[ID: a poster of a poem in a window in both arabic and english. the english translation reads "in order to write non-political poetry, I must listen to the birds, and in order to hear the birds I must silence the plane." it is by Marwan Makhoul. end ID]
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’m not sure how many people realize that there’s a way in which hurt/comfort is actually very kinky, because at its core you’ve got this emotional power exchange fantasy where one character is vulnerable and helpless and the other takes care of them. In the case of stories involving grievous injuries, where someone is bedridden for a long time, you often end up with two characters in a 24/7 total power exchange relationship without a safeword. It just doesn’t involve as many whips and dog collars.
#i think people get too caught up in the idea of kink as eroticizing the taboo (not that that's a bad thing at all lol)
#and forget that coming at it from another angle kink is about vulnerability and trust
#the fantasy of being at your most vulnerable and someone not hurting you (or hurting you and it still being okay)
#vs the fantasy of someone letting you see them at their most vulnerable and trusting you not to hurt them (or hurting them and it's okay)
#i think if people understood that more they'd understand that like having some interest in some kind of power exchange is like
#super duper common
#also as an ace person i don't really find like. the physical reality of sex very appealing
#like it's whatever it exists it's fine it sounds messy
#but like…. the vulnerability…. oogh
#also i think this is the underlying motivation behind omegaverse too but nobody wants to admit that
#it's literally 'what if i literally could not control the most desperate and vulnerable parts of myself and you stayed anyways 🥺'
#that's kink baybee!
#anyways. tag essay brought to you by my hyperfixation on the psychological aspects of kink
Also noting that this line has a lot of clothing that works for people who need easy chest access or have limited upper body mobility, like if you are recovering from surgery or doing chemo
“It's not fair.” The little ghost kicks impotently at the chalk lines around her feet. “I ain't done nothing.”
I nod, setting down my chalk and spellbook. “It does sound like there might have been a bit of a misunderstanding.”
“She took against me, that's what happened,” the dead girl says with a scowl. She looks about fourteen, round faced and spotty, with whisps of brown hair peaking out from under her mob-cap. Her face and her crossed arms have a tell-tale bluish tinge to them. A cholera death.
“I been here for don't know how long and never gave any trouble. Nobody ever complained about me 'till her.”
…well, that's not strictly true.
Number 12, Barclay Street has been attracting rumours of haunting since the mid nineteenth century.
Sounds of faint singing and crying in the corridors at night. Cold spots. Doors that open and close by themselves. Animals acting strangely. Harmless, mid to low-level stuff, typical for a bored teenage poltergeist.
Still, pointing that out isn't likely to achieve much, and certainly the most recent complaints of blood running down the walls, screams in the dark and paralysing night terrors seem distinctly out of character.
The ghost toes the chalk again, more tentatively this time. It stays resolutely unbroken.
She could get out if she wanted to. I'm not one of those assholes who brings out their full arsenal of wards and sigils for a first meeting with a level 2 spectre. The summoning circle will keep her in one place for as long as I need her to talk, but it wouldn't hold for a moment if she really fought against it.
I take it as a good sign that she's still here. Pouting or not, she's clearly willing to work with me.
“None of the others could do this,” she says. “None of 'em even saw me.” She looks up. “Are you here to exise me?”
“Exorcise,” I say instinctively, and curse myself when she flinches. “Sorry, no, no! I don't exorcise people from their homes without good reason, not if they're happy where they are.”
“I was happy. Till she started calling in all them ghost hunters.”
Mrs Delaney had been quite persistent in her attempts to 'fix' her haunted house. Most of the people she found were charlatans, of course, but I'd still arranged an appointment as fast as I could once word reached me. It wouldn't have been long before she happened upon somebody with Talent, and unfortunately not everybody in this field knows how to behave like a professional.
“I think we might be able to help each other,” I say, careful to keep my voice calm and level.
“Don't see how. Not unless you can exorcise Her.”
“Not quite what I had in mind.” I pull out my phone and scroll through my photos. “You say that you're not the cause of the most recent incidents of paranormal activity?”
A pause. The ghost gnaws on her lip. I wait, patiently, keeping my body language open and nonthreatening. “I… I knocked her coffee cup over,” she admits at last. “She was being mean and talking on her telephone, saying I done all these things when I never did! So I decided to show her what I could do if I wanted.”
“Hmm.” The ghost eyes me nervously, as if expecting me to pull out a book, bell and candle and banish her on the spot.
“I only tipped it,” she adds. “I didn't break it or nothing!”
“You shouldn't have touched it at all,” I say sternly. “But… I can appreciate that you were frustrated, so let's say no more about it.”
The ghost looks relieved.
“My point is,” I continue, “if you weren't the one making blood rain from the ceiling or tormenting people in their sleep, then what was? There's no other ghosts on the property.” I find the picture I was looking for. “You can get anywhere around the house, right? Including behind the furniture and in the backs of cupboards?”
“Yes'm.”
I hold the phone up so that she can see the picture on the screen. “I'm going to let you go free in a moment, and I need you to see if you can find anything that looks like this.”
The ghost wrinkles her forehead. “What's that when it's at home?”
“Black mould,” I say, reaching out a foot to break the binding circle. “And I'm pretty sure it's the cause of this haunting.”
before we start posting that july is gay wrath month let’s consider that july is disability pride month first and foremost. the “be gay do crimes” memes can wait
before this post breaches containment and people start going “why not both hehehe” i want you to seriously consider the very long history of disabled people’s existence being pushed aside and/or seen as secondary. i promise you it’s not going to hurt to hold onto the memes and give disabled people space for visibility and celebration.
i say this as a disabled trans person whose trans identity is made front-and-center to the (mainly cis) people who know i’m trans but my identity as a disabled person is brushed off by the very same people.
I love how Zohran Mamdani is wearing a suit everywhere. And if he has anything else he puts it ON TOP of the suit. A basketball jersey. A high-vis vest. All worn over the suit. He’s like the mayor character in a cartoon who’s always dressed as The Mayor. If I didn’t know who he was and he biked past me in NYC I’d be like holy shit was that the mayor
Not to bring the serious to a very fun post, but this reaction is exactly what Mamdani is working for with his image, because in a very real way the most effective way for him to be The Mayor is if he looks like The Mayor.
This is a man who is VIOLENTLY aware that when it comes to conservatives, he is a Muslim first, a Brown Man second, an Immigrant third, a Socialist fourth, and a human a very distant fifth, if considered at all. He was also a young adult during the Obama Years and will have seen Republicans rip Obama to shreds for wearing a tan suit instead of a dark one and use literally ANY excuse they could to try and degrade his image.
Despite the fact that a mayor who wears a T-shirt and jeans might "seem more approachable" in the eyes of the average American, Zohran Mamdani knows that someone with his profile fundamentally cannot get away with that the way his White colleagues can. He has instead put in the effort to look professional and BE approachable, because not only does it make it easier for him to reach and represent his constituents, it forces everyone, including both his opponents and establishment Democrats, to engage with the work he is doing instead of judging his image. The fact that he is always seen in a suit and is recognisably The Mayor is, while also something he has fun with, a deliberate choice to ensure he is as inarguably A Professional Politician To Be Taken Seriously. The added humour of e.g. the hi-vis is a bonus, only achievable because he works so hard to Look Like The Mayor.
I like that Supergirl says it’s okay to kill someone’s abuser so long as you don’t let the thirteen year old do it and I like that Supergirl says vengeance will not solve things but neither will allowing a cycle of violence to continue
I really appreciate the Supergirl (2026) let Kara be gross. Her ship looked fucking disgusting and more power to her for that! Media needs to let women be gross and grieve in ugly, realistic ways. We’e seen enough pretty crying with a glass of wine in cute pjs. Love that they’re letting Kara be a slob and not gaf what other people think.
the silent scream made the whole thing, like, grief so overwhelming she’s going to burst, about being so full of sadness and rage all while knowing that to release that grief is to hurt those around her, because her scream, one that anguished, would level buildings, so she flies to space, screams into a void that sucks out everything inside of her, and is enveloped by the cold emptiness, because to feel her grief is to do harm, so instead she holds it inside and slowly cracks underneath it all, has the breath stolen from her lungs, ribs cracking under pressure, endless silence, nothing she can do does anything
Just got back from supergirl and just one of the many things I loved about it was the way Kara said this man needs to die so he can’t hurt anyone else but I can’t let you do it out of revenge. I can’t let that weigh on your heart for the rest of your life when it’s already so heavy. Idk I’m just insane for the idea of that being how she’s a hero—telling someone you don’t have to carry this weight on your shoulders you don’t have to have this blood on your hands I will do it for you. I will live with knowing I’ve done something terrible as long as it means you don’t have to.
origamiaround
jbbartram-illu
2087
dededos
germansingergirl
