The Latest Set of Renderings for My Desk

The development of this desk has lead me down quite a few paths. Now the form has settled a little more so now I have to concentrate on materials and process. This first set of renderings has the combination of oak legs with a sheet metal or laminated composite body, and a light solid wood top. The second tier would rely on the flatness on the top of the curved body, which also has a little belly on the bottom… hence my desire for a laminated composite body. Table11 01

Table11 02

Table11 03

The next set of renderings uses the combination of a simpler rolled sheet metal body on a more industrial-looking set of legs that could simply be welded or perhaps a variation of it could be sand-casted. The top/second tier would be a transparent plastic like polycarbonate, and the top, again would be a lightly colored solid wood.

Table12 02

Table12 04

Table12 05

Marc Fish's L'Orchidée Project

A classmate of mine sent this to me this morning. It bares a lot of resemblance to some of the earlier drawings and models of my desk. I really really like the drawer details.

Marc Fish - L'Orchidée Project - Closed

Marc Fish - L'Orchidée Project - Open

Marc Fish - L'Orchidée Project - Drawer Detail

L’Orchidée was inspired by the work of Art Nouveau furniture designer Louis Majorelle, his series of the same name featured a desk which combined many innovative features of the 1890s, Marc’s desk is a natural progression and features signature innovations such as the aluminum dovetailed drawer sides and the seamless veneered tambour top. The Art Nouveau period has inspired Marc’s work, but reproducing or, looking achingly backwards to a better past is not Marc’s intention. Capturing the freedom and fluidity which the movement embodied makes Marc’s work more than a mere pastiche.

The growing access to computer aided technology has enabled forms to be not only drawn but also constructed. These tools would have been the envy of many a craftsman at the height of the Art.The architect Piers Gough described the new style of Art Nouveau architecture using computers to design and make as creating“insanely complicated gorgeousness… exciting times where these forms are made possible again”Marc’s desk L’Orchidée was recently referred to as “historically not Art Nouveau because it has never been done before, but stylistically it is a perfect fit. What Marc is doing here is different: he is not copying Art Nouveau; he is harnessing it and using it as a stylistic tool to push new boundaries. If others follow his lead, this piece could very well be one that defines furniture style for the next ten to fifteen years.”

Awarded Guild Mark number 420

Winner of the Claxton Stevens Award 2011.

http://www.makerseye.co.uk/node/531

Proxemics and the hierarchy of materials

Upon showing the diagram of my hypothesis to my thesis class, Bruce mentioned its resemblance to proxemics. Proxemics is a psychological, social-psychological, and anthropological area of study that addresses the use of space in interpersonal communication, usually in regards to the distance between people in conversation. The term was first coined by cultural anthropologist Stuart T. Hall in 1963. Hall notes that the value in studying Proxemics comes from its applicability in evaluation not only the way man interacts with others in his daily life, but also "the organization of space in his house and buildings, and ultimately the layout of his towns."

Hall's delimitation are as follows:

Intimate distance for embracing, touching or whispering

  • Close phase – less than 6 inches (15 cm)
  • Far phase – 6 to 18 inches (15 to 46 cm)

Personal distance for interactions among good friends or family members

  • Close phase – 1.5 to 2.5 feet (46 to 76 cm)
  • Far phase – 2.5 to 4 feet (76 to 120 cm)

Social distance for interactions among acquaintances

  • Close phase – 4 to 7 feet (1.2 to 2.1 m)
  • Far phase – 7 to 12 feet (2.1 to 3.7 m)

Public distance used for public speaking

  • Close phase – 12 to 25 feet (3.7 to 7.6 m)
  • Far phase – 25 feet (7.6 m) or more.

 


 

To adapt Hall's observations for my purposes, here are my delimitations:

Intimate distance for materials applied to products that must touch the body all the time.

  • clothing
  • jewelry
  • wearable technology
    • gadgets
    • medical devices

    Factors to think about…
    Aesthetics tied to Perception: If the object is to be seen by other people and if the object is going to be at constant attention of the user such that they would be self conscious.
    Intention: Is the object suppose to do something in particular, does intention over rule aesthetics and perception?

Personal distance for materials applied to products that we often touch.

  • wallet
  • phone
  • computer - input devices
  • stationery - writing instruments & paper
  • tools
  • furniture
  • floor
  • linens
  • table top objects

Public - Touched by lots of people

  • elevator buttons
  • support poles on subway & buses
  • ATM machines
  • vending machines

Distant - sometimes in contact specific people.

  • internal components of computers/gadgets
  • infrastructual devices, such as radio towers, roads
  • public garbage cans
  • pluming

Out of sight, out of mind

  • building materials (insulation)

Exceptions… when a material comes close to the body but sometimes has another material in the way. e.g. seat belts - usually there is clothing as an intermediary, but if the seat belt is not adjusted correctly or if the user does not wearing a shirt that has a collar, the seat belt touches the skin… sometimes seat belt edge irritates the skin. Other good examples are shoes and gloves.


An interesting article regarding proxemics and branding: Place, space and everything in between: the use of Proxemics in Branding.

 

Materials by Anniversary

Anniversary gifts have been a ritual for many years. Since every anniversary signifies a certain sense of longevity it is sometimes compared with material worth rather rarity. From the list below, it is easy to see many common gift materials between different countries. It signifies an common understanding of worth. The differences in material choice as the years go on is interesting as it provides incite into what each country or culture values.

Comparing the country lists with a "Modern U.S." list brings forth modern society's sense of value. Certain items are made earlier, others delayed. And perhaps the gem societies list suggests commercialization? or corporate push into our value system?

Anniversary Preferred Term Traditional

 

(U.S.)

Traditional

 

(U.K.)

Modern (U.S.) Gem Societies* German Dutch Scandinavian French Spanish Portuguese Russian
1st Annual Paper Cotton Clocks Gold

 

Jewelry

Cotton,

 

paper

cotton,

 

paper

Paper Cotton Paper Paper Calico
2nd Biennial Cotton Paper China Garnet Cotton,

 

plastic

Paper

 

/ cardboard, horse hair Paper

Cotton Leather Cotton Cotton
3rd Triennial Leather Leather Crystal,

 

glass

Pearl Leather,

 

fruit, wheat, fir

Leather Leather Wheat Leather Wheat,

 

leather

4th Quadrennial Linen

 

(Silk)

Fruit

 

& Flowers

Appliances Blue

 

Topaz

Silk,

 

amber, linen, wax, wine

Silk Flower,

 

Hyacinth, Linen

Wax Silk,

 

fruit, flower

Flower,

 

fruit, wax

5th Quinquennial Wood Wood Silverware Sapphire Wood,

 

rubber

Wood,

 

plastic

Wood

 

/ tree

Wood Wood Wood,

 

iron

Wood
6th Sexennial Iron,

 

steel

Sugar Wood

 

objects

Amethyst Tin,

 

sugar

Iron,

 

tin, fruit

Sugar Chypre Iron,

 

sugar

Perfume,

 

sugar

7th Septennial Wool,

 

Copper

Woolen Desk

 

sets

Onyx Copper,

 

brass, wool

Wool;

 

down

Wool Wool Wool,

 

copper

Brass,

 

wool

Copper
8th Octennial Bronze Salt Linens,

 

lace

Tourmaline Tin,

 

bronze, salt, poppy, nickel, earthenware / stone

Bronze;

 

poppy

Bronze Poppy Bronze,

 

Pottery

Poppy,

 

clay / loam

9th Novennial Pottery,

 

China, Willow

Copper Leather

 

goods

Lapis

 

Lazuli

Ceramics,

 

porcelain, faience, glass / crystal, water, pasture, steers, pottery

Earthenware;

 

Plate-work

Pasture

 

straw, ceramics

Faience Pottery,

 

willow

Pottery,

 

willow / wicker

10th Decennial Tin,

 

White Steel, Aluminum

Tin,

 

Aluminum

Diamond Diamond Roses,

 

oxen, wood, glass, bronze, tin

Tin Tin Tin Tin

 

/ aluminum

Tin,

 

zinc

Roses
11th Undecennial Steel Steel Fashion

 

Jewelry

Turquoise Steel,

 

coral, carnival

Steel Steel;

 

Bernstein

Coral,

 

zinc

Steel Steel
12th Duodecennial Silk Silk

 

and fine linen

Pearls,

 

colored gems

Jade Nickel,

 

earth, silk, linen

Linen Silk Silk Silk,

 

linen

Silk,

 

Onyx

13th Tredecennial Lace Lace Textiles,

 

furs

Citrine Crystal,

 

lily of the valley, salt, tip

Lily Lace Lily

 

of the valley

Lace Linen,

 

lace

14th Quatturodecennial Ivory Ivory Gold

 

jewelry

Opal Ivory,

 

agate

Ivory;

 

lead

Ivory Lead Ivory Ivory
15th Quindecennial Crystal Crystal Watches Ruby Violet,

 

crystal / glass / bottles

Crystal Crystal Crystal Crystal Crystal Glass
16th Silver

 

hollowware

Peridot Sapphire Sapphire Moon Sapphire Obsidian Tourmaline
17th Furniture Watch Orchid,

 

Rose

Rose Amethyst Rose Quartz Rose
18th Porcelain Cat's-Eye

 

Chrysoberyl

Turquoise Turquoise Daisy Turquoise Aquamarine Turquoise
19th Bronze Aquamarine Cretonne,

 

mother of pearl

Linen,

 

cretonne

Garnet Cretonne Amethyst Cretonne,

 

Aquamarine

20th Vigintennial

 

/ Vicennial

China,

 

Porcelain

China,

 

Porcelain

Platinum Emerald China,

 

tang, Chrysanthemum

China China China China China China
21st Brass,

 

nickel

Iolite Opal,

 

beech

Opal Turquoise Opal Zircon
22nd Copper Spinel Bronze,

 

Tourmaline

Bronze Alliance Bronze Feldspar
23rd Silver

 

plate

Imperial

 

Topaz

Beryl,

 

Titanium

Beryl Tulip Beryl Straw
24th Musical

 

Instruments

Tanzanite Satin Satin Karat Satin Opal
25th Quadranscentennial Silver Silver Silver Sterling

 

Silver

Silver Silver Silver Silver Silver Silver Silver
26th Original

 

pictures

Jade,

 

Oak

Jade Jade Sandalwood Alexandrite
27th Sculpture Mahogany,

 

jute

Mahogany Mahogany Chrome Chrysoprase
28th Orchids Carnation,

 

nickel

Nickel Nickel Fruits Hematite
29th New

 

furniture

Velvet,

 

ebony

Velvet Velvet Tin Herbs

 

/ Leaves

30th Pearl Pearl Diamond Pearl Pearl Pearl Pearl Pearl Pearl Pearl Pearl
31st Timepieces Linde,

 

Soil

Soil Soil Nacre
32nd Conveyances

 

(automobiles)

Soap,

 

lapis lazuli, copper

Copper Copper Pine
33rd Amethyst Tin,

 

porphyry

Porphyry Porphyry Crizo
34th Opal Amber,

 

Emerald

Amber Amber Olive
35th Coral,

 

Jade

Coral Jade Emerald Canvas

 

/ linen, coral, jade, ruby

Coral,

 

Ruby

Coral Ruby Coral;

 

Yade

Coral Linen
36th Bone

 

china

Emerald,

 

Moon, muslin

Muslin,

 

Emerald

Muslin Cedar
37th Alabaster Malachite

 

, paper

Paper Paper Aventurine
38th Beryl,

 

tourmaline

Fire,

 

mercury

Mercury Mercury Oak
39th Lace Sun,

 

crepe

Crepe Crepe Marble
40th Ruby Ruby Ruby Ruby Ruby,

 

garnet

Ruby Ruby Emerald Ruby Ruby,

 

Emerald

Ruby
41st Land Birch,

 

iron

Iron Iron Silk
42nd Improved

 

real estate

Garnet,

 

pearl

Nacre Nacre White

 

Gold

43rd Travel Lead,

 

flannel

Flannel Flannel Azeriche
44th Groceries Stern,

 

Topaz

Topaz Topaz Carbonate
45th Sapphire Sapphire Sapphire Sapphire Brass,

 

platinum, tourmaline, vermeil, precious white sapphire

Sapphire,

 

platinum, vermeil

Sapphire Vermeil Sapphire Platinum,

 

sapphire

46th Original

 

poetry tribute

Lavender

 

Marble

Lavender Lavender Alabaster
47th Books Kashmir,

 

Sapphire

Kashmir Kashmir Jasper
48th Optical

 

goods (e.g. telescope, microscope)

Diadem,

 

Amethyst

Amethyst Amethyst Granite
49th Luxuries,

 

any kind

Cedar Cedar Cedar Heliotrope
50th Semicentennial

 

/ Quinquagenary

Gold Gold Gold Gold Gold Gold Gold Gold Gold Gold Gold
51st Pasture Camellia Camellia Bronze
52nd Topaz Tourmaline Tourmaline Clay
53rd Uranium Cherry Cherry Antimony
54th Zeus Wood Sable Nickel
55th Emerald Emerald Emerald Platinum,

 

gem, emerald, turquoise, Venus, sapphire

Emerald,white

 

gold, orchid, camellia

Emerald Orchid Emerald Amethyst
56th Lapis

 

Lazuli

Lapis

 

Lazuli

Malachite
57th Azalea Azalea Lapis

 

Lazuli

58th Maple Maple Glass
59th Mink Mink Cherry
60th Diamond Diamond Diamond Alexandrite Diamond,

 

iron

Diamond Diamond Diamond Diamond Diamond,

 

Jade

61st Elm Plane Plane Copper
62nd Aquamarine Ivory Ivory Telurita
63rd Mercury Violet Lilac Sandalwood,

 

lilac

64th Sky Chan Astra

 

Chan

Fabulita
65th Blue

 

Sapphire

Blue

 

Spinel

Star

 

Sapphire

Iron Brilliant,

 

Rosewood

Krondiamant

 

(Crown Diamond)

Rosewood Iron
66th Chives Jasmin Jasmin Ebony
67th Stone Chinchilla Chinchilla Snow
68th Granite Granite Lead
69th Larch Larch Mercury
70th Platinum Grace,

 

platinum, copper, iron, stone

Platinum,

 

diamond

Iron Platinum Wine
71st Zinc
72nd Oats
73rd Marjoram
74th Apple
75th Dodranscentennial Diamond,

 

gold

Diamond,

 

gold

Diamond Crown

 

jewel, diamond

Alabaster,

 

rhodium

Atom;

 

steel crown jewel (Denmark)

Alabaster Platinum Brilliant,

 

Alabaster

Brilliant
76th Cypress
77th Lavender
78th Benjoim
79th Coffee
80th Oak Diamond,

 

pearl

Oak,

 

Brass

Oak;

 

plutonium

Oak Oak Walnut,

 

oak

81st Cocoa
82nd Carnation
83rd Begonia
84th Chrysanthemum
85th Wine Diamond,

 

sapphire

Angel Uranium Marble Sunflower
86th Hydrangea
87th Walnut
88th Pear
89th Fig
90th Stone

 

(granite)

Diamond,

 

emerald

Granite Granite Granite Poplar
91st Kiefer
92nd Pasture
93rd Imbuia
94th Palm
95th Diamond,

 

Ruby

Iridium Onyx Sandalwood
96th Olive
97th Fir
98th Kiefer
99th Pasture
100th Centennial 10-carat

 

Diamond

Sky Water Jequitiba

Sources: Chicago Public LibraryPears Cyclopaedia via anniversarygifts.co.ukBartlebyhttp://en.wikipedia.org/wiki/Anniversary, http://en.wikipedia.org/wiki/Wedding_anniversary

I apologize for the lack of clarity in the table above. Here is the PDF version: anniversaryMaterialsByCountry.pdf

One note about Ivory: Ivory trade has been made illegal many countries so other organic substitutes have been used. This would definitely have an effect on the overall perception of its use.

 

Small Blue Foam Model

In order to check proportions, I decided to make 1/8th linear scale blue foam model of the table. One with a complex rolled bottom and one with just a straight rolled bottom. Alas I think they are too small to really get the idea I'm trying to convey. 20120303-113541.jpg

20120303-113558.jpg

Oliver Show's "Street Furniture" in Hamburg, Germany

Found via Architizer, the goal of Oliver Show's project is to provide a series of guerrilla public seating areas using Hamburg's existing urban infrastructure. He uses yellow drainage pipes, which are low-cost, weather-resistant and highly-flexable to turn bridge trusses into recliners, bike racks into loungers, and safety rails into sofas. The bright yellow color is suppose to bring attention to the commercialization of the city's public space.

Oliver Show's Street Furniture

The interventionist and experimental approach to me is more important than the quest for a "perfect" product. -- Oliver Show tells Der Spiegel

Architizer ends by describing the piece:

Show’s Street Furniture presents itself as a tool, an empowering design concept that has been almost effortlessly realized. The emphatically lackluster nature of his material draws attention to the resourcefulness of its application. His squishy yellow pipes tactfully reclaim public space for the public.

My comments here are not to detract from Olvier Show's work but rather my own study of the subject at hand. I believe this project is a good candidate for "Out of place goggles" analysis because it does look a little out of place. First, the color, part of aesthetics. It does seem to brighten up the photograph's depiction of a cloudy Hamburg day. The texture and the flexible sagging of the tubing gives its true identity away. The use of the tube in this context suggest a temporary installation but not intended to immediately disappear. It also suggests a little bit of "fun" factor. Another perception of this tubing is its inexpensive (?) nature… also suggesting a quick, temporary solution. As for the intention of reclaiming public space for the public… well, I'm not sure if that needed to be solved as there were no occupiers per se, but it seems the intention is to create public seating, then from a material perspective, it is somewhat successful.

Some research/science into bending solid wood

A summary of an article published on WoodWeb, of an excerpt from the book "The Wood Doctor's Rx" by Gene Wengert, a retired Professor and Extension Specialist in Wood Process, Department of Forestry, University of Wisconsin-Madison.

"… although wood bending is an art, it is solidly backed by engineering theory."

Stress-Strain diagrams illustrating the behavior of wood

If we bend wood, we want to operate in the plastic range, otherwise in the elastic range the bend would not be permanent. Of course, too much force results in failure, aka "creep".

When wood is steamed (high moisture and high heat), wood will allow for severe bends. The plastic range in compression is extended and becomes extremely large (up to 10x the dry range), while not affecting the tension properties.

Steaming does cause an overall loss in strength after the piece is dried, so steaming time should be kept to a necessary minimum.

Forces that develop in bending without end pressure

A flat piece of wood when bent can normally absorb a difference between outside and inside radius of 2 to 3% (without using end pressure or steaming) before breaking. This means a 1" thick piece, 20" long, can bend on a 24.7" radius. The rule of thumb is that the radius cannot be less than 20 to 30 times the wood's thickness without steaming and end pressure.

Even though wood becomes more plastic in compression, it does not become much more plastic in tension, therefore the outside radius (the tension side) will be the limiting factor in any bend, even after steaming-although after steaming, the severity of the bends may, in certain cases, be increased without failure.

The most effective method of reducing the tension in the outer radius is to push on the ends, generating a compression force that will offset the tension force from the bend. How hard to push depends on the outer radius elongation being less than 3%… in other words, just try to keep the outside radius at nearly a constant length, as if it was flat.

Two end cuts can be used with end pressure clamps. The fit must be tight.

The traditional method of keeping the outer radius a constant length is to use end blocks like in figure 71-3 or a variation of this idea with the distance between the end blocks exactly the length of the piece.

Leading cause of bend failures are:

  1. poor material selection for bending stock
  2. miscut lengths (too long or too short between the end blocks
  3. improper moisture content

There are two ways to cut the end stock so it will fit between the block: Flush and Bevel (figure 71.3). Either two are acceptable. An additional consideration in bending wood is time. It does take a moment or two for the wood to absorb the stress being generated in bending. Bends must be made relatively slowly.

US Forest Service found 17 out of 25 hardwood species suitable for bending. They are, in order of bending quality:

  1. Hackberry (Best)
  2. White Oak
  3. Red Oak
  4. Chestnut Oak
  5. Magnolia
  6. Pecan
  7. Black walnut
  8. Hickory
  9. Beech
  10. Elm
  11. Willow
  12. Birch
  13. Ash
  14. Sweetgum
  15. Soft maple
  16. Yellow-poplar
  17. Hard maple (Worst)

of course results may vary from tree to tree, forest to forest.

Density and the rate of growth has no effect on bending failure. End pressure (in excess of that required) was not related to the number of bending failures. (In other words, a piece that is going to fail will fail even if additional end pressure is exerted.) Bending quality was related to certain strength-reducing defects:

  • Cross-grain wood is more likely to break than straight grain. The grain should slope no more than 1:15 along the piece. Occasionally, there can be "local cross grain" (e.g. near a knot) that can result in failure. A special form of cross grain is the interlocked grain, which is especially weak.
  • Knots are accompanied by distorted grain and represent weak areas.
  • Shake is a separation within the wood parallel to the annual rings. This separation encourage shear failures.
  • The pith(or exact center of the tree) is very weak and failures there are likely.
  • Surface checks, due to improper drying conditions early in drying are small separations in the wood. In bending, they can result in small bumps or slivers.
  • Brash wood is probably found in all species and results in very short (along the grain) breaks rather than longer slivers. Wood that is exceptionally light in weight, compared to the average for species is especially prone to brashness. Brashness can, therefore, be a natural phenomenon. On the other hand, brashness can result because of overheating wood, because of decay, or because of earlier failure.
  • Decayed wood is weaker than normal wood, even if decay has not progressed very far.