CaroRolo

I am PRO-WOOL

I am PRO-LEATHER

I am PRO-BEES

Fuck the idea of replacing durable, sustainable animal products with cheap, flimsy plastic that doesn’t bio-degrade. Agave nectar and other artificial sweeteners are expensive, labor-intensive, and destroy the environment to be farmed.

Leather - one cow makes SO MUCH leather. One deer makes SO MUCH leather. Well-treated leather lasts almost FOREVER. Even animals with small skins like rabbits, a pair of well oiled rabbit leather gloves will last decades. Every animal usually made into leather is also a meat animal, so it’s more sustainable to get more than one product from a single ethically butchered animal (humane kills make less punctures in the hide!) Leather can be tanned with natural resources like brains and doesn’t require treatment with chemicals that seep into the groundwater!

Cotton: Cotton is a fucking plant, it burns. The growing and harvesting of cotton is rather water intensive but it IS possible to sustainably harvest and reuse the water spent in the cleaning process to reduce the ecological footprint of the crop. It burns clean, it cuts clean, it’s sturdy, and there are 1000 ways to weave it to change its properties.

i actually read her book when i was about twelve years old, in the most shocking and probably only example of me ever being ahead of a trend, and even at twelve i really loved everything she said. at that point in time i lived in fear of my mother's threats that she would come and throw everything away while i was school, and my small and very adhd mind simply could not grasp the concept of "have less stuff". have less of WHICH stuff? how? i'd never actually been taught how to clean my room besides being told "pick up stuff" and "be organized", and as she points out multiple times, cleaning is not an intuitive thing. it's a learned behavior and skill.

anyways. her entire philosophy centers on surrounding yourself with things that you love, and only things that you love (or things that you absolutely need). she explicitly says over and over again that it is not about throwing things away, it is not about minimalism, it is not about "what is the smallest amount possible that you can survive on". she literally has a whole section where she talks about how hard it can be to throw things away when you've lived in poverty all your life and you don't have absolute confidence that you can replace something that you really needed if it gets thrown out, even though you're not likely to ever really need it--you've just been conditioned to think that because that's literally how you survive, when you're poor. she talks about how that mindset can serve and how it can damage. she talks about how minimalism is sort of a rich people thing, cause they can afford to throw everything away.

That we are the caretakers of the objects we keep and have an obligation to not only care for them, but also to *use them for their purpose.*

If you don't wear that jacket, no matter how cute it is, it is a disservice to let it rot away in your closet. Let it go on to be worn by someone else. It's not that you didn't love it enough- it's that you love it enough to let it serve its purpose, even if it's not with you.

Absolutely nothing about this design is convenient to execute in wood. Every piece is curved, most have compound curves. This is artisan craftsmanship: it's inherently slow, manual, and skilled. Notice, also, that most features of this chair must be thicker and heavier than on the plastic chairs being imitated. Injection-molded chairs can be produced in this shape in a matter of minutes with far less material at very low cost.

The standard one-piece injection molded plastic chair is referred to as a "Monobloc", literally just describing it as a single piece. The history of this chair is fascinating, and it all starts back in 1946, with the D.C. Simpson Monobloc.

Douglas Colborne Simpson was an architect mostly active in the 40's and 50's, designing a lot of classic mid-century style buildings in Vancouver, Canada(1). In 1946, as part of a government project to find new uses for materials developed for WWII, he and engineer James Donahue developed the design you see above, simply called the Monobloc(2). Unfortunately, we don't know a lot about this chair as it was only ever a prototype, and no modern examples have survived, nor have most of the records surrounding it(3). To my knowledge, we don't actually know if this was technically injection molded, or crafted some other way. We can't even be sure if it was technically the inspiration for the designs that followed, but no matter the case it has lent its name to the entire genre.

Plastics technology was simply not what it is today back in the 1940's. Most people would have had very little plastic in their homes, most likely just a few pieces of Bakelite (the first commercially viable plastic, made from a formaldehyde based resin in a Bakelizer, the best name for any industrial manufacturing equipment ever). Over the following few decades, however, as a wider variety of plastics were both developed and came down in price to the point of commercial viability, the concept of the plastic chair was revisited, and the first folks to revisit it were Helmut Batzner, in 1964, and Joe Colombo, in 1965.

This, is the Bofinger chair, Batzner's design:

The elements of D.C.Simpson's Monobloc were pretty alien compared to todays mass-manufactured plastic chairs, but here we start to see some more modern elements come into play. The first thing you probably notice is the front legs, which have that characteristic visible 90 degree bend in them for added rigidity, plus a much more comfortably leaned back and slightly scoop-shaped seat. We also see much more support in the back rest, with broad triangles allowing for a more efficient use of materials without losing back support.

Similar to Simpson, Batzner was not an industrial designer, but an architect, and this chair had a very specific purpose. Batzner and his team designed it as part of a project to build a new theater in Karlsruhe, Germany, which required a large amount of additional seating which could be easily packed away into storage or distributed around the theaters rooms by the staff (4). As such, it was designed to be both lightweight and stackable, so several of them could be moved by one person, and they could be stored compactly. This piece of furniture was a huge hit a the theater, and was so popular that 120,000 units would ultimately be manufactured and sold around the world, with each one taking just 5 minutes to produce (4).

Around the same time, Joe Colombo enters the scene with this:

Colombo was an artist in several mediums who, after taking over his families appliance company in the 50's, made the shift towards architecture and interior design, and started designing a wide array of trend-setting furniture(5). The chair shown above is known as the Universale (sometimes referred to as the Chair Universal 4867), designed in 1965. This chair differs pretty greatly from the ones that came after it, it many ways it represents a different path that could have been taken, but it's also very widely referenced as an inspiration for what is broadly considered the origin of the white plastic chair the world over.

Enter: the Fauteuil 300

This is, arguably, the first iteration of the white plastic chair we all know today. Designed by Henry Massonnet in 1972, the Fauteuil 300 and it's imitators are, collectively, the single most widely used piece of furniture in the entire world(6). Before that, however, it was something else entirely: works of art.

What might be hard to recognize in hindsight is that all of these chairs described so far were not everyday objects. They were on the forefront of modern design, they made use of brand new materials and manufacturing processes, and at the time they were each made, they were slick, stylish, and fairly expensive. Despite the speed at which they could be manufactured, these innovative, high-end chairs rose sharply in cost up through the early 1980's due to the sheer demand for them. They weren't cheap spare seating you stuck in the garage, they were placed at dining tables and on fine patios, and they were a wildly popular talking point. That's not to say their expense justified their artistic value, but rather that their expense and popularity was a product of their status as highly contemporary and boundary-pushing designs.

With the price of plastics declining after the 70's, the increasing accessibility of injection molding to manufacturers, and the widespread popularity of these designs, copycats proliferated rapidly, and eventually drove the price down. This era, in the 80's and 90's, is when these chairs became cheap an ubiquitous, and where they became manufactured the world over.

And here is where we reach this piece, "Plastic chair in wood", by Maarten Baas, and a piece of the history I've left out so far. The Monobloc was designed to be made out of wood. Like the the other chairs designed by Joe Colombo, like the chairs that predated the Simpson, the Monobloc was designed with the intention of using laminated plywood, but as the artists and designers behind them began to experiment with new materials they fell in love with the idea of making them from plastic, and so they did. They redesigned and redesigned until they made something that would be impossible to make in wood at a price most people could afford, but which could be made from plastic in mere minutes. The organic curves and thin profiles would take so much time, so much waste material, so much skill and effort to create if made of wood that they could never be furniture, they could only be art. Baas' chair is a perfect, beautiful reflection of that.

That, in brief, is the history of the design of the white plastic Monobloc chair, but it's not all there is to know. In fact, it's kind of just the start. I've linked my sources below, but I would strongly recommend checking out the German documentary Monobloc, by Hauke Wendler. It goes over the history, but it's far more interested with what the Monobloc means, and what it's place is in our world today. The impact it's made, the better and the worse, and what it says about us. It's fascinating, and well worth your time.

sources below.

My fav version of poll song #854 tbh

'Not What You Saw' [2024-ongoing] by Keerthana Kunnath

Shot across beaches, fields, and village edges in Kerala, India,

?????????