Steps to the Full-Size Model

Next week is the concept presentation to the rest of the class. For me, I decided that the best way to convey my thoughts is a full-size model. Through discussions with Mark, I realized that I've been spending too much time designing the body of the table but not much the legs. Functionally, I know the legs must have a way to encapsulate cables if needed, but I have no idea how the body and the legs would come together. This full size model would be a way to help me think about it, especially since it will also help me think about the strength of materials that will be needed to support everything.

The concept for the installation of this desk is a three step process.

1. Construct the legs/support.

2. Install the wiring module.

3. Insert the table top.

Keeping that in mind, there could be a component that has a lot of strength that is at the core of this piece of furniture. the wiring module I made last week calls for a cantilevering table top, so it makes sense for me to incorporate this strong part where legs, wiring module and tabletop would come together.

The Strongest Part of the Desk

Wouldn't it be wonderful if this could be an extruded aluminum piece? The next step would be to rise it to the right height, 30" from the ground to the top of the desk surface... so I constructed a temporary jig. Also, from now on this piece would be called the core module.

On Stand

and now to mockup how it would look with the wiring module installed.

Mockup with Wiring Module

… Now I need to somehow encapsulate the core into the wiring harness… Unfortunately the design of the wiring harness has the table top flush against its side or wider so I had to cut apart the wiring harness.

Side view of the mockup with wiring module, core module and the table top

This also means the legs would actually be really start really far back. That's ok if the legs were more in a "L" shape, pedestal like… a lot of torque on that core module and the table top. This might not be a good idea, so I restored the wiring module back to one piece. And moved the core module under the body of the table.

Restored Wiring Module, Moved the Core module under the body of the table

This gives me a bit more space for the wires. And now there could be some kind of trap door that opens from the back like the original design.

Rear view of the wiring module and table top mockup.

Now, for the legs…  I know I definitely want the legs to cover as much foot print as the dimensions of the tabletop and wiring harness. This should provide enough leverage so the desk won't tip over easily… so I marked up the foot print on the floor with painter's tape.

Marking up the foot print on the floor.

I really wasn't thrilled with all the ideas I had previously for the legs of this table. Simple perpendicular legs seemed too plain for this table. Metal rod, Eames-desk like legs looked too '60s retro. Taking bent cues from airplane landing gears seemed too literal and overly complicated, though maybe appropriate if this table was literally made from a salvaged wing. Since the core is already out of the wire harness, perhaps an off-center saw horse might be ok. In the picture above, the horizontal blue line on the floor is not half way between the front and the back. It is just behind the center of mass of the table top and wiring module.

I also decided that the legs should lean in from the sides a little to provide a little more stability and look slightly more evolved than just a sawhorse… perhaps the legs should be tapered?

Legs, front view Legs, Side View Legs

So how does it look with the rest of the table?

Mockup with new legs

There really should be a space between the table and the core module. By the way, the duct tape on the floor is just a temporary strap brace I made to keep the legs from splitting apart should the model get too heavy.

Addition of the spacer

Unfortunately there's a space below the table top where the spacer would support the table so it made this weird angle.

Weird angle of the table

This reminds of the architect tables I use to work with. Looks interesting but really isn't something I want right now. Perhaps a feature to offer later? So now, with the temporary spacer installed, this is what the installation would look like.

1. Get the legs standing.

1. Legs

2. Install the wiring module.

2. Wiring Module

3. Install the desk top.

3. Desk Top

Here is how it might look so far from different angles.

What have I learned? Well, right now...

• I still haven't figure out how to resolve the issue of the rounded 2nd tier that will stop the user from putting anything there.

• The legs are ok now, though I need to figure out how to route cables through it from the wiring module.

• The core module may be too low… user may hit it. Forgot to sit down at the table to see. Duh!

• The core module no longer has to be in that side profile shape… so there could be some more design there.

• The tapering of the front lip of the table to give a more comfortable angle for the user's arms is a good idea but maybe not so apparent?

• The "style" of the spacer is still a little undecided. There is opportunity for design there.

• The way the legs are now, really gives users much more space to approach the cables from the back of the table but perhaps not so much from the lower front. Again, need to craw up to the table to see.

• With the removal of the core module from the wiring module means there is much more space in there now for cable-caching, which means I can start designing how the interior of this table should be laid out.

Milliken Tegris™ + Tumi = Tumi Tegra-Lite Suitcases

Tegris is a 100% Polypropylene (Thermoplastic) composite material. It is a monomaterial. Polypropylene is drawn into filaments, made into a yarn or type, then woven into a sheet. Multiple sheets are fused together there by adding strength without adding new materials.

Tumi Tegra Lite

Tumi Tegra-Lite Closeup

Here is a helpful comparison chart provided by Milliken.

Stiffness vs Weight Chart

Tegris would be 66% the thickness of ABS and 52% lighter at the same stiffness, whereas in comparison with Carbon Fiber/PP mix, Tegris would be 2.1 times thicker and 30% heavier at the same stiffness. However, that may be a good offset as according to some sources, Tegris is 10% of the cost.

Tegris fabric is 0.132mm thick, weighs 0.11 Kg/sq meter.

Here is an interesting writeup by Lori Hobson at Mind Tribe.

Other users of Tegris include Nascar, military armor applications, transportation and construction.

Other materials like it: Pure Composites by Royal Lankhorst Euronete Group, Curv by Propex Fabrics, and Twintex by OCV Reinforcements, however as the name hints, Twintex is not a monomaterial as it has glass reinforcements.

So… what intangible qualities was considered here?

• Perhaps the pattern generated by the process of making this material provokes some kind of memory or association with other polypropylene bags? e.g. Chun Chun's Hong Kong Bag

• Perhaps there's a a residual "performance material" as jewelry effect happening? Maybe a little beyond that as the perception of the material in regards to its strength could be a stronger reason for choosing the material or object rather than just aesthetic.

Here are some more information posted by Gizmag.

2nd round of full scale sketch model

This model came about after discussions with my professor, Mark. The concept would be to have a "wrap around", so that there is a profile of an airfoil but it's not really there.

the wrap around

wrap around, side view

Note that the surface really does wrap from the top all the way around the back and the bottom, and continues into the keyboard tray.

Golf with a carbon fiber hood

There is a heavily modified Jetta in my neighborhood that has a carbon fiber hood. I've been trying to find it for a few days now but I guess the owner must be out of town. Here's a picture of a Golf IV with a carbon fiber hood. While carbon fiber is used extensively in sports and exotic cars to reduce weight, tests have shown that there is a certain expertise required to execute this so that the use of carbon fiber will reduce the weight of the car.

Of course this is all relative. Can a Jetta with a lighter hood out run a Jetta with a factory standard hood? Perhaps. Over what distance? Aesthetically, it may not to be my design taste, but to my "boy-racer" taste… maybe it looks cool.

Golf with Carbon Fibre Hood

Learning from the origins of Golf and the equipment used

While the modern game of golf originated in 15th century Scotland, the game's ancient origins are unclear and much debated. Some historians trace the sport back to the Roman game of paganica, in which participants used a bent stick to hit a stuffed leather ball. One theory asserts that paganica spread throughout Europe as the Romans conquered most of the continent, during the first century BC, and eventually evolved into the modern game. Others cite chuiwan ("chui" means striking and "wan" means small ball) as the progenitor, a Chinese game played between the eighth and 14th centuries. A Ming Dynasty scroll dating back to 1368 entitled "The Autumn Banquet" shows a member of the Chinese Imperial court swinging what appears to be a golf club at a small ball with the aim of sinking it into a hole. The game is thought to have been introduced into Europe during the Middle Ages. Another early game that resembled modern golf was known as cambuca in England and chambot in France. This game was, in turn, exported to the Low Countries, Germany, and England (where it was called pall-mall, pronounced “pell mell”). Some observers, however, believe that golf descended from the Persian game, chaugán. In addition, kolven (a game involving a ball and curved bats) was played annually in Loenen, Netherlands, beginning in 1297, to commemorate the capture of the assassin of Floris V, a year earlier.

Golf was played in its present form in Scotland near St. Andrews in the 1400s. Players used primitive equipment made of tree limbs and shepherd’s crooks that were fashioned with club-like bottoms to play the game in rather haphazard and casual manner. Players used one club for all their shots and hit round rocks or pebbles, they soon turned to skilled craftsmen to produce competitive equipment.

There is one documented reference of a John Daly playing with a wooden ball in 1550.

Golfers became so obsessed with the game that they forgot archery practice and thus banned by the King of Scotland, James IV, in 1458, 1471 and 1491. In 1502, the first recorded purchases of golf equipment, a set of golf clubs costing thirteen shillings, was made by king James IV from a bow-maker in perth.

The first clubs made specifically for golf were probably made by bow makers who were familiar with the whip-like properties of wood. Carved wooden heads from beech, holly, dogwood, pear or apple and spliced into the shafts of ash or hazel. Improvements were made by filing the back of the head with lead and by putting inserts of leather, horn or bone into the club face.

There is an authentic record of a club maker in 1603 where William Mayne was appointed to the court of James I of England (aka James VI of Scotland) to make clubs for the king and his friends. A set of clubs at the time consisted of a set of play clubs (longnoses) for driving, fairway clubs (or grassed drivers) for medium range shots, spoons for short range shots, niblicks (similar to today’s wedges) and a putting cleek. The clubs especially long-noses and niblicks were also prone to breakage and a golfer could expect to break at least one club during a round. The cost, time and effort which went into making golf clubs priced them beyond the reach of the masses. These factors meant that golf was typically associated with the upper echelons of society. Andrew Dickson of Leith and Henry Mill of St Andrews were recognized as club makers in Scotland in the late 1600s.

Featherie

Featherie, 17th century, bull or horsehide leather encased sphere stuffed with feathers from goose down or chicken feathers. Takes a long time to make. Stuff the wet, leather casing with a top-hat-full of down feathers that had been boiled. The casing is then sow it up, and let it dry so the feathers would expand while the leather would shrink into a rather hard ball.

If there were openings in the leather, stitching was used to close them up. The stitches mimicked the effects of dimples, therefore the need for a layer of turbulence around the ball was not discovered until much later. When playing in wet weather, the stitches in the ball would rot, and the ball could split open after hitting a hard surface.

Each ball was expensive, 2 shillings and six pence and 5 shillings. (Equivalent of $US 10 to 20 today). It was also fragile so the cost was inaccessible to many people. Great variance between balls. Weight, sizes. Does not stay a sphere for long after being struck a couple of times. At most 3 featherie per day.

In 1618, James I of England comissioned James Melvill and an associate to make feathery balls for court. It was an exclusive grant for 21 years with the balls stamped by Melvill and any other ball found in the Kingdom not bearing his trademark were confiscated. In dry weather, the feather ball could travel 180 yards, 150 in wet conditions.

In the 18th century, a club maker fashioned a block of blackthorn wood into a banana-shaped head and joined the head with a long shaft of ash or hazel that would have a splice in the wood called a “scare.” The two were wrapped, secured together with fisherman’s twine. Grips were made from sheepskin or calfskin.

At some point in time it was decided that the first shot of each hole could be teed up. Tee was originally meant and is still used to refer to the teeing ground but it has also become synonymous with the implement used to elevate the ball. Initially players would take a pinch of sand from the bottom of the cup as they too their ball out. They would then use that sand to tee up their ball for their next shot. By the 18th century bags of sand were carried by players for teeing purposes and eventually trays or boxes of sand were placed around the teeing area.

In 1744, the first standardized rules of golf were written and used for the first golf championship, won by Dr John Rattray on April 2nd, 1744.

A variety of clubs had emerged with slight variations. “Play Club” to tee off. “Lofted Spoons” to hit the ball off the ground. “A Baffing Spoon” or “Baffy” to hit a pitch-like shot. The only irons before the invention of the gutty ball were rut iron or “rutter” used to scoop the ball out of wheel ruts and a comblike track iron used to hit the ball out of stones. As early as 1750 some club-makers used forged metal heads of niblicks.

When golf was introduced in America in the early 1800s, hickory wood began to be used in shafts, due to it’s availability. Hickory became so popular for shafts that in 1826, a club-maker, Robert Forgan of Scotland, began to use hickory imported from America to manufacture shafts in Scotland. The hickory shafts required a slow, smooth swing to correctly time the hitting of the ball. They were also prone to breakage. Yet golfers adapted to the available technology and the game moved on.

Early “irons” were made by local blacksmiths until around the late 1800s. As a result they were very crude and heavy with massive hosels and were very difficult to use. That and the fact that they easily damaged the featheries led to their limited use.

guttieGutty, 1848. Reverend Adam Paterson, a clergyman from St. Andrews, made the gutty ball by hammering coagulated strips of gutta-percha tree resin, from south east Asia, into a mold. Paterson had received the gutta-percha as padding that covered a gift. He found the material could be softened with heat and then molded into a hard ball. Led to higher production, lowering costs. 6 dozen gutties per day. Smooth balls would travel erratically like a whiffle ball... but scuffed up balls travelled further and straighter so they started adding raised bumps, called bramble patterns, to increase aerodynamics. 225 yards.

Some sources cite the guttie ball being made with Malaysian Sapodilla tree which is in the same family as the Gutta-Percha.

It could also be easily repaired by re-heating and then re-shaping.

The guttie ball quickly rendered longnoses obsolete. Bulgers, closely resembling today’s woods in that they have a bulbous head, were used to cope with increased stresses incurred by using the new ball.

The gutta-percha ball enormously enhanced the game of golf, however it was soon discovered by golfers who failed to smooth their balls by boiling and rolling them on a "smoothing board" after play, that a many "nicked" ball had truer flight than the smooth gutta. Thus the hand hammered gutta was created by hammering the softened ball with a sharp edged hammer ... giving the ball an even pattern that greatly improved its play. Later, balls formed in iron molds or ball presses that created patterns or markings on the ball were introduced. A wide variety of surface patterns were introduced into golf.

The Bramble, surface textures and patterns impressed into the gutta-percha balls evolved from early imitations of feathery ball stitching to the highly detailed and symmetrical that greatly improved the ball’s flight. The best known balls were the hand-marked private brands of the Scottish club makers, such as Morris, Robertson, Gourlay, and the Auchterlonies. Many brands with a variety of patent names used the bramble pattern (with a surface similar to the berry). This became the most popular pattern of the gutta era and was also used on some of the early rubber balls.

Many of the rubber companies including Dunlop began mass-producing balls which killed off the handcrafted ball business.

Gutty balls could withstand the blow from iron clubs so metalworkers began to craft iron-headed clubs. These new club-makers in the history of golf equipment were known as cleekmakers.

These new irons were: the cleek, used to tee off and was like a two iron. The mashie, used for fairway shots and was like a 5 iron. The niblick, which was used for pitch shots and was like a nine iron.

The gutty ball also changed spoon and play clubs. Club heads became shorter and wider to prevent damage to the wooden face of the club head. They also started placing inserts made of leather into the club face for some reason. Splicing of the head and shaft together was abandoned in favor of placing the end of the shaft in a hole in the club head.

In the 1880s, golf bags first come into use. “The beast of burden” is an old name for the caddie who carried golfers’ equipment for them.

In 1889, the first documented portable golf tee was patented by Scottish golfers William Bloxsom and Arthur Douglas. This golf tee was made from rubber and had three vertical rubber prongs that held the ball in place. However, it layed on the ground and did not piece (or pegged) the ground like modern golf tees.

British Patent #12941 of 1889, for William Bloxsom and Arthur Douglas

A British patent was granted to Percy Ellis in 1892 for his “Perfectum” tee that did peg the ground. It was a rubber tea with a metal spike.

Ellis' 1892 Perfectum Tee

In 1895, David Dalziel of Scotland patented a rubber tee that was combined with artificial-turf mat in the US.

American Proper Senat received a patent for his tee in 1895. It was a truncated cone made of paper or cardboard.

Scotsmen PM Matthews patented the “Vicktor” tee in 1897, similar to the Perfectum but included a cup-saped top to better hold the golf ball.

Coburn Haskell's Golf Ball

Haskell Ball, 1898. Invented by Americans, Coburn Haskell (Dentist) and Bertram Work of the B. F. Goodrich Company.

This idea was first discovered by Coburn Haskell of Cleveland, Ohio in 1898. Haskell had driven to nearby Akron to keep a golf date with Bertram Work, then superintendent of B.F. Goodrich. While he waited for Work at the plant, Haskell idly wound a long rubber thread into a ball. When he bounced the ball, it flew almost to the ceiling. Work suggested Haskell put a cover on the creation, and that was the birth of the 20th century golf ball.

Constructed by tightly wrapping rubber bands under tension around a rubber core and holding the inside together with the Balata cover. This ball took off like a rocket, soaring through the air. Detractors of the ball would call it the “Bounding Billy” because the ball would dart off the ground upon landing. 430 yards.

The advent of drop forging in the late 1800s meant better iron clubs could be massed produced in factories.

Grant's 1899 Tee

By the end of the 19th century, golfers began to develop individual, portable gadgets to prop the ball up. In 1899 George F. Grant, a Boston dentist, patented a wooden golf tee that is similar to the ones commonly used now. It was a wooden spike with a tubular rubber head.

Through experimentation the cores of the balls become bigger and the cover thinner, which provided “truer” ball flight. In 1900 John Gammeter invented an automated winding machine that allowed mass production of Haskell golf balls.

Universally adopted by 1901 the Haskell ball proved so effective in the British and US Opens, these balls looked just like Gutties but gave the average golfer an extra 20 yards from the tee.

A popular alternative was aluminum in keeping with tradition of hand-forging metal club heads. In 1902 E. Burr introduced groove-faced irons for increased backspin, which lead to more distance and control.

In 1905 (1908?), golf ball manufacturer William Taylor was the first to add the dimple pattern using the Haskell ball.

Manufacturers continued to experiment with golf ball design including Goodrich who introduced the pneumatic ball in 1906 (the patent was held by T. Saunders and filed in 1901). Quite simply this was a Haskell ball with a compressed air core which unfortunately was prone to expansion with heat and therefore causing the ball to explode. Others tried mercury, cork and metal cores.

Wooden headed clubs were usually hand made by the local professionals until perhaps 1910, when factories began to take over due to the demand.

With the introduction of the Haskell ball, wooden club heads started being made with persimmon wood. In the 1920s, equipment companies began making clubs with steel shafts, which gave clubs uniform strength and feel. The USGA authorized the use of steel-shafted clubs in competition in 1926. The R&A followed in 1929.

Lowell's 1922 Wooden Peg Tee

William Lowell, patented a wooden peg with concave, funnel-shaped head in 1922.

In 1931, the USGA declared a ball should weigh no more than 1.55 ounces and no less than 1.68 inches in diameter. Now R&A (Royal and Ancient Golf Club of St Andrews, ruling authority for golf in Europe) and USGA have come to an agreement that balls should weigh no more than 1.62 ounces and no less than 1.68 inches in diameter.

Gene Sarazen, American Golfer, wanted a club that would not dig into the sand when he was in the bunker so he soldered a flange onto the bottom of his niblick, inventing the sand wedge in 1932.

Golfers carried as many clubs as they deemed necessary until 1938 when the rules of golf were changed to restrict the number of clubs to fourteen.

Since the end of World War II, golf club development has been influenced by research into synthetic and composite materials.

In the 1960s, Karsten Solheim, a Norwegian-born American golf club designer, founder of the Karsten Manufacting Company and creator of Ping golf clubs invented “perimeter weighting” where the mass of the club was distributed around the perimeter of the club, thereby increasing the club’s sweet spot, making it much more forgiving. Solheim also used a new manufacturing process called investment casting where molten metal is poured into molds to form the shape of the club head allowing the weight to be moved to the edges and creating cavities in the club head.

First powered golf cart appeared around 1962, invented by Merlin L. Halvorson.

The first graphite shaft was introduced in 1973. Early graphite shafts, although lightweight and theoretically stronger, were inconsistent and prone to too much torque or twisting. Since then, manufacturing procedures have made those problems pretty much a thing of the past. Boron is used to reduce twisting.

Gary Adams, founder of TaylorMade, developed and began producing woods made of metal in 1970. In the 1990s, companies began experimenting new materials such as titanium, which allowed club heads to become bigger and lighter, increasing forgiveness and performance. Their thin faces increase the spring like effect of the ball off the club face and theoretically can increase distance.

The Haskell Ball technology dominated the world of golf for a century. Better players played continued to play with three-layered balls but less-skilled players switched to a two layer ball with a solid rubber core and durable Surlyn cover. The solid core balls flew further but could not generate the same spin better players were looking for.

In 2000, companies started manufacturing three layer balls with solid cores and a softer urethane or surlyn cover. Ball technology continues to evolve with four and even five layer balls being produced now.

Golf Ball Dimple Geometry

Most golf balls on sale today have about 250 – 450 dimples, though there have been balls with more than 500 dimples. The record holder was a ball with 1,070 dimples — 414 larger ones (in four different sizes) and 656 pinhead-sized ones. One odd-numbered ball on the market is a ball with 333 dimples, called the Srixon AD333.

Officially sanctioned balls are designed to be assymmetrical as possible. This symmetry is the result of a dispute that stemmed from the Polara, a ball sold in the late 1970s that had six rows of normal dimples on its equator but very shallow dimples elsewhere. This asymmetrical design helped the ball self-adjust its spin-axis during the flight. The USGA refused to sanction it for tournament play and, in 1981, changed the rules to ban aerodynamic asymmetrical balls. Polara's producer sued the USGA and the association paid US$1.375 million in a 1985 out-of-court settlement. Polara Golf now manufactures balls with “Self-Correcting Technology” for non-tournament play.

The United States Patent and Trademark Office's patent database is a good source of past dimple designs. Most designs are based on Platonic solids such as icosahedron.

Golf balls are usually white, but are available in other high visibility colors, which helps with finding the ball when lost or when playing in low-light or frosty conditions.

As well as bearing the maker's name or logo, balls are usually printed with numbers or other symbols to help players identify their ball.

More recently RFID transponders have been used for this purpose. This technology can be found in some computerized driving ranges. In this format, each ball used at the range has its own unique transponder code. When dispensed, the range registers each dispensed ball to the player, who then hits them towards targets in the range. When the player hits a ball into a target, they receive distance and accuracy information calculated by the computer.

Hybrid clubs offer the marriage of wood and iron technology and this new category ahas also offered major game improvement and forgiveness options in the long iron area. It is popular with beginners and slow swingers.

Graphite shafts not only increased swing speed but also flex characteristics.

Club technology continues to advance with the governing bodies doing their best to stave off the innovations from making skill less and less important. The USGA has limited the size of driver heads to 460 cubic centimeters and the new 2010 groove rule are just some of the steps they have taken.

Rangefinders, GPS and other handheld devices let golfers view the entire hole, exact distances to many different points and keep score.


Bibliography

http://www.laymansgolf.com/golf_articles/history_of_golf/history_of_golf_equipment/8/

http://www.tourcanada.com/golfhist.htm

http://inventors.about.com/od/gstartinventions/a/golf.htm

http://www.golf-club-revue.com/golf-club-history.html

http://www.thedesignshop.com/history.htm

http://en.wikipedia.org/wiki/Golf_ball

http://www.kingjamesvi.co.uk/history.cfm

http://www.golfeurope.com/almanac/history/golf_club1.htm

http://en.wikipedia.org/wiki/Tee

http://en.wikipedia.org/wiki/Golf

Fake Rock

As I walked down East 69th Street towards York, I realized these rocks… One have been placed in each tree area of the side walk; at least 5 in a row. It look like they've been painted and I wonder why. As I got up closer, I realized that they weren't real rocks at all because I could see part lines. These must be those faux rocks people use to hide keys or electrical outlets.

Fake Rock!

Visiting the American Wing at the Metropolitan Museum of Art

The collection of American Art at the Metropolitan Museum of Art in Manhattan is one of the finest and the most comprehensive in the world. It was recently updated and provides visitors with a rich and captivating experience of the history of American art from the eighteenth through the early twentieth century. The suite of elegant new galleries encompasses 30,000 square feet for the display of the Museum's superb collection.

Met Admission Button

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At first, I was suddenly aware of the level of craftsmanship for the period the artifacts were from, where machine aid was not available.

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Then I started to notice objects that were made with more than one material. For example, here's a Tea urn and Tray by John McMullin (1765 ~ 1843), made in Philadelphia, 1799.

John McMullin Tea Urn and Tray 1799

It is mainly made of Silver, but the part where it would be touch the most is made with ivory.

John McMullin's Tea Urn Closeup

Here is William Will's (1742 ~ 1798) Teapots made in Philadelphia between 1764 ~ 1798. It's pewter but notice the wooden handle. Here he must have considered the teapots would have been too hot to touch and therefore a wooden handle would insulate the heat from the user. It also provides a nice color contrast. The design is consistent with the rest of the pot.

William Will's Teapot

Here's a goblet made in 1791 by the New Bremen Glass Manufactory (1784~1795) of John Frederick Amelung (active 1784 ~ ca 1791). Blown and engraved glass with wood.

New Bremen Glass Manufactory - Goblet, 1791.

I'm not sure about the true intention of the wooden base but aesthetically it seems give the goblet a more sturdy look.

Here's something I have never seen before. "Rattle, whistle, and bells" by Nicholas Roosevelt (1715 ~ 1769), made of Gold and Coral. It is a rare and lavish gold toy, with its elaborate chased and repoussé ornament, which may have been presented as a christening gift. It consists of a whistle, a piece of coral, size of its original eight bells, and a loop that allowed it to be hung from a ribbon around a child's neck. Aside from its efficacy for teething, the coral was thought to ward off evil spirits and disease. New York City, 1755 ~ 1768.

Rattle, Whistle and Bells by Nicholas Roosevelt

Here is another sample by Peter or Richard Van Dyke of New York City, between 1735 ~ 1745. It is made of silver and coral.

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The use of coral in this instance is very interesting in that it has mechanical properties that could withstand a child chewing on it, but also its intension to ward off evil spirits and disease, which also speaks to the state of medical sciences at the time.

In the realm of furniture making in the same period, wood was the predominant material of choice, which is not surprising. Of course wood is still the predominant material now. The pieces on show demonstrated a level of aesthetics that is no longer sort after by the masses. Here are a set of examples featuring "Japanning" - the use of paint and gilded gesso to imitate the glossy finish on Asian lacquerwork. It was a popular method of furniture decoration in colonial Boston. This group os japanned furniture descended in the Pickman family of Salem, Massachusetts, and is an extraordinary survival. The painted decoration on the high chest, dressing table, and looking glass is all by the same hand. Boston, 1730 ~ 1760.

Chest of Drawers with Japanning

High chest drawers are made from maple, birch, white pine.

Dressing table and looking glass with Japanning

Dressing table, maple, birch, white pine. Looking glass, white pine.

It seems jewelry makers were making much more progress in combining materials, perhaps driven by the need to make objects that look apart. The scale of each piece was probably also a factor. Here is an urn made by William E. Brigham (1885 ~ 1962) of Providence, Rhode Island, ca 1927. It consists of amethyst silver, tourmaline and other semi-precious stones. This urn was exhibited at the Tricennial Exhibition of The Society of Arts & Crafts in Boston in 1927.

William E. Brigham's Urn

Made in New York City in 1893 by Tiffany & Co (1837 ~ Present), this cup is made from amboyna wood, silver, mother of pearl and turquoise. Described in Tiffany's records as a "love cup," it was designed for display at the Word's Columbian Exposition. THe shape references Viking objects, while the ornament draws on a variety of foreign and domestic design sources.

Tiffany's Love Cup

At the same Columbian Exposition, Tiffany & Co also displayed this Viking Punch Bowl designed by Paulding Farnham (1859 ~ 1927). It is made with iron, silver, gold and wood.

Tiffany's Viking Punch Bowl

The Viking Punch Bowl was one of the most celebrated and publicized works exhibited by Tiffany & Co. At the World's Columbian Exposition. Conceived as a commemoration of European explorations of North American prior to Columbus's voyage, the bowl's design and ornament refer to Norse peoples and their culture. According to the firm's catalogue for the exhibition, the handle terminals projecting through the bowl's rim were "suggested by the prow of the Norseman's boat."

Tiffany & Co also presented a cup and saucer from 1890 that was made with a combination of metals: silver, copper and niello, which is a black compound of sulfur with silver, lead, or copper, used for filling in engraved designs in silver or other metals.

Tiffany's Cup and Saucer with niello

Also from Tiffany & Co, a Mustard Pot from1883 made from Silver and marbleized alloys.

Tiffany's Mustard Pot

Areas of gold-and-coper mokume envelop the body of this covered mustard pot on four bracket feet. A mixed-metal laminate that takes its name from the Japanese word for "wood grain" (literally, "wood eye"), mokume. Here, the wavy panels of mokume are bordered by etched scrolls and flowers.

Wondering into the archives, I found an armchair (1876) and a settee (1876 ~ 1885) by George Jakob Hunzinger (1835 ~ 1898) who combined maple or ebonized cherry with fabric-covered steel mesh for the seating surface.

Hunzinger's Sette

Closeup of Sette's Steel Mesh

Hungzinger's Arm Chair

Closeup of Arm Chair's Stee Mesh


There was also a special exhibit on Duncan Phyfe's furniture. He was one of nineteenth-century America's leading furniture makers. Born near Loch Fannich, Scotland, he emigrated to Albany, New York at age 16 and served as a cabinetmaker's apprentice. In 1792, he changed the spelling of his surname (Fife to Phyfe), moved to New York City, and opened his own business in 1794, which eventually employed more than 100 workers. He became known as one of America's leading cabinetmakers by selling furniture at relatively low prices. Although Phyfe's work encompassed a broad range of the period's classical styles -- Empire, Sheraton, Regency, Federal and French Classical among them -- he was most famous for his simple style, a reaction to the imported French designs popular at the time. Duncan Phyfe's furniture can be seen in the White House Green Room, Edgewater, Roper House and Milford Plantation owned by the Classical American Homes Preservation Trust, museums, etc.

Duncan Phyfe's Secrétaire à abattant

This Secrétaire à abattant was attributed to Duncan Phyfe and was made by his factory between the years of 1835 to 1847. It is made of Mahogany, mahogany veneer, gilded brass, looking-glass plate, marble, ivory; secondary woods of white pine, yellow poplar and mahogany. It is simple, yet refined, a tour-de-force example of the Phyfe shop's renowned use of spectacularly figured mahogany veneers.

Secrétaire à abattant's Marble Top

The marble top was the element that really caught my eye as I came down those stairs. Since it's a museum piece and not to be touched, I can only speculate that in addition to the aesthetics, the marble added to the sturdiness of the piece as it is above what would be considered as a height for a table or resting surface.

D. Phyfe & Son's Sideboard

This sideboard, made between 1840 ~ 1847, is a prime example of D. Phyfe & Son's late Grecian Plain style, updated by the silhouetted Gothic cusps and ogees cut into the arched heads of the plate-glass doors and the fascia over the open center bay. The catalogue to the 1847 auction of the contents of the D. Phyfe & Son warerooms lists a sideboard that could well refer to this one: "1 splendid rosewood Sideboard, with marble top and back, gothic door and plate glass panels, mirror back, lined with white silk."

Pearl Piano Keys

Found a square piano at the Metropolitan Museum of Art that had pearl-like keys, which I thought was rather out of place. Granted this piano is from the 19th century, the use of the material is definitely decorative.

19th Century