Imagine being one of the Roman soldiers though. Imagine having to do what you thought would be a normal execution one day.
Three convicts, two of which are thieves. As for the third… I mean, yeah some people say this guy is the “messiah” (whatever that means, you’re no Jew) and there is talk of miracles and the religious nuts really seem to hate him, but you have him nailed to a cross all the same, so what? If he is a god then he can join the club; Caesar knows that the Romans have enough gods to fill their pantheon and then some. Most likely he’s just a man with some hefty delusions that cost him his life.
But then earthquakes happen. Weird but can be written off as chance, right? Then the sky goes dark midday. A blood moon rises.
That ain’t normal.
Feelings unlike anything you’ve ever felt arise in your gut. The man cries out with a loud voice “It is finished!” and dies immediately after. You shiver. Uncanny, that is.
“Surely this Man is the Son of God,” a fellow Soldier exclaims beside you. At this point you might agree, but the spear still pierces through his skin all the same and you think (hope) that whoever this God-Man was that he isn’t your problem anymore, seeing as he’s dead. Hopefully you can forget the whole thing.
(Somehow you feel that this scene will haunt you for a long time)
But the debacle is not over with the burial, as you had assumed. The religious nuts get real anxious and noisy, so to shut them up Pilot has a watch set to guard the body of a dead man. A dead man.
You personally have seen many dead men in your time, but never have you seen one move. Never have you seen or heard of people particularly wanting to touch dead bodies, either. You almost say as such when you are one of the men assigned the last watch, but decide you’d rather like to keep your tongue than chance losing it. You expect it to be rather a boring job, all told.
And it is. Until these, these beings of light and lightning descend on top of you from the Heavens and the last thing you can think before you know no more is whatever god whose body I’ve been guarding please spare me
You wake up, despite all your expectations to the contrary. You almost wonder if it would have been better if you died.
Those religious nuts come to you and your fellow guards and give you some coin along with a fake story to tell. They offer to save the skin off your back so you are not put to death like others who’ve been killed for less. You go along with the story because to be honest there is still a part of you that hopes this was all a dream. But the borrowed words taste like ash in your mouth and the coins jingle in your pockets with all the weight of a chain.
You go through the rest of the day (and night, and the next day and night) after the event in a haze. Your feet walk where you know not and you don’t care to correct them.
But then you see Him.
The same Man you saw die.
The same Man whose body you guarded.
This Son of God, in the flesh, you see stand in front of a crowd with your own two eyes and you can scarce believe it but all the same you know more than you’ve ever known anything before that this is real, that this Jesus is truly not just a god, but The God.
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.
I love it when later episodes of a long-spanning work go out of their way to give some early-series weirdness an in-universe explanation instead of just phasing it out and never aknowledging it again. Like having a character who has a habit of throwing his hat on the ground and stomping it to shit whenever his genius plan is foiled, but later on the writers learn that actually, historically speaking this specific style of hat was hella expensive, and a man in his financial range couldn't afford to get one of those things at all, not to mention treating it so poorly on purpose.
So the writers weave that into the story: this guy isn't actually broke. Or really, he wouldn't be broke if he didn't spend so much money on hats. Replacement hats funds take up 90% of his annual budget.
Sleeper cells. Think about it. The captain we met in 1918, he worked his way up through the ranks. Emma, she’d been in the late 1800s for, what, like ten years? Maybe they’re playing a long game here.
“That a good man may have his back to the wall is no more than we knew already; but that God could have his back to the wall is a boast for all insurgents for ever. Christianity is the only religion on earth that has felt that omnipotence made God incomplete. Christianity alone has felt that God, to be wholly God, must have been a rebel as well as a king […] He passed in some superhuman manner through our human horror of pessimism. When the world shook and the sun was wiped out of heaven, it was not at the crucifixion, but at the cry from the cross: the cry which confessed that God was forsaken of God.”
thinking about that time Lord Peter Wimsey ruined his long undercover scheme because he got mad and let himself be Too Good at cricket, so good that he was recognized on the spot
He kept up the facade for months on end but lost it when he got HIT BY THE BALL, I love it when he accidentally does Upper Class Twit Shit but means it
