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Author: Sophie Zifcak

Light Bulbs

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Picture your favorite place to sit. It is likely next to a sun-filled window or in a cozy spot next to a lamp. Think about the lamps in your living room or the antique glow of a city café. Now think about places that are unpleasant: Safeway, hospital waiting rooms, the DMV. The reason we like the sun, candlelight, and fireplaces is the same reason we like incandescent lighting. The reason we feel uneasy with institutional lighting is the same reason we resist putting compact fluorescent lights in our bedrooms and living rooms. We’ve all been inundated with “proof” that incandescent bulbs are bad for the earth, and that switching is so worth the energy and cost savings that our love of incandescence is just nostalgia-laden selfishness. But never is it that simple.

Edward Burtynsky photography

Chicken Processing Plant, China, 2005, image by Edward Burtynsky

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Mirror, Mirror

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Checking yourself in the mirror is something we all do several times a day. We trust mirrors to give us an accurate reflection. They tell us if there’s spinach in our teeth, or if our shirts look bad with our shoes. Mirrors are also made to flatter and distort, with convex shapes to make us look taller and thinner or tints to reflect warm tones and give our skin a healthy rosy hue. It took humanity thousands of years to go from catching a glimpse of themselves in a bowl of water to that first perfect mirror, but we’ve been playing with our reflection ever since.

Mirror rtwork with bodies

Body Sculptures by Hans Breder, Found at I'M Revolting

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Tapio Wirkkala

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Alvar Aalto certainly earned his title of “father of modern Finnish design” but Tapio Wirkkala (1915-1985) deserves credit for raising it up right. His designs celebrated nature and spoke to the inherent rugged beauty its forms. He championed a type of design that was “democratic” because he was, creating soulful, well-crafted, usable objects that never sacrificed functionality for beauty.

Pipes by Finnish designer Tapio Wirkkala

Pipe Models "Meerschaum" ("Sea Foam") and Nylon, 1974-1976

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Giò Ponti

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It’s hard to believe that an architecture style can be dominant for 100s of years, especially one that was based on the ideas of Classic Rome. But this was the case with Palladian Neo-Classicism. Named for Italian architect Andrea Palladio (1508-1580), and characterized by symmetrical monumentality with Classic detailing. This is what architecture was, and this is how it was taught to Giò Ponti (1891-1979) at Milan Polytechnic in the early 1900’s. Lucky for us tides were about to turn and Gio Ponti was a true original.

Architect and designer Gio Ponti working at is desk

Giò Ponti, Courtesy of Life Magazine (Click to Enlarge)

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Enamelware

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Enamel has been around for decorative and functional use for centuries. Vitreous enamel is akin to ceramic glaze — it is most commonly the result of fusing powdered glass (or less often a glass paste or spray) to a metal or ceramic substrates. Enamel is bonded to metal in kilns at a high temperatures, somewhere between 1400 and 1640°F.

Enamel Cup, Circa 1920s

Enamelware Cup, circa 1920

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Johannes Itten

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It is taken for granted today that the design of everyday objects is an art form, but in 1919 this was a radical notion. The Bauhaus succeeded in breaking down hierarchal notions of art disciplines, and believed that there was no difference between the artist and the craftsmen.

Textbook by Johannes Itten "Die Farbe", 1944

Johannes Itten, Die Farbe (The Color), 1944

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