How to not ruin Eames Original Rocker Runners Part II  

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thanks loft. needed a laugh first thing on a monday morning before heading off to the salt mine.

Gad -- it's already
Monday morning, somewhere ! Thanks -- that made my day !

Aye...
Thanks for the chuckle.

I saw this thread title and...
I saw this thread title and thought you have got to be shitting me. And you were. ; )
I never thought so many words could be expended on RAR rocker runners, but then again I've seen a small novel worth of emails written over 6 words of print copy, so I shouldn't be surprised.
Cheers,
Maria

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Maria, my master woodworker took a slightly different approach to the runner. In keeping abreast with HM and the Eames Office eco-consciousness and transition to recyclable materials, he opted to use recycled wood and to shorten the runner for less waste. The cast metal stopping/anti-flipping mechanisms are ingenious but still in the prototype stages. - john
∞

Now thats what we're talking about
I like it.
The curves are excellent, robust and still maintains that MMC (Medieval Mad Century) feel to it.
And, totally authentic.
- A.S.

Now THERE's
someone who didn't learn how not to ruin her Eames [non]Original Rocker Runners !
Nice graphic images, at the very least. Blue/brown dichotomy fascinating.

.
Its actually a pretty good example of Pye and his ideas of the myth of functionalism, If you're into that sort of thing...
In The Nature of Design (1964), Pye exposed functionalism as fantasy. 'Things simply are not 'fit for their purpose'. At one time a flake of flint was fit for the purpose of surgery; and stainless steel is not fit for the purpose now. Everything we design and make is an improvisation, a lash-up, something inept and provisional. We live like castaways. But, even at that, we can be debonair and make the best of it. If we cannot have our way in performance, we will have it in appearance.' The Nature and Art of Workmanship (1968) similarly sweeps away certain myths about the crafts, derived, perhaps, by a process of 'Chinese whispers' from misunderstandings of - and by - Ruskin and Morris. Pye could not forgive the Arts and Crafts movement for insisting that 'its doctrine of workmanship was the only true one. That inchoate doctrine will not stand fire. The movement neither formulated it precisely nor criticised it and corrected it in its original form - Ruskin's. Because of this the movement left behind it confusion of thought about workmanship; or in its terms, craftsmanship.' Starting with the chapter-title 'Design proposes, Workmanship disposes', Pye began to clear the confusion with an alternative approach, based on analysis of objects (particularly their surface qualities) and a maker's understanding of the realities of making things.