Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| Torbjorn Afdal Form chair for Bruksbo | 1 Relevance | 12 years ago | cdsilva | Identification | |
| Just got a late Christmas present from craigslist last night; a pair of Form chairs by Torbjorn Afdal for Bruksbo. As usual, my initial plans to resell are now in doubt after getting a chance to sit in them and better understand the overall quality of construction. I may have to rotate these into the current house layout and put some other ones up for sale. The overall quality of these chairs are excellent. For those of you who have felt the tank-like sturdiness of the Afdal/Bruksbo Krobo bench/table design, these chairs have that same sturdy construction feel to them, except in a much more fluid, elegant, and lighter form. While I have seen other online examples marked, these ones are not. Another example of the quality is the seat, expertly upholstered in tight black leather (not vinyl), which has the nicest underside I've ever seen in a dining chair. The curved plywood seat is thicker than normal (~1/2" or 12mm), and has what appears to be teak veneer on the bottom face. Two rows of staples for the leather are so carefully installed that they almost resemble metal stitches. Quite an effort/expense for a view of the chair that is almost never seen. Both chairs have an additional piece of wood for the chair support, which appears to be part of the original construction, even if it doesn't really fit in with the design concept of the wood frame. On a tangent note, I hope no one minds, but I've been creating threads like this recently where no existing relevant thread exists, instead of posting in the last-thing-you've-acquired list. I've always found these focused threads more useful when searching for info (rather than isolated mentions in larger threads), especially when others then add onto it. | |||||
| passionate | 1 Relevance | 21 years ago | NULL NULL | General discussion | |
| passionate Hopefully my passion does not come off as rudeness. But this excerpt from Classic Domain's letter is a very weak threat. 'If you do not agree to immediately remove the subject "forum thread" I am referring this correspondence to Stirling's legal consul with instructions to show cause and commence the filing of legal proceedings against you and your company, both in the United States of America and Belgium. I assure you we will be relentless in our legal pursuit for damages against our company.' I'm working in a multinational. Consumer letters and legal matters come across my department all the time. A non-legal "personal" letter like the one you received would be given to our legal department. Then, our legal team would put into the back burner and NOT reply until a proper letter is sent by their ATTORNEY. If their attorney's letter has legal merit within our country, we will reply to it. If we find that this foreigner's claims have no legal grounds against us in our country, then that foreign attorney's letter goes into the back burner or shredder. We get 1000s of frivolous demands from consumers all the time. Do we stop production as soon as we get a complaint that has no merit? When we receive a foreign non-attorney "private" letter, do we have knee-jerk reaction and stop production on millions of dollars of goods in the pipeline? Are you kidding me? That would be a terrible disservice to our stock holders and our customers. We know the law, and as long as you know the law and where you stand, you have nothing to fear. In scale, we're fairly big business. Legal battles are extremely expensive to fight country to country, let alone within one's own country. I think Patrick and Alix run a web site out of Belgium. Stirling is based in USA or Indonesia. I'm a betting man, and odds are that there is no way in hell that a small firm like Stirling is going to travel to Belgium, hire a lawyer in Belgium, file proceedings, and stick around for months and/or years to fight it out in the courts over claims that they know have no merit. Would an attorney in Belgium take their case? Probably not due to lack of evidence of harm. But if they did, they'd require Stirling to commit a lot of money that they know they would never be able to get back. Patrick and Alix had a really good thing going. Their decision, based on that Stirling excerpt they gave us, just does not make any sense. It's total kowtow to busineses like Classics Domain and screw the readers of the forum. | |||||
| pt 2 | 1 Relevance | 19 years ago | dcwilson | General discussion | |
| pt 2 1C. When there is no truth, only possibility and probable outcomes, human activity appears to cease to have an accruing relationship with its past work. In this quantum world view, humans seem increasingly view the past through the lens of "that was then, this is now." The assumption seems to be that context, technology, skills, capital requirements, regulation, consumer taste and consumer buying power, change so much over even a short time, and are so situational, that whether one is designing superficially (putting a new skin on an old coffee pot mechanism) or designing deeply (designing the coffee pot mechanism and the skin), the temptation is to come up with the next new thing. 1D. Hence, the answer to "why" is rooted in a contemporary world view that has over the last century increasingly eclipsed the prior world views of religion and then inductive science, which both assumed and operated on, knowable facts and immutable laws that lead to recognizable systematic continuities over time that the current world view does not, and perhaps cannot, permit. 1E. The fallout of this current world view is that today we have little more in common with persons living in 1960 than 1860, or 1560. Under the sway of a quantum world view, every situation is unique and most design solutions have a brief temporal range of application. 3. It flows from the world view that individuals are increasingly going to value and desire unique design solutions from their own time. How can a coffee cup from the 1960s possibly perform as well, express me, as one utterly reinvented today? Technology is sooooooooooooooooo much more advanced today.There is in turn a de-emphasis on whether the coffee actually tastes better, because no one can remember what coffee tasted like in 1960. 4 In capitalism occurring under the institution of private property rights and patent law, there just is an incentive to search for the next great killer app. The margins for the next patentable killer app are big and protected. 5. To truly redesign an existing design by building off of it, you have to understand it. To truly understand it, you have to have some one who designed it explain to you how it was designed and what tradeoffs were considered during it design. How many designers are still around at the same firm they were when they designed the toaster in 1980? Probably none. Hence, there is no continuity of personel and knowledge within companies that would be required to make building on old designs significantly efficient. Those are my thoughts so far. | |||||
| SETAG: >>hey were put... | 1 Relevance | 19 years ago | Entropy-0 | General discussion | |
| SETAG: >>hey were put... SETAG: >>hey were put by the curb for a reason... Well, at leat from the degee of restoration/repair needed, the last owner had a good reason to let it go. Great to hear! My girlfriend was worried we were stealing it. (It was found outside a dentist's office in the driveway, but one foot away from the sidewalk. But then, I admit I'm not an expert on how far in something has to be before you can make the distinction between private posessions and public trash). >>I really doubt they are of danish origin, rather danish style. The laminate gives it away as american mid century trying to be danish. Interesting. I have posted the story of a very similar set that I have, a little while back. In this set, the legs are chromed metal but the top is almost identical. So I guess mid-century American trying to be Danish must have been pretty common in the 50's. >>The table; remove top laminate and renew. Sand and remove all finish from legs and skirt area and re stain, and topcoat with same. Wouldn't staining the legs change the original color, especially wrt to the chair wood? Why stain instead of just sanding and oiling? Do I have to be careful about the oil used for teak, ie. is there a recommended type? >>See, a lot of work to be done right, that is why they where by the curb. depending on your skill level, which if you have to ask if you can do it yourself is probably low, so to pay and have restored corectly plan on spending $500 to 800 for the table and 100 to 200 for each chair. Good luck! p.s. if you put back on the curb please leave the address. Hmmm.... you're making it seem like the set needs a lot more work and is in a lot worse shape than I thought it was.... are you sure you're not making me put a lot more work and money into this thing, just so's I get discouraged and put it back out so you can pick it up? Because just in case you are, I will still give you the address of where I leave it, if I do decide to put it out. I just won't tell you which day it'll be there. BRENT: Thanks for your opinion, too. From all that I have surveyed, I have had a hard time finding anything more suitable for me than Ikea's Fusion model, because my kitchen dining area is relatively small, and the Fusion is the only table easily available, who's chairs fit flush when not in use, thus taking only 1.4 metres of space, thus nicely opening up the dining area. I also like the overall look of it a lot (but not the fact that it's from Ikea!). I read that its considered one of the few products they make that doesn't scream "Ikea!" (even the name is un-Ikeaish), and one of their most successful designs ever. In case you're not familiar with this model, there's a photo blurb on this page: http://www.easylivingmagazine.com/trythisbuythis/Details.aspx?StoryID=37... | |||||
| Okay -- | 1 Relevance | 17 years ago | SDR | General discussion | |
| Okay -- enough of this pleasant banter. As promised earlier, here are more of the man's words, from the autobiography. Wright here gives, in a couple of pages, virtually the only description he was ever to provide, of how the Prairie House, his first significant body of work (so named after the fact, by others) came into being. He is writing c. 1932, about events of the late 1890s. These words will have meaning to anyone interested in modernist architecture, I think: BUILDING THE NEW HOUSE FIRST thing in building the new house, get rid of the attic, therefore the dormer. Get rid of the useless false heights below it. Next, get rid of the unwholesome basement, yes absolutely -- in any house built on the prairie. Instead of lean, brick chimneys bristling up everywhere to hint at Judgment, I could see necessity for one chimney only. A broad generous one, or at most two. These kept low-down on gently sloping roofs or perhaps fiat roofs. The big fireplace in the house below became now a place for a real fire. A real fireplace at that time was extraordinary. There were mantels instead. A mantel was a marble frame for a few coals in a grate. Or it was a piece of wooden furniture with tile stuck in it around the grate, the whole set slam up against the plastered, papered wall. Insult to comfort. So the [i]integral[/i] fireplace became an important part of the building itself in the houses I was allowed to build out there on the prairie. It comforted me to see the fire burning deep in the solid masonry of the house itself. A feeling that came to stay. TAKING a human being for my scale, I brought the whole house down in height to fit a normal one -- ergo, 5' 8 1/2" tall, say. This is my own height. Believing in no other scale than the human being I broadened the mass out all I possibly could to bring it down into spaciousness. It has been said that were I three inches taller than 5' 8 1/2" all my houses would have been quite different in proportion. Probably. House walls were now started at the ground on a cement or stone water table that looked like a low platform under the building, and usually was. But the house walls were stopped at the second-story windowsill level to let the bedrooms come through above in a continuous window series below the broad eaves of a gently sloping, overhanging roof. In this new house the wall was beginning to go as an impediment to outside light and air and beauty. Walls had been the great fact about the box in which holes had to be punched. It was still this conception of a wall-building which was with me when I designed the Winslow house. But after that my conception began to change. | |||||
| I am | 1 Relevance | 13 years ago | onegroovydude | General discussion | |
| I am all with you on leaving things original. These just look a little beyond wiping down. You can't leave everything original regardless of condition, under some circumstances. I'm sorry. If there's significant paint loss, and the rust is beyond superficial, and they'll be outside at some point, and she doesn't want rust dust all over her, and her friends clothes for generations to come, and wants them to look pretty and not get worse over the next 20 or 30 years, and have something nice to leave to someone, then they need to be refinished. It's not that difficult to do. They're only metal wire chairs. In their current condition it would only increase the resale value. They can't get much worse. If those were painted with a nice enamel, and matched in texture, color, and sheen, I'd get more for them in my store than they'd ever bring now. If restoration didn't raise the resale value of items, no one would restore old vending machines, gas pumps, fire hydrants, barber chairs, vintage, and antique cars that have been left in fields to rust to their death. Antiques roadshow would never tell people that restoration would help an item, which they do routinely. There'd be no such thing as wood stain for furniture. No cleaning chemicals. No need to wash your clothes, or car. Just leave it all exactly as it builds, or wears. 6 restored Coca Cola machines just brought $69,999 on ebay, so your rusted original vs. restored sale falls on deaf ears to people who don't like rust. The majority of people will pay more for restored mint, over unrestored, full of rust all day long. If she tried to sell them right now, every person that looked would use the rust against her to get them cheaper, so how does rust help? Rust is not a patina...lol. A patina is a darkening, or aging of the finish, while the metal is still in it's natural, undeteriorated state underneath. Patina does not come off on your clothes. Patina does not eat through metal, and destroy it with age. Rust does. Patina adds value. Rust does not. Even if she cleans them well, eventually they'll start to rust again, because there's no paint or primer left to protect the metal. She'll start seeing little reddish brown dots everywhere, and sure enough, here comes that rust again... Rust starts at welds, and when each chair has 40 welds a piece, it's a lot of rust to keep up with. If nothing else, it'll be a constant cleaning battle for the rest of her life. She can do whatever she wants, but you're def. not the defining market for the whole world, and shouldn't act as such. Some people want old silver (or silver plate) with a full dark brown patina, others want it shining like a diamond. At the end of the day it all sells for the same amount. So, it's what she wants. Not you, or me. I just offered a smart, backed by millions, friendly, opinion. | |||||
| pt7 | 1 Relevance | 19 years ago | dcwilson | General discussion | |
| pt7 The other problem I foresee is that those glass walls will be separated from the frame and do one of two things. Either they will shatter, if they are not strong enough, thus leaving a berm of huge glass shards that are exceedingly difficult to climb over in a panic without goring yourself to death. Or they will fall in tact on to the beveled ground; then tip up, and effectively create a glass lid over the beveled area around the building foot print. I don't know if this would for certain make ingress and egress nearly impossible, but I reckon it might. Now, I know many will say, oh, but the experts must have already thought that through and there is nothing to worry about on those counts. Maybe, but experts are among those most prone to getting tunnel vision about solving the problems assigned them and ignoring the problems they are creating with their own solutions. The experts were looking at this building as a problem in building an environmentally efficient and envionmentally friendly building. As a result they were trying a lot of new things. And they had a man in Piano who had already a great reputation from Kansai airport for building earthquake proof buildings. This is a recipe for creating unforeseen consequences like I am referring to and to others I am not keen enough to anticipate. But trust me: when you take experts out of their comfort zones, they are not experts any more. They are experimenting and one tends to experiment on the problem at hand, not the unforeseen problems. Now let's stop hand wringing about earthquake safety and move onto whether or not this building transcends its high concept and achieves an irreducible unity, or does it, like some other of Piano's buildings fall into the category of thoroughly worked out concepts that do not transcend their concepts. At first, second, and third glances at the pictures from many angles, I would have to say CAS is yet another example of Piano's brilliance failing to achieve an irreducible unity in architecture. Ordinary persons are never going to look at the CAS and say that is the darndest thing they ever saw. They are going to say: wow, look at that huge museum with the grass on the roof! And architecture critics are going to continually point to the innovative environmental design and to the brilliant problem solving related to getting by without AC and so on. But neither the architecture critics, nor ordinary persons are going to look at CAS and say, "Wow! that is one of the most beautiful buildings I ever saw." And so, considering that Renzo Piano is one of the most talented and daring architects of our time, and he keeps building buildings that are long on engineering and technological and environmental virtuosities, I am inclined to answer the question in the title of this post this way: yes, it appears thta high concept engineering is eclipsing design in architecture. | |||||
| back to bertoia, and a bit more | 1 Relevance | 21 years ago | NULL NULL | General discussion | |
| back to bertoia, and a bit more here's the small bit that the Ruland "Knoll furniture 1938-1960" says re bertoia & eames: "Eames & Bertoia collaborated on a chair with a plywood seat and metal legs. Eames and Bertoia were not in agreement regarding the attribution of their work." Ruland at 17. It also goes on to suggest that Bertoia left because of this dispute, as well as the fact that Bertoia was more interested in working with metal at the time. Re the lawsuit between Knoll and Herman Miller -- here's what Pat Kirkham's book on the Eames says (at 242-43): The eames wire chair came out in 1952. After Bertoia's came out in '53/54, HM sued Knoll, and the dispute was "legally settled in favor of HM ... In the end, Knoll was granted a license by HM to use the bent-wire technique under the name of Eames. However, legal niceties do not always reflect all the relevant facts or acknowledge that often more than one designer pursues an idea at the same time, and thee question of attribution becomes even more complicated in the case of design. Ray & Charles ... and Harry Bertoia knew one another well from Cranbrook . Bertoia played an important part in the development of the plywood group; however he left the Eames Office in 1946 -- five years before hte Eames wire mesh chair and 6 years before his own chair was produced ... There is no reason not to believe Bertoia's claim that it was while he was devoting his energies to bending plywood in the Eames Office that he realized his preference for bent metal ...." ... now as to the Nelson attribution thing. azurechicken says "I do not think it hard to swallow that a single person designed so simple a product as a ball clock/a slat bench etc...and that person was not Nelson." These are of course 2 of the Nelson Office's most famous designs, so this is saying quite a lot. It happens that these are also 2 examples that do not make your point. here's what Stanley Abercrombie's book on Nelson has to say: (1) Re the slatted bench: on page 53, there's a photo from 1945 of Nelson's office at Fortune Magazine (where he worked before becoming HM's design director). the office is full of his self-designed & made furniture, one of which, lo & behold, is the prototype of the slat bench. additionally, at 92-93 of the text, the book confirms that the only assistant Nelson had when he designed his first line of furniture for HM (in '45 or '46) was Ernest Farmer. the slat bench, along with the modular case series as well as some of the most famous of all Nelson designs, all came from that first collection. (cont'd) | |||||
| Nice Find!! | 1 Relevance | 18 years ago | whitespike | General discussion | |
| Nice Find!! I just think it boils down to personal preference, but I would agree most people would opt for new Herman Miller or Knoll rather than some of the lesser known vintage companies. I am not saying I do one over the other. In fact I'm a fan of both. I have a new Herman Miller Eames lounge and ottoman, because the vintage ones often give out and I want to use it for years every day without worry. One of my favorite pieces is a rarely celebrated lesser known chair by Ib Kofod Larsen. I love it regardless of its lack of popularity. There are so many designers on this planet past and present. Not every one of them can design for Herman Miller or Knoll or Vitra. There are severa1 arguements either way, most of them valid. 1. Getting a reupholstery job, unless you have someone you use frequently, is a really a gamble. That's why some may prefer buying new upholstered pieces. 2. Herman Miller and Knoll had the smarts and good fortune to hire the best of the best. Most modernists seem to be really most intrigued with specific designers and their philosophies rather than a time period. Therefore the designer is what is desirable, not the manufacturer so much. If it was just a time period thing, we could all buy cheap wonky retrotastic crap. But the period, while there are certain hot spots in history for modernism, is not the forefront of concern. For example, a really informed modernist might want a Mies piece from the 20s, a Girard piece from the 60s, and a Marcel Wanders piece from yesterday. 3. Certain pieces have a pretty good history of failing mechanisms but are still desirable. For instance, the Eames lounge and ottoman. The back often comes off where the shocks mounts dry out and age. Wires often come loose and are unpredictable on Eames and Bertoia wire pieces. 4. Some people just plain hate patina. I love it. Some people want everything squeaky clean. 5. Unfortunately, some people want their house to look like a DWR showroom. I think it's very predictable and boring. Even with many of the same pieces that DWR carries new, a place can own a more authentic feel through the obviousness of its vintage IMO. 6. Like many of the fine antiques you deal with, many pieces are simply unavailable or out of this world regarding price. We spend a lot of time bitching about knock-offs, reproductions, vintage etc. on this forum. The pieces we collect are generally well under a century old. There will be a time when it's all gone. The only way to have it is a lot of money, family heirlooms, and luck. Most people will have to buy reproductions period one day. I would urge you to not be concerned with making it look like the 50s. There are great modern pieces from the last 100 years, including today. Sometimes when people try to mimmick a time period too closely it can get rather cliche. I am a big fan of just buying what you like. | |||||
| I've seen old Wishbones | 1 Relevance | 11 years ago | Spanky | General discussion | |
| I've seen old Wishbones without that odd strand in front. I don't know what it's there for either. I don't like it---I think because I spent SO much time on the first seat I ever did like this trying to figure out how to get that perfectly clean triangle of blank space. I was not doing the wraps correctly and kept getting one lone strand cutting across one long side of the triangle right near the edge of it and it bugged the hell out of me. The lone strand in the old Wishbones (and maybe new ones, I don't know--I only work on old ones!) doesn't intrude on the blank space but it does stand apart from the rest of the weaving a little bit, just enough to bother me. I thin it's one of those very minor things that is ok to skip since it has no real function that I can discern and doesn't change the overall look of the seat. You're more of a purist than I am in that regard. Though on this point I know there are old ones that didn't have it so I am comfortable not doing it just for that reason. I've seen the ends of the wraps done both ways, too--visible ends anchored with tacks, and ends covered by the wraps. I prefer the latter, but I think only because of my lifelong sewing background. I just can't bring myself to let exposed edges---or in this case, ends---show. I've seen at least one person justify a redesign of the weave pattern on a Moller chair because he thought his way would wear better. It might, too---but it didn't look right to me and I could never, ever do something like that! (Personal story quite possibly of no interest to anyone but me--back in my college music student days I was in a small ensemble playing a Mozart serenade that was all 8-bar sections repeated once. We wanted to run through this piece just for fun because we all really loved it, but only had 5 minutes left in the class. So we decided to just skip the repeats and plunged in. We played 8 measures, and in the first measure of the next section, everyone stopped simultaneously with a lot of head shaking and exclamations. One guy yelled, "FORM!" It was just instantly clear that the form was essential and just couldn't be messed with even for a quick and casual run-through. It was one of those AHA moments that I've never forgotten and that I actually think about pretty often. The other thing that I've always enjoyed seeing on woven seats are the little variations that I think are the marks of the individual who wove the seat. These can be as subtle as how tightly packed the wraps are, or more obvious like how some people leave a long end after wrapping the front and back rails on a Moller or other chair with nails and then lay it along the nails before driving them in all the way. I like that one so much that I now do it on all my jobs with L nails. I think it's a nice finish and it also helps to keep the cross-over strands in place. I've run into a few where i think, ok, this was done on a Monday morning after a big Sunday dinner with a lot of salty ham washed down by a LOT of Tuborg... | |||||
| One of the ... | 1 Relevance | 18 years ago | koen | General discussion | |
| One of the ... nicest thing I remember from visiting the Everaert home are the people living in it...but aside from that it has all kind of interesting features that I could share with you. First of all it is hardly noticeable from the street/road, which in Belgium is always a challenge; Belgium is after all the most densely populated country in the world. When arriving at the right address one slowly discovers the house when going up the hill. As mentioned in the blog Louis Everaert was influenced by some of the best Scandinavian contemporaries. One detail that reminded me right away of Poul Kjaerholm's home are the visible wooden beams that rest on the outside walls and continue to support a cantilevered roof. The spaces above the wall and between the beams are windows. It gives the roof a very light appearance and keeps the geometry of the crossing architectural elements very clear and understandable. But the Everaert home is much more than the rectangular volume of the Kjaerholm home. I liked the sculptural brick element of the entrance that gives you the sensation of entering a large sculpture. The bricks have a deep colour that is typical for a few clays that are extracted along the Meuse/Maas in Belgium. It is a dark brown with almost metallic nuances and it gives that curved wall an archaic character that is difficult to forget. If my memory serves me well the Belgian Embassy in Helsinki by a colleague of Patrick's father, the talented architect Roger Bastin, uses the same bricks but in large flat surfaces, which does not look as appropriate once you have seen this curved application. The rather narrow spaces of the entrance open up into the larger living quarters. Not unlike some FLW homes where larger spaces are introduced by smaller ones (sometimes in order to make the removal of some furniture impossible, the furniture was moved in before the building was finished). Unlike most Modernist north American homes, the spaces are rather small but the way one space introduces the next one is very much in line with the organic architecture of FLW more than with the modernist examples. I would love to be able to describe the feelingof these spaces in proper English, but I can't. The closest I can come is that the spaces are not spaces you live in but you live with; a kind of third skin-if clothing is the second one. It has a very humane feel that is characteristic for the modest man, Louis Everaert seem to be....but as I said, the most impressive are the people living in it. | |||||
| Zen View | 1 Relevance | 19 years ago | william-holden-... | General discussion | |
| Zen View This bit about a "zen view", in The Nature of Order, has stuck in my mind since reading it-- I now discover "zen views" all over town. ------------------------------------------------------- Christopher Alexander/ The Nature of Order: 134 Zen View* . . . how should we make the most of a view? It turns out that the pattern which answers this question helps to govern not the rooms and windows in a building, but the places of transition. The archetypal zen view occurs in a famous Japanese house, which gives this pattern its name. A Buddhist monk lived high in the mountains, in a small stone house. Far, far in the distance was the ocean, visible and beautiful from the mountains. But it was not visible from the monk's house itself, nor from the approach road to the house. However, in front of the house there stood a courtyard surrounded by a thick stone wall. As one came to the house, one passed through a gate into this court, and then diagonally across the court to the front door of the house. On the far side of the courtyard there was a slit in the wall, narrow and diagonal, cut through the thickness of the wall. As a person walked across the court, at one spot, where his position lined up with the slit in the wall, for an instant, he could see the ocean. And then he was past it once again, and went into the house. What is it that happens in this courtyard? The view of the distant sea is so restrained that it stays alive forever. Who, that has ever seen that view, can ever forget it? Its power will never fade. Even for the man who lives there, coming past that view day after day for fifty years, it will still be alive. This is the essence of the problem with any view. It is a beautiful thing. One wants to enjoy it and drink it in every day. But the more open it is, the more obvious, the more it shouts, the sooner it will fade. Gradually it will become part of the building, like the wallpaper; and the intensity of its beauty will no longer be accessible to the people who live there. Therefore: If there is a beautiful view, don't spoil it by building huge windows that gape incessantly at it. Instead, put the windows which look onto the view at places of transition along paths, in hallways, in entry ways, on stairs, between rooms. If the view window is correctly placed, people will see a glimpse of the distant view as they come up to the window or pass it: but the view is never visible from the places where people stay. Put in the windows to complete the indirectness of the view and build a seat from which a person can enjoy the view. If the view must be visible from inside a room, make a special corner of the room which looks onto the view, so that the enjoyment of the view becomes a definite act in its own right. . . . | |||||
| I want to try that food ! | 1 Relevance | 18 years ago | Gustavo | General discussion | |
| I want to try that food ! 3) My/Our Dear brnki said: "when I think about it deeper, I must say that the biggest difference is in aesthetics aspects. Traditional food of our country isn't so "good looking", it is more about cheap food that fills the stomach :)" Dear dear brnki, One one side, I never thought that full stomachs it's so bad... Here and in many places we had food that fills our eyes, but almost not the stomach. (This can be apply to fast food as well as to Nouvelle cuisine 😉 ) (On fast food I'm referring to the ads with many signs whit stars and cute graphic design on the papers, That made me realize a Burger king ad or similar referring to a the attractive Mac Donald's ads at the same time they reduce it the size of the burgers...) On the other side please let me tell you a story: Just in the other corner of my store, there was a traditional bar-bristo- restaurant, The owner was Jesus, a Spanish immigrant from Galicia, that served it himself with his wife, every day do all the work open and closed, He used to serve big slices of ham cut by himself with a knife. He also served the traditional "picadas and vermu" (At a point that many could see that as an vulgar, poor or gross in those days, just 6 years ago) but the neighborhood was becoming more trendy and he more old, so he decided to retire and rent it. First he rent it to the son of Olmedo, a very famous local actor, but didn't worked (perhaps just only being famous doesn't warranty success!), And then was rented again to another one that re-restored as much as Jesus left it. Now everybody, specially tourists, can eat in "lo de Jesus", with the sign "Lo de Jesus since 1953" Just 2 or 3 difference between the other and this Jesus, a bit of some kind of restoration, I guess the restrooms, and last thing the price, what used to cost $10, now could cost at least $50-70. The moral of the story: I want to try that "cheap food that fills the stomach" before it comes trendy and very expensive! Realize that before tourist like me want to invade your country to try that cheap food that fills the stomach, as in the old days. And be lucky if some Slovakian realize of that before some foreign investor comes "to save the authentic tradition of Slovakian people" before of you. By the way I love (your?) "goulash" that doesn't look good but with so delicious and tasty! ps general: As an Argentine, I could't leave this thread on meals without a comment. (-:glutton face here:-) English comment links http://www.lodejesus.com.ar/prensaimagenes/herald2.htmhttp://www.lodejesus.com.ar/prensaimagenes/time-out.htm http://www.lodejesus.com.ar | |||||
| Pt2 | 1 Relevance | 19 years ago | Gustavo | General discussion | |
| Pt2 That make think that: Blogs are as Traveling as a backpacker Vs. staying Quiet at home with friends(forum) Although there are very active blogs, I find Blogs are more PASIVE and forums more ACTIVE. A post in a blog means: comment if you want or have something interesting, if not just read it and enjoy it. A post in a Thread means: YOU HAVE TO comment, if you know a bit about it. I don,t have the exact numbers, but I think are about this: A FORUM-thread, it,s read it for about 35/80 readers, can post 3/10 posters-most regulars. A BLOG-post can be read for 100/2500 and could post 1 / 2 or none and there are almost no regulars (or at least compared with forums). FORMAL vs INFORMAL (as P&A n CDWil said). What kind of blog do you want? Many blogs have their own ,spirit, DAforum have it,s own ,soul, (that once I asked , and I,m trying to describe, but not now) I think DAblog will find IT?S OWN place, and we could help it to find the direction. James C., I don,t think as much as you. When you said , presenting some thing and letting people freely critique it, and , We should absolutely criticize it and hard,. (any way I absolutely agree with your comment about Bloosom by Hella Jongrius lamp), But I,m afraid we could end desperately looking for what,s wrong. I don,t say this because of you, but I noticed that,s the way it,s turning the comments in general. May be you said that because you think are professional established designers, But you,ll see, I think most blogs are used to promote FRESH , new design/designers, That,s the only space they have to show them. I think it,s not for established design/designers, that can be found in any printed magazine. Who are we criticizing then?, the new fresh emerging designer from Slovequia ! Yes, he will provably do 90% wrong. So will be easy to do it. Isn,t more interesting to find the 10% top brands do bad? On the other hand, if we follow that route, I feel we will kill the blog before it born. It wouldn,t be comfortable for a new DAblog reader to see how 25 DAforumers , from the DAgang have fun attacking a stupid first prototype Newly graduated 24 years designer. I find it more brave to do the opposite, being harder in forum than in blogs. We know each other almost very well, so at the end could agree. Why to be hard with someone it,s not here?, And in that way if he is, I think will disappear immediately. (Or may be could want to turn to a critical blog for designers maybe, I don,t know any like that) But I think I don,t want that kind of blog. I,m happy we could have fresh air(contemporary design) in DA with DAblog, anyway, if DA is very mid century, it,s not a bad idea to cover with posts with that, for all mid century fans. (But please, just left a little space for ,fesh design, : -) ) Pending to see:LINKS, What about links? I,ll end with a memorabilia, the DAforum first steps, Some vintage threads: http://www.designaddict.com/design_addict/forums/index.cfm/fuseaction/th... | |||||
| I think you are all corr... | 1 Relevance | 19 years ago | LRF | General discussion | |
| I think you are all corr... I think you are all correct. I started collecting kitsch stuff , mostly the funky tv lamps and googie lamps and then the whimsical stuff , in the early 80s and we called it then Retro and really never looked at the furniture till the 90s because my home was done with Baker traditional and Micheal Taylor furniture , who was doing a lot of Chinese modern and was super popular back then, he was the go to guy for the great collections he did for Baker, and was truly a hidden talent and his furniture is now going through the roof with Mastercraft you can ask Evan Lobel as that is what he spends a lot of time aquiring that kinda furniture, I started my modern art collection in 1972 when I moved to Houston and every thing was very modern at that period coming out of the space age and Houston being the Hub, I can remember going to office after office and seeing nothing but mies,Breuer and warren planter and of course loads of Milo Baughman, for Theyer Coggin, Karl Springer was the high decorator at the time as was Hollis Jones, for your Lucite needs and skinned coffee tables, and side tables, Harvey Probber, Kagan, Parzinger,Evans and the pace collection were doing great with the rich,as their stuff back then was somewhat pricey and was in every modern home in Houston in the 70's . I guess to say the word "mid century modern " was more a evolving word, as all of these guys were around in the middle part of the 20 th century, Of course Eames,Saarine and others were popular, but i think by the late 60's and 70's they had not kept pace with the other designers as Sarrine died in 1961 and that was it for his furniture design, and Florance Knoll left the company in the mid 60's I was just thinking if there was a coined period like 1969 when Bevis Hiller coined that word Art Deco that en composed streamline modern, Jazz modern and zig zag I find this all interesting to me as I was very much a live and living in the moment, and I can honestly say i never heard the word midcentury modern design, side note to Mr. Wilson why do you feel Baux Arts,is the next big wave, any one who whent through architecual school knows this term, but i doubt if you polled 10 people they would know anything about this period unless you have traveled extensively through parts of NYC and the great cities of Europe, curious why you think this will be the next rave cause the furniture was far from modern and not that great as far as I am concerned , and if it was it could be classified Hollywood Regency sorta. | |||||
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