âThe dog of Volubilis" is a statue that was found in 1916 among the ruins of the ancient Roman-Berber city of Volubilis, in modern Morocco. It dates back to Hadrian's era in the early 2nd century.
Currently, the artifact is in the Archaeological Museum in Rabat.
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.
my greatest accomplishment in life is that I inadvertently made my friend break up with her shitty boyfriend by throwing her a really fucking awesome birthday party
okay so I fucking love event planning and decorating and hosting and baking, aka all the elements of a banger birthday party. I am so freaking happy to throw people parties because it means I get to throw a party, then go to a party! yippee!
so my friend's birthday rolled around and I knew she wanted a party because I'd done them for her before, but I wanted to make it extra special because she was turning the big 25. so I did all the regular stuff I am So Excited About: had her roommates let me into her apartment while she was out, put up balloons and homemade garlands and streamers and table decor, made her favorite cake and snack plates and cocktails, ordered catering from a restaurant she loves, got a bunch of our friends to come over to surprise her, wrote her a disgustingly heartfelt card, etc. and then because it was the big quarter century, I was like I gotta do something extra.
now. I do not like clowns. my friend loves clowns. we've gone to the circus together and she's seen me literally close my eyes and hide when the clowns are out in the audience, meanwhile she's screaming and waving at them. so obviously I hired a clown for her birthday. (btw seeing him out of clown costume made me less freaked out because now I knew that the guy under there looks like someone's uncle.)
so she showed up after work totally expecting a party because I'm too paranoid to throw a real surprise party, and obviously loved it. and then I was like btw. there's a clown.
she lost her mind. she was sooo excited. she loved the party and she loved the clown. I was like haha yes I'm getting a good grade in birthday parties and didn't think much of it because frankly I do this a lot, and it's so much fun for me that I don't consider it work. like, I love doing all that for my friends. it's not any kind of sacrifice.
two days later, she texted me that she broke up with her boyfriend.
naturally I was like omg tell me everything I hated that guy let's get coffee. so we did and she told me that for her birthday, her boyfriend of nine months 1) forgot about it and didn't get her anything, 2) got mad at her for not texting him while she was at her party, 3) got mad at her for telling him about the party because it was "passive aggressive", and 4) called her immature and stupid for being excited about a clown at her birthday.
this was all very in character for him. but she'd just come from a lovely birthday party full of her friends who love her and want to put effort into making a nice day for her, where her friend who hates clowns hired a clown just to make her happy even though the party alone would've been plenty. and suddenly this wasn't a boyfriend being kinda forgetful and lazy, it was a glaring incongruity with everyone else in her life. so she finally dumped his ass. and I was soooo freaking happy. so clowns can be good.
I hate that âbad dreamâ just means ânightmareâ instead of âshitty quality dream.â I had a bad dream last night. It wasnât scary it just didnât make a lot of narrative sense
I kept it in a terrarium and it became a normal đž despite everything. About a year afterward (I thought) it died, so I sadly put it in a shoebox in the shed until the ground thawed enough for a proper funeral but when that day came I opened the box and the frog was fine.
Toddlers are so pure. She doesnât understand that we help her with certain things because sheâs little. She thinks that everyone just helps each other like that. So she tries to blow on my food and cut it up for me and tries to help me put on my shoes.
i was giving little wagon rides to a baby around the backyard one day and all of a sudden she hops off and slaps the seat of the wagon telling me to get on because it was my turn and i was like no itâs ok im too heavy and she was like NO ITS UR TURN and kept tugging on my hand so i would sit down. eventually i got on and it was just a little 2 year old trying so hard to push me around on a wagon not understanding why it wouldnât budge but still so determined to let me have my turn lol
I donât think Iâd realised how many casual compliments we pay to our toddler until she started casually complimenting us back, because experience has taught her thatâs How Social Interaction Is Done, and thereâs nothing quite like a very earnest three-year-old solemnly and sincerely informing you that you look wonderful and smell nice to make you feel really good about yourself
I tell her sheâs my best girl. She tells me Iâm her best auntie. Then we both feel good about the world!
my little cousin is 3 and she stands there and goes âyouâre doing it!â whenever iâm like, making food for us, or doing the laundry, or pushing her in a stroller up a hill. she is the most encouraging sweetheart.Â
âWhat is it that the child has to teach? The child naively believes that everything should be fair and everyone should be honest, that only good should prevail, that everybody should have what they want and there should be no pain or sadness. The child believes the world should be perfect and is outraged to discover it is not. And the child is right.â - Rabbi Tzvi Freeman
It takes a lot of violence to force humans to be cruel. And as soon as that violence stops, itâs surprising how quickly the kindness returns. Bc it is the default.
But we must remember that children are wise yes but they should not be looked to as leaders, that is our job. They should not be burdened with the sageâs role. Their job, their role, is to play. Thatâs it. To play and to learn. That they are wise is only because all ages of person have a type of wisdom to contribute to the greater whole of their community, their neighbourhood, and we should respect that all voices have worth. They are not better than us, just as they are not worse.
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