#can also take place in enzo's suite or your character's

[lorenzoxreyes]

It had been a long break over the holidays for Enzo, and he was pretty disappointed he'd missed Christmas and New Year festivities at Krovs -- and also his birthday on Christmas Eve -- but there had been some shit back home he needed to take care of. He was back now though, refreshed and ready to do his job again, but had decided to take a couple of days to get back into the swing of things.

Having just woke up, Lorenzo looked at whoever was in bed next to him and smirked a little -- he didn't usually spend the night with whoever he had sex with, but apparently they had worn each other out. Getting out of bed, Enzo got himself sorted in the ensuite bathroom before heading back through to see if his guest was conscious. "Morning, sunshine."

@krovscastlestarters

[dancingwiththeplanets]

An Angel Amongst Demons - chapter one

Boba Fett x fem!reader

     chapter 2 / masterlist     

Summary:  Boba tries to shield you from the dark side of his life. In his eyes, you are too innocent and pure for the harsh realities of the work that surrounds him. So when one day you stumble upon a meeting gone wrong when you were supposed to be hidden away, Boba’s afraid you won’t like the pieces of him he’s tried to protect you from, or worse, that now you’ll fear him.

A/N:  My first fic in like 6 years, I'm nervous! haha This is kind of an AU I think?? Takes place after the events of season 2.  I’ve added in two OC Mandos to the entourage because I love me some of that tribal brotherhood devotion. Also.. considering making this a series?

Warnings: soft!Boba (like, REALLY soft!Boba) protectiveness, maybe over-protectiveness? small character death, nobody important, two new sexy mandalorians (we’ll learn about them later), not much to be honest.

Word Count: 5.7k+

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There’s a lot to Jabba’s palace that most people don’t know about.  A lot’s changed since the esteemed Boba Fett took over the throne and claimed ownership over the fortress in Tatooine. Castle might actually be a better word for it. Somewhat modest and ordinary looking on the outside, the true magnitude and vastness of the castle is hidden underground, even past the comfortably sized throne room.

What lingers further down the sandstone hallways are an array of rooms and staircases, mostly leading down in different directions.  There’s a library and a kitchen and even a ballroom, which never has and probably never will be put to use.  There are guest rooms that are more suitably described as luxurious suites, for the grand total of zero guests that Boba will allow to stay in his sanctuary.  

There are permanently standing rooms for only a handful of the staff: the maid, Ada. Fennec, of course. And the two newest members of Boba’s trusted, elite team, Enzo and Raul, who arrived shortly before you did.  The two are a pair of dutiful and truly impressive Mandalorians who serve at his beck and call, courtesy of Boba Fett’s ally and only recognized leader (not that he’s ever told what to do), Mand’alor Din Djarin.

Past the staff rooms and further down an open and beautifully lit hall, is the communal area of the palace, the center, if you will. Fully equipped to socialize and entertain guests with comfortable seating, a fireplace, and charming embellishments around the room. A warm and pleasant area of the palace that likewise, does not get as much use out of it as it should.  

And finally, behind the common area, which in its own way, serves as a magnificent entryway, is Boba Fett’s private chambers.  Home to the respected and feared bounty-hunter turned ruler, and you, his haven.  

You. His cyare. His beloved. The ruthless king had fallen in love with you and your delicate heart, seemingly untampered with and somehow not left scarred by the harsh realities of Tatooine.  He saw in you light and tenderness, and you gave him joy and true unconditional love.  He spent many, far too many, late nights in Mos Eisley, at the cantina you worked in as a waitress. At some point visiting you every night to walk you home at the end of your shift, though you assured him you always made it home perfectly fine on your own.  But Boba secretly lived for those extra few minutes he could spend with you walking you to your residence.  Not to mention, he couldn’t fathom why it didn’t scare the bantha shit out of you to be walking around Mos Eisley alone at night, unarmed. That fact that you did sure as hell scared him.  

On most nights he walked you home, you invited him in, unless you were absolutely too spent to spend another moment standing.  But it was on those long nights that poured into the early hours of the lovely Tatooine sunrise that you and Boba grew close and eventually professed your love for one another.  Soon after, he hopefully, and quite timidly, asked you to live at his palace with him.  Though you’d never been before, you knew exactly where it was, and for that matter, who he was.

The new king of Tatooine had a reputation for being ruthless, unforgiving, and dangerous. And you didn’t miss the way people cowered away from his presence, especially when he wore the armor.  Though, by your own calculations, every other patron who marched their way through these lands was just as feral as the Boba Fett they all believed they knew, and not one had ever been as kind or as gentle, or captivated your thoughts, the way he did.    

He knew these things. More than most in the galaxy, he knew what a cruel fate such a pure being could meet, and if truth be told, he wanted to escape with your kind soul and shield you from this harsh planet before anything could harm you.

When he asked you again to go with him, you met his hopeful and loving gaze, eyes filled with devotion and admiration, and the corner of his lips pulled up just slightly in the most endearing of grins, you couldn't help but to instantly wrap your arms around him, leave a kiss to his neck, and tell him nothing would make you happier.

“Besides,” you teased, nuzzling into his neck, “I always wanted to be a princess.”

Boba chuckled and wrapped a strong arm around your waist, pulling your face back and tracing his thumb under your chin. “Believe me, mesh’la. You already were one.”

The next day, you found yourself and what little you owned in possessions, situating in your new home.  Like everyone else, you had shockingly inaccurate presumptions about the size of the palace, soon learning that what lay hidden behind the throne room and down the sandstone halls was a modest castle to get lost in.  No matter, you adjusted to your new environment and routine, though still unused to the respect and coddling you received on a daily basis, you adored every extra moment spent with your king.

Which is how now, five months later, you lay quiet and still as a mouse in bed, gazing dreamily at a sleeping Boba next to you.  The early morning light casting a light blue hue over the room, as the suns hadn’t quite risen just yet.  You were fortunate enough that your bedroom, the top floor to your two story chambers, was one of the few rooms in the palace with a proper window, the rest of your home and castle being underground.  

A low grumble from the man next to you causes you to hold your breath, eyes not daring to leave his form as he breathes in a deep sigh. “You know,” he begins drowsily, “the moment you wake up and opt to stare at me instead of closing those lovely eyes again and getting some more rest, is the exact moment that I wake up too.”

“You don’t have to wake up,” you smile teasingly.

“I can’t help it.” He grumbles, eyes still shut heavily against the apples of his cheeks. “If you’re up, I’m up.”

“For all you know,” You retort, “I’ve been staring at you, awake for hours.”

At this, Boba’s unimpressed gaze turns to you, eyes now latched onto yours. “You haven’t been.” He says.

“And how would you know?” You giggle back, “I haven’t moved a hair. I woke up facing you, and didn’t move anything but my gaze.  So unless you can detect the vibrations from my blinking, you couldn’t know.”

“I know.”

It’s your turn to look unimpressed, “How?”

“Because,” He leans in close to you, your noses lightly touching and a devilish look in his eyes, “If you’re up, I’m up.”

“Mm.” You hum unconvinced, eyes fluttering closed as he leaves a kiss to your nose then pulls away to sit at the edge of the bed.  You follow his form as he stretches to a stand, joints popping as he twists his back and arms around, the result of a body having gone to war and back countless times. You sit up tiredly and lean against the headboard, watching him pull on his under armor, then latching on the Beskar.  Piece by piece his body is decorated with more intimidating and handsome armor, slowly shielding your eyes from the scarred but lovely body of his that you admire possibly a little too much.

“You stare any harder and I might decide to take it back off,” Boba quips, a smirk rising on his cheeks.

You blush, shaking your head and looking away, gaze now pointedly out the window.

“Mesh’la,” He says, grabbing your attention again, his hands now occupied tugging on his gloves as he takes a few strides towards you. He smiles at the pink tint to your cheeks and your guilty smile, the remains of having been caught admiring him still plastered on your face. “I have important business to attend to today. But I’ve arranged for those workers to come and paint the library in a couple hours, would you mind overseeing it?”

He lifts a hand to lightly brush his thumb along your cheek, looking down upon you quizzically.  

“Of course.” You nod eagerly. You've slowly been tending to every inch of the palace, erasing all remnants of the Hutt’s and adding in touches of comfort and warmth wherever you can.  You wouldn’t say decorating is a passion of yours.  But this is your home now, you might as well fill it with things you admire.  Plus, Boba said if you didn’t take over the project, he’d just paint everything grey and toss out the old furniture without replacements.  

You shiver as you untuck yourself from your velvety comforter.  For a fortress built on possibly one of the hottest planets in the Outer Rim, this place can get cold.  Probably due to the fact that it’s rooted so deeply underground.

Happy to have something to do, you head to the fresher for a quick wash before Boba leaves to his duties.  You exit your chambers together, Enzo and Raul already waiting in the common area for you both.  Upon seeing them, you turn and leave a gentle kiss to the cheek of Boba’s helmet for a final moment of private intimacy before you descend the staircase, hearing him chuckle fondly at your action as he follows.  

“Good morning Fett, my lady.” Enzo bows lowly, turning to you.  You laugh and shove his shoulder upon reaching the pair of them. You can hear the hint of amusement in his voice as Raul shakes his head beside him.

“Good morning gentlemen.” You smile.

Boba huffs coming to stand beside you, “Gentlemen.” He scoffs at your words.

Raul clears his throat, “Crane should be here soon, boss.” He says, visor trained on Boba and arms crossed over his chest, gaze briefly turning towards you before meeting the boss again.  

You look towards your partner, “Your meeting today?” You ask.

“Yes.” He says, giving a quick nod.

“Alright,” You say, glancing at the suspiciously still trio of Beskar-clad men, “I’m going to the kitchens to have some breakfast.  Then I’ll meet up with those workers in the library.”

Boba nods again, confirming your agenda.

You stare up at him, waiting for him to sputter out whatever it is you know he’s wanting to say.  

“...Then,” You go on, “I guess I will, do some reading or...baking or...stare at the wall or something.”

“Sounds like a riveting afternoon,” Raul says after a more than comfortable silence.

“Okay,” you smile, chuckling a little and taking a step back, choosing to dismiss yourself now before the awkwardness has a chance to develop. “Have fun with Mr. Crane.”

Boba clears his throat as you turn towards the kitchens, stopping you with a hand on your arm. “Mesh’la,” He says, glancing pointedly at Raul and Enzo, who move to wait for him a few paces away. “Could you do me a favor?”

You tilt your head suspiciously, urging him to go on. “You’re acting rather strange Boba Fett.” You tease.

He grunts, “I’ve had a lot of trouble with Calendei Crane. He’s not a very loyal man, nor do I consider him a good one.  He’s had a lot of chances to make up for the problems he’s caused me, but recently he went too far, and we’re not going to be having a charming reunion just now.” He sighs, “What I’m trying to say is... he didn’t necessarily come here by his own accord.  And he won’t be very happy that he is.”

“I understand.” You nod.

Boba frowns inside his helm. I don’t think you do cyare.

“Alright then,” he says, “That said, I would really appreciate it if you would stay away from the throne room today.  At least until I send Fennec or Enzo for you or something.”

Out of the corner of your eye, you notice his hand opening and closing nervously by his side. He thinks you don’t know what he means. Oh Boba.

You reach for his hand as you step closer to his form. “Boba,” you whisper, leaning up towards him with a small smile, “You are the most kind and gentle man I’ve ever known. But I know that you are a man of business and principles.  You do whatever you have to do. If an employee of yours is out there making a mess under your name, I would expect nothing less than for you to handle it.” You say, hoping to reassure him.

You raise your free hand to rest against the cheek of his helmet, “But I’ll busy myself back here until you’re done.”

He lets out a sigh in relief, hand reaching up to grab yours and giving it a gentle squeeze. “Thank you.” He says, before tenderly tapping his forehead against yours and turning to get on with his day.

You shake your head at his retreating form.  Despite all of the darkness and dirt and the scum that surround Boba in his everyday life, he really does try everything in his power to not let it touch you.  It’s almost as if despite the late night confessions and raw conversations you two have shared about your lives don’t translate to reality for Boba.  As if he somehow believes you don’t truly know what it is that he does and who he is.

He seems to forget that you yourself have grown up with the same scum that populate this planet.  In the nearest city to here in fact, where all the mudscuppers of the galaxy would stay and wreak havoc when this was once Jabba’s palace. You’ve seen things. You’ve experienced things. Some things that, shamefully, you haven’t yet shared with Boba.  But what you can say with the utmost of certainty is that you know exactly the kind of people that like to deal in underworld business.  And you know that there are many cruel beings out there. But Boba, he certainly isn’t one of them.

You sigh, turning to pass through the empty dining hall to the kitchens. The light tapping of your shoes echoing in the desolate space. A part of you wishes you had said to him, ‘Oh Boba, when will you learn that you don’t need to protect me from yourself?’

A necessary conversation for another time, you decide.

Shaking away your thoughts, you wander into the kitchen, making yourself a quick breakfast and giggling a while with Ada, as she begins preparing a stew for all staff members taking up a residency in the palace.  She often prepares meals in substantial quantities, making enough for herself, you, Boba, Fennec, and the two other Mandalorians to all enjoy in your respective chambers.

“Take some of these to go dear!” She calls out, chasing after your form as you exit the kitchen. “You had better be eating a balanced diet.” She chides, handing you a towel with some berries on it.

“Thank you Ada,” you smile, leaving a peck to her cheek and making your way to the library.

When you arrive, the workers still aren't there, and you hum glancing at the clock.  They should have already been here and working at least for an hour by now.  

Expecting their arrival soon, you busy yourself with cleaning dusty bookshelves and making piles of the previous inhabitants' furnishings and decorations you’d rather not have.

You plop down on the floor after sorting through your ninth bookshelf, sighing after attempting to categorize everything by genre. Even opting to make a pile of books to get rid of, because really, nobody needs handbooks on slave trading and dealing in the dark business of the underworld. They’re just not something you’d like in your home.

You glance at the time again. “What on Tatooine.” You mutter, stretching to a stand.  You’ve officially been bailed on, because you've been sitting in this dingy library for four hours and if nobody’s shown up yet, you doubted they would be.  

Looking around at the mess you’ve made, you decide to finish tackling this task tomorrow, and head back down the hall towards your private chambers.

You pause to lean against the wall with your eyes closed, letting out a great yawn. It’s barely past noon and you’re already beat.

A voice calls your name just in front of you, startling you in the dark, candlelit hall.

“Ada!” You jump, with a hand to your chest.

“Mm, I’m sorry sweet one.” She frowns. “You had better go check on your Mandalorian.” She says sternly, wagging a finger up at you. “He sounds angrier than a farmer whose fresh crops have been raided by Tuskans.”

You furrow your eyebrows at her words, frowning. “Does he sound alright?” You ask, concerned.

“Too riled up.” She chides, shaking her head as she continues to pass you in the hall, grabbing a hold of your arm “Go straighten him out, lecture him on that temper of his.”

“Ada,” You sigh, “He’s dealing with a trying issue right now, and I promised that I’d stay away from this meeting.”

“Peh,” She waves her hand in dismissal, “Fine, your decision. But I did see a couple of those workers you were waiting on looking rather frightened up in the throne room.  Go on and fetch them and get on with your project. You left quite a mess in there for me to deal with.”

“What?” You look disbelievingly at her, “Well why didn't you just send them my way. I waited all morning for them.”

She shakes her head, looping her arm through yours as you continue walking side-by-side. You roll your eyes at the nerve.

The sound of sudden, unmistakable shouting, coming from much further down the hall and up the stairs ascending to the throne room stops you instantly. Your eyes widen a bit as the voice carries on, rather menacingly.  You wouldn’t want to be the one receiving the tail end of that conversation.  Boba truly does sound pissed. You wonder how long he’s been with this Crane fellow.

“Ada,” you whisper, the lower tone seeming appropriate, “Don’t you go trying to get me into trouble.” You say, pulling her back as she tries to urge you forward.

“Young lady,” She scolds, looking up at you in a surprisingly threatening way. “I have much work to do. I need my good broom which I left up those stairs, and you need your painters or carpenters or whatever it is those fellas up there are. So, let us ladies get on with our business and fetch our things.”

“If you’re already heading up,” You say through slightly gritted teeth, “Then why don’t you just go up there, grab your broom, and do me the favor of nudging down my workers while you’re at it.”

“Because I have a bad leg. Now either accompany me up stairs so that I don’t fall or go on and get those things for the two of us at last!”

“Maker, Ada fine!” You say, losing your temper. A part of you knowing she was just stirring up trouble. You start up the first step and turn to her with an obvious empty threat. “And I’ll be sure to note to Boba that our maid has a bad leg leaving her incapable of climbing our palace full of stairs.” You mutter disbelievingly.

“Mm, you do that.” She counters.

You sigh, shaking your head as you quickly make your way up, hearing Ada walk away behind you.  

That woman knows far too well that we would never replace her, you think.

Your focus shifting back to the surprisingly silent throne room just up and down the hall, you walk wearily, suddenly a little nervous.

You notice as you near the room, your steps silent down the hall, that there is a hushed but heated back and forth taking place.  

“-swear Mr. Fett I-I d-didn’t know they were-”

“-What?” You hear Boba’s ominous voice interrupt. “You didn't know what?”

His form comes into view as you peek your head into the room, watching him descend the steps of his throne and approaching the accused slowly.  You take a half step back, hoping to further hide your position, seeing as before, you were concealed behind his back.  But given his new stance, the flicker of his gaze upwards and Boba would be met with your sinful and curious eyes.

Raul, you note, leans comfortably against the wall across the room behind Boba, observing the scene from afar, but seemingly more interested in fixing a mechanism on his Westar-35.

Fennec, who, based on the fearful gaze he glances up at her with, was obviously the one to retrieve Crane, staring down at him with a daring look in her eyes, as if challenging him to try and escape this situation. Enzo stands on Crane's other side, blocking most of your view from the accused and his state. You also note that there is no such broom or fearful workers around. Ada.

“Mr. Fett-” He whimpers.

“Sod it.” Enzo growls, raising his weapon to shove against Crane’s neck, hushing his pleas instantly.

You observe the creature as best you can from your corner. You don’t want to peer out any further for fear of alerting Boba of your presence. He wasn’t human, but not terribly strange looking, a blue being, probably a humanoid, but with claws for nails that were certainly not cute. He’s on his knees, head bowed forward in obvious shame and fear, and hands tied firmly behind his back. This guy looks like he’s had a pretty bad couple of days, but you still can’t tell if you feel sorry for him or not.

Boba reaches Crane in the center of the room, and in a manner so menacing and calculated, that exerts a level of dominance that frightens even you, he crouches down on his heels, meeting Crane eye-level.

Boba slowly pulls his blaster out of its holster and lifts it to Crane’s ducked chin, using the barrel to tilt Crane’s face up to meet his.

You don’t even realize you’re holding your breath until you feel yourself running out of air.

“You didn’t know what Crane?” Boba repeats in a tone so hushed you could barely hear. “That you were selling information to an enemy of mine?  That you were betraying the trust that I had put in you? That you stole my property, weapons, and money to give to people who wish to do me harm?”

You can’t help but to feel anxious and on edge. Knowing very well you are not supposed to be in here observing the scene in front of you. Wondering if at this point, you should even try to make your silent leave.

Crane, seemingly breathless, and having accepted his fate, nods in defeat. “I’m sorry Boba.” He whispers.

“You violated the terms of our agreement Crane.” Boba says, rising up and adjusting his belt.  “I gave you opportunity after opportunity to make it right.  I told you that this was your final chance. I even gave you the kriffing option to leave!” He finally shouts.

You watch his chest heaving in rage as he continues to stare down at a defeated Crane.

Boba scoffs, “What did you expect would happen?”

The crippled man on the floor does what you least expect, his gaze lazily lifting up to meet Boba’s as he chuckles carelessly, his laugh soon transforming into a truly mad howl.

He looks like an absolute maniac.

Your eyes furrow in extreme discomfort as you watch the dramatic change in scene, and despite the obvious upper-hand that Boba has, you feel the urge to stand between him and this disturbed creature.

“I-I guess,” Crane breathes out between spouts of laughter, “I held out hope. Hope that the famous Boba Fett, oh-” he croaks out another laugh, “I’m sorry, that the-the King of Tatooine, would finally meet his demise like he should have all those years ago in the sarlacc. Oh, Boba, we were all so pleased when we thought you’d met the maker that day, but you...you son of a nerf herder, you lived. And WHY should you get to live while the rest of us died off! TELL ME BOBA FETT! Because you know something? You of all beings do NOT get to cheat death. You think you’re better than the rest of us, trying to make amends for your crimes against nature? Against the galaxy?”  

Crane leans his head forward nearly slamming it against the ground as he violently spits out, “-No, no, no, no old friend. You are the worst, most foul kind of scum to EVER have walked these lands. You are no worse than Jabba, don’t you kid yourself. And if I have played any part in your demise, I’ll have avenged my brothers who have died at your hand. Your end is coming Boba Fett! You will fall, and so will anyone who tries to prevent your end!” He carries on, doubling over while spitting out the most ludicrous threats between maniacal laughter.

A wave of pure fear plunges your heart, leaving a sickly feeling in your gut at his words. You don’t even realize that your longing to protect Boba has unconsciously pulled your body a few steps in his direction. Your error not evident to you until Raul moves from across the room, capturing your attention. You glance at him only to see the gaze of his visor already locked onto yours and his body making quick strides towards you.  

“Boss-” Raul says hurriedly, but not before a shot rings out, causing you to jump and gasp, hands flying up in front of you in instinctual defense.

You open your eyes and turn your head to face Boba just as his gaze snaps in your direction. Even with the visor covering his face you can see he’s taken aback by your presence. His arm lowers quickly with his blaster, holstering it.  Everyone’s attention seems to be on you.

Nobody moves for a moment, and still frozen, your gaze flicks down to the dead being, monster, who lays thankfully slain on the floor.

Seeing movement out of the corner of your eye, you avert your gaze back up to Boba, whose arm shifts nervously at his side.

“Ner- ner cyare.” He whispers, his tone strained and unlike you’ve ever heard before.

You take a step towards him, but don’t go much closer when Enzo shifts to exist as a barricade between you and the bloody mess to Boba’s side.

“What are you doing here?” He says, seeming to struggle with every word.

“I-I can’t remember.” You say after a beat, nervous again suddenly that you’ve poked your nose into business you told him you’d stay away from.

He stands frozen, panicked behind the harsh mask of his visor. His absolute worst fear being realised as you stand in the aftermath of an execution he himself carried out, right in front of your eyes.

Cruel. Unforgiving. Dangerous. Vile. Sadistic. Merciless.

All words he imagines were running though your sweet mind behind those wide eyes.

“Boba.” you utter, taking another step towards him, hesitating at first then succumbing to your hearts needs and taking up a speedier pace.

Your hands, which at some point started shaking, matching your more obviously quickened heart rate, raise up slowly to rest on his chest, and you swear he flinches at the contact.

“Cyare-” He mutters again, heart beating undoubtedly twice as fast as your own, fear and desperation clinging to the word, but he stops when your suddenly tear-filled eyes meet his gaze and you cling to the sides of his helm.

“Boba, are you okay?” You whisper frantically.

At that, he lets out a shaky exhale, body loosening and head tilting slightly at your words.

“What?” He asks, stunned.

“Are you alright?” You say, searching desperately through the dark visor of his helm for his warm, brown eyes.

“Am...am I okay?” He repeats.

“Yes I-I heard everything he said.” You stutter, head turning to meet the deranged creature's corpse covered in his own blood before Boba finally and frantically grabs a hold of your cheek to gently avert your gaze away from the scene. “He-he was absolutely maniacal.” You let out a shuddering breath. “I’m so sorry I came but I-I heard shouting and A-Ada said something I can’t even remember what but I ended up here somehow and please don’t be mad but maker I just didn’t expect this-” you pause, tempted to glance at the corpse again but your cheek stays steadied in Boba’s hand, “-this monster to be here, threatening you and maker I know you’re alright, you’re always alright, but I desperately wanted to be standing between you and him to do anything to shield you from his threats I-”

“-Mesh’la.” Boba says, more of his confidence appearing in his voice and his movements but still weary nonetheless.

“Are you okay?” You repeat desperately, cradling his helmet firmly in your hands again.

“I’m-yes. Yes mesh’la, I’m alright.” He stutters out, “Are-are you not afraid of me?”

“Afraid of you?” You breathe out, taken aback. “Never, Boba. I-I could never fear you.”

Boba’s completely stilled in your arms. It feels like hours, your wide eyes looking at him with that familiar tenderness and devotion. You almost forget about the other’s, standing completely motionless around you, until Boba suddenly turns you and urges you forward with gentle hands on your waist, his form practically shielding you, quite fruitlessly, from the scene he guides you away from.

When you reach the hallway, he allows you to pull him next to you instead, as he opens the door to the closest chamber in sight and ushers you into it, closing the door behind you both.

The dimly lit room casts a warm glow on you both as you turn to face Boba, whose back is slumped up against the closed door. He heaves in slow, heavy, deep breaths.

You stand, unmoving, only a few inches from him.  Gaze locked on his visor, you wear a concerned expression on your face, your own breaths silent but speedy as you wait for him to explain his behavior.  

He finally says your name, both his palms rising in a pleading request for you to take them.  

You place your hands gently in his, and he cradles them to his chest, looking down at them. So small and clean and innocent in his dark gloves that carry the stains of countless victims.

You hold your breath when you hear a choked sob escape from his modulator. Your mouth falls open a bit, eyes flitting down to where he stares at his hands caressing your own.

“Boba?” You mutter.

As if prompted by your voice, a more obvious sob falls from Boba’s lips, and his hands release your own, finding purchase on your hips as he falls to his knees before you.

You gasp out a breath of disbelief as you watch your partner, your warrior, your Boba, cling to your waist. Silent sobs shake his body as he hesitantly pulls his hand from you and places it under the lip of his helmet, tugging the armor off and letting it topple to the floor beside you.

Tears spill down Boba’s face, following the same trail left behind by the first few that managed to fall. You grasp his face in your hands, thumbs sweeping across his cheeks and erasing the tears that slid down his scarred skin.  

Your vision blurs as your own eyes well with tears. “My love,” You whisper, “What’s wrong?”

His forehead tightens and brows furrow, making him look like he’s in pain. “Mesh’la I-” he stops to compose himself, his eyes looking down though you hold his face in your palms. “You- you do not fear me?”

“I could never Boba.” You assure him, you voice cracking as you say the words. “I trust you more than I’ve trusted anyone in my life. You...being with you, makes me feel safer than I ever thought I could feel.”

Your hand leaves his cheek to smooth out the worried lines on his forehead, and you bring your index finger under his chin, urging him to look up at you. “That creature, monster, whatever he was,” You start, “He was disloyal and foul and cruel. He wanted to hurt you. Which means he wanted to hurt me. I couldn’t bear the thought of something happening to you. You’re my everything Boba.”

He stares up at you, vulnerable, more unsteady than you’ve ever seen him, but you go on, “I know who you are Boba Fett. I know that you were a bounty hunter. I know that now you rule the underworld and that sometimes you do unpleasant things. I know that you have regrets and I know that you have a past. I have one too. But most importantly, I know that you are a good man, worthy of my trust. And I will stand by your side every day for as long as you want me here, because I love you. My mind, my body, my soul,” you whisper, tears flowing down your own cheeks now, “-they’re yours Boba. All of me is yours.”

Tears well in his eyes again as you speak, but he doesn’t hide from you as he frowns against the tears threatening to spill again. “I love you so much.” He confesses almost fearfully.

You reach down to unlatch his hands from your waist, though you’re met with mild resistance, before you kneel to be level with him. You lean forward slowly and kiss him, passionately and desperately and devotedly. He cups your face in his hands, pressing you to him as close as he can before releasing you.

“You,” He whispers, leaning his forehead against yours with closed eyes, “You are too pure for this galaxy. An angel living amongst demons.”

“And I suppose you think you’re a demon?” You shake your head, smiling at the absurdity of it.

“Me?” He grins, “A fallen angel? Most definitely.”

[paperclipninja]

Younger post-ep ramble 6x12

So we've reached the end of yet another season of Younger and it seems like it only started 5 mins ago but also the premiere ep feels like 5 months ago and I'm sitting somewhere between denial and not coping because WHAT WAS THAT ENDING??? How are you all holding up? Holy shamole, the season 6 finale, 'Forever' (named because that's how long it's going to feel between this ep and the season 7 premiere), gave us a lot to process.

Picking up the day after the last episode, this week opens with Kelsey letting Liza know that it's her last day at Millennial, which triggers one of my fave scenes of the season as Liza dashes up to Charles' office to intercept Kelsey's 'Dear John' resignation letter before he sees it.  One thing I have always loved about Liza is that despite the entire premise of the show up until this season being Liza's lie, she is so awful at actually lying, which is fab for us because Sutton Foster's comedic genius that comes out of her awkward over-explaining is golden. Charles knows she's lying, Liza knows he knows she's lying, the way Charles says 'I won't report you to HR' after Liza says she's taking the letter back because it's inappropriate almost calls for a fire blanket *fans self*, the entire exchange is SO good and somehow continues to get better when Liza decides to tell Charles that the 'really sexy stuff' is actually in the form of a limerick (I also love that he knows it's not her handwriting, I don't know why, I am simple folk and might be imagining that they leave little notes around for each other...). I want to read that limerick.

Kelsey finally catches up and props to her for even being able to walk let alone run in that amazing pink leather skirt, and she saves Liza from herself by informing Charles that she is in fact resigning and hands over her letter (which I also want to read btw). The delightful dynamic that's been developing between Kelsey and Charles these past few episodes continues as Charles implores her to take a leave, that she's too important and when Kelsey goes to shake his hand, which then turns into a hug and it's sweet and lovely, the way she leans on his arm is so daughterly and emphasises the 'family' theme of the season and seriously, I just wanted to see more of these two working together then this happened and all I was thinking at this point was, why aren't we allowed nice things?

Oh but we are, as I was quickly reminded by Diana Trout in the most incredible purple suit and turquoise accessories combo. Everything about her and this outfit belongs on an aspirational poster. We discover that Liza has deputized Lauren for some maid of honour duties and that about a week has passed since Kelsey left. Diana's strained, 'WE'RE HAPPY' is deceived by her shouting (as well as Lauren pointing out that both Diana and Liza's offices are out of Kleenex, ya know, because of crying and whatnot and p.s. I'm not ok at the thought of Queen Trout office crying), but the expression that flashes across her face oh so briefly when Liza says Kelsey's coming to the wedding is real happiness and relief (have I mentioned this week how amazing Miriam Shor is with her ability to say so much with just a look?). 

I have absolutely adored seeing the relationship between Diana, Liza and Kelsey develop and grow this season, and Diana's reactions to her being able to attend the wedding but not the spa day speaks volumes to the genuine love and friendship they share. 'How can you be so bad at this maid of honour stuff? You're a thousand years old, this can't be your first rodeo'- I'm not even saying anything about that line, I just wanted to put it in my ramble somehow because it is so stellar it needs to be here because Diana giving Liza a hard time about her age now is everything and then some.

While Liza and Diana are heading to the Uncle Joe meeting, Kelsey and Zane are having a meeting of their own in the park. Kelsey reveals that she's branching out on her own and wants to give him her pitch for feedback. Zane offers her some advice, 'don't do it' and also suggests Kelsey check her ego, which in every other season and even the first part of this one I would've been saying 'YESSS, boom!' but now, not so much. But also a little bit. I am still quite confused about this whole dynamic and don't know if I like it or if I care. I liked Kelsey's response, 'with respect, my resume looks different to yours', she seemed very level headed, though it became evident fairly quickly that this conversation was less about work and more about their relationship for Zane. Zane saying she thought stepping down as publisher was her worst moment, he thought she was awesome, he wanted to be there for her was lovely and supportive and the confusion remains, Zane was being sweet but also maybe not? I'm not sure. There is definitely some truth in the fact that Kelsey does tend to play the victim (or has in the past at least). Regardless, Kelsey's expression as she was there on her own on the bench after Zane walked off oozed sadness, someone give that woman a hug.

Meanwhile at Uncle Joe's, aka Enzo's 'small g' godfather (I love the running gag of Enzo reassuring Diana he's not connected to the mafia), Diana, Enzo and Liza are in for a treat as the ice sculpture is revealed (LOL at Liza asking if it's the heart piece and complimenting it only to be told, 'no that's for a dog funeral'). A trout coming out of a toilet is honestly the greatest thing I could never have imagined, it is so literal and enormous and I love that someone actually had to make it and I think we were all Liza as she stated, 'I under-prepared'. Liza has her maid of honour duties cut out for her, but deploys two people who will definitely ensure the Trout/toilet masterpiece will never see the light of day. Maggie buttering up Joe to distract him is way too easy and then Lauren...what are you doing? You don't need to take your underwear off mate, take the pic with the safety of knicker fabric. I legit crossed my legs as the whole thing unfolded. I've gotta hand it to Uncle Joe for so calmly accompanying Lauren to the office to get the first aid kit despite his masterpiece being destroyed.

Before Maggie tackles the ice sculpture we see her once again being the oracle of the show when Kelsey rocks up at the loft looking for Liza (who Maggie says is in Queens and 'said something about Ice Capades, which is so Liza' - of course Liza would love theatrical figure skating). Can we just take a minute to appreciate how goddamn amazing Maggie looks in this episode? Her dress/headband combo in the scene with Kelsey is divine and I am in complete admiration of anyone who sits around at home dressed like that, fully made up and accessorised. If anyone turns up to my place unexpectedly I spend a good couple of minutes shouting 'just a minute' while I run around frantically trying to swap out pyjama pants with, well, not pyjama pants. Actual goddess. Kelsey being humble after a whole lot of tough pitches, 'maybe Zane was right, I let my ego get in the way', really shows the growth this character has had this season, and Maggie peps her with, 'do you still believe in yourself?' before suggesting that, 'sometimes you have to get into bed with the devil'. Turns out there's some kind of excellent story attached to how Maggie got her loft and I do love a tease, would love to see the follow up down the track (WHO did she get into bed with is all I wanna know).

Even though it's fairly obvious who Kelsey is going to get cosy with to try and secure some cashola, as she finishes her pitch (which is pretty darn amazing lbh), the reveal of Quinn at the end of the table is so damn fabulous. KLP Print is definitely up there with the worst names (seems it's true Younger style to intro terrible publishing house names in finales, shoutout to last year's Chick(y) and Kelsey using her initials as the title is so basic when she never is that it's really funny). My love of Quinn is no secret and I have to say, I would have LOVED to see an exploration of those two working together again properly. Fortunately we get more Quinn when she interrupts Liza and Charles at lunch. Liza is talking about how much pressure she's feeling and I know it's not the most interesting conversation but it's real stuff that people in real relationships talk about and I get that it's not everyone's cup of tea, but I just adore seeing Liza being so open with Charles about how she's feeling and Charles always listening with understanding and in this case, suggesting a vacation. 

Liza seems quite caught off guard by the proposition of a merging-of-the-families trip to Scotland, though her smile when Charles says, 'I thought it was time we all get to know each other a little better', indicates she is up for it (once she checks with Caitlin, which we can take as confirmation she is in fact alive, she has been located and she is ok. No word yet on Beth). Also, my sappy little heart when Liza says, 'if WE leave the girls with Caitlin’, Liza defaulting to her and Charles and the girls as a little unit, not to mention that she's thinking that this trip will involve her and Charles getting some time alone together *le sigh*. But back to Quinn, I am here for icy Liza and Charles and Laura Benanti's ability to convey such a sense of not caring at all about what people think is incredible. As Quinn teases that she's teaming up with someone 'who used to work for you or with you or beside you, it's always so confusing over there' (these lines and delivery I swear) the actual award goes to her exiting line, 'my biggest donor is over there. Watching him eat is the hardest thing I do'. Actual laughing out loud. And yes Charles and Liza, it can be Kelsey (and spoiler alert: it is).

Now part of the reason Liza was late to her maid of honour duties earlier in the ep is because she discovered that a book pitch meeting has been booked for the day before the big wedding. I hate this author so much. He is the actual worst of any author I can remember pitching on this show, I just wanted him to go away the moment he started talking (he reminds me a bit of the boss from The IT Crowd for anyone playing at home who knows that show). The only purpose he served IMO was to get Redmond on our screen, which was totally worth it if only to hear him try to have a dig at Diana but only able to come up with, 'you,...you are ageless'. The other highlight of the scene is Diana's retort to Redmond having yet another swipe at her and Liza being there sans Kesley and that is Diana's 'you know what they say? IHL...it's her loss. They don't say that, do they?' to which Liza responds, ' I don't...I'm not sure'. I am outright obsessed with Diana and Liza and need them in every possible scenario please and thank you.

Don't get me wrong, Michael Urie delivers every zinger like noone else, but this whole scene in the context of the episode felt like a hark back to the OTT ageist jokes of season 1 and it all felt like it was for the sake of it tbh (though ‘elderly dithering’ still makes me chuckle)  I get it, JOMO, giving up the imaginary, alternate life to be in the real one, very much building on the set up of Liza leaving behind her 26 year old life, but this was 2 mins and 41 seconds that could have been wedding time. I would've honestly watched a whole ep of Diana getting ready and the wedding very happily, but I appreciate that there was a lot that needed to be addressed, so even a couple more mins would've been wonderful and could've served this episode more than that insufferable author and pretty pointless pitch (plus Redmond was invited to the wedding so we could've had Redmond and bonus wedding time so win win! Next time...).

It was nice to see Kelsey and Liza out having a drink and catching up. Liza once again assures Kelsey that she supports her in whatever she does but makes it quite clear that she thinks going into business with Quinn is a terrible idea. Kelsey then fills Liza in on what Josh is up to, Liza fills Kelsey in on their convo from the week before that did not go down so well and Kelsey isn't surprised because apparently Liza is 'kind of the most important woman in his life who isn't teething'. You know what? That actually made me really sad. I mean, Josh and Liza have not been in a romantic relationship for what, 18 months or two years? He lives with Kelsey and Lauren, has a great relationship with Maggie, (I'm not dense btw, I understand why this line is there), but Josh not having any other women who he would consider important in his life despite all these amazing female friends?

One thing I was enjoying about Josh this season was his moving forward and having a purpose. After last season's terrible stagnation for his character, seeing him reestablish a relationship with Claire, have a baby, his friendship with Lauren continuing to evolve, it was all looking so on track. Then these past couple of episodes, I feel like he's had a massive regression again and I just feel bad for the character and think that surely he can serve a purpose beyond pining for Liza because he did that already for the whole of season 5. I do like that Liza is sticking with her mantra of making choices in life, of refocusing on other things, on new horizons and I do believe she's really trying, but her fickleness is certainly a constant struggle for her throughout the whole series. More and more, especially since the lie came out, I'm seeing Liza's longing for or looking back more at the life of a 26 year old and it'll be interesting to see if it's Josh she's actually feeling she's missing out on or the life he represented (and which there's no reason she can't live aspects of now). Liza's forlorn expression when Kelsey toasts to 'no looking back' has also been making quite a few appearances these past few eps.

Aside from my fave terrible person Quinn, my other favourite recurring guest this season has been Infinitely 21's Shelly. As she and Josh are finalising the Inkburg Midtown details, her unquenchable thirst once again becomes apparent as she tells him, 'we all want a piece of you..I keep saying piece, I don't even know why' (I love Josh's, 'it happens', I mean how do you even respond to someone like Shelly?)  As Shelly and Josh go through his look book to find some pieces appropriate for a 'tat and scat', Shelly of course sees the hourglass and loves it but Josh, dude, why is it in the look book if it was a one off? C'mon. Again, I get it for the story and Shelly is on it, 'please don't say you forgot who she is'. Oh sweet, innocent Shelly, if only you knew.

Ok, now the reason we're all here, THE event of the year and that of course is the Royal Wedding. Everyone looks amazing (Maggie = wowsers!) and I have made no secret of my excitement at seeing the whole Younger fam glammed up at an event together. It's really happening!!! Liza has finally figured out her maid of honour gig as she welcomes guests, including Enzo's mother who proclaims she saw a crow flying upside down on the way to the church, 'it's a bad omen', to which Liza accurately and hilariously replies, 'especially for the crow'.

Upon hearing from Liza that Kelsey wants something that she owns, Charles finds himself a seat next to Kelsey in the church and oh my heart. I honestly never anticipated that I would be gushing about the relationship between these two characters, despite the fact I had it as a wish for season 6, it has exceeded my expectations. Charles' sincerity in offering Kelsey a stake in the company, asserting that she is family, 'I knew that the day you sacrificed everything you wanted to save us', ok it was me who took all the Kleenex from Diana and Liza's offices because EMOTIONS. His gratitude is genuine and deep, I mean never mind that it was her drunken error that caused the issue, Charles' whole refocus on the importance of the people around him this season really lead to this wonderful moment and he leaves the ball in her court knowing he has done all he can to show Kelsey that she really is valued.

Liza helping Diana from the car, OH. EM. GEE I am in love. Diana and Liza's friendship is my highlight of this entire season and this exchange did not disappoint. Diana looks so amazing. Her necklace that Liza helped Enzo pick out has it's own moons probably and Diana telling Liza that 'as a maid of honour you're slow burn but in the end you're white hot' was almost too much but also exactly the right amount. Fun fact: When you look up the meaning of magnificent in the dictionary you get this gif of the doors opening on Diana as she waits to enter the church. She is composed and beautiful and as she walks towards the beaming Enzo, Kesley and Zane are rekindling, which is sweet but again, who knows for how long?  There's just so much happiness and love in the air! It is everything I ever hoped for and more. I do wish we'd heard the vows and/or seen the 'I now pronounce you husband and wife' though, I am legit sad that we didn't see at least a little bit of the ceremony. 

We also have Josh turning up as the plus one, ok yes, it makes sense Lauren would invite him but also, have some self respect man. On the one hand I get it, when you are so infatuated with someone you will do anything to see them, but Liza specifically asked for some space so I am struggling to understand why he would accept the invite or at least not text Liza and give her a heads up or ask if she minds or something you know? Again, I know it's TV and there needs to be the DRAH-MAH etc. In saying that, the tattoo conversation I actually thought was lovely. 

Prior to that though, my dream of seeing everyone at the event together is realised, we see Maggie's ice sculpture and the hint at a Maggie and Lauren rekindling (also, Liza going over to Charles in the background and cosying up to him, I see you). We do catch the end of Diana and Enzo's first dance and hear Diana referred to as Mrs. DeLuca. Enzo giving her a hard time about her eye twitch every time she is called that is so freaking adorable and Diana and Enzo together are adorable IT'S JUST ALL ADORABLE and seeing Diana so relaxed and happy is honestly everything and yes, I'M GUSHING. Again.

I do like that Josh calls himself out, that it is super weird seeing him at the wedding. Because it really is. Josh looked devastated at Liza's initial response to the tattoo question and to me, it’s because her saying he can use it is like she's so willing to let go of him that she doesn't even want to preserve anything from the time they were together. I think that for Josh, her answer was indicative of whether she was really closing him out of her life for good. I'm finding the use of flashbacks (last week in the montage this week with the tattoo) interesting in these Josh/Liza interactions, it's not something the show has ever really done before and while last week's certainly felt like a poignant reflection, I can't help but wonder if it's also serving the purpose of reminding the audience of the relationship that once was in an effort to get viewers on side with it again (obviously many viewers never stopped wanting them together). 

But I do completely understand Liza's decision not to want anyone else to have the tattoo. It is theirs, it signifies an important part of her life and their relationship and this scene did what Younger does so infuriatingly well. Last year it was the cacao dream and this year it is this scene, there is enough ambiguity to interpret this scene as either closure and a transition of Josh and Liza's relationship away from anything romantic or for those fans of the Josh and Liza romance, it allows for hope that it may reignite one day. It was left open and closed enough to go either way.

The moment I heard 'Take my breath away' playing, I swear, I could not BELIEVE my ears. I never thought this show would do something so cliche yet here we are and I loved every second of it. Liza calling it 'our song', asking Charles if he asked them to play it and the way he answered I AM DYING (note to self - any episode that plays this Berlin hit will involve a proposal). Seeing Liza and Charles slow dancing on that dance floor was everything, I am such a sucker for a couple dancing like this and it was perfect, I may be melting into a puddle of goo just thinking about the way he holds her hand so close to his heart (though Liza's apprehensive look about the Scotland trip wasn't a fave, she seemed pretty relieved to be able to get out of that one). There I was watching, my simple mind and face grinning at the dancing when suddenly I hear the word honeymoon. I'm sorry, WHAT?! Ok, so I, along with many others I'm sure, had an inkling there might be a proposal. I have to say that in my mind Charles Brooks would never propose at someone else’s wedding, HOWEVER he himself has admitted to being impulsive when it comes to matters of the heart and the moving in conversation from episode 8 was when my cogs began to turn and wonder if we mightn't see something like this play out.

I LOVE how he's just speaking softly into her ear, it's so damn intimate and as Charles begins his beautiful speech there's a smile that flashes across Liza's face as she computes what's happening, because she's a human person who has the most romantic monologue ever being delivered to her. His pause as he says 'with...everything about you' ugh, his love for her is palpable in that moment, I seriously need a lie down just from writing about it. Kelsey barging in with 'I do, I DO, I've been trying to think of a reason not to say yes but there isn't one' (listen to your friend Liza, she is wise) is so perfect, it's SO Younger, her answer being the answer Liza should've been giving (and the fact she didn’t setting up the cliffhanger rather nicely). Meanwhile, Liza is trying not to have a panic attack as all the fab women band together to ‘We are family’, but as she gets caught in the middle of the conga line, Charles expectant and hopeful and her smiling, they share that moment between the two of them despite the chaos around them, as their eyes remain locked across the room.

The beauty of television is that you get on for the ride and you never know where you might end up. At the start of the season I certainly wouldn't have thought waiting to hear Liza's response to Charles proposing would be the finale cliffhanger and I'm not sure how I feel about it to be honest, but you know what the only good thing about a 9 month hiatus between seasons is? We get 9 months to speculate and theorise and re-watch the whole series a normal number of times *cough* and digest it all.

And that, folks, is another season of our fave show done. I do plan to do a season review at some point, but I just want to thank all of you who indulge me by reading the excessive number of words I plonk on a page week after week, the interactions and feedback are wonderful and I really appreciate it all. 

I guess it’s time to get back to those real life responsibilities I’ve been ignoring the past 3 months (though JOMO, amirite?).   

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article

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Steroline Appreciation Week (#scaw17) The Snow Globe Part 2

Continued from here X

Writing this has made me feel super emo. I tried to combine all the elements of Steroline I love (friendship, teasing, angst, romance and passion). It’s basically a trip from S2 to S8 and I hope you all enjoy it.

***

Approaching her doorstep, Caroline let out a breath she didn't know she was holding. After being locked up and tortured by a pack of werewolves, all she wanted was a hot bath and a lot of junk food. Stefan followed behind, concern dripping off him, his shoulders tense with anxiety. As bad as her ordeal had been, it could have been much worse if it hadn't been for the Salvatores and creepy Dr Martin. She shivered as she pulled her key chain from her pocket. Behind her, she sensed his footsteps pause obviously waiting for her to open the door. Then she heard it.

A stifled chuckle.

Was he laughing at her? Because if he was, she was about to kick his ass, hero hair or not.

She spun around to see Stefan's grin smooth out into his more standard earnest face. "What was that?"

"What was what?" He replied, the picture of innocence.

"See, I thought I heard someone laugh and we both know that's not really your style." Her eyes narrowed. "Is being burned with vervain and shot with wooden bullets amusing?"

"No, no, no." His own eyes widened in horror. He gestured at the key in the door as yet unturned. She gave him a 'wtf?' look. "You said it was a shit gift!"

Dangling down was that damn snow globe. After having misplaced her keys several times recently, she had resorted to attaching them to something big and ugly. Funny how she never had that issue since. "It IS a shit gift, but because I am gracious, I will admit it has it's uses. Still, I don't know if I'll ever forgive you." She turned to Stefan who was grinning from ear to ear like she was the most amusing thing in the whole world. Just for a moment, she forgot the existence of vampire hating werewolves and psychotic doppelgangers.

"I'll take useful."

"Oh, shut up!"

***

Stefan had passed a fitful night on the Forbes' family couch. He was grateful to Caroline for putting him up after Elena moved into the boarding house to avoid by murdered in her own bed by Jeremy. Still he wasn’t looking forward to having to discuss their sire bond revelation with his brother. Stepping out of Caroline's en suite shower, he picked up the towel she had left him and wrapped it snugly around his hips. It didn't leave much to the imagination, all Liz's bigger towels must have been dirty. He moved into her room to start dressing.

Caroline's room was pretty and feminine. To say she was a neat freak was an understatement. Stefan hadn't really been in here before and interested to see what secrets her boudoir might give up. In one corner, there were several shelves containing cheerleader trophies, commendation medals for various good deeds and a suspiciously home-made certificate declaring her third grade hopscotch champion. Caroline Forbes really was multi-talented. In pride of place, her Miss Mystic Falls trophy twinkled and next to it, hung on a small hook, was the snow globe key chain from his one and only attempt at Secret Santa.

His heart fluttered in his undead chest.

Why would she still have this given how much she hated it?

He ran his fingertips over the rounded surface and for the first time in weeks, he smiled.

***

Stefan and Caroline stood watching the burning log shed. Even as a ghost, Enzo was a royal pain in ass.

"I have a secret for you."

Caroline mesmerised by the fire was stumped. "What?"

"I have a secret I never told Elena." Stefan grinned. "Aside from the ‘dirt on your cheek’ thing."

"Okay." She looked dubious.

"You remember that Secret Santa gift?"

She rolled her eyes at him. "How could I forget!"

Stefan looked chastised. "I had a completely different gift for you, but Damon being Damon ruined the whole thing."

"So not a snow globe then?"

Doubt etched Stefan's face. He had always figured that someone as whimsical as Caroline would love such things, maybe he didn’t know her so well. "It was a snow globe, it was just a better one." He went on to describe the pretty, glass globe and where and when he had got it. At the mention of Lexi, he glanced away as if wishing to hide his sadness from her.

"It's okay to miss her. Damon may be your brother, but he's also a complete dick."

"I'm no better than him."

"Duh, you're a 1000% better."

"I killed Enzo."

"Your brother left him to die in a fire." Caroline cocked her head to one side. "Anyway, I don't want to talk about Enzo or Damon, who is this Disney character you associate with me?"

"Tinker Bell." He replied simply.

"I've never seen Peter Pan."

"Disappointed it wasn't Cinderella?" He teased. She narrowed her eyes. "Tink is misunderstood. People see her as impatient, jealous and impetuous." She frowned at him and opened her mouth to protest. "But it comes from a place of love, she would do anything for her friends." He smiled at her. "And she has really cute shoes."

She punched him on the arm. "You're so annoying."

He smiled. "I just can't believe you've never seen the film. Youngsters of today, don't know you're born.”  And then, even though, he really didn’t want to, he added “Come on, let's go check on Damon and Elena."

***

Spending an afternoon watching movies with her mom had been one of Caroline's favourite childhood things to do. Now Liz was dying, Caroline was desperate to make as many memories as possible. Stefan had dropped off a couple of DVDs from his collection, along with some chocolates and popcorn so she decided that given how miserable the weather was that was what the two of them would do. Liz was installed on the couch, tucked under a blanket. She looked pale and worn, the fragility of life etched across her features.

One of the movies Stefan had picked was Peter Pan. Curious, she popped in the DVD in the DVD player and snuggled up next to Liz.

"This takes me back." Her mom commented. "I know it's a cartoon, but it's kind of dark. Do you really want to watch it?"

"Wouldn't be Disney otherwise. Besides..." She looked away coyly. "Stefan once told me that Tinker Bell reminds him of me."

Liz made a strangled noise, half way between a snort and a gasp.

"What?" Caroline demanded. “She’s an icon!”

"Nothing. Let's just watch the movie." Liz passed her daughter the popcorn and they settled down to enjoy the film. "He's nice, Stefan. I mean for a vampire."

"Well your comparison is Damon so..."

"Still, he made us dinner the other night, he cleaned up and loaded the dishwasher. I don't think your father ever did that."

"He's trying to get in your good books." Caroline scoffed.

"Ask yourself why he's doing that." Liz glanced over. "He likes you."

"He's my friend, that's all."

"I don't think that's true. He cares about you Caroline and when I'm gone, you're going to need someone there for you."

"I don't want think about that."

The movie continued to play. Tinker Bell appeared on screen, jingling her bells and never once uttering a single word.

"I'm going to kill Stefan." Caroline complained.

"I thought you might." Smiled Liz.

***

Caroline didn't know how long she could keep up this book club ruse. Her Nook kept her from having to explain the physical lack of books to Alaric, but even with vampire healing, her eyes were constantly red and puffy. Stefan had been gone for six long months, the twins were exhausting and Ric was frankly as much use as a chocolate teapot. Which seemed to be the default setting for most new dads, but then he had a knack of making dusty academia seem like the hardest job in the world. For all his 'you can't explain what you love' bs, she suspected Klaus had never changed a diaper in his life.

Stefan, however, would have been different. She was certain of he would have got up in the night, warmed bottles and changed diapers even the really disgusting ones. He would have decorated the nursery and child proofed the house with bitching and moaning about needing easy access to a crossbow.

She opened the glove box and took out the pile of letters tied in a red ribbon and the snow globe. The key chain was a comforting weight in her palm as she handled the envelopes. She desperately wanted to open them, to indulge in his words, but part of her was too scared to admit he was gone. What if he told her that he no longer wanted her, that he was in love with someone else. By not knowing, she could live in her fantasies of a perfect life with the perfect man.

Turning the globe upside down, she focused on the swirling white flakes. This stupid tacky gift brought her closer to Stefan, easing the ache in her heart. It gave her the reminder he had promised her all those years ago.

Home, it reminded her of home.

***

"Put me down."

"No, I said I would carry you over the threshold and that's what I'm doing, damn it."

"It's not like we're getting married, I'm just moving in." She squealed.

"Well, Caroline. It is a slippery slope. Just go with my old fashioned, traditionalist ways." He gently set her down, smiling.

She grinned back at him. "So, you want me to be a prim Victorian lady?" She batted her lashes coyly at him before looking demurely away.

In a flash, she was pressed up against wall, Stefan's hands firmly planted on her hips as he raked his dark eyes down her face, settling on her lips before, meeting her eyes once again. "Definitely not." He growled. Hungrily, he pressed his lips to hers as one hand snaked up her body and into her curls. The jokey atmosphere dissipated, replaced by desire.

"I need to unpack." She murmured initiating another kiss.

"That can wait until later." He groaned back and whisked them upstairs.

A few hours later, Caroline was curled up, content in Stefan's arms, planning where all her stuff was going to go. There was some decent closet space and Stefan had cleared some shelves for things she wanted to display.

"I can hear your mind whirring."

"Shut up."

"It's getting late. May I suggest we take a shower together and I’ll help you unpack tomorrow?" He waggled his eyebrows suggestively.

She shot him a thoughtful look. "There's just one of thing I need first."

Stefan hoped that it was some sexy nightwear, preferably short and sheer that he could get his teeth into, literally. He wasn't prepared for her to open up a bag and slide out the snow globe. She proudly placed at eye level, front and centre of the shelf. "You've still got that?"

"Of course." She replied incredulously. "Now let's get that shower."

***

"I understand." She paused in her message.  "I will love you forever." She broke down, sobs wracking her body. She didn't want to get back into the car. She didn't want to be 'safe'; she wanted to be with Stefan. But she did understand. He would always choose to die if it meant protecting others, that was just him. Stefan the Hero, Stefan the Martyr. The things she both loved and hated about him.

She rooted through her handbag to find the one thing that always gave her hope. When she couldn't locate it instantly, she started to panic. Then her fingers met the cool plastic right at the bottom of her bag. Only it felt slimy.

She pulled the key chain from her bag to see it cracked and broken. The contents had leaked out and the snowflakes no longer danced. She knew, then, her home was gone.

***

Two hundred years later

The sunlight shone through the window waking Caroline. There she was, in her old room at her mom's house, laid on her old bed, dressed in a short black dress with low black pumps encasing her feet. Shards of memories flooded her brain - the crackle of magic, the screams of vampires as they were felled, the sharp spike of wood between her ribs and the warmth of Ilya Bennett’s arms as the world finally faded to black.

To die protecting one of Bonnie’s distant relatives that was a pretty good way to go.

So, this was peace.

She was surprised. She expected to wake up in Salvatore Mansion her home for the past two centuries. She got up, smoothed her dress and took a look around. The room was obviously old fashioned, but warm, neat and stuffed with childhood memories.  Her eye was instantly drawn to the snow globe, hanging on its little hook. She welcomed it like an old friend taking it in her hand and fingering the smooth surface.

There was a knock at the front door, the sound of knuckles on wood could only mean one person.

She raced down the stairs and paused at the bottom.

Standing at the door, no curtains to obscure him, was Stefan, a large toothy smile on his face. She turned the door knob, smiling back at him.

"Caroline.” He said warmly, taking her hands in his. "I see you found it."

"Well, obviously." She replied, holding up the gift.

"Who would have thought Heaven would have a Quick Stop?" He grinned, brushing his lips against hers.

"Shut up." She murmured as she pulled him into a deeper kiss.

She was home.

The End

[petrichorate]

Those Who Leave and Those Who Stay: Thoughts

Those Who Leave and Those Who Stay (Elena Ferrante)

My notes on the first two books from this series: My Brilliant Friend, The Story of a New Name

In Those Who Leave and Those Who Stay, Elena and Lila are adults—they’ve both experienced family life, while the same themes of turbulent relationships and societal uprising run throughout the novel. For some reason, I didn’t feel as connected to Elena in this book (I’ve never really felt a connection with Lila). It might have been because I haven’t gotten to that point in life yet—marriage, children seem far off—but I suspect more deeply that Elena’s personality has diverged more and more from her character in the first two books. 

Nevertheless, I enjoyed reading about Italy (especially since Elena moved to Florence), and here are some passaged that were particularly striking to me—especially the second to last quote about disguising the naturalness of the body for men:

Elena, using language as a kind of shield in a society she has escaped: “As soon as I got off the train, I moved cautiously in the places where I had grown up, always careful to speak in dialect, as if to indicate I am one of yours, don’t hurt me.”

Elena, on the irrationality of extracting emotional states from academic performance: “Studying was considered a ploy used by the smartest kids to avoid hard work. How can I explain to this woman—I thought—that from the age of six I’ve been a slave to letters and numbers, that my mood depends on the success of their combinations, that the joy of having done well is rare, unstable, that it lasts an hour, an afternoon, a night?”

On feelings for women versus feelings for men:  “I admired her, there were no women who stood out in that chaos. The young heroes who faced the violence of the reactions at their own peril were called Rudi Dutschke, Daniel Cohn-Bendit, and, as in war films where there were only men, it was hard to feel part of it; you could only love them, adapt their thoughts to your brain, feel pity for their fate.”

On the transient nature of relationships with men: “‘A male, apart from the mad moments when you love him and he enters you, always remains outside. So afterward, when you no longer love him, it bothers you just to think that you once wanted him. He liked me, I liked him, the end. It happens to me many times a day—I’m attracted to someone. That doesn’t happen to you? It lasts a short time, then it passes. Only the child remains, he’s part of you; the father, on the other hand, was a stranger and goes back to being a stranger.”

Elena, on achieving grand things but still feeling subdued by others’ ordinary achievements: “I feel like the knight in an ancient romance as, wrapped in his shining armor, after performing a thousand astonishing feats throughout the world, he meets a ragged, starving herdsman, who, never leaving his pasture, subdues and controls horrible beasts with his bare hands, and with prodigious courage.”

Elena, on her work defining her state of life, and losing the streak of greatness: “So the things I wrote had no energy, they were merely demonstrations of my formal skill, flourishes lacking substance. Once, having written an article, I had Pietro read it before dictating it to the editorial office. He said: ‘It’s empty.’ ‘In what sense?’ ‘It’s just words.’ I felt offended, and dictated it just the same. It wasn’t published. And from then on, with a certain embarrassment, both the local and the national editorial offices began to reject my texts, citing problems of space. I suffered, I felt that everything that up to a short time earlier I had taken as an unquestioned condition of life and work was rapidly collapsing around me, as if violently jolted from inaccessible depths. I read just to keep my eyes on a book or a newspaper, but it was as if I had stopped at the signs and no longer had access to the meanings.”

On feeling proud of your journey but at the same time only expressing anger and no pride in regards to inequality: “I suspected, in those moments, that the words he had shouted before (shut up, you speak in clichés) hadn’t been an accidental loss of temper but indicated that in general he didn’t consider me capable of a serious discussion. It exasperated me, depressed me, my rancor increased, especially because I myself knew that I wavered between contradictory feelings whose essence could be summed up like this: it was inequality that made school laborious for some (me, for example), and almost a game for others (Pietro, for example); on the other hand, inequality or not, one had to study, and do well, in fact very well—I was proud of my journey, of the intelligence I had demonstrated, and I refused to believe that my labor had been in vain, if in certain ways obtuse. And yet, for obscure reasons, with Pietro I gave expression only to the injustice of inequality. I said to him: You act as if all your students were the same, but it’s not like that, it’s a form of sadism to insist on the same results from kids who haven’t had the same opportunities.”

On Pietro’s insecurity and demand for affectionate, supportive attention: “I was his wife, an educated wife, and he expected me to pay close attention when he spoke to me about politics, about his studies, about the new book he was working on, filled with anxiety, wearing himself out, but the attention had to be affectionate; he didn’t want opinions, especially if they caused doubts. It was as if he were thinking out loud, explaining to himself.”

On being born with everything: “‘As a girl I would have liked to be like you.’ ‘Why? You think it’s nice to be born with everything all ready-made for you?’ ‘Well, you don’t have to work so hard.’ ‘You’re wrong—the truth is that it seems like everything’s been done already and you’ve got no good reason to do anything. All you feel is the guilt of what you are and that you don’t deserve it.’ ‘Better that than to feel the guilt of failure.’”

Elena, on intellectually supporting one stance but wavering when it approaches her own family: “Only in the elevator did I realize that my entire self had in a sense slid backward. What would have seemed to me acceptable in Milan or Florence—a woman’s freedom to dispose of her own body and her own desires, living with someone outside of marriage—there in the neighborhood seemed inconceivable: at stake was my sister’s future, I couldn’t control myself.”

On comfortableness with people who you feel are lesser:  “And all while Pietro, with that capacity of his for feeling at ease with people he considered inferior, was already saying, without consulting me, that he would very much like to visit the center in Acerra and he wanted to hear about it from Lila, who had sat down again.”

Elena, on the absurdity and irrational urge to "camouflage” herself completely for men: “In recent years I had begun to be interested in fashion, to educate my taste under Adele’s guidance, and now I enjoyed dressing up. But sometimes—especially when I had dressed not only to make a good impression in general but for a man—preparing myself (this was the word) seemed to me to have something ridiculous about it. All that struggle, all that time spent camouflaging myself when I could be doing something else. The colors that suited me, the ones that didn’t, the styles that made me look thinner, those that made me fatter, the cut that flattered me, the one that didn’t. A lengthy, costly preparation. Reducing myself to a table set for the sexual appetite of the male, to a well-cooked dish to make his mouth water. And then the anguish of not succeeding, of not seeming pretty, of not managing to conceal with skill the vulgarity of the flesh with its moods and odors and imperfections. But I had done it. I had done it also for Nino, recently. I had wanted to show him that I was different, that I had achieved a refinement of my own, that I was no longer the girl at Lila’s wedding, the student at the party of Professor Galiani’s children, and not even the inexperienced author of a single book, as I must have appeared in Milan. But now, enough. He had brought his wife and I was angry, it seemed to me a mean thing. I hated competing in looks with another woman, especially under the gaze of a man, and I suffered at the thought of finding myself in the same place with the beautiful girl I had seen in the photograph, it made me sick to my stomach. She would size me up, study every detail with the pride of a woman of Via Tasso taught since birth to attend to her body; then, at the end of the evening, alone with her husband, she would criticize me with cruel lucidity.”

On the hazy origins of money, no matter how it is obtained: “I thought of how many hidden turns money takes before high salaries and lavish fees. I remembered the boys from the neighborhood who were paid by the day unloading smuggled goods, cutting trees in the parks, working at the construction sites. I thought of Antonio, Pasquale, Enzo. Ever since they were boys they had been scrambling for a few lire here, a few there to survive. Engineers, architects, lawyers, banks were another thing, but their money came, if through a thousand filters, from the same shady business, the same destruction, a few crumbs had even mutated into tips for my father and had contributed to allowing me an education. What therefore was the threshold beyond which bad money became good and vice versa?”

[forevercaroline]

Sneak peeks

@scarlet-fire1918 asked for 4,5,6,11,14,15,20,21 4: From geek to hot, Caroline is a model and one of the editors I'm chief of one of the biggest fashion magazines in the world her father hires nerdy klaus to be her assistant. The Salvatore family run the best fashion magazine empire in the world. Caroline is one of the models for the magazine she is also part editor in chief she shares the title with her older brothers Damon and Stefan. Caroline is in her office with her best friends who also happen to be models for the magazine, Katherine and Enzo. When a guy wearing glasses, jeans and a Star Wars tee shirt comes into her office. Caroline stops talking with her friends " Excuse me this isn't a comic book store this is a fashion magazine clearly something you don't have." Her father Giuseppe comes in " Caroline since your last assistant is still missing I have hired you a new assistant." " My last assistant was a wanna be she wanted to be me she told people she was Caroline Salvatore. It's not my fault she's missing seriously how long does it to get a bracelet and I don't need your help picking out assistants I got it covered." Caroline and Katherine share a smile. They love looking for new people it's a lot of fun. " All of your assistants have either vanished or quit saying you or Katherine slept with them." " Which is totally false they wanted us to sleep with them and only one went missing." Giuseppe points to the geeky guy next to him " This is Klaus he's your new assistant try not to sleep with him." Caroline groans as her father leaves her office. ------------------------------------------------------------------- 5: Caroline Forbes she can do anything, Caroline is extremely athletic she's practicing for a volleyball competition when her back hand serve hits someone on the beach. " Look out." Klaus Mikaelson was sketching on the beach he doesn't have time to move before a volleyball hits him in the head and lands in his lap. His younger sister runs over to him and his brother who was trying to surf saw the whole thing and came over " That was awesome direct hit I'd like to meet the person who threw that ball." Rebekah glares back at Kol " Kol Nik could be seriously hurt." Klaus pushes his sisters hands away from his head " I'm fine bekah I just want to know who threw the ball at me messed up my drawing." A blonde in a Aqua bikini comes running over " I'm so sorry my brother Damon always tells me to save my back hand for competitions but I wasn't thinking and instinct kicked in." Klaus is stunned at her beauty he stutters" I'm Klaus" The blonde smiles " I'm Caroline." Klaus knows he has heard that name before " Caroline as in Caroline Salvatore the I do every sport Caroline." Caroline smiles " I don't do every sport just surfing, snowboarding, skateboarding, and volleyball. And yes." ------------------------------------------------------------------- 6: vampires in storybrooke, for Davina's whole life she has had the same dream every night a brown haired woman putting a baby in an enchanted wardrobe and saying I love you to the baby. Soon after her twenty eight birthday the dream changes now there is a man in a black suit she never sees their faces only clothes and hears voices. Granny asked the guy with a hook for a hand to take Davina to the Charming's. "Who's this?" "She was in grannies I think she's new to this world." Davina looks at the new people " New to this world I live in New Orleans I just need to know how to get home and before my boyfriend freaks out." The Charming's look at Davina who is looking around the apartment "I'm Snow White or Mary Margaret which ever you prefer and this is Prince Charming but everyone calls him David." Davina looks at Snow White. Davina herself is a witch who is dating one of the first vampires and lives with the first vampire family but she can't believe that storybook characters actually exist. " Snow White as in Snow White and the seven dwarfs, poison apple, evil queen, Is awaken by true loves kiss in a glass coffin, all forest animals love her." Snow nods. When Davina's phone rings " Excuse me." Davina goes outside the apartment " Oh thank god Kol." ------------------------------------------------------------------- 11: princess choice, it's princess Rebekah's twenty first birthday everyone is at her ball she must dance with every eligible bachelor. The one who just walked in and refuses to give his name intrigues Rebekah. As Rebekah is contemplating whether or not to go talk with Marcel someone else catches Rebekah eye " Sister who is that?" Freya looks over at the handsome brown haired suit wearing man that just walked into the ballroom " I don't know but he's coming this way." Rebekah straightens her dress and the man bows before the women " Your highnesses." Rebekah sticks out her gloved hand " Princess Rebekah." The man kisses her hand " You are more beautiful then your pictures." Rebekah's blushes " And what is your name?" " All in due time if we meet again it will be fate and I will reveal who I am." Rebekah has never met someone like this who is so mysterious and isn't intimated by her royal status " Then I hope we meet again." The man nods to both ladies and then he leaves. Rebekah turns back to her sister " I think I found my prince." ------------------------------------------------------------------- 14:kolvina on the run, when the ancestors cursed Kol Marcel told him to run Davina finds him and goes with him. " Do you feel better?" The ancestors cursed Kol to have an uncontrollable hunger and anger. Marcel told him to leave town. Davina found out Kol left and didn't even say goodbye she did a locator spell and found he was stealing some blood bags and she told him she's going with him. He tried to get her to change her mind by telling her it was to dangerous but she wasn't taking no for an answer she loves Kol she just got him back she's not losing him again. They just passed the city limits when Kol begins to calm down and relax " Yes you still shouldn't have come if this didn't work I could of hurt you and I couldn't live with myself if that happened." Davina looks out at the empty backroad there on " Pull over do you even know where we're going?" Kol looks down at the map on the hood of the car trying to figure out the best route to use " Right there the one place I really don't want to go but we're out of options." Davina putting the bracelet Kol asked her to locate the owner back in her pocket and looks where he's pointing. ------------------------------------------------------------------- 15:the heart and head, in the dream world Freya casts a spell to bring the person who is not only in her siblings hearts but head to them. Elijah is the only one left " Elijah give me your hand. Even you deserve happiness." Elijah places his palm in his sister's hand and Freya chants. " Look behind you." Behind Elijah is Katerina Petrova. " Elijah. What is this place one minute I was running hell the next I'm here." Elijah looks surprised he cant believe Katerina is in front of him. " You run hell?" Katherine smirks " Queen of hell. Can you think of anyone better than me." " No I can't if anyone is the perfect person to run hell its you. This is a dream world my older sister Freya did a spell that brings the person who is in their head and heart to them." Katherine caress his face " Well it's good to know I'm still in your head and heart I questioned it after you dismissed me saying its our turn to be happy to stay with me and not to go New Orleans, and let's not forget the forehead kiss that seemed like you already had forgot about me at that point. You always forget I've known you for five hundred years Elijah I've seen you upset and I've seen you in love. The day you said goodbye to me you were sad you didn't want to say goodbye but you couldn't put your own feelings above Klaus' you had to follow him to New Orleans and look where that got you your in a dream world with a bite on your arm that if your sister wasn't a witch you would already be dead. Did you even know or care to know that I've been dead for years." Elijah looks at Katherine then at the floor ashamed of himself then at Freya who has been watching them with curiosity. ------------------------------------------------------------------- 20: Caroline stark and tony stark dealing with the aftermath of the avengers "As always sir a great pleasure watching you work." Caroline standing in the doorway of her dads workshop looking at her dad laying on the floor with pieces of his suit all around him " I couldn't of said it better Jarvis." Tony looks up at his daughter she's leaning her head against the doorframe she's in her pajamas shorts and tank top with ankle socks on she looks tired. " Caroline its two in the morning what are you doing up?" Caroline smiles at her dad and helps him pick up pieces of his new suit and put them on a table " I should be asking you that too. But to answer your question ever since New York every time I close my eyes I feel like I'm falling out of the sky and seeing you laying on the ground motionless scared that your dead. And it's not like I can talk to anyone about it because Katherine and Enzo were in the safe spot you told us to be in and I was a few feet from them but Loki's army grabbed me. It's not like I can talk with Klaus about it because he was here in California." Tony pulls Caroline into a hug and kisses her forehead he's going through the same PTSD that his daughter is going through. " I know New York changed both of us. I thought giving you space and me being down here doing what I know would be the best thing for us but from what you just said I've realized that we both need each other to get past New York. The only reason I have not cracked is because of you Caroline seeing you everyday smiling and being yourself everyday." Caroline smiles up at her dad " I just need my dad. We have been through so much together. Obadiah trying to kill both of us, you becoming iron man, the government basically declaring you terrorist and an unfit father, tried to get me to testify against you and give over the iron man suit when you wouldn't, Justin hammer trying to build a better iron man, you almost dying again because of palladium poisoning, Loki. We are Stark's we're genius's and people don't understand us." Tony laughs and squeezes Caroline in his arms" I love you Caroline." " I love you too dad." ------------------------------------------------------------------- 21:Loki is back and wants Caroline. Caroline and Klaus are coming back from their date when they get attacked by two guys in suits and thrown in the back of a van with black hoods over there heads " I've been trained by a deadly assassin I will kick your ass." The hood comes off Caroline's head and she looks around and sees Phil Coulson " What the hell Phil." "You are in danger miss Stark." Caroline puts her hands out for Phil to cut the zip ties that bound her hands. " Yes danger from you, you kidnapped me." Phil cuts the ties " No we will tell you more after we get rid of him." Caroline puts a hand on Klaus " Don't test me Phil, Natasha taught me to fight if you want me to go quietly with you he comes too." " Your just as stubborn as your father." " Except I'm worse I'm a girl."

[paperclipninja]

Younger post-ep ramble 6x07

I’m gonna come straight out and say that I loved this episode of Younger so damn fiercely that this week’s rambling recap will be a whole lotta gush and a whole lotta ramble because I have a LOT of feelings. Sometimes an episode of television lingers with you after you’ve watched it. It might be because something particularly memorable happened or because a plot point you’d been hoping for finally played out or the reason might be unclear, there was just something about it. This week’s ep, ‘Friends With Benefits’, was one of those episodes for me. I think it was the storytelling, the way this episode was written felt well paced, the moments of tension were somewhat contained but had room to draw us in and the emotional journeys of the characters were really palpable. Most importantly, these elements worked together to expand our understanding of the characters and I was not at all surprised to discover that Darren Star had written this episode.

Right from the get go this ep had me by my heart strings, with Diana and Lauren both pushing their press releases to announce the Millennial/Mercury news (Diana talking up only Charles, Lauren advocating for Kelsey, there was just so much about all this that was YES). Of course level-headed Liza saves the day with her wordsmithing, but I think we can all agree that Diana excitedly exclaiming ‘he’s here’ and rushing out of her office to greet Charles, much to the amusement of Liza, was the moment we didn’t know we were all waiting for. As Diana tells Charles that ‘it feels like all is right with the World again’ all I could do was internally scream 'same Diana SAME’ with a massive grin plastered across my face. Also, Charles + crew neck sweater + office = a combo I was not expecting but was also definitely not opposed to. Kudos to Darren for working the sale of Pound Ridge into the conversation, cue Diana’s characteristic lack of sensitivity as she reminds Charles that he poured his heart and soul into that place before advising that another marriage is probably best avoided by both of them (narrator voice: it won’t be). 

If anyone’s heart didn’t skip a beat when Charles greeted Liza so earnestly as she left Diana’s office then quite frankly, you should probably get that checked. FINALLY seeing these two in the office together, openly in a relationship, I tell you, I get giddy even thinking about it. Follow that with Diana flat out asking Liza if she ever feels like a wrecking ball and then blaming herself for hiring her was just SO Diana circa season 3 and honestly, it’s this kind of quality content that keeps me coming back for more. And no Diana, love is NOT blind, because anyone with eyes will tell you that as Liza enters Charles’ office and mentions that the box city may be covering the flowers someone sent, these two could not have looked more enamored with one another. There is something magical about this interaction, I know it was released as the sneak peek but it’s as though there’s a special kind of chemistry reserved purely for the office between these two and that palpability of emotion I referred to was evident as Charles was clearly moved by Liza’s gesture, not to mention her suggestion that they will go through the boxes all together. 

It feels like this whole season has been building towards getting these two characters to this place and honestly, I am a puddle because FINALLY we are seeing the sweet, loving, relationship that can just be. One of the things I loved about the storytelling in this episode was that it wove Charles’ growing resentment of the life he has been prescribed throughout, first evidenced by his reluctance to attend the Tuxedo Park Benefit. I really liked that he told Liza she’s off the hook if she wants and loved even harder her response that they can suffer together in evening wear, this woman is loved up to the eyeballs right here, even if her generous offer to sort through the boxes in her office alone included wanting to catch a sneaky peek at the manuscript she spotted earlier. Did I mention I could watch a whole episode of adorable Charles and Liza office interactions? 

Speaking of office interactions, can we talk about Zane who has apparently not only lost his ability to figure out how a coffee machine operates, but also his memory of how to behave in a workplace? Starting with his cocky assertion that he’s not going to be Kelsey’s problem (which I took to mean that Zane thinks Charles will be). I have to say, seeing Zane grow increasingly unhinged was a little amusing, particularly as Kelsey absolutely rocked it with boss mode activated this episode. Finally I saw her being a publisher, the meeting in which she outlines the need to each define their brands (lol at Diana’s 'I told her that’) was fab to watch and Zane’s impatient, 'Charlessss’ as Kelsey puts forward the idea of 'Exonerated’ being a better fit for Millennial was reminiscent of a spoiled child demanding his dad give him something he wants. He then throws an outright tantrum at the second meeting when Kelsey suggests that 'Arabian Sea’ (which looks like the actual worst btw) is not the book they should be releasing as their first title together (love Charles’ sextant joke and am so digging him in editor mode, including the awkward averting of the eyes after Zane storms out). Zane, dude, have some self respect. And respect for Kelsey and your colleagues.

Seeing Kelsey really hold her own in the meeting was great and I love that we saw her lunch time chats with Liza to give us insight into the journey she was on (again, the writing of this ep *praise hands*). Hearing Kelsey’s struggle to stand up to Charles and the respect she holds for him as her mentor was wonderful, as was Liza’s reassurance that Charles’ 'death stare’ was meaningless (not to mention smoldering) and that he respects her as publisher. I am so appreciative of the fact that we got to see the first meeting, in which Kelsey backed down, then the second meeting, in which she held her ground, to see the character growth taking place. I think it’s what made the manuscript reveal scene so freaking fantastic, I cannot even tell you how much I adore the way that all played out.  Here we have Kelsey, who has been working her way up to being confident enough to hold firm with Charles, FINALLY at a point where she is able to put her foot down. The way we are lead to think that Charles saying the manuscript Liza found is not something he wants to pursue is some kind of power play, before Kelsey firmly states that ’ as publisher, I am’, just makes the whole plot twist of Charles’s 'and as the author I most certainly am not’ one of the most satisfying/omg YESSSS moments this show has produced. I really hope the book gets revisited on the show and also, I know that we needed Liza not to know so we could have that divine final scene, but tell me Kelsey wouldn’t have immediately sent an all caps text screaming, 'I FOUND OUT WHO THE AUTHOR OF THAT MANUSCRIPT IS AND YOU GON DIE’.

You know who else was dying a little bit? Me when Diana rocked up to work in the most fab feathered hat, Liza dropped a Meghan Markle reference and we discovered that Diana was attending the christening of Enzo’s niece on Staten Island later that day (Diana’s 'it’s a low bar but I try to lead by example’ line, omg every week these lines and the delivery are too much). Can we just all agree right here and now that Enzo DeLuca is such a damn sweetheart, his 'you knocked it out of the park’ after Diana thanks him for complimenting her (p.s. she wanted to look nice for his family in case we weren’t clear on how invested D. Tout was in this relationship, I mean SWOON) was just so adoring. Diana poking Enzo’s sister in the face with the feathers kept the com part of romcom in play, as Enzo got up to fulfill his godfather duties and kissed his ex on the lips and I’m sorry but WHAT IS HAPPENING HERE?

I tell you what is happening, the set up for the sister to inform Diana that Enzo pulls the pin on all relationships around the one year mark, emphasize the point that Diana Trout is NOT Amal Clooney (this whole convo was actual golden pieces) and to have the whole family out the front basically force the point that they want Enzo with Maria, including the ever OTT mother ensuring Diana is in prime position to be pushed into a bush. And why is this set up so darn glorious? Because as I mentioned earlier, we really got to experience significant junctures in various characters’ development this episode and here we see Enzo, who not that long ago was still living with his mother and very much making any decisions based on her approval, stand up for the woman he loves in the most wonderful way. The proposal was just so beautiful in its authenticity and spontaneity, in that moment Enzo realised as he said he hoped Diana would be in the family forever exactly what that meant and acted on it. Diana’s, 'is there a ring involved’ was every kind of perfect and seriously, these two are too much, I cannot wait to see the big Italian wedding with all the trimmings

While we’re on the topic of things that are garish, this week we also got to see Michelle again. But we’ll circle back to her in a minute, because before all these benefit friends start circling and being just too much, Liza and Charles enter the 'eighth  circle of hell’ having an actual conversation about work like couples do and seriously, I am simple folk and it’s these simple things, and I love the way Charles affirms that he intentionally didn’t wear a suit to the office because he was trying not to project authority and well yes, gush gush, it was all very excellent. Their whole convo was of course cut short as Bob and Julia spot them and yet another of my season 6 wish list items gets crossed off as Julia takes full credit for introducing Charles and Liza and Bob makes an unsubtle comment that that’s what they tell themselves anyway. I think my favourite part is when Bob asks Liza if she knows that Tuxedo Park is actually the home of the tuxedo and Charles has a 'I don’t think that’s right’ expression flash across his face. We all have one of those friends and the conversation goes from cringe to suffocating as all of a sudden Liza finds herself being included in plans to cruise to Singapore before the whole thing escalates when Michelle and Tom arrive. Getting these two in the same ep as Bob and Julia, I tell you, it was like the double jackpot of friends who are extra. Michelle is as subtle as a sledgehammer as she checks out Charles and Liza’s assertion that she has not been hiding him as there’s nothing to hide is re-emphasized by Charles, who reminds her that in this scenario, there really isn’t anything to hide, she can be herself, no lie about age or job or relationship is in play.

That is what makes this whole scene and the way the rest of the episode unfolds so good. Here is Liza, in a situation that she’s been yearning for, where she doesn’t have to lie and with the man she is in love with, yet instead of feeling free she feels trapped. Michelle further exacerbates things when she joins Liza at the table and once again has a dig at her relationship with Josh (Michelle really is kind of the worst. although between her truffle butter and Julia’s double balling I feel like there’s a potential friendship just waiting to blossom) and points out that Charles is a keeper. I did have a mighty chuckle at her 'oh my gosh’ when Charles took Liza’s hand though, in that moment I was also Michelle tbh.  Liza’s gnawing sense that she is once again becoming entrenched in a lifestyle she was happy to walk away from is confirmed when she arrives home to Maggie and reassured that it’s not exactly chocolate ice-cream like she had for 20 years, it’s more like chocolate choc-chip. Which Liza likes and I personally think is delicious and guava ice-cream does not sound like my wheelhouse at all, but this is not about me and I don’t know why but each time I’ve watched this ep (and it’s been a few times, I am high-key obsessed with it if you haven’t noticed), Liza taking her wine and the manuscript and sitting on the couch to read it up and gets me for some reason. I also can’t decide if that whole moment is a mood or a goal, but I think maybe it’s both at the same time.

Maggie heading out for the night with Josh and Lauren after 11pm further emphasizes the divide that is forming between the 26 year old life and the life Liza is currently leading. It is from this point that you get the sense as a viewer that Liza is actually stuck between these two versions of herself. I feel as though this episode, more than any other, showed her desire to take elements from each of these worlds to create her ideal life, but feeling overcome with a sense that it is not possible. Seeing Josh preparing his motorbike to sell, which Liza was certainly quite disappointed about (I have no doubt it was very representative of the freedom she felt with Josh and her idea of that life she lived etc), it is Josh who is moving forward and thinking of his future. I have to say, hearing Josh talking about Gemma is just too gorgeous, I am enjoying seeing this character have such purpose and focus this season. It is, of course, when Liza finds a photo of Pauline and Charles at the same benefit she just attended, that she feels she is seeing what her future with Charles looks like; reminiscent of her old life with a rinse and repeat of the life Charles led with Pauline (and we all know how that ended), and she decides to take Josh up on the offer of one last ride on his motorbike.

Sometimes I notice the music as I watch an ep and sometimes I don’t, but I absolutely noticed the 'we’re living in a fantasy’ lyric that played over the top of Liza getting onto the bike. I thought this was such an interesting way to highlight the fact that the 26 year old life that Liza knew no longer exists, other people have moved on, are at different stages in their own lives and she is, in a way, fantasizing about a lifestyle that is not necessarily a reality anymore, even if she wanted it to be. The conflict that occurred in this episode for Liza was internal and to convey that is no mean feat. During the conversation she has with Josh down by the water, her struggle is evident. As she recalls the story she read of an older woman and a younger man, Josh asking how it ends and her stating she doesn’t know, my heart actually hurt for her. While I appreciate that for some viewers this would’ve been a lovely ambiguous moment about where the Josh/Liza relationship may end up, in relation to the narrative that was unfolding I saw it very much as Liza being unsure where and how her current situation is going to play out, not indecision about her relationship or who she wants to be with. The whole scene is dripping with anguish to me, there’s the life that Liza wants and then there’s the man that she loves and the feeling that being with the man she loves traps her in a life she no longer wants.

Sutton Foster has the most incredible ability to make subtle emotion palpable, we get snippets of it in episodes every now and then, the awards dinner with Jay when she was overcome with that anguish and yearning for Charles when he was there with Pauline comes to mind, and this week as a viewer I could FEEL the journey she was on trying to reconcile these two worlds of hers. It was a wonderful example of nuanced writing and masterful acting coming together. It all really came together of course in the final scene of the episode and honestly, my heart is preemptively exploding just thinking about it. First of all, Liza looks next level incredible with the dress and hairstyle combo (yes Charles, 'wow’ is accurate). Charles’ teasing her about playing hooky so that Kelsey could read the manuscript she had found in his personal belongings was downright charming and as he explains that he is in fact the author and reveals his experience of having an affair with an older woman, you can see Liza wrapping her head around this new insight into him. When Charles expresses his understanding of what it’s like to be the young man in a relationship and also the desire and motivation of a woman in her 40’s to seek that out, Liza’s expression is one of both feeling seen and feeling exposed concurrently. As Bob calls Charles and Liza over to join the party, these two individuals’ journeys suddenly cross over and fall in sync.

Charles made the earlier comment about not wanting to go to the benefit, however Liza sees the picture of him and Pauline from years earlier and no doubt makes the assumption that no matter how much he dislikes it, he has always and will always oblige and attend such events as he has his whole life. What I love so much is that at the very top of the episode, Liza refers to Charles as having a career renaissance, which ties into the theme that has been woven throughout the season of Charles having the chance to start over and do something that is his own. In this final moment of the episode, as Liza looks utterly deflated, it becomes apparent that both Liza and Charles are feeling trapped in these past or preset lives that they actually don’t want. And suddenly they have the opportunity to break free together. As Liza asks Charles if they can promise each other not to do anything together in the future they don’t want to do, you can see her relief that Charles doesn’t want to attend the party either, however it is Charles showing her that he doesn’t want to be there that proves he really means it.

The significance in all this, I believe, is that Liza’s struggle has been that freedom and spontaneity only existed in the younger life she experienced and that most of the examples and experiences she has had of a forty-something life are devoid of that. As Charles and Liza run laughing down the street hand in hand and the episode closes it leaves us with the lingering notion that freedom isn’t something that’s attached to age, it’s a choice. It finally feels like these two characters are on the same page after so long and obvs I am utterly pumped to see what’s next.

I have said it numerous times throughout but overall, this episode was just stellar from start to finish. It felt like a pivotal point in the season that will really set the course for the rest of season 6 and there was such significant character growth and development for Kelsey, Liza, Charles, Enzo and Diana. The theme of spontaneity, with Liza seeking it out by leaving work to ride the motorcycle, Enzo proposing to Diana and Charles suggesting they run from the benefit, was so wonderful to see play out in different ways, especially as it was all the characters in their 40′s on the show who were being spontaneous.  ’Friends With Benefits’ has most definitely secured a place on my regular re-watch list. Now let’s hope we get to find out how that book of Charles’ ends…

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article

[123designsrq]

CHAIR DESIGNS THAT TRANSFORMED THE WORLD OF DESIGN

Chairs – can you imagine residing with out one? One of the first matters we need the instant we set up our domestic is the furniture we are able to use to relaxation ourselves. Over time, the shape, form, materials, layout language – the entirety has evolved except for our primary want to relaxation in opposition to a surface. I’m sure that while you read this, maximum of you're seated on a chair! Now deliver that chair a long hard look and think about the years of layout practice that went into making the design what it's far today. Inspiring, right? The iconic chair designs showcased here have performed a element in our history – from reflecting the desires of the world, merging art and layout to even creating practices that transformed the manufacturing ideology, all people have to pay homage to these innovative designs.

Konstantin Grcic’s Chair _One “Chair_ONE is constructed much like a football: some of flat planes assembled at angles to every other, developing the three-d form. I assume my method became a mixture of naivety and bluntness. Given the threat to paintings with aluminum casting I notion that I must take it all the way. The greater we labored on the models the more we found out to recognize the structural logic behind what we have been doing. What commenced as a easy sketch, a series of cardboard fashions, prototypes, is now a real chair.” says the designer Konstantin Grcic. The German industrial clothier is thought for having a pared-down aesthetic together with his practical designs being characterized via geometric shapes and sudden angles.

Tejo Remy’s Rag Chair Tejo Remy works as a product, interior, and public space designer together with Rene Veenhuizen in Utrecht, the Netherlands. Where there may be abundance of materials, there's additionally an abundance of waste. Considering the entirety as material, Remy contains present information, circumstances, or determined goods into new situations, or simply put, repurposes the products to provide them a brand new life. The ideology behind this collection is elegantly simple, “make your very own world with what you stumble upon like Robinson Crusoë created his personal paradise on his island.” says Tejo.

Gaetano Pesce’s Pratt Chair In 1984, at a Pratt Institute laboratory in Brooklyn, Italian clothier Gaetano Pesce forged nine chairs the use of the equal mold. For each, he modified the resin formula ever so slightly. The first, jiggly as Jell-O, collapsed immediately on the floor. The second stood up, but, with one touch, toppled over. The third, fourth, fifth, and so on, grew increasingly sturdy, however the eighth and ninth were so inflexible that they were uncomfortable for sitting. The purpose for this experimentation? To prove that the difference between art and layout is simply a slight alteration within the chemical formulation. This narrative has been the center of his design practice for decades! Pesce explains, “A chair—you take a seat in it, and it’s comfortable. But the identical chair, when you convert the rigidity, it will become a sculpture. There is not any distinction. An architecture critic from Italy once made a book talking about how there's no difference between a spoon and the town. The spoon is small, the town is huge, but they're all objects. Architecture is simply an item with a big scale; an item that you could enter inside.”

Hans J. Wegner’s model GE 225, also known as the Flag Halyard Chair With The Flag Halyard Chair, Hans Wegner acknowledges the early modernists such as Le Corbusier, Mies van der Rohe, and Marcel Breuer, and proves that he too masters designs in chromium-plated steel pipes. An iconic and dramatic lounge chair, this engineered stainless steel frame comes with a seat and back made of plaited flag halyard (A ‘halyard’ is a line/rope that hoists or covers a sail.) However, the story behind the design is more than just a dialogue of art history. The shape of the chair’s seat was conceived during a family holiday in Århus, Denmark. The story goes that Wegner conceived this design while on the beach towards the end of the 1940s. He supposedly modeled the grid-like seat in a sand dune, presumably with some old rope that lay close to hand. The chair went into production in the 1950s and its unlikely combination of rope, painted and chrome-plated steel, sheepskin, and linen are still landmark in the world of furniture design.

Enzo Mari’s Box Chair The Box chair become designed by way of Enzo Mari in 1971 for Castelli. This self-assembly chair consisted of an injection-molded seat and a collapsible tubular metal body that came aside to healthy right into a box, for this reason the name! Enzo Mari is taken into consideration one among the most intellectually provocative Italian designers of the overdue twentieth century, recognized for products, furniture, and puzzles alike. Mari adhered strictly to rational layout – “constructed in a way that corresponds completely to the purpose or function”. Mari’s commitment to rationalism stood the test of time, gaining him work with giants like Muji and Thonet at the cease of the century while minimal, user-friendly design made a comeback.

Charles & Ray Eames DKR, also known as the Wire Chair Charles Eames famously said, “The function of the designer is that of a very good. Thoughtful host waiting for the desires of his guests. ” The couple that revolutionized American furniture design. Eames have created a universal reaction to what everyone needs from a chair. A simple, gracious shape that suits any frame and every place. It’s what makes the chair a conventional worthy of museum collections—and residing rooms, laundromats, lobbies, and cafés. With its unmistakable character. The Eames Wire Chair DKR isn't always just aesthetically fascinating however reminds us of the emergence within the Fifties of popular culture. A motion which in terms of furniture design added decorative elements back to the forefront. With its cool, vivid steel wire and “lascivious” bikini shaped padding the Wire Chair Bikini represents more than most different furniture gadgets the decadent popular culture of 1950s America. Speaking of the 50’s, I’m glad to see the ones red Formica tables disappear!

Adolf Loos Cafe’ Museum Chair This beautiful chair changed into designed by Adolf Loos in 1898 to supply that renowned Cafe Museum in Vienna. Its timeless charm comes from the subtle curves of its silhouette. Received with the signature steam-bent beechwood that creates stunning accents. At the pinnacle of the legs and inside the two parallel curves that grace the open backrest. The structure of the piece has an elliptical section that gives it lightness, making the design ageless.

Shiro Kuramata’s How High The Moon ‘How High The Moon’ by Shiro Kuramata is made of extending mesh. Thin sheets of that have been steel-cut and extruding. The chair has no interior frame or assist yet gives the define of a chair. Its transparent shape retains the form and silhouette of a traditional upholstere armchair. ‘Freeing from gravity’ was one of the key issues for Kuramata at some point of his entire career. Hence accelerating mesh was a perfect fabric for the designer. The chair appears mild and prone yet amply strong sufficient for use. This chair’s look is the end result of the overlapping hashing of the mesh sheets (it definitely does appear to buzz inside the air)

Ron Arad’s Big Heavy A collection from Big Easy, the steel chair design by way of Ron Arad in 1988 shows that a volume. As simple shape, can be translating, without compromising the design principles. Thru a reinterpretation of substances and production processes.‎ The model acquire from a optimistic gesture showcases. The visible softness and fullness of the volumes, promising comfort.‎ Big Easy explores the rotational molding and the usage of polyethylene as a fabric. It’s design language invites you to relaxation irrespective of the cloth use. Proving the dominance of the form over substances on this case.

Hans Coray’s Landi Chair Developed for the 1939 Swiss National Exhibition. The Landi Chair by way of Hans Coray occupies an crucial region in the history of twentieth-century design. This classical chair by way of Hans Coray set up. The new typology of a three-dimensionally molded seat shell on a separate base. The lightweight, stackable Landi Chair is strong and weather-resistant: its 91 holes permit water to flow. Technical innovation, systematic use of materials, minimalist forms. Understating beauty are the elements. That have made the Landi Chair into a conventional over the years. Which looks as sparkling and essential as ever. This is a quick starting to the history of considered one of the maximum iconic merchandise used globally. The humble chair. We will hold this collection to show off more of these designs. Percentage the know-how of how each chair is a description of the temper of the sector in their time. Read the full article