Which brings me to my final point. Schwarz has been one of my favorite go-to writers for matters of technique for well over a decade. With this book, (and to be honest, this really snuck up on me) he’s also suddenly sitting as one of my favorite designers. These pieces are all based in historical research, and standing on the shoulders of centuries of other makers – but the results are, to my eye, most definitely his. I’ve been looking at iterations of the desk and chair above, both in photos and in person, for months now, and I think they’re some of my favorite designs of recent memory. And they’ve only gotten more appealing to me over time – which, to me, is the key hallmark of really good design.
[If you the read the piece I wrote on ratios it would be very easy to know all my interests intersect. Music, cooking, coding, baking, woodworking, photography, and others have a thread woven through them for me which I endeavor to exploit. The technical similarity makes for a warm welcome. And while ratios bring some rigor to the process, in the end they inform the process of design and composition and can be extracted from designs as well. A tool on the road to making a point that comes and goes like a barn swallow. The Anarchist’s Design Book. That’s aesthetic anarchy. Not the stuff that passes for anarchy in the news these days. You don’t have to build furniture or work with wood to be impacted by Schwarz’s books. It’s as much about eliminating consumerism, stewardship, and the cost of things. The tool chest in the first book in this series was a metaphor as much as a reality.
And if you love beautiful design rendered as tools, go convince Raney to sell you something. You won’t regret it.]