#rip sofa

[zovie9638]

here's Part2 and part3

See you next week for Next Part Previous

[lulublack90]

Prompt 6 - Higher

@wolfstarmicrofic August 6, word count 469

Previous part First Jegulus part

James was sprawled halfway on the bed. It seemed he hadn’t quite made it before he collapsed. 

“He’s such a pain!” Remus huffed, tiredly. They gathered their things and went to the bathroom to brush their teeth and get ready for bed. 

When they came back, James had somehow slid further off the bed. Together they hauled and heaved his heavy, broad body higher onto the bed. 

“I’m going to need a shower after this,” Sirius complained. "I’m sweating." 

“No point,” Remus panted, wiping his arm across an equally sweaty face. “His body heat is going to roast us tonight anyway. Might as well get up a bit earlier and enjoy one in the morning.” 

“Oh, Moony, you say the dirtiest things.” Sirius fluttered his eyelashes as he lifted James's arm and tucked himself underneath it. “Goodnight love of my life,��

“Goodnight sweetheart,” Remus replied, and he turned off the light. 

Sirius awoke to James fully on top of him. He had no idea how he hadn’t felt him move. He was slick with sweat from the furnace crushing him into the mattress. He tried to draw in a breath, but he found he was only able to get a shallow breath in before his chest ran out of room to expand. 

He couldn’t even turn his head to see where Remus was as James’s head was on his shoulder, breathing hot air into his face. He tried to wriggle out, but he couldn’t move an inch. 

“Need some help?” Remus suddenly appeared next to him, beside the bed. 

“Thank fuck!” Sirius wheezed. Remus shoved his hands under James’s side and rolled him, with some difficulty, just enough to let Sirius flop out onto the floor. “Thank you,” He coughed as air rushed back into his starving lungs. 

They hopped into the shower together, luxuriating in the warm water and each other. 

James still wasn’t awake when they were ready to go, so they left him, snoring away in their bed. He’d be fine. He’d probably clean the flat once he woke up and then come and apologise profusely for the broken sofa. At least it had been old and in need of replacement anyway. Jimmy had done them a favour really. Sirius kissed the back of Remus’s hand as they locked up and walked the short distance to the café. 

As they walked past the park, Sirius did a double take. He could have sworn he saw Regulus walking past the cluster of trees, but when he looked back he was nowhere to be seen. He screwed his eyes shut. It must have been a trick of the light. He put it out of his mind as the café came into view. He grinned at the familiar sight. He couldn’t wait to see what today would be like.

Next part

[mortuarykid]

had a dream i went to andy biersack's childhood home and spilled mcdonalds diet coke all over the sofa

[psychicpinenut]

CHARLIE GILLESPIE as LUKE PATTERSON in JULIE AND THE PHANTOMS (2020)

[wheeloffortune-design]

ok but like-- they used queer undertones as a writing trope-- yes i'm still talking about sherlock, but also as a wider idea---

so there's this thing male writers used to do/still do, they wrote male friendships with romantic subtext, but a detached, idealized, warrior-brother-lover kind of subtext, right

and it feels like great litterature~ in an alexander and hephaestion kind of way, right~

thing is, subtext is all fine as long as you don't need to really make them gay, y'know

except that times are changing and people will point at the subtext and say dude, that's really gay. where's the rest?

and that's where they chicken out.

because going further than the subtext would be acknowledging queerness, acknowledging that queer people could exist within and outside the story.

but they don't want that. they want to use queerness as an innovative trope, a forbidden subtext, to make the text seem deeper-- but they don't want to really make it gay, y'know?

(cowards.)

[almostarts]

Gaetano Pesce (8 November 1939 – 3 April 2024)

Moving against the stream of rational, functional modernism in the 1960s and early 70s, Mr. Pesce experimented with materials and production methods to create furniture pieces imbued with political or religious meaning for brands from Cassina to B&B Italia.

Many would go on to become icons of Italian design including the Up5 chair – an innovative vacuum-packed chair designed to resemble a female prisoner – which he designed for B&B Italia precursor C&B.

Pesce moved to New York in 1983 and began to move away from mass production to create "standardised series" in everyday materials like resin, adapting conventional production techniques to create varied and imperfect outcomes.

The result are pieces such as the 1884 Pratt chair, which toe the line between functional design and decorative art, helping to create a new category that would later become collectible design.

Mr. Pesce was born in the Italian city of La Spezia in November 1939, only two months after the start of world war two.

As was common at the time, he trained in both architecture and design, studying first at the University of Venice and later at the Venice Institute of Industrial Design.

Among his architecture projects is the Organic Building in Osaka from 1993, with its plant-covered facade made of orange fiberglass that served as a precursor to today's vegetation-covered green walls.

But Mr. Pesce's most pioneering and well-known work happened in the world of design. In the late 1960s, he became one of the leaders of Italy's Radical Design movement, rejecting modernism's rigid focus on forms dictated by function.

Instead, Pesce focused on the idea that functional objects, much like art, could carry a deeper message.

One of the most famous examples is the controversial Up5 chair from 1969, which manufacturer B&B Italia describes as "the first product of Italian design with a political meaning".

Rest In Power !

"Up 5 & 6" Dressed Up Chair & Ottoman, 1969 – 2014, Polyurethane foam, fabric, Height: 40.5 in (102.87 cm)Width: 47 in (119.38 cm)Depth: 51 in (129.54 cm)Seat Height: 16 in (40.64 cm),

“Square Airport Lamp” (1986/1994). Photography by Elizabeth Carababas/The Future Perfect. Light sculpture consisting of a flexible rubber membrane studded with small light bulbs. Although made from a mold, no two lamps are alike, due to the imperfections that arise from the hand-mixing and pouring of colored urethane. H 92 - W 65 Cm,

"Feltri" Armchair for Cassina, 1980 -1989, Felt, Fabric, Resin, Width: 156 cm, Depth: 80 cm, Height: 129 cm, Seat height:42 cm, Courtesy: Oldera,

"Pratt Chair #7," 1984 2018 (purple), 2018, Transparent polyurethane, :93 x 53 x 53 cm. (36.6 x 20.9 x 20.9 in.),

"The Cabinet of The Tired Man," 2018, Photo: Courtesy of Salon 94 Design and Gaetano Pesce,

"Tramonto a New York" three-door screen, for Cassina, Made of coloured resin, hinges and feet in burnished brass, Width: 221, Height: 199,

"Organic" Building, Osaka, Japan, Completed in 1993 to embody the corporate ideal of Oguraya Yamamoto Co., Ltd,

"La In-Portante" Modular Bookshelf from the "Abbraccio" Series, 2010. Comprising 57 adjustable polyurethane resin shelves. Produced by Le Fablier, Italy. Polyurethane resin, painted wood, lacquered metal, 86½ x 118¾ x 16⅞ in. (219.7 x 301.6 x 42.6 cm) Courtesy of Sotheby's,

La Michetta Modular Sofa,Compostion of 8 by Meritalia, Structure in Lacquered Wood Seat with Elastic Belts, Flexible Polyurethane & Fiberfill Padding, Dimensions: W370 x D245cm,

Unique 'Ireland' table, Made of polyurethane and metal. The table was made and exhibited in 1996 by Gallery Mourmans, Knokke-Zoute, Belgium. It was part of a series of 'EU tables', where all 15 member countries were represented as a table, in this case Ireland. The top of the table has the shape of the outlines of the country and it stands on legs in the shape of question marks. W.80.71 in;H.28.74 in;D.57.09 in; (W.205 cm;H.73 cm;D.145 cm), Courtesy: Incollect.

[thegalaxyinapaperbag2]

thinking abt

“friends? we’re not friends! we are an angel and a demon! we have nothing whatsoever in common— i don’t even like you!”

“you dooo!”

and

“you don’t even like me!”

“don’t i?”

“no!”

“fine.”

[dontcallmebabyagainxoxox]

rip

I am on the verge of death by boredom, don't go back to work until Sunday as I've just had 9 stitches and can't do any heavy lifting. I've watched movies, tv shows, listened to music and scrolled on here for hours. I even tried some cleaning but that was a mistake bent to clean the bath and apparently when you have stitches on your ribs bending like that pulls the skin and it hurts! So now i'm sitting staring at my computer and for the first time in my life i'm wishing I could just be at work. (that is a wild statement from me, a person who hates their job) any recommendations will be greatly appreciated xox

[sparklyseblos]

we need to talk about sabrina carpenter and the way she executes her brand/aesthetic bc after looking at the videos of short n sweet tour she is doing it PERFECTLY like she & her team really put SO MUCH thought into it - they’re putting on a production here

[pv55y]

ㅤㅤㅤYOU   GUYS,   YOU   GUYS;   I   KNOW   I   SHOULD   WATCH   THE   MOVIE   IN   ITS’   ENTIRETY   &   I’VE   BEEN   MEANING   TO   BECAUSE   EDWARD   PATTINSON   IS   ONE   OF   MY   FAVE   ACTORS   ( &   I   REMEMBER   BEING   EXCITED   WHEN   HE   WAS   ANNOUNCED   AS   THE   NEXT   BAT )   BUT   I’M   WATCHING   CLIPS   OF   CATWOMAN / BATMAN   FROM   THAT   MOVIE   &   OH-

ㅤㅤㅤMY   SHIPPER   HEART   IS   GOING   DOKI   DOKI;

[orangemocharaktajino]

I think if Pete was a dog he would be a doberman pinscher

-sleek and shiny coat

-trained to be a vicious attack dog

-a good boy

-not afraid of gunshots but an unexpected pet can make him jump two feet into the air

[expatesque]

Referring to your recent post, would love to see some of the fun things you’ve bought! You have the best taste 😊

Aw thank you.

So the main categories of things have been home stuff and fashion stuff. I do have a tag (of course) but haven't posted everything so to summarize...

Home stuff

Living room: The swan table (an icon, a queen, the inspiration for the room), the insane green velvet chair (we love her, gotta keep it eclectic), snake rug (hiss hiss), a fundamentally impractical sofa (Ikea, concessions had to be made somewhere. I'm going to restuff to make it look more fluffy and expensive). I'm keeping my vintage curio cabinet, 1960's referencing 30's circular bar cart, black arched lamp, and big rubber plant. The inspiration is somewhere between this 1930's Thorne miniature room and hummusbird. I need some paintings, a little table for under the window to display a great vase (got this one in ivory, tbc if it's the right size), and some big new throw pillows (I'm thinking dusky pink). Oh also I'm getting a fish to go in the bookcase (I wanted a white Betta but my dad has said that's a bad idea and suggested a gold fish instead).

Kitchen: An oval marble topped cast iron bistro style table. Keeping my black bistro chairs (2x) and will also use 2 of my armless ghost chairs (like these). Likely to get a small floating island to get a little more counter space. Also bought an insane copper kettle ala my man Rajiv recently.

Main bedroom: I've got a new headboard for my bed (this one), I'm getting rid of the wardrobe in there (using the one in the 2nd bedroom) and will replace it with a vintage dressing table and mirror (I do like this one but would rather not spend that given... everything else) to display my great great grandmother's silver mirror, brush, etc. Need some big Euro shams and perpetually looking for a navy woven blanket that's big enough (I want it like, almost duvet sized).

2nd bedroom: Currently is an office / video game room, turning into a proper 2nd bed. I'll use my meh existing bed, need bedside tables, maybe a new desk chair.

Fashion stuff

It's been a lot of big skirts (my love the Prada one, a really full white canvas-y one, this crazy pink one, a beige cashmere Theory one), a set of heavy ribbed tops with high necks in black and browns (for autumn, this is one of them), a few cropped cardigans (can't find any specific ones that I've bought right now, but short enough to wear with the skirts), a totally sheer cream colored top (that is proving surprisingly versatile already), two cheap Zara wrap vests that I'm waiting to arrive (one in cream and one in black, we'll see the quality when they get here), a Victorian gold charm bracelet (+ a charm of a monkey holding a pearl), a pair of really gorgeous silver and mother pearl earrings from the 50s, some rag and bone soft leather mules, some baby blue Mary Janes, and a set of tiny kitten heels that I really like but am not sure I'm keeping (they're a little narrow but I think I could stretch them). I think there's more but if I think too much about it I'll be stressed (rip my budget). Pro tip: Laura Riley has an incredible fashion newsletter that rounds up what's new and what's on sale -- I've gotten almost everything I've bought on 50%+ off.

[screenname-kun]

Yuya: SHUT UP AND TOUCH THE MONKEY

[l00k4tm4m45c415]

Quaren

[nervouslywaitingforlife]

[almostarts]

Fernando Campana (1961 – 2022)

Born in the rural town of Brotas, the São Paolo-based designer earned a degree in architecture from the Faculdade de Belas Artes de São Paolo in 1984, before creating Estudio Campana that same year with his older brother Humberto, an attorney.

During the 1980s the studio produced a series of sculptural metal chairs welded from iron called Desconfortáveis (Uncomfortables), eventually moving toward a practice using everyday materials like cardboard, rope, wicker, bamboo, and wood.  Their iconic Favela Chair, from 1991 was fabricated with scraps of wood from discarded fruit crates, nailed and glued by hand. “The people who live in favelas construct their own homes, so I thought, why not construct a chair myself,” said Fernando in a discussion about the seat with curator Darrin Alfred from a 2010 interview. It was, he explained at the time, meant to symbolize a Brazilian shantytown.

It was in the 1990s—a time when the design world was primarily focused on the post-World War II movement of the Italians—that the Campanas came on the scene, with work that underscored Brazilian culture and its craft, sculpting furnishings from a range of raw and found materials. Their 1993 Vermelha Chair was a lesson in resourcefulness, hand-woven from cotton rope that enveloped a metal frame. 

Design journalist Arlene Hirst was “gobsmacked” when she first encountered the chair, manufactured by Italian manufacturer Edra, at the Salone del Mobile in Milan. A year later the chair was included in Project 66: Campana Brothers/Ingo Maurer, a 1998 exhibition at The Museum of Modern Art (MoMA), curated by Paola Antonelli, the museum’s senior curator of architecture and design, an associate at the time. For this show, Antonelli paired the Brazilian brothers’ furniture with German lighting designer Ingo Maurer’s luminaires in vignettes that highlighted a shared passion for materiality and invention.

Both Fernando and Humberto were active in the production process as well, but as is often the case with partners, they remained elusive about specific roles. “Fernando had the training, so he was the more pragmatic one,” noted Antonelli in a recent interview, referring to his architectural roots. “He never discussed it. And I never questioned it. It was implied,” she said. The younger Campana also drew inspiration from his daily routines, local markets and wandering São Paolo’s streets. Antonelli recalled asking him about his use of found objects, asking if they weren’t too cute? His response, “They are not too cute. They are part of my life.”

Many of those found objects—including stuffed animals—made their way onto upholstered seating like the 2002 Banquete series, which became the equivalent of a sold-out Broadway show. It is still produced out of the Campana São Paolo studio, and handsewn by local craftspeople who are considered part of the extended Campana family.

In 2010 the New York- and L.A.-based gallery Friedman Benda began global representation of the brother’s work. “Campana Studio brought a completely fresh perspective, creating a dialogue with local crafts and the use of the readymade,” says co-founder Marc Benda, adding, “They were trailblazers.” The gallery assisted with support of the studio and helped them to balance the commercial success of their practice with its roots in the hand made.  

One of the brothers’ last collaborations—presented in June at the 2022 Salone in Milan—is a collection called Metamorfosi, comprising five large-scale, pouf seats and a tapestry, created in collaboration with Italian textile designer Paola Lenti. Woven from remnants Lenti sorted and saved with CouLture Migrante, a social tailoring atelier (involving men and women asylum seekers residing in Como, Italy) the limited-edition pieces make their North American debut at Design Miami in December.

The work of Estudio Campana can be found at the Vitra Design Museum, Centre Pompidou, Musée Des Arts Décoratifs, MoMA, among other design-focused institutions. In 2020, they were the subject of 35 Revolutions, a retrospective at Museum of Modern Art, Rio de Janeiro on the occasion of their 35th anniversary.

Words by Melissa Feldman

Favela Chair for Edra, 2000, Pine, Height: 29.14 in (74 cm)Width: 26.38 in (67 cm)Depth: 24.41 in (62 cm)Seat Height: 15.75 in (40 cm),

Vermelha Armchair for Edra, 2019, Aluminium, Cord, natural cotton, Steel, 86 x 58 x h.77 cm,

Tornado Vase, Ghidini 1961, Bronze, W 11.81 x D 9.45 x H 14.57,

Jackfruit Table Lamp, Ghidini 1961, Polished Brass, Height: 19.69 in (50 cm), Diameter: 12.21 in (31 cm),

Bomboca Sofa GM, Objets Nomades, Louis Vuitton, 46.9 x 34.5 x 94.9 cm (18.5 x 13.6 x 37.4 in),

Bolotas Sofa (Cherry), 2019, Sheep’s wool, ipÊ,��H: 95 W: 125 L: 215, Carpenters Workshop Gallery,

Edward Scissorhands side table, Giustini/Stagetti, 2014, Portorotype black marble and gilded bronze, 12 dia. x 22½ h in. (Casati Gallery),

Corallo Armchair for Edra S.p.A., Italy, 2004, Steel wire and epoxy paint, 38 x 60 x 39" (96.5 x 152.4 x 99.1 cm), Courtesy MoMa,

Sushi Buffet, 2012, Carpet, rubber, EVA, fabric and estela handcrafted into sushi rolls partially covering brass structure 28.25 x 78.75 x 17.75 inches (72 x 200 x 45 cm)