Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| Pt.2 | 1 Relevance | 20 years ago | dcwilson | General discussion | |
| Pt.2 The issue of tiny, pivoting front wheels combined with no-pivot, larger diameter back wheels has been commented on by Consumer Reports (if I recall correctly) in regards to lawn mowers. For some reason, product designers see some benefit to a combo of smaller diameter front wheels and larger diameter back wheels, especially if the fronts are made to pivot. But out in the front yard, users and product reviewers keep not experiencing the supposed advantage and find the combo wheel sets HARDER to turn when small front wheels are fixed and harder to keep tracking along mowing line or curve when moving. In push lawn mowers it simply works better to have four non-pivoting, same-sized wheels and design the mower to be easy to tip on its rear wheels to make turns. Fixed wheels also make self-propelled mowers easier to make, but I digress. Now a stroller is not a mower. More time is spent on floors and pavement than in the rough. But strollers spend far more time going straight than going in tight circles, too. And I found it, frankly, just as easy to tip and turn, a stroller, as to swivel turn one. Also, the tip and turn gets the child out of the horizontal plane a little and so yields a bit more inner ear stimulation, which is supposedly a good thing for infants. Off road, small front wheels just do tend to get caught up in stuff, and the pivoting is barely effective in rough stuff. Next there is the little talked about issue of what happens when a pram accidentally gets loose from you. Yes, it happens once in a great while to even the best parents. You park it on a slight incline and it starts rolling away, or you trip and lose a grip on a steep decline you shouldn't even be on. Its a hard call which is the lesser of evils in designing for a run away, but I side with the long wheel base, low CG, fixed wheels with large diameters and a good suspension, because I figure the pram has a better chance of surviving upright and rolling finally to a stop, if it doesn't hit something first. And if it does hit something, design in seat belts and safety structure to prevent as much injury from impact as possible. Put another way I lean to designing it to be able to tolerate going fast without flipping and absorbing the impact if one occurs. | |||||
| cont. | 1 Relevance | 17 years ago | koen | General discussion | |
| cont. Ho yes, it was not just ugly, it was critical of consumerism, it was not just a bad sculpture, it was an attack on those old values that pushed the consuming humanity to the edge of the planets sustainability. The product was not to be used, it should just be seen and the proud owner of the newly acquired piece with it! It is all far too simple to me. Why should Mona Hatoum's "Paravent" look like a kitchen tool? Why would an ugly sculpture by Zaha Hadid be well designed when you decide to call it a bench? Very pragmatic indeed! Let's face it, the emperor has no cloths. Why can we not judge Marcio Kogan's building as architecture? Why should we start to see it as a sculpture? I would not go down that path because it would simply not stand a chance if it was judged as a sculpture. In a public space I have no need for someone to express him or herself. I have as much need for humour as a polar bear on a melting ice patch, and I have as much need for irony as school building after an earthquake. I do not want my living space divided by an enlarged kitchen grater, nor do I appreciate a set of gold plated cooking pots as a work of art. It is just too easy. Of course we laugh at a pair of upright condoms in porcelain as salt and pepper shakers-but for how long? And how critical is it of the Catholic Church or over population in general?or was it to support poor Malaysian rubber tree planters? In an wave of optimism you stated that now in 2010 all or almost all technical issues are solved!...and so we could look at products in another dimension? I might be mistaken, but we have only started to solve the most basic technical issues. The efficiency of our technologies is about 4%, in other words for every "thing" we make, we consume 25 times the amount of materials and energy-is that what you call solved? We can not even imagine a transportation system that does not kill ten thousands of people a year and pollutes the planet. We can not make a communication system that does not fills the atmosphere with radiation or lighting that consumes too much energy or contains mercury like in fluorescent lighting etc. I am not so sure that we have all these problems behind us and that there is not difference between those who try to solve them and those who prefer to play the harp while the city is burning because after all they are artists? Is there no space for art in design? In my books there is not. There is, and there should be space for beauty, there should be attention for proportion and harmony, but art is too important to be squeezed into a building or a product. Art is a very demanding messenger, and the message it wanted to convey might be important but I do not want to see a message in the hole punch on my desk, or in the shape of my printer or the chair I am sitting on. | |||||
| Thank heavens you finally brought geothermal out of the... | 1 Relevance | 19 years ago | dcwilson | General discussion | |
| Thank heavens you finally brought geothermal out of the closet...Pt. 2 In the midst of this big power game is the need to generate energy locally by responsible persons who do not want to use energy as a weapon of global order and coercive power over states and nations of persons. Hence, every home you can sustainably ween off the infrastructures that energy vampires already control, the better off humanity is, unless humanity can find peaceful ways of returning those energy infrastructures (be they natural gas, oil, coal, geothermal, or something no one has yet dreamed of)to control by legitimately representative government. IMHO, the best thing persons can do for the world's environment at present is convert as many homes as possible to compost toilets to end the stupidity of the flushing of trillions of gallons of formerly fresh, clean water into septic tanks and sewerage treatment plants. By composting human waste, and recycling it into your lawns, flower beds and gardens, you not only eliminate all of the waste of water and the cost of its collective treatment and the cost of ground water pollution that occurs with septics, you also save many, many gasoline burning trips to the lawn and garden store for fertilizer you don't need; a fertilizer by the way which is itself a petroleum product, and not needed because one's own composted urine and feces, in combination with the composted green waste of their yards, yields more than enough nitrogen enriched fertilizer for their lawns, gardens, and flower beds, which themselves consume alot of CO2 and produce alot of oxygen. If suburbia and exurbia were to convert to compost toilets and heat exchangers, alone, suburban and exurban sprawl would probably become an environmental virtue instead of a vice. Dense cities are massively inefficient energy sinks. Add in electric cars to suburbia and exurbia driven by turbines turned by geothermal energy, and informed, rational greens would be advocating subdivision and ranchettes for the masses in no time. Further, the oilcos and the central bankers would all quickly have to go back to honest, competitive work for a living, rather than spending all their time and our resources on figuring out how to maintain their energy and money oligopolies in an awkwardly controlled transition from coal and oil to natural gas. | |||||
| The Chinese AREalready experiencing outsourcing... | 1 Relevance | 18 years ago | dcwilson | General discussion | |
| The Chinese AREalready experiencing outsourcing... I just read a story recently that said many big manufacturers are starting to build two plants--one in China and one in Vietnam. China's wages outside of prison labor are rising sharply--25% per year in some segments this past year. And China's employment level is now high enough that strikes and other labor unrest are appearing. Millions are now relying on cars now, too, and so the high gas prices are really jamming them, too. China's inflationary experience is projected to get worse, because China's horded trillions of dollars are now worth exactly half what they were a year ago on the foreign markets, so all the energy they have to import (and they have to import a lot), plus a ton of food and so forth, will all become sharply more expensive for the Chinese citizens very shortly. Imagine the kind of shock that is going to send through a society and its corporate players. China it self is encouraging certain kinds of outsourcing to avoid being held hostage by their own inflation cramped, unemployed masses. Sound familiar? Increasingly, the cheap MCM knock-offs are going to come from Vietnam. China is already doing what the USA and Japan did before them. They are moving their employment into higher margin jobs. They are emphasizing machine tool design and manufacture and expanding engineering employment in all sectors. This of course spells real pain for the USA and EU techno classes of employment--the last economic segments of any size that can afford to buy anything new and of high quality. Those in the FIRE (finance, insurance and real estate) segment are finding it very difficult to use the remaining balances on their credit cards as they are jumping out of windows, too. Very shortly, the only thing beyond bare necessities most persons will be able to afford are digital experiences. And until the conflict over who gets ALL of the OIL and gas in the Middle East, and who gets control of Central Asia and of valving its resources onto world markets, this game of economic chicken in which the FED, the ECB and the Chinese central bank play the game of seeing which central bank can survive the convergence of the standards of livings of these three still sharply separated regions of the world's economy will persist. And Israel and Russia Venezuela will continue to play each off against they other as they jockey for their long term independences in this very scarey and brutal game of last man standing in the global hegemony game. | |||||
| Some clarifications seem... | 1 Relevance | 13 years ago | essai | General discussion | |
| Some clarifications seem... Some clarifications seem necessary: 1. If some of you thought that our response was to bring Mark into line, they are wrong. The only thing we have asked him is that he avoids to post snappies in too many different threads. Whether one likes it or not, some users don't seem to appreciate too much his humor. We are therefore seeking a fair balance so that his fans can still enjoy their daily dose of Mark's non sense. But also for those who come on DA mainly to access information on design, don't bump into its interventions in every corner of the forum. By limiting Mark's snappies in a few specifically dedicated threads, users who don't appreciate his posts will have no more reasons to complain because they will be very easy to avoid. It seems fair for us and knowing Mark's kindness, we are sure that he understands our request. 2. We try to remain neutral in this debate. But we believe, as Killian said, that the older members of the forum, who had the opportunity and pleasure of spending time with Mark on this forum for more than 12 years, have learned to understand and appreciate him. Some newcomers are probably confused or irritated by his posts because they didn't follow the discussions from the beginning. They can not, therefore, understand some private jokes, nor understand what nice person hides behind his eccentric messages. During the 16 years of existence of DA, a community has been created with its characters and its habits. We now consider it our duty to offer the community a place to express themselves. This group of individuals who share the same interests, who often appreciate each other and have sometimes met "in the real life", must have a space to talk freely (even if it means that some "off topic" discussions emerge). But! We absolutely want to avoid the whole forum to look like a private club reserved for a happy few! The new members should always be welcomed with courtesy and be helped if needed. It is clear that the community can only benefit from the influx of new members! Future changes to the forum will make it all possible. 3. As SDR recalls it, we have already made slight modifications to the tool, step by step, when it was financially possible for us. This time, we will make a more radical change. Foxxxy, we assume that you won't see any problem if we send you the 5 digits bill? You know, most of the business advisors we've met about DA advised us to drop the forum (which doesn't make money and takes time) to focus only on the radar. As you can imagine, this proposal is rewarded by one response: a dark, angry look! For us, the community part of the site is the soul of Design Addict. We will always do everything that is possible to continue, with your help, to make it live and prosper. We suggest to close this thread here and we will soon open a new thread to discuss the modifications on the forum with you. Thank you all. | |||||
| continued | 1 Relevance | 22 years ago | NULL NULL | General discussion | |
| continued Aside from just wanting to be a good neighbor, we are into our home theater and electronics too and probably haven't realized we were being so loud! In addition, I play my iPod through my computer, which butts up against our shared "party wall", so he's been getting a good does of everything from Bjork to John Adams' latest minimalist concerto, all of which could probably be found annoying because of my subwoofer, and playing things with a low, repetitive sounds. We think he's a little too shy or embarrassed to come over and say anything based on what he may heard from us since he's moved in (and the like)! And oh, we have hardwood floors throughout which amplify footsteps and all my furniture is off the ground. The only rug I have is in the living room, and it's not all that thick. My partner is from New York, so he's naturally loud and has unique opinions on things other neighbors may not necessarily share! So, short of stuffing my art work with acoustical ceiling tile behind them, I need help. I really liked those wall panels DWR had, but maybe you can make a suggestion. I'm growing fond of those eggcrate things found in sound studios, but maybe there's something else. My first choice is to buy something prefab and install myself, but I'm up for a weekend project. I was thinking of maybe finding some kind of lightweight but dense material and just cover them with a fabric and suspend them from the ceiling, but I'd actually prefer to start on immediate places, like our computuer workstation (for a lack of better description. We use two Herman Miller Kiva screens and a Kiva Pebble table to make a little "cubicle" in an otherwise open space). We have a home theater set up in what would have been the office or second bedroom, and the speakers are all against the shared wall. I realize this may not be an appropriate forum, but it seems acoustics is one thing architects and designers sometimes overlook although I think sound is a big part of how we experience and use a space. I know paper-thin walls is common in older apartments, but with relatively new construction and modern Turn-of-the-Century techniques, we were expecting "party walls" to mean sound attenutation was considered in the design. Please help! Although we live in probably the most sexually free, liberal, secular, and open-minded part of the country, and two of anything having sex is nothing shocking, I would like to sort of sound proof my space a little better. I just want to sing horribly, play music or watch 'Pimp my Ride' a little louder, engage in interesting and controversial conversation with my loud partner, and well, unzip my religion down myself once in awhile in the comfort of my home without fear the neighbors are being subjected to it unwillingly like they have been! Help! | |||||
| Million Dollar Question about Process | 1 Relevance | 20 years ago | kag65 | General discussion | |
| Million Dollar Question about Process Hope This Helps. Some replies are way off base for production studios. Today 80 % still done in clay then scan and then given to EMM to Class-A surface with proper topology. Then the surface data is milled in clay opposite side to verify and prove out math data. 3D pantographs CNC milled by mirroring tool path data all day every day. Carry over and new data highlights are tweaked watched on power wall projection screen. VP model Sign off after Full size mill back process not just seeing it on the power wall. Full size model verify both the clay and the surface. Projection base surfacing with Stl and Math surface great combination for Design.. Most designers still have little 3D software background. Designers great at Paint tool but not 3D. For 12 years I pulled their fat out of the fire Networking is the key. You don?t know if you don?t talk. Pretty impressive abilities. needing or selling services requires exposure to what is out there. This is called marketing. I am a engineer seeing thing in 0 or 1's 3D modeling and CNC milling 5 axis is what I do. 12 years Studio support Engineer class A surface (Alias/ICEM) and wrote CNC 5 axis Environment at FORD PDC Dearborn. Custom CNC environment is best 5 axis program Customized for Ford Personal and benchmarked against All the Players wanting Ford Studio Milling. Your Question can I Scan Part and scale up and down yes, sir no problem. More than that Morphing, surface and STL data sets together and keep tangency for surface and stl node connectivity Process Works with CNC stl in 5 axis if the facets do not twist in the cloud. The clay changes so fast and the surface comes weeks later. The BIGGEST Issue is keeping the surface and clay insink!!!!!!!!!!! Soft changes with clay and steel wipes off with little effort. Once the clay has change and surface no longer the master. Digital Master Surface is BUNK process if can not keep up with clay. Million dollar question How to Combine STL Scan, Surface and Milling prove out. Show me know your process and I will show you I do it 12 years Ford Motor PDC Studio CNC / Surface Support Engineer (Alias/ICEM) 12 Years Ford PDC kag65@comcast.net http://www.millit5.com | |||||
| For a short while I thought.. | 1 Relevance | 17 years ago | koen | General discussion | |
| For a short while I thought.. ..a few hours would be enough to comment on DCWilson's early remark...Now dear DC you are giving me enough material to comment on for the next year?I just can't keep up. On your latest series of comments I would like to add a very general comment: Design and design management are not the same thing. Chris Bangle certainly is a good communicator and manager. He knows how to motivate the troops, but to use his years at BMW as a example of American design dominance is a stretch. Steve Job certainly has done a great job in positioning Apple but the design was early on done by Helmut Eslinger, a well schooled German designer that in the early Apple years had both an office in Germany and the U.S. called Frog design..etc. etc. Before trying to formulate an answer one side note: we "Canadians" are not in a position to respond to any U.S. attempt to integrate North America and claim the North Pole as the last star on the U.S.flag, but you might re-think your position. Over it's history Canada has welcomed quite a number of their southern neighbours, loyalists, draft dodgers, Bush refugees, you name them. By being a different country and being able to value the Canadian dollar at the most convenient rate for import of oil, natural gas, wood, aluminium, gold, silver and more recently diamonds, you have created and control a cheap supplier of those materials just north of your peaceful border. You might want to keep it that way. Back to design. In my humble opinion, not just U.S. design is in trouble; all design is on a strange slippery surface. In it's most elementary form, design is to use both research and creativity in order to identify a real or perceived need and to propose a solution within the technological and cultural context in which the product will be produced and used. Any product is at the start a kind cross road in virtual space between function, technology and culture. Leave any of these elements out or miss the target with one of them and you have created a failure. Of course we would love if design was this simple. But all three elements are evolving continuously. Not only are they evolving but the activity of design itself is making them move?or should change them. For instance, one can not just base a design on an available technology, because in the process of researching the culture of the product and it's function the designer is going to discouver good reasons innovate in technology in order to better serve a particular function or to make the product fit better into it's own culture. The same can be said about changing the culture thanks to technology or changing the function thanks to technology etc. My perception is that, with the exception of the technology driven electronic industry to much design is done without one of these three engines. | |||||
| Gee, i've been gone awhile! | 1 Relevance | 20 years ago | NULL NULL | General discussion | |
| Gee, i've been gone awhile! I got busy and look what I missed! My favorite subject! My leather from Kyson always gets here within a week. They are great. I love them. Wonderful hides, wonderful service. I've done three Plycraft chairs and ottomans in very dark brown leathers and one in black. Some of the samples I got didn't have much depth of color but some were quite rich and dark. Each one is a little different but I like them all. A very dark brown brings out the richness of the wood but is a little bit softer than black. Black IS classic, though. I would use rubber cement when making welt just because it'll set up almost right away. White glue will take awhile. I use rubber cement when joining welt strips end to end for longer lengths. Plan your layout carefully. I spread the hide out on the floor and lay the old pieces of leather/vinyl on it while leaving space for as long as possible welt strips. They take a lot of hide! On the last chair or two that I did, I didn't have to piece strips at all and that was way easier and looked better. Make sure you check the hide first for flaws and draw around them with chalk if you find any. I had to redo one or two pieces because I didn't see flaws until I was done. Quite annoying! An electric staple gun is a must for stapling to the shell. It has a lot of spring and it's hard to apply enough back pressure and hold the leather in place while stapling. I used a manual staple gun on the first chair I did and ended up sore and very frustrated. I haven't figured out the foam thing yet. I usually get 4" thick high density foam from Joann's, which isn't as firm as some other HD foams. That's for the seat. It's kinda high when done but our chairs get a lot of use and the foam does break down over time. Probably ideal would be 2" HD foam and 2" of softer foam. But the soft foam from Joann's is really crummy quality so that's out. I've done different things with the armrests---two platform types the usual way, one platform type with welt alround the top and bottom, and one Eames-type with welt on each edge. That one was horribly difficult but I finally got it right in the end. I will try to get some pics of those. I've had the most trouble with buttons. They almost always pop off later but I think I've finally figured out the way to do it. It involves a commercial shell, a regular plastic button inside threaded with button twine, and then some kinda adhesive with "weld" in th name to hold the plastic button into the shell. So far, so good. Good luck--it's so fun to do these chairs. They usually look really worn and ugly and it doesn't take a lot of money or skill to make them look great. | |||||
| RE: Kai Kristiansen nesting tables? | 1 Relevance | 6 years ago | maxpato | Identification | |
| Alo Mr Von Herring how could you ? Dont even heard of them: Sony APM-6 speakers ! .I know why ,you must be a young person interested in Design . Year: 1965 New York ,World International Fair, all fantastic, but one thing called my attention and it was Sony -Telefunken electronics displayed on Danish furniture,shinning on the marvelous parket flooring . Since then that has been my pattern of design and decoration at home.Blessfully we live in Europe or other fantastic countries in which thanks to E-bay and Youtube we can adquire anything and cheap , contrary to our ancestors who had to pay lots of money to get the same nowadays. Sony was a lider in design, and displayed its gear in a Danish Modernist setting in one of the pages in the Owner Manuals.I used to look for ages at the furniture, lights,shelves etc and promised to my self that one day Ill possess them all . Sony APM (Accurate Pistonic Motion) 8/6/4/77 were made in the late 80s /90s designed by Akio Morita Sony funder, The design of them is more than impressive ,solid plywood ,50-100 kg each speaker. None sold on shops but by order only. I stagnated myself in the 50-70s Modernist era where Danish- Finn design was and is the rule. I love this site in wich we can find the mud and the gold mixed but in the end we learn from each other and we can see beautiful furniture design for our enjoyment. Max The Sony Guy photos Sony TA-1150 Owners manual setting page 1974 Cado shelving by Paul Cadovius 1960 Sony APM -6 speakers 1981 , France and Son (Cado) table 1960 and yes !! An IKEA lamp.beautiful one.2007 Attachment: image.png Attachment: image.png Attachment: image.jpeg | |||||
| Designers | 1 Relevance | 17 years ago | SDR | General discussion | |
| Designers will speak, and write, whether there is really anything to be said or not. It can't be helped. And of course there are many times when the artist needs to explain himself, to amplify and emphasize (and perhaps to identify origins and confess to influences) -- so not all speech about visual art can be dismissed as easily as I pretend, above. Take Mr Wright. Some of the best images of his work occur in the mind, while reading what he wrote (so hard to find, among his many words) about his discoveries and his intentions, as he looked back 30 years while writing "An Autobiography" in the early 'thirties. I intend to copy some of that writing here. But first, a passage which immediately follows those pages, and which includes a rare reference to the art of writing: SIMPLICITY ORGANIC Simplicity -- in this early constructive effort -- I soon found depended upon the sympathy with which such co-ordination as I have described might be effected. Plainness was not necessarily simplicity. That was evident. Crude furniture of the Roycroft-Stickley-Mission style, which came along later, was offensively plain, plain as a barn-door -- but was never simple in any true sense. Nor, I found, were merely machine-made things in themselves necessarily simple. "To think," as the Master used to say, "is to deal in simples." And that means with an eye single to the altogether. This is, I believe, the single secret of simplicity: that we may truly regard nothing at all as simple in itself. I believe that no one thing in itself is ever so, but must achieve simplicity -- as an artist should use the term -- as a perfectly realized part of some organic whole. Only as a feature or any part becomes harmonious element in the harmonious whole does it arrive at the state of simplicity. Any wild flower is truly simple but double the same wild flower by cultivation and it ceases to be so. The scheme of the original is no longer clear. Clarity of design and perfect significance both are first essentials of the spontaneous born simplicity of the lilies of the field. "They toil not, neither do they spin." Jesus wrote the supreme essay on simplicity in this, "Consider the lilies of the field." Five lines where three are enough is always stupidity. Nine pounds where three are sufficient is obesity. But to eliminate expressive words in speaking or writing -- words that intensify or vivify meaning [--] is not simplicity. Nor is similar elimination in architecture simplicity. It may be, and usually is, stupidity. In architecture, expressive changes of surface, emphasis of line and especially textures of material or imaginative pattern, may go to make facts more eloquent -- forms more significant. Elimination, therefore, may be just as meaningless as elaboration, perhaps more often is so. To know what to leave out and what to put in; just where and just how, ah, that is to have been educated in knowledge of simplicity -- toward ultimate freedom of expression. | |||||
| it's saarinen but needs work | 1 Relevance | 13 years ago | _ | General discussion | |
| it's saarinen but needs work it is the real thing except it is in poor shape. it will need a lot of work to make it in decent shape and it could cost as much as buying a brand new one (approx. $1500 or possibly more depending or where you are). cost would be labor mainly, replacing and sculpting new foam, sewing and installing upholstery, buying new fabric (by knoll preferably or maharam) and refinshing the legs. also, the chair's best view is as seen from the back, where the back piece wraps around the seat. the wood leg is much more sculptural and more an integral part of the chair than the metal legs option. you are correct in describing it as closely related to the eames/saarinen organic furniture selected and exhibited by moma in 1940 because this chair is actually closer to the original concept of the winning entry in terms of material and construction (compared to the eames fiberglass/plastic chairs). this chair is also the last of that series (series 70 chairs) starting with the womb chair in 1946 and side chair in 1948 and the arm chair version in 1950. it was delayed because the early material used as form was breaking off in the arms during the prototype stage until the resin,fiberglass came along. if the original uphiolstery is intact with no rips or holes (the green fabric looks original but looks grimy), you could possibly conserve the chair yourself if you decide to go this route (which is the old vintage look vs. the brand new look) by removing the fabric carefully (staples under the seat and the the hand stiching of the back underside only not the seams at the piping), and then soaking/hand washing in cold water until most dirt gets lifted off. it will most likely clean up but will not look like brand new and some slight shrinking could occur (original fabric might be a wool blend kind). you will need to replace the foam yourself if you want to venture in sculpting with an electric kitchen knife forming it as close to the orignal as possible (you may need several good images of the chair in all angles as reference to get it right) and re-install the fabric back (slightly damp before it completely dries so it will safely pull as you are putting it back together). this is how i had conserved several of my chairs (dirty but not damaged and restorable, usually left on the curb for trash pick-up) without the high cost, but then again this is all up to you. you could go this route do the work yourself or pay someone to do it for you or just find a vintage one that is in good presentable/useable condition. | |||||
| I was interupted .... | 1 Relevance | 22 years ago | koen | General discussion | |
| I was interupted .... so please allow me to tell a few more things. The German Deckel Maho and Thiel before them made milling machines in general, so you will find the name in that context to. A copy milling machine is basically a very sturdy pantograph mechanism that has one additional mouvement that allows it to go in three dimensions. It works like the pantographs we had as children to copy at any scale (within reason) drawings and other illustrations. The transfer mechanism can mill positive to positive but also positive to negative and in doing so make it's own mirror-image. The key to some kind of precision was of course to make the original 3/4//5/ times as large as the copy required in the mould. But...no matter what, someone had to make an original. Most of the time that was done in plaster (gipsum) supported by an inside frame. The reason why we know (at least from pictures) a chickenwire and newspaper model of the Verner Panton chair (not by Verner Panton but by Aagard Anderson and the another by Poul Kjaerholm, is that this was the common way to start the model: Wire structure filled in with chickenwire and newspapers. On top of that the designer or his/her assistant applied plaster, which was planed and sanded untill the right shape was achieved. Aagard Anderson, a bright fellow with an unusual sense of humor commented on seeing the Verner Panton chair by saying: That chair made me fall on my back twice, the first time when I tried to sit on it (the structure and chickenwire could not hold him)the second time when I noticed that someone else was taking credit for my design!. In general I must say that we were quite inventive about finding ways to make things symetrical but the most common was to model in industrial clay on a tabel or platform that had a rolling structure going up and down the X axis. for locating points on the Y and Z the structure had moving pins not unlike knitting needles, these pins could be adjusted in depth. In most of these portal structures, you just mouved the needle to the other side in the same position and it would of course point at exactly the same spot but on the other side of the X axis. I have also worked with one where you could flip over the position you had taken because part of the top part of the structure hinged on the Y axis....a drawing would be better than a thousand words...The nice thing of this pre-cnc technology was of course that you could scrape and sand on curves untill they were exactly the way you wanted them, whereas we now have to rely on what is visible on the screen...which is not always as clear as having it in full sunlight in front of you. I agree Stephen, someone should write the history of these pre cnc times. | |||||
| I have a promotional photo of George Nelson with the Two... | 1 Relevance | 17 years ago | Mike Mozart | General discussion | |
| I have a promotional photo of George Nelson with the Two Grandfather Clocks I have a Black and While publicity photo of George Nelson, buried amongst the archive of Howard Miller Literature with 6 Grandfather Clocks. ( Two of which are Linked as Photos above and I have two others ) with a white strip of Typewriter paper glued on the front bottom that says " George Nelson Reaches New Heights in Design! 6 new Statements In Time from the Barwick Division of Howard Miller. The financial Statements show that GN Associates got a Royaly on that series and VERY FEW were made. The number were something like 12, 125, 6, 275, 79, 112. I'll ask an attorney if I can get into trouble for just scanning and posting that info. GN Associates shows Zroyalties up to like 1986( but I am missing a lot of years. They go by style number, line designation. But no description. So I need to match it to clocks. Other Design firms got Royalties too. Urbanoff is never mentioned by name and the Royalties are coded on the financial statements. GN Associates is Obviously George Nelson. The Words " Meridian Do Not show up in the Financial Sheets as line names. I've been buying clocks on Ebay usually not attributed to GN Associates but Ones he was definitely receiving Royalties. There seem to be clocks with his hands other firms were being paid royalties for. George Nelson Associates had at least 6 institutional Commissions for Clocks in the 1960's . On was for Plane Terminal. Those paid HUGE Royalties compared to his Stock Clock line. That did really catch my attention. It takes hours gleaning through the paperwork from the NYC Showroom which ends around 1989. The showroom had a rep company name. I'll try to pull the stuff out. He definitely did a line of 6 Mantel Clocks, I have a single sheet flyer, but have never seen one of those clocks show up anywhere. They were very sleek and obviously skinny front to back. One pictured looks very similar to the eye clock. All Key Wind. I'll try to find that quick and scan it. They are from GN right on the literature. I have a beautiful Black and White Picture of Two GN Banjo Type Clocks. There is a rubber Stamp on the back that says Return to George Nelson Associates with a NYC Address. I'll try to post some scans soon. One thing Stands Out! He was NOT getting rich from Clock sales 1968-1985. There are LOTS of Item Numbers with Very Low sales figures each Year! Typed out on My Iphone! Please Forgive Typos! I have VERY LITTLE Meridian Line Info or literature except items made ONLY from wood! I wonder if Howard Millers Reps actually represented those Ceramic Lines. | |||||
| Some days of pink till start 2011. | 1 Relevance | 16 years ago | Gustavo | General discussion | |
| Some days of pink till start 2011. Woofwoof, Thanks very much for the link, really interesting, to see things one already know, with a different point of view or how choosing some specific work, and not another, are changed for a different public. Marcos Lopez is one of my favorites local artists photographers. I've been bitting my tongue -using Riki's expression-, but next year I'll can't wait any more, I'll open a thread: I told you so. Arthur, your good taste to choose pinks is amazing. And Lagorreta is an excelent example. I love it. About cultures and color.... we must be careful... it's not an easy subject. In example design-n-culttures, twice we tried and ended burned, once Heath opened. Yes there were interesting sporadic comments in different threads, but didn't worked in a special thread. It's a miracle that this thread didn't burned yet burn pink burn hahhaaaha. We could give a chance to design n culture next year then too. Colors : culture, geography and psychology. Geography and culture could be not that subtle, and left that to Hudsonhonu, that is true that generalization is not right, and even more in big countries. But made me think of Psychology and colors, that provably for pink is one the colors with more ´´Psychology-charge´´, and could be an interest point to understand pink. About psychology and colors: In some towns the color of the opponent soccer team is so hated that multinational companies needed to change the main color of the brand for specific cities to be possible to sell their products. Robert, Never Underestimate Pink, indeed is as could be re-named this thread. But the article, to my point of view, is more about beige, and mid-tones. Anyhow the concept is great. It´s not a discovery, so I'm not afraid to say that here in South America you can see a wide use of color. If I have to find an explanation or reason, could be the sun, the passion, as well as Africans influenced different dances -samba-merengue-salsa-etc- sure did something with colors. But now, I don't see that clear (or here is were some explanations can be manipulated or not) is the use of the color in other places. For example the nice use of the color in Scandinavia, thinking on Marimmeko for example. The above explanation wouldn't work, could be almost the opposite. I heard that as is so cold and not much light some months: The reason could be to use the color to add what you don`t have. I don`t know if I fund the center of the idea of color but other thing: Olive: I guess I fund the genetic reason abut that sensitivity of you for the colors, if I remember well you said you have Scandinavian blood, I risk to say that this could be part of the reason. I've also heard that in North of Europe the color came after the WWII, as a liberation. | |||||
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