rui | en/简/繁/fr~ | they/她/ael | 18↑ | ao3 | book reviews | translation | ko-fi ♡ | 江湖一程,有缘相逢 | the ages of men are like the generations of the leaves; they fall in winter to return in spring.
Pleased to report that after a day of this i am not longer craving caper brine and my mouth is not dry as usual. There's some good suggestions in the notes too that I want to try.
-ancient roman posca: water, red or white wine vinegar, honey, salt, herbs (coriander, mint, thyme)
-switchel: water, ginger, vinegar, sweetener, lemon, salt
Yeah sorry I can't come into work today. I accidentally heard Primadonna by Marina formerly of and the Diamonds. So I need the day to be a primadonna girl. Yeah it's going to be the whole day.
still think it’s incredible they made a movie musical about pt barnum where the point is like love and accept yourself no matter who you are or what you look like <3 when pt barnum irl was like exploitation georg who lives in a circus and and dehumanizes 10,000 people daily. not sure how they came up with that one
when i was a kid i had moments of being so fucking diabolical because i realized at some point the best way to leverage power over my family was to do shit that would make everybody late
our house was in the middle of nowhere surrounded by woods so when i decided i didnt want to wear dresses anymore if we were going to some event & my parents insisted i had to wear a dress i would just go hide in the woods. was so committed i almost made us miss a flight once bc my mom packed a dress in my suitcase
i only promised to stop doing this if my parents got me formal boys clothes to wear which eventually they did. i don't feel bad about resorting to violence bc i asked politely and they said no. proud of 10 yr old me for evil annoying lesbian behavior
5th grade was the last time I wore a dress for school pictures. When my parents attempted to force the issue for 6th grade, I climbed onto our roof and pulled the ladder up after me. My dad borrowed the neighbors ladder. As soon as it touched the roof I pulled it up too. By the time I had 3 ladders they were willing to negotiate, and 2 hours late for work.
[Image ID: a tumblr tag reading "problems that can be avoided if you simply treat your child as a human being with the right to make decisions on what they wear". End ID]
You are posted out by the Hollywood sign tonight, sitting under the frame where the W used to be. It got burnt to a crisp during last week’s big superhero fight. A hero died right where you’re sitting. The whole area’s been closed down until Hero Force can coordinate a recovery effort. Usually it’d be done by now but no one’s willing to touch it until the ash has been completely blown away.
It’s a rule that the world must stand still when a hero dies.
“How much?”
The voice comes from behind you. The lights that illuminate the Hollywood sign are down to hide as much of the scorch marks as possible. You wouldn’t be able to see anything even if you did turn around, so you don’t.
You put some chapstick on, the glide of the balm against your wind chapped lips grounding.
“I said,” the Hero says, voice tightening, “How. Much.”
There’s the sound of gravel crunching now. They’re wearing heavy boots and the scent of fresh blood grows stronger the closer they get. Their breathing is smooth and even which means it’s not their blood.
You put the cap back on your chapstick and tuck it into your leather jacket’s inner pocket. “I don’t take money.”
“Then what do you take?” The Hero rounds the Y and comes into your line of sight. The dark hides most of their features, but you can make out a glittering gold mask and the dull shine of drying blood on their chest plate. Their breathing may be even, but their stance isn’t. They sway in place, back and forth, back and forth. Their arms wrap around their stomach. “I’ve got land. A house. You can have it.”
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.
a moment of silence for my roommate who has to endure me doing linguistics homework. out loud. making sounds with parts of my mouth and throat I didn’t even realise I could use to make sounds. repeatedly and with passion
at some point you have to realize that you actually have to read to understand the nuance of anything. we as a society are obsessed with summarization, likely as a result of the speed demanded by capital. from headlines to social media (twitter being especially egregious with the character limit), people take in fragments of knowledge and run with them, twisting their meaning into a kaleidoscope that dilutes the message into nothing. yes, brevity is good, but sometimes the message, even when communicated with utmost brevity, requires a 300 page book. sorry.
reminder that in 2x01 merlin went down to the mines to tell them to shut up (courtesy of prince prat) and when he found all the miners screaming and running for their lives (he has NO IDEA about sigan or his tomb at this point!! not even rumours!!) he immediately goes in the direction they were running from. with literally not even one clue about why a bunch of strong grown men were pissing themselves. idiot.