Reader Mick saw our post on the Japanese travel hanger and pointed out the dealbreaker for him: The closed loop means it can only be hung on a hook, not a closet rod. He also wrote that “Ever since I lost my ‘Raiders of the Lost Ark’-style foldable hanger on a trip many years [ago], I’ve been looking for a replacement. It was also Japanese-made, btw, and apparently no longer made.”
For those who’ve somehow never seen the movie, here’s the one he’s referring to:
Mick, I poked around a bit to see if I could find one. Sadly all I could find was this one…
…but judging by the reviews on Amazon, it’s junk.
I went looking for more travel hangers and found a few. Boottique’s Travel Hanger is about 11 bucks, but like the one up top, also gets mixed reviews on Amazon. Apparently some folks find that it falls apart.
Here’s Jennifer Rabatel’s “T-square hanger.” (I’m not sure why it’s not called the “Bevel Gauge Hanger,” as that’s the tool it more closely resembles.) As far as I know this isn’t in production, but depending on what kinds of tools you have access to, you might be able to DIY one of these.
This inflatable hanger is a nifty idea for travel, but was apparently unpopular or difficult to produce; it’s been discontinued.
I spotted this design on AliExpress, but I have no faith this thing won’t break.
Sorry I couldn’t find a good travel hanger, Mick. But I did come cross these non-travel, designey hangers that have eye candy value:
The design of the Roomsafari Triangle Hanger, by Christine Nogtev and Chul Cheong, was inspired by the musical triangle.
Here’s a similar unrealized concept (perhaps student work?) allegedly by Cecilia Lundgren, who appears to have gone into painting rather than industrial design.
Yet another similar idea: The Frame stainless steel hanger.
This hanger sold by Urbio does not appear to be designed for use on a rod and comes with its own aluminum peg for wall installation.
Designer Martina Bartoli’s Unidentified Flying Hanger was produced in limited numbers following its debut at Milan in 2011.
Designer Chris L. Halstrøm’s Georg Hangers seem like they could double as a kung fu weapon.
In the past few years what has become to be known as a “Moxon Vise” has become a pretty popular workbench accessory. The basic theory behind it is that lots of joinery operations, especially dovetailing, need to be done at a higher bench height than a typical bench—which is usually set for planing operations. In Moxon’s engraving from Mechanick Exercises (1678) the vise is placed at an obviously incorrect position, with no way of attaching it to the bench. Felibien, in an earlier book, (which Moxon liberally copied from) shows a group of these vises hanging from a wall behind the main workbench.
I think it was the Lost Art Press’ edition of The Art of Joinery that brought the vise back to the limelight and it is now a very popular accessory.
Today several vendors, ourselves included, stock complete Moxon vises ready for use or hardware kits for making your own. Our vise, which was designed and is made for us by the Philadelphia Furniture Workshop, has a couple of unique features, notably a cambered from jaw for ease of clamping, and handles that can be moved out of the way while working. The hardware for the vise, which was a joint design by ourselves and the PFW is specially designed to allow for wear and a lot of give in the wood. Our hardware kit doesn’t include drawings for the vise because, while the PFW design is perfect for hordes of people, if you are going to the trouble of making a vise for yourself, you might as well take a moment and decide if some customization is in order. However so many people have asked us for some guidance I thought explaining some design considerations might be in order.
At its most simple, the vise is just two boards with screws to clamp them together and enough thickness on the back jaw so that the vise in turn it can be clamped to your bench. The actual size isn’t critical. The screws need to be inset far enough in from the ends so the wood doesn’t split—a couple of inches at most—and the main dimension is the clamping distance between the screws and the overall height of the vise. Unless you have the urge to have several vises, you want a clamping distance wide enough for any carcase you are likely to make—say 24″ max, but 18″ or 20″ between the screws is probably more realistic. Also you don’t want to make such a heavy monster that moving it all the time is a chore. The height is the next issue— you want it high enough so it brings dovetailing to a comfortable height. 4″ is fine for most people, 6″ might be better for a tall person on a short bench—here is one area where personal preference is important.
Now we are already into two tweaks. By cutting down the ends of the rear jaw into ears you give yourself clamping surfaces that will keep cutting tools away from your holdfasts—the usual device for attaching the vise to your bench.
Among the innovations made by the Philadelphia Furniture Workshop in our vise—a narrow shelf is glued on the back of the rear jaw to create a clamping ledge so that you can clamp your tails down firmly when you lay out your pins.
The way our kit works is that the two acme screws thread into two nuts mortised into the back jaw of the vise. Just locate the holes far enough from the bottom so the nuts have enough clearance and first drill the holes and then mortise away. The nuts we use are custom for the vise and are offset. We found that, especially with a sloppy mortise, a regular nut can spin in the mortises as the vise wears. This design gives you plenty of room for error and you won’t have to worry about wear.
The front jaw can be as thin as 4/4 but here again the Philadelphia furniture workshop design has a great innovation. The inside of the jaw is slightly cambered so even if the jaws are tightened unevenly the vise will hold in the center perfectly. Also the thinner front jaw, not only makes the vise lighter, the jaw can bend a little when clamping for a better fit on the work.
Finally it’s nice to have a little something to help align the vise to the front edge of your bench.
We didn’t use Moxon type vises when I was learning woodworking. What a shame. I cannot imagine not having one now. Especially since between my back and my eyesight (lack of) getting the work closer to me, and not having to slouch down to work is a real boon, Whichever design you use I think it’s a really great addition for work holding in the workshop.
This “Tools & Craft” section is provided courtesy of Joel Moskowitz, founder of Tools for Working Wood, the Brooklyn-based catalog retailer of everything from hand tools to Festool; check out their online shop here. Joel also founded Gramercy Tools, the award-winning boutique manufacturer of hand tools made the old-fashioned way: Built to work and built to last.
The Diagram 17 watch doesn’t just tell the time, it tells a story too with its Suprematist art inspired watch dial. Taking elements from Kandinsky’s Diagram 17 painting, the watch has a simple dial with rather quirky yet well composed hands. Oddly enough, the thick short hand denotes the seconds, while three lines in the background (that some may mistake for artwork) actually rotate around the watch’s face, pointing out the hours. The minutes hand has its own charm too.
The beauty of the Diagram 17 watch is that no matter where the hands are placed, the composition looks pleasing. Each second of the day transforms into an abstract artpiece that behind aesthetics, hides the time of the day. Nice, isn’t it?!
Whether it’s social media fatigue or the brutality of brunch-planning group chats, many reasons present themselves to step back to a less computer-like mobile phone. One of the world’s former favorites—the Nokia 3310—might be making a comeback, according……
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Au cours de l’été dernier, le photographe lituanien Simon Alexander a voyagé en Allemagne le temps d’une semaine, et plus précisément à Berlin et Dresde. L’occasion pour l’artiste d’immortaliser des pans de murs, les courbes des bâtiments et les couleurs de la ville, armé de son Fujifilm X-T1. Un ensemble de clichés à la mise en scène travaillée, qui traduisent le goût de leur auteur pour les ambiances urbaines.
BrothTarn, photographe de rue, réalise une série en noir et blanc percutante et glamour : des portraits de jeunes femmes habillées en Burberry dans les rues grises de l’Angleterre. Une série qui mélange de manière subtile l’idée de luxe et de décontraction, d’élégance et de punk, en d’autres mots, une série qui met à l’honneur l’english touch, entre humour et contestation.
Grcic’s Table B is part of a collection named Extrusions, which he based on the Hypóstila shelving unit that has been produced by the brand since 1979.
BD Barcelona’s general manager Jordi Arnau described the table – made from extruded aluminium – as the most iconic design within the collection because of its form and material combinations.
“The most iconic design of the Extrusions collection is the Table B for many reasons,” Arnau told Dezeen.
“The profile of the tabletop, which looks like an aeroplane wing with only four millimetres at the edge makes it very unique, and even more when it is combined with legs in such a different material as wood.”
Later on, the German designer added Chair B, Bench B and Side Table B to the extrusions collection.
In response to demand from architects, BD Barcelona has lowered the price of the Chair B in the standard natural ash finish by 30 per cent to make it more suitable for contract projects.
Overall, Arnau said the collection pays tribute to the brand’s earliest collaborations with designers such as Oscar Tusquets Blanca, as well as the processes they would use.
“With the Extrusions collection Konstantin Grcic wanted to pay a tribute to BD’s shelving systems in extruded aluminium, which were designed by Lluis Clotet and Oscar Tusquets in the early 70s,” said Arnau.
“I think it’s a beautiful story that almost 40 years after a contemporary designer used a manufacturing process that we use it to create completely new products.”
BD Barcelona – whose prestigious catalogue has featured designs from the Campana brothers and Jamie Hayón as well as Salvador Dalí and Antoni Gaudí – has also recently launched the REmix project in a bid to combat wastefulness in the design industry.
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They worked together with the company’s co-founder Fredrik Carlström and CEO Anna Behring Lundh, who have a strong vision for Alma’s look and feel. Taking its name from the Latin term alma mater, meaning school or university, they aim to make Alma into an institution.
“We have have used solid materials, and quality in each instance, avoiding gimmicks and more temporary design solutions,” Alma co-founder Fredrik Carlström told Dezeen. “We want to build an institution.”
In a similar vein to the global members club network Soho House, Alma provides a mixture of working and socialising spaces for its card-holders to network.
The 2000-square-metre space in central Stockholm is actually two buildings of five floors each. In between them is a glass-roofed atrium with two floors.
Flooded with natural light during the day, the atrium is home to a restaurant managed by chefs Martin Brag and Leo Frodell of Ett Hem. It is filled with long, communal tables and also has space for exhibitions and events.
The smaller rooms in the buildings either side of it are darker spaces, intended to have “a warm, homely feeling”, according to Carlström.
They include formal and informal meeting rooms, breakout spaces, and areas for working solo or collaboratively.
“We wanted it to be a warm and welcoming place, where our members and their ideas feel comfortable, inspired and a little spoiled,” Carlström said.
“We also created ‘friction points’ where we encourage collaboration.”
In addition, Alma is home to a shop, Austere, an outpost of a concept store founded by Carlström in New York in 2014.
Carlström now intends to launch the stores in Europe, where they will sell furniture produced under the Austere brand as well as a curated selection of other goods.
The store will also sell furniture created specifically for the Alma space.
The architects also created tables, benches and drawers, which have been produced by Swedish manufacturer Sjölinders.
A herringbone pattern is used across Alma’s floorboards and tiles, adding consistency from room to room.
Dark interiors emerged as a trend during the event, as global political instability was said to be driving homeowners to “nest”.
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