As I work most days, a chair is the place I spend most of my time thinking up silly stories. It is the place for me where thought becomes reality.
Since Socrates first wrestled with the question of what is a chair, philosophers have talked and nothing changes. On the other hand, designers and manufacturers have been struggling to improve the chair.
A chair is still a chair if you are not sitting there, but it doesn’t feel or look the same.
Look at it this way.
One could say that all chairs rest upon the ground, but then the tire swing and the porch swing would be out the door. In summer, what child would not choose a tire swing over a creek over the grandest throne? And an old man likes his rocking chair. After a climb to the top of a mountain, a rock will do if you are tired enough. The ground is just the ground and not a chair. A chair is not something to simply be look at and admired. A blind man knows a good chair by its feel and its comfort. A bed is not a chair, but a tired man can recline and fall asleep in his favorite chair, feet propped up, back down, stretched out, without a thought or worry in the world.
To come, to sit, to stay and relax and ponder the weighty questions of Socrates. That is the function and reality of a chair.
To understand a chair one must sit there. It is the place where reality and perception come together.
Let me say, I love the beauty of a chair for its own sake. Then too I love the suppleness of leather, the richness and texture of fabric. Is a chair high or low, wide or narrow, big or small? These questions depend upon space and place. A three legged stool might stand for a pup tent on a camp out, but a fine home deserves more.
Try on any of these Hancock & Moore chairs out for size and comfort. See an interior designer at Traditions in Overland Park and Wichita and discover the beautiful reality of a Hancock & Moore chair.
Then ask yourself, if a chair is still a chair if you are not sitting there.
Let me give you a place to sit and something to think about. A Morris recliner by Stickley, a melon fabric.
Memory is a series of life’s moments recalled when needed.
Last year at Oxford, last summer at Water House, Walthamstow, northeast London, a square, heavy Georgian building of yellow brick, the Morris family home from 1848 to 1856. In 1856, William Morris, twenty two and a student at Oxford, writing as a character named John, in The Oxford and Cambridge Magazine:
John took up a garden fork preparatory to running down to the melon ground where the worm-populated dung heaps were; for some strange reason that moment and the half hour were one of the unforgotten times of his life; and in after days he could never smell the mixed smell of the toolhouse, with its bast mats, earthy roots and herbs, in a hot summer evening, without that evening with every word and gesture coming clear to his memory.
Strange, is it not, that inspiration can come from a dung heap, a melon, and a summer long ago? This first day of May, I have just planted my cantaloupe seeds out behind the store in bed recovered from the compost of last year.
Let me give you as an added bonus, two poems by William Morris:
I am the ancient apple-queen, As once I was so am I now. For evermore a hope unseen, Betwixt the blossom and the bough.
Ah, where’s the river’s hidden Gold! And where the windy grave of Troy? Yet come I as I came of old, From out the heart of Summer’s joy.
I am the handmaid of the earth, I [em]broider fair her glorious gown, And deck her on her days of mirth With many a garland of renown.
And while Earth’s little ones are fain And play about the Mother’s hem, I scatter every gift I gain From sun and wind to gladden them.
A Chippendale chair is a very difficult object. A skyscraper is almost easier. That is why Chippendale is famous. – Ludwig Mies van der Rohe, inventor of modern architecture and the glass skyscraper
A glass skyscraper is never called a Mies van der Rohe, perhaps is should.
Thomas Chippendale (1718 –1779) – London cabinet-maker, published in 1754 The Gentleman and Cabinet Maker’s Director codifying the fashion in England for creative blends of Gothic, Asian, and French Rococo designs of Louis XV.
Chairs in the Chippendale style became rectilinear, the stiles straight and outwardly-flaring at the top corners, back splats, which were formerly solid in the Queen Anne style, came to be pierced and intricately carved with foliage and interlacing patterns. Chair legs were either straight or more fanciful with ball and eagle claws. Of all the Chippendale chairs, the ribbon-back chair with a broad seat and cupid’s bow-style back rail is the most well-known.