![]() ![]() It can be used as a SketchUp texture, Revit material or imported into Photoshop for use in 2D illustrations. This image is seamless, meaning it can be tiled repeatedly for use in architectural drawings and 3D models. Its use in the built environment dates back to at least Roman times and remains popular in contemporary architecture for a range of applications including tiled surfaces and parquet flooring. Named for its resemblance to the skeleton of the herring fish, this pattern is formed with a series of interlocking rectangles positioned perpendicular to each other. This texture is an example of a herringbone pattern. It can also be utilised on bedding and soft furnishing to create a shimmering, zebra stripe effect. Loop threaded carpets typically feel harsher and less cosy, but retain less dirt, hair and dust, making them lower maintenance and more suitable for users and visitors with dust and/or pet allergies. Loop threaded carpets differ from tuft carpets as the yarns are looped back into the carpet rather than cut then twisted at the ends. They are harder wearing due to their tighter construction, which also helps increase resistance to gathering dirt and dust. This is due to lower pile carpets typically being stronger and harder wearing, easier to clean and less easily marked or dented by furniture or footsteps than high-pile, cut thread carpets as they are shallower and more accessible to clean, with less depth to gather dirt. The joints are filled with mortar and are 5 mm (0.2 inches) in width.Ī muted, neutral grey, two-tone, medium face weight, thin pile, high density, cut loop, vertical striped, handloom luxe texture for use on carpets and rugs in high traffic areas and on stairs in domestic and commercial settings. ![]() The image represents a physical area of 889 x 932 mm (35 x 36.7 inches) in total, with each individual unit measuring approximately 100 x 50 mm. The fill was cast in place using HXTAL and a silicone rubber molded impression of the texture of the original glass.A seamless fabric texture with zebra pattern arranged in a herringbone pattern. However, filling of the loss in the bottom edge of the glass worked out well. A little went into both ends, which suggests that at least the crack is stabilized and won’t continue to “grow”. The crack was so tight that we could barely get any HXTAL to flow into the crack, even after warming it. The treatment of the crack in the glass was not as successful. The latter is intended to minimize damage to the plywood from the metal fasteners. The new fabrics are attached to the plywood seat bottom over Nomex strips with a minimum number of stainless steel staples driven with a pneumatic staple gun at less than 40 psi. We left the original fabric in place, isolated it with an undercover of washed, unbleached cotton muslin, and added a small amount of resin-free polyester batting to even out the shape. This is what the chair looks like now, with the new upholstery. It has exactly the same repeat size as our original zebra, though a slightly more irregular (and natural) stripe pattern. The fabric is of very good quality and was quite expensive at $255/yard. After much searching and with the help of a curator in New York, we finally arrived at this excellent match made by Artek for Alvar Aalto designed chairs. ![]() There was nothing to do but try to find an appropriate replacement fabric that matched the color and texture of the original, and (also very important) the size of the pattern’s repeat. Sadly, the first re-upholsterers slashed away the piping used to define the edges, disfiguring the original upholstery and making it unfit to be exhibited. The chair looked like this when it first arrived at our studio:Ĭoncealed beneath two layers of ugly modern upholstery and excess padding, we discovered the original upholstery, which is this wild zebra pattern fabric (so wild, you have to love it!) Other examples of this chair can be found in the collections of the Brooklyn Museum and the Carnegie Museum of Art. Glass chair with zebra upholstery, 1947 (after a 1939 set of chairs made by the Pittsburgh Plate Glass Company for the Glass Center Pavilion at the 1939 New York World’s Fair) attributed to the designer Louis Dierra. (In case you didn’t know… yes, we work on upholstery too!)Īnother interesting project underway at Fine Arts Conservation this month–especially if you like chairs, as I do: ![]()
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