251. Different Chairs Problem People are different sizes; they sit in different ways. And yet there is a tendency in modern times to make all chairs alike. Solution Never furnish any place with chairs that are identically the same. Choose a variety of different chairs, some big, some small, some softer than others, some rockers, some very old, some new, with arms, without arms, some wicker, some wood, some cloth. Christopher Alexander, Murray Silverstein & Sara Ishikawa, A Pattern Language Drawing pictures of citiesAn index of the shifting patterns furniture
An index of the shifting patterns "Because this is a garden where things can be left out at night without being stolen, we're going to 'furnish' the garden with French café chairs that won't be secured in the ground, so people can move them to wherever they want to sit...It's like with the chairs being totally casual and relaxed and comfortable. They set a tone. There's things that you have to do to get the right feel, where it's all already there, but then, you know, 'Bing!' – there's a moment of recognition." The patterning of chairs pulled together in different ways by successive waves of visitors over the course of the day becomes an index of the shifting patterns of people that sit in a variety of arrangements to facilitate conversations and other intersubjective alignments, or simply to allow for a moment of private contemplation free from contact with others. Matthew Simms, Robert Irwin: A Conditional Art 251. Different Chairs furniture
From the desk of A Blog by Kate Donnelly fromyourdesks.com A site dedicated solely to canvas of the Desk. A Desk is where we work. Symbolic. Physical. Present. A second and third home. A Desk is a platform. A hearth. Roots are planted. It’s a place, a sanctuary, where hours upon hours pass. From the desk of: Austin Kleon workfurniture
Discourses on Architecture A Book by Eugène Viollet-le-Duc Style consists in distinction of formHaving quite lost sight of the principle
Having quite lost sight of the principle But the coppersmiths themselves, in their desire to do better or otherwise than their predecessors, soon quit the line of truth and propriety. There comes then a second coppersmith, who proposes to modify the form of the primitive vase in order to seduce the purchaser with the attraction of novelty...and it becomes fashionable, and everybody in town must have one of the vases made by the second coppersmith. A third, seeing the success of this expedient, goes still further, and makes a third vase, with rounder outlines, for anybody who will buy it. Having quite lost sight of the principle, he becomes capricious and fanciful...yet everyone applauds the new vase, and the third coppersmith is regarded as having singularly perfected his art, while in fact he has only robbed the original work of all its style, and produced an object which is really ugly and comparatively inconvenient. CamelsStyle consists in distinction of form fashionnovelty