About Author's Vision
English Русский
 

WOOD AND GLASS
ANTON SALTANOV

The Concept of Glasses in Wooden Frames.

Author's View

Often for the society a history of something unusual coming into being is developing evolutionarily and therefore unnoticeable but it always has a chance of becoming a myth. Variegated and vague trends saturating the ethereal space of individual designers' minds in a certain applied art finally condense into something customarily referred to as the Main Stream. It is remarkable that the Main Stream is stable for a certain given period and it's direction can be judged from different prospectives, for instance from the most merciless one - that of the level of increasing entropy.

Technology 00 wood crafted glasses

 

The basic difference of the glasses in question from all possible similar objects is very simple: the material of the frame is almost 100% pure wood:
- Dried wood - not less than 99,99%
- Glue and finishing impregnation - not more than 0,01%.

In the end of the last century and in the beginning of the third millennium these glasses have managed to wind their way to the society in the quantity of four hundred fifty objects thus underlining the trend noticed by many: that of feeling bored and even disgusted with manifestations of the modern civilization normally associated with recyclable plastic tableware. Therefore the demand for the glasses in the wooden frames existing in spite of absence of advertising or other efforts to promote the product is a natural human reaction to the platitudes of the modern world. And in this respect these glasses can be seen as a positive test revealing predisposing of the modern civilization towards a search of the lost tradition.

We know that glass was manufactured in the Ancient Egypt as long ago as 4000 years before Christ. By that time people had known how to log and process timber as well. Meaning that in the Ancient Egypt there were preconditions of synthesizing glass and wood into a certain single unit for instance into glasses. Consequently in on the metaphysical level such glasses were already conceivable at that time which in my mind is equal to their existence on the physical level. The only question is who is that next excited explorer capable of dissolving his mind in the metaphysics and returning from this condition with his craved catch.

Later on the idea of the glasses floated in the atmosphere of the bright sunny Mediterranean Greece-Roman world when spontaneous antique joy was counterweighted by intellectual work actively developing geometrical, philosophic, poetic and other systems naturally resulting in weariness of eyes, partial loss of eyesight etc. The most probable version of antique glasses would be a design of glass, metal, bone or wood, with the metal forming the structure and the bone or wood evenly distributing the pressure at the points of contact with the human body.

With minor exceptions the last version is characteristic to the first massive type of modern glasses. Certainly synthetic polymeric materials are used instead of bone or wood. The version of the glasses design with plastic used for the structure bearing function and metal hinges connecting the front frame with sidepieces make up the second massive type of modern glasses. In certain cases plastic is irreplaceable as a structure forming material but easiness of mass fabrication of the plastic components indecently inflates its applications. One can intentionally overlook the global plastic expansion; as long as there is enough energy for producing plastic and recycling it (as production and recycling are mutually dependent) the whole process is reversible to some extent and increasing entropy is not catastrophic. However the moment is inevitable when I will become no longer possible to ignore the fact of transferring natural matter and energy to the polymeric level, as it is obvious that the matter cannot spontaneously return from this level to its natural condition. Otherwise humans will have to prefer fields of plastic flowers to the natural ones.

The situation with glasses in the end of the second and beginning of the third millenniums is such that at least 1 billion among total six billions of the earth inhabitants wear grasses permanently or occasionally. Quantity of all glasses on the earth is distributed equally about two massive types noted above. The share of the exotic and antique frames made of tortoise, ivory, mammoth and other animal bone in the inevitable combination with metal or possibly wood is very minor, such glasses are counted in thousands. What comes to the glasses with fully wooden frame (the frame, the sidepieces, the hinges - all in wood) they are just a tiny vain in the vast array of the existing glasses. As already noted above such glasses are just around one hundred fifty pairs; I am confident that at the present time they cannot be more than that.

My confidence is based on the fact that all four technologies developed by myself have been resulting from each other, the first glasses had their classic prototype in round metal spectacles from which I borrowed only the same number of components. Apparently the technology of manufacturing metal glasses based on contact welding has no crossing points with the technology of round wooden frames, the so called 95 Technology named after the year it was developed in which everything is directed towards precisely shaped surfaces of sufficient area and based on mating wooden components reliably fastened with glue. Consequently as I had to create Technology 95 all by myself from the zero level there is only a hypothetical possibility of it's independent repeat. This happens quite often in scientific researches but taking into account insignificance if not to say craziness of the problem of the design of wooden glasses the probability of someone's trying to reinvent Technology 95 is modestly low.

The technology developed second (technology 98) vastly extended the production program of the wooden frames. It allowed to select at he initial stage the shape of the frame (one could invent it or copy from the sample one's liked) and to manufacture a wooden frame, which would seem to untrained eyes as a regular plastic frame. This illusion is a result of adding the method of hot plastic deformation of the prefabricated frame to the already proven methods.

The third technology (Technology 00) is the most laconic one. It implements a simple idea: the glasses in the frame should be held in places by means of the flexible property of wood which is achieved by respective mutual orientation of fibers of wooden components of the opened frame (the glasses being encircled with frame not along their whole perimeter). The glasses are put or removed from such frames by means of deforming the frame with hands unlike the frames made according to Technologies 95 and 98 where the following finishing procedures are necessary: - Cutting the frame in two respective symmetric locations; - Fastening glasses; - Gluing the cut frame; - Finishing the cuts.

And finally the most complicated Technology 02, which allows to materialize surrealistic and kitsch images (e.g. elliptic asymmetric frames r heart-shaped frames). A common trait of these frames is broken continuity of the frame outline (this is necessary for installing glasses) by means of a thin cut. The cut is necessary due to obvious reciprocal orientation of a two-layer frame. All the existing models of the wooden frames (currently more than twenty different models are available) are based on four different technologies; the impression they impose is close to that of plastic frames but their great appeal is in the rich natural quality of the material. Implementation of special equipment providing automation of the existing technologies and introduction of serial production of the wooden frames with production costs commensurable to costs of the plastic frames will result in gradual phasing out he plastic. I am convinced that the speed of this phasing out will depend mainly not on the retail prices and other economic reasons but on brightness of associated and evoked feelings, readiness to break boring patters and cascades of individual reactions which are just impossible for simple interpretation.

However if someone asks me: What is the message in your style, methods and design? I can only try to answer with the following items shaped as my mind flows freely:
- Bless simple geometrical shapes
- Trust datum surfaces bearing good gifts
- Dorian temple is a fore-father of the solar power plant and ultimate sacred place of Apollo
- Roman aqueduct is a fore-father of the gravity powered surface transport
- Immovable electronics in the frames of marble
- Movable electronics in the frame of wood
- Electronic cards are works of modern applied art
- Asynchronous motor is a masterpiece of modern monumental sculpture
- A stem engine is a super-complete object: nothing to add and nothing to edit
- I hate nails
- Parasitic devices in movie scenery
- Gearwheels in the rough milling mills for independent homestead cities
- Computer is already as stable as a violin!

 
     
  Copyright 2004-2010 by . All Rights Reserverd. Designed by George Jr. Yakovlev