg. and some type of riv nut pressed into chrome leg. no cap on the top of leg, just bottomwalnut wood veneer with solid oak drawers. formica walnut top and the bottom is stamped formica like every 2 feet.standard 3 drawers on the left and 2 on the right with a large one on the bottom right no handle pulls, the edges of the drawers have a profile routered into them. the slides for the drawers are marked grant. there are 2 locks. 1 lock per drawer box. the locks are marked 520 it needs love, do any of you have one in a residental setting? worth me spending tme to fix? the pictures are of 2 of the drawers i brought in the house for detail shots. rest i will deal with in the morning | |||||
| Lucky you! | 1 Relevance | 12 years ago | Spanky | General discussion | |
| Lucky you! For the wood, I would just use #0000 steel wool and teak oil, rubbing in the direction of the grain. I use Star-Brite Teak Oil (sold at Ace Hardware and marine supply stores) which doesn't have any varnish in it. You let it soak in for 5-10 minutes, then wipe off. Buff again later after a few hours. Those arms may need two treatments. Cushions: no, you won't find premade cushions anywhere for this sofa. It's actually not a complicated thing to make them (for an upholster, I mean---too exacting for a DIYer to do well). First, you must use an appropriate fabric. I think most upholsterers work with fabrics that are right for traditional furniture (brocades, jacquards, etc) or contemporary furniture (chenilles and more chenilles). They don't stock Danish-style fabrics because no one uses them on mainstream furniture. Fortunately it's easy to find the right fabrics on Ebay and at Modern-Fabrics.com. Maharam's Kvadrat line has the classics (but also a lot of very modern fabrics--just go for the wools). Any upholsterer or person with a tax ID can set up an account and order directly from them if you can't find what you want online in the right fabric, color and yardage. From there, it's just a matter of measuring accurately (width of sofa divided by 3, front to back depth for the seat cushions, height of the back cushions is up to the top of the frame minus the thickness of the seat cushions---basically). The foam should have a thin wrap of upholstery batting, like 3/4". NOT the really poufy stuff used on mainstream furniture! I think these sofas probably had welted cushions but maybe you could go welt-less, not sure. There are probably lots of examples online with original cushions. So beyond that, just look at the upholsterer's work. Things you want to avoid: ripples in the seams, ripples in the side panels, very noticeable joins in welt, tucks or pleats anywhere. Open the zipper to check the batting. I've seen cushions with no batting at all; this isn't good because the fabric slides back and forth every time you sit down and get up and it will grip the foam and stay there, resulting in shifting and ugly wrinkles. The batting is a buffer--the fabric doesn't grip it and will slip back into place. The batting also softens the hard lines of the foam block and just gives it a better look while still looking tailored and un-poufy. So..probably more info than you need! Once i get going, I have a hard time stopping! | |||||
| Why rewire. | 1 Relevance | 16 years ago | fastfwd | General discussion | |
| Why rewire. There are a few reasons: 1. No VISIBLE exposed wires doesn't necessarily mean no exposed wires. Old insulation can crack or fray, solder joints can crack, wires can short against metal parts... And it's possible for all that to be invisible. Fortunately, you can test for it pretty easily: Just plug the lamp in, turn it on, and touch all the exposed metal; if you die, there was a hidden short. 2. The old plug probably isn't polarized -- i.e., its two blades (I'm assuming that this is a US plug) are the same size -- so it can be inserted in the wall socket either way. If the plug is turned the wrong way -- and there's a 50/50 chance it will be -- there are two potential issues: a) If there's an inline switch on the cord, it should be on the "hot" wire. If, because the plug is inserted backward, it's on the "neutral" wire instead, then even when the lamp is "off" there will be potentially deadly voltage at the socket. Fortunately, you can test for this pretty easily: Plug the lamp in, turn the switch off, and put your finger in the socket; if you die, the plug was backward. b) Even if there's no inline switch, it's desirable for the hot wire to lead to the protected "button" contact at the bottom of the bulb socket, and for the neutral wire to lead to the more-exposed threaded shell of the bulb socket. If this arrangement is reversed because the plug is inserted backward, then changing a burned-out bulb while the power is on can be dangerous. Fortunately, you can test for this pretty easily: Plug the lamp in and accidentally brush against the edge of the socket while changing the bulb; if you die, the plug was backward. 3. Even if the plug is polarized, you don't know who last rewired the lamp or whether they did it right. If they did it wrong, then you'll have the above issues EVERY time you plug it in, not just 50% of the time. Again, you can test for this... Etc. The safest thing to do -- although few people do it with portable lamps like yours -- would be to rewire the lamp with a three-wire plug (hot to the socket's button, neutral to the socket's threads, and ground to the outer exposed metal bits) and a new socket. Second-safest would be to rewire it with a modern two-wire polarized plug (again, hot to the button, neutral to the threads) on new wire with a new socket. The new wire and socket will protect you from most of the electrocution danger, and if your house wiring is correct, the polarized plug will protect you from much of the rest. You can do all of this yourself -- it's not rocket science, just maybe a little time-consuming -- or you can get it done by a qualified professional for probably around $25, depending on how much cord you want for your swag setup. | |||||
| Nature leads the charge in the green revolution...amps up vegetation to eat excess CO2... | 1 Relevance | 18 years ago | dcwilson | General discussion | |
| To update FDR, the only climate we have to fear, is the climate of fear itself. Turns out planet biomass is doing its thing: its increasing and consuming the excess CO2 levels everyone has been worrying about without so much as a single subsidy. We don't need to start a green revolution. It is already started without us. To paraphrase green architect Will McDonough, waste is food...especially if you really like your green veggies. Let me guess, the next great threat will be that the planet is getting too green! Excess decaying plant matter will trigger too much methane. Scientists will be found to cry wolf about it. Politicians will fear monger with it to create legislation that gives them yet another financial hustle. Then something in the environment will begin consuming the methane.--like humans harvesting it for energy. Irony of ironies--global warming triggers a renewable source of methane everywhere AND warms the climate sufficiently that we need to generate less heat in the continental climates and so can afford to generate more AC in the equatorial regions. Will we find that the alleged threat of high CO2 levels proves as big of a hoax as human driven global warming? Um, all the planets measured in the solar system are evidencing global warming...and no humans even live on them. Bush demonized evil doers so he could open the treasury to his cronies. No WMD in Iraq. Just lies about it. But his cronies are now enriched beyond imagining. Gore demonized CO2, then got in carbon tax credit biz with a brokerage firm--what a surprise. Can a green President demonizing CO2 and opening the treasury to his cronies be far in our future. Does the central bank centric oligarchy want a global carbon tax to insinuate global taxation necessary for global government? Does government look endlessly for new ways to tax people? "If you try to walk, I'll tax your feet, If you try to sit, I'll tax your seat. If you try to drive, I'll tax your street. Cause I'm the Taxman, Yeah, yeah, I'm the Taxmn..." --Beatles Is big government the ultimate welfare state for the rich members of the oligarchy that control big government? Are honest greens getting used now the way honest moral majority people got used the last ten years? Bet on it. http://www.financialpost.com/story.html?id=569586 | |||||
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