To create noblemen and kings While civilization has been improving our houses, it has not equally improved the men who are to inhabit them. It has created palaces, but it was not so easy to create noblemen and kings. Henry David Thoreau, Walden societycivilization
Can maintenance save civilisation? An Article by Tim Harford timharford.com Maintenance is a low-status affair: you can confess to being unable to change a tyre in a way that you would never confess to being unable to name a play by Shakespeare. …We understand the expertise of janitors, plumbers and mechanics, and we suffer mightily in their absence, yet somehow we take them for granted. We take for granted, too, the most basic maintenance of all — preparing food, washing clothes, changing dirty nappies. Nobody would boast at a dinner party or on a first date about doing any of this, yet it is essential. …This is about more than breaking bridges and breaking bike chains. There is a missed opportunity here to find something rather wonderful in maintenance. repaircivilization
The drop press The virtue of thin sheet metal in giving the greatest glitter for a grain of gold was exploited in the earliest days of metallurgy. However, before the days of rolled sheet and drawn wire, most metal objects were made by hammering and were basically three-dimensional in form. [In contrast] look at the simple drop press — it’s unmodulated blow striking in a single direction symbolizes much of nineteenth-century mechanized production. To make multiple stampings, stacks of very thin metal sheets were superimposed under the hammer, and the final profile with moderately high relief was gradually achieved as finished sheets were removed from the bottom and new ones added at the top. When the drop press was used to shape large areas of thin sheet metal, the aesthetic qualities of the surface became divorced from the underlying substance, and decoration became independent of the body needed to support it. In any object there is a natural relationship between the surface and the bulk, that is, between its one-, two-, and three-dimensional aspects. The fakery involved in applying gold or silver playing on a solid copper object is quite different from the deception of an ornately stamped piece of thin sheet brass. Compare a magnificent ormolu furniture fitting or even a gilded plaster picture frame with a cheap lamp base embossed in thin sheet brass. In the former, the surface is simply and honestly applied for its optical effect alone; in the latter the fakery is fundamental for it is dimensionally misleading. Cyril Stanley Smith, A Search for Structure Separation of surface and structure