I draw and video and experiment. Daily posts shall be made here for a year as a part of one of those experiments. Comics: diegofajardo.net Videos: youtube.com/user/DBoyFajardo Twitter: twitter.com/DBoyFajardo
I thank God, I shall never again visit a slave-country. To this day, if I hear a distant scream, it recalls with painful vividness my feelings, when passing a house near Pernambuco [Brazil], I heard the most pitiable moans, and could not but suspect that some poor slave was being tortured... Near Rio de Janeiro I lived opposite to an old lady, who kept screws to crush the fingers of her female slaves… And these deeds are done and palliated by men, who profess to love their neighbours as themselves, who believe in God, and pray that his will be done on earth! It makes one's blood boil, yet heart tremble, to think that we Englishmen and our American descendants, with their boastful cry of liberty, have been and are so guilty: but it is a consolation to reflect, that we at least have made a greater sacrifice, than ever made by any nation, to expiate our sin.
-- Charles Darwin, The Voyage of the Beagle (2nd ed.), 1845
I'm obsessed with this chair. The artist takes a flimsy hunk of injection-molded plastic that's been cost-cut to hell and back, and insists that we look at it with fresh eyes and understand its beauty. And they went about it in the most labor-intensive way I can think of.
Absolutely nothing about this design is convenient to execute in wood. Every piece is curved, most have compound curves. This is artisan craftsmanship: it's inherently slow, manual, and skilled. Notice, also, that most features of this chair must be thicker and heavier than on the plastic chairs being imitated. Injection-molded chairs can be produced in this shape in a matter of minutes with far less material at very low cost.
If these flowing, organic curves are so beautiful in polished wood, perhaps they are also beautiful in the mass-produced chairs that are far more accessible. Perhaps we should remember to admire designs that succeed enough to become ubiquitous. I don't know about you, but I'll never see injection-molded chairs the same way again.
I agree with all of this, but YOU HAVE HIT UPON A FORGOTTEN TRUTH OF PLASTIC CHAIRS!!!!!
The standard one-piece injection molded plastic chair is referred to as a "Monobloc", literally just describing it as a single piece. The history of this chair is fascinating, and it all starts back in 1946, with the D.C. Simpson Monobloc.
Douglas Colborne Simpson was an architect mostly active in the 40's and 50's, designing a lot of classic mid-century style buildings in Vancouver, Canada(1). In 1946, as part of a government project to find new uses for materials developed for WWII, he and engineer James Donahue developed the design you see above, simply called the Monobloc(2). Unfortunately, we don't know a lot about this chair as it was only ever a prototype, and no modern examples have survived, nor have most of the records surrounding it(3). To my knowledge, we don't actually know if this was technically injection molded, or crafted some other way. We can't even be sure if it was technically the inspiration for the designs that followed, but no matter the case it has lent its name to the entire genre.
Plastics technology was simply not what it is today back in the 1940's. Most people would have had very little plastic in their homes, most likely just a few pieces of Bakelite (the first commercially viable plastic, made from a formaldehyde based resin in a Bakelizer, the best name for any industrial manufacturing equipment ever). Over the following few decades, however, as a wider variety of plastics were both developed and came down in price to the point of commercial viability, the concept of the plastic chair was revisited, and the first folks to revisit it were Helmut Batzner, in 1964, and Joe Colombo, in 1965.
This, is the Bofinger chair, Batzner's design:
The elements of D.C.Simpson's Monobloc were pretty alien compared to todays mass-manufactured plastic chairs, but here we start to see some more modern elements come into play. The first thing you probably notice is the front legs, which have that characteristic visible 90 degree bend in them for added rigidity, plus a much more comfortably leaned back and slightly scoop-shaped seat. We also see much more support in the back rest, with broad triangles allowing for a more efficient use of materials without losing back support.
Similar to Simpson, Batzner was not an industrial designer, but an architect, and this chair had a very specific purpose. Batzner and his team designed it as part of a project to build a new theater in Karlsruhe, Germany, which required a large amount of additional seating which could be easily packed away into storage or distributed around the theaters rooms by the staff (4). As such, it was designed to be both lightweight and stackable, so several of them could be moved by one person, and they could be stored compactly. This piece of furniture was a huge hit a the theater, and was so popular that 120,000 units would ultimately be manufactured and sold around the world, with each one taking just 5 minutes to produce (4).
Around the same time, Joe Colombo enters the scene with this:
Colombo was an artist in several mediums who, after taking over his families appliance company in the 50's, made the shift towards architecture and interior design, and started designing a wide array of trend-setting furniture(5). The chair shown above is known as the Universale (sometimes referred to as the Chair Universal 4867), designed in 1965. This chair differs pretty greatly from the ones that came after it, it many ways it represents a different path that could have been taken, but it's also very widely referenced as an inspiration for what is broadly considered the origin of the white plastic chair the world over.
Enter: the Fauteuil 300
This is, arguably, the first iteration of the white plastic chair we all know today. Designed by Henry Massonnet in 1972, the Fauteuil 300 and it's imitators are, collectively, the single most widely used piece of furniture in the entire world(6). Before that, however, it was something else entirely: works of art.
What might be hard to recognize in hindsight is that all of these chairs described so far were not everyday objects. They were on the forefront of modern design, they made use of brand new materials and manufacturing processes, and at the time they were each made, they were slick, stylish, and fairly expensive. Despite the speed at which they could be manufactured, these innovative, high-end chairs rose sharply in cost up through the early 1980's due to the sheer demand for them. They weren't cheap spare seating you stuck in the garage, they were placed at dining tables and on fine patios, and they were a wildly popular talking point. That's not to say their expense justified their artistic value, but rather that their expense and popularity was a product of their status as highly contemporary and boundary-pushing designs.
With the price of plastics declining after the 70's, the increasing accessibility of injection molding to manufacturers, and the widespread popularity of these designs, copycats proliferated rapidly, and eventually drove the price down. This era, in the 80's and 90's, is when these chairs became cheap an ubiquitous, and where they became manufactured the world over.
And here is where we reach this piece, "Plastic chair in wood", by Maarten Baas, and a piece of the history I've left out so far. The Monobloc was designed to be made out of wood. Like the the other chairs designed by Joe Colombo, like the chairs that predated the Simpson, the Monobloc was designed with the intention of using laminated plywood, but as the artists and designers behind them began to experiment with new materials they fell in love with the idea of making them from plastic, and so they did. They redesigned and redesigned until they made something that would be impossible to make in wood at a price most people could afford, but which could be made from plastic in mere minutes. The organic curves and thin profiles would take so much time, so much waste material, so much skill and effort to create if made of wood that they could never be furniture, they could only be art. Baas' chair is a perfect, beautiful reflection of that.
That, in brief, is the history of the design of the white plastic Monobloc chair, but it's not all there is to know. In fact, it's kind of just the start. I've linked my sources below, but I would strongly recommend checking out the German documentary Monobloc, by Hauke Wendler. It goes over the history, but it's far more interested with what the Monobloc means, and what it's place is in our world today. The impact it's made, the better and the worse, and what it says about us. It's fascinating, and well worth your time.
you wanna see some badass shit from the early 20th century?? The Lumière brothers created the first full color photograph… in fucking 1903! So these dudes dyed potatoes (in red, blue, and green), mashed them down into just pure fuckin’ starch, and used these dyed potato starches as filters to block out/let in certain wavelengths of light. They coated one side of a glass plate with the starches and sensitized the other side with a mixture of gelatin and light sensitive materials (silver nitrate) and loaded these plates in their cameras.. This is a really simple explanation of the process and I may have missed some things
A few of my favorite autochrome photos:
but lets not forget sergei prokudin-gorskiy, who developed a similar process in 1902, published in 1903 and then toured russia to take hundreds of color photographs:
AND the guy developed color slide processing as well. as a person fairly familiar with modern b/w processing at home, but never EVER stepping into color (negatives or slides) territory, i’d say, BAMF to the highest degree.
Here are a few more Prokudin-Gorskiy / Gorskii shots, and a reminder once again that these aren’t recently colourised BW images but original colour photos taken about 120 years ago. Many colourised pics don’t look this good. Some modern colour pics don’t look this good (as I know all too well. “Delete image Y/N? Y!”)
This is Leo Tolstoy, author of “War and Peace” and “Anna Karenina”.
Alim Khan, Emir of Bukhara…
…and his Minister of the Interior.
A Type B-15 steam locomotive…
Another of those peasant girls with guest-gifts of berries…
The Church of St John the Baptist at Staraya Ladoga…
…and a Sergei Prokudin-Gorskiy self-portrait.
Unlike some current selfies ;-> he’s not dominating the image, so here’s a closer shot.
“i know the artemis missions are just american propaganda, but—” baby i know you are 17 or 24 years old and are just trying to figure out the world and your place in it so i do not say this with malice. i say this with love. stop qualifying things. you are not a bad person for being in awe of a multinational mission back to the moon that has faced multiple setbacks, both political and financial. i know the war crimes manufacturers lockheed martin and northrop grumman and more made tech. it is unfortunate that people who make weapons of war are also pretty good at making vehicles of peace. i know. i’m with you. but you’ve got to stop thinking that just because the current administration is trying to tie this to usa 250 and their pie in the sky plans of colonizing mars, it doesn’t mean that it’s not a worthwhile endeavor. going to the moon is really cool. human spaceflight is really cool. good things and bad things can coexist, because like idk man it depends. save yourself from misery. look at the sky and marvel that man has made it to another celestial body, and that humanity could go even further than that someday. i love you.
"The fun thing for us for that end sequence was his costume -- what he would have left over from the ship. I don't really think you see it in the film but the trousers that he's wearing, they're cut from one of the flight suits. And we've done a belt buckle that's made of xenonite that Rocky would've made for him. And all of the sewing on it is a little bit - it's nowhere near as good as Jenny would normally do, so we had to purposely ask Jenny to do bad sewing at the top of his trousers, so it'd look like he would've done it.
And then our brilliant breakdown department, run by Tim Shanahan, they break everything down to look like it's 10, 20 years old. So his cardigan and the t-shirt's all faded. And even on the laces -- the laces in his chuck taylors -- because your laces always break after a certain period of time, so we found stuff that was on the ship, like elastics and stuff. There's a nice big close-up actually in the film, so you can see that they're not normal laces, they're like stuff that he would've got from the ship that he's made as make-shift laces."
Glyn Dillon, one of the costume designers on Project Hail Mary
theres a new villain roaming around new york that has all the powers of a tapir. give me an hour or two im gonna go google what the fuck tapirs do ill let you know if we need to be scared
i am banned from eating my herring inside. they make me eat it on the smoking area by the loading dock, under the theory that it already smells bad there. but it was raining today which was preventing my breakfast, so i was feeling sad and hungry and then i realized that there was a large cardboard box in the dumpster from a previous delivery. like a fridge sized box. so i fished it out of the dumpster, then tipped it on its side and had a nice little cardboard cave to watch the rain and eat my fish in. which was a great experience. very soothing. very zen. at least until the security guard from the day before stepped outside to smoke. then i tried hiding from him by crawling deeper in the box, which unfortunately did not work. instead he saw a sort of damp sniveling pale hairless creature eating fish in a box, and delivered the verbal killshot of "good morning, mr. smeagol." which is how my day was ruined before 8 am.
tangentwithtanner
titsay
jbbartram-illu
yousharknotpass
baratheonpilled
