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This copy belongs to _________________ This copy was printed on April 10th, 2015 in Minneapolis, MN / 1000 Thank you for being with us.

We believe in the power of:

Community Building Printed Matters + Publishing Reading + Book Clubs Furniture + Architecture (Design + Everyday Objects)


Our beliefs bring you the following: a. Furniture Lecture Series Free lectures, and following workshops by visiting designers. Reasonable price, supported by MCAD, and collaborated with local curators. b. TM Book Club Tucked Minneapolis Book Club holds monthly readings, book sharing, book donation services, and reading sessions for childrens from low income family. c. Annual book bazaar + print fair Print is not dead, it’s more alive than ever! Tucked supports prints. We love to read, see and hear all kinds of books, which is why we hold this fair. d. Tucked Publishing Space We believe in local power. We believe in collaborations. We support start up art community. Come one, come all.

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Community Building

The history of the world stands on the importance of community. No sole genius alters the pages of time without some kind of support group. Virginia Woolf did not make literary history by herself. Susan B. Anthony could not take on women’s suffrage without the women who stood next to her. A long line of mentors, friends, and believers stands behind Supreme Court Justice Ruth Bader Ginsberg. No athlete wins trophies without trainers, no artist gains recognition without those who see her work and share it, and today, few businesses can stay relevant without collaboration. It is an understatement to say that the world has changed drastically in the last decade, but these changes (social media, a challenging job market, our awareness of the global village) have only served to heighten both our need to have a community and our ability to construct this community of our own accord. Years ago, the people we gathered with were restricted to church groups and political organizations, PTAs and the families and couples who lived on our block. THE COMMUNITIES THAT COULD MOVE MOUNTAINS, THE COMMUNITIES THAT HAVE SHAPED THE COURSE OF HISTORY ARE NO LONGER OUT OF OUR GRASP. THEY ARE AT OUR FINGERTIPS. WE CAN BUILD THEM OURSELVES. Maintaining a core group that spanned continents was inaccessible to most American women, which could explain the way our culture has romanticized the teaming creative communities of Paris in the 1920s, the free spirited bands that crisscrossed the country in the 1950s, and the exclusive, eclectic dinner parties of Manhattan in the 1980s.


Across a muddy field in what looks like it could be Hobbiton, but is actually the UK county of Lancashire, two small diggers excavate a trench about half a metre deep, roughly following the line of a dry stone wall. A group of locals watch eagerly, mindful not to trip over an orange cable lying nearby in the grass. This thin wire is going to bring them something they’ve lived without for a long time; something even the majority of city-dwellers don’t have: hyperfast fibre optic broadband. The parish of Borwick is hardly where you’d expect to find a grassroots techno-revolution. Not far from the historic city of Lancaster, it has a population of around 210, and is an example of archetypal British countryside. Look around and you’ll see green fields in every direction, broken up only by leafy hedges and a healthy smattering of sheep. When I visit in early April, the trees are still spindly silhouettes, just starting to get their leaves, and newborn lambs lay close to their mothers. If it weren’t for the odd power line and a nearby wind turbine, the scene could grace an Easter card from centuries past. But while the landscape may be idyllic in its timeless charm, the residents of Borwick and the surrounding rural area are moving with the times—and looking toward the future.


The importance of Togetherness Few topics are more important to health than community development. At first, this assertion seems a wild exaggeration when considered in relation to other important contribu- tors to health, such as high-quality medical care, healthy behavior, and good genetic stock. However, substantial evidence reveals that environmental and community forces also are important determinants of health. This observation is critical for those involved in the devel- opment of affordable housing and enhanced community facilities for people living in low- income neighborhoods. The evidence now shows that no matter how elegantly wrought a physical solution, no matter how efficiently designed a park, no matter how safe and sanitary a building, unless the people living in those neighborhoods can in some way participate in the creation and management of these facilities, the results will not be as beneficial as we might hope. It turns out that, for maximum benefit, physical improvements must be accom- panied by improvements in the social fabric of the community. Cities gain value through public art – cultural, social, and economic value. Public art is a distinguishing part of our public history and our evolving culture. It reflects and reveals our society, adds meaning to our cities and uniqueness to our communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible. Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities. Artists bring their own creative skill set to those conversations, which can also inspire creativity in others, ideally bringing the means of decisions and problem-solving to a more responsive and imaginative result. There is a public art continuum that appreciates the varied creative intentions and roles that artists may bring to a project. Artists may be invited by an official entity, a project may be artist-initiated, or work may take the form of a non-sanctioned artistic endeavor. However, artists inevitably bring personal and distinctive interpretations to each idea, site, social construct, and aesthetic potential. In this way, artists can be social and civic leaders, advocating through art for alternative perspectives that can challenge assumptions, beliefs, and community values. The effort of creating art for public space is not solitary: the public art process asks the artist to share his/ her creative point of view and approach to art-making, and to collaborate with others throughout its development. In consequence, the work can reverberate throughout the community, thereby encouraging a sense of shared ownership and collective affiliation. Most of all, public art creates a sense of civic vitality in the cities, towns and communities we inhabit and visit. 8


Printed Matters + Publishing

When the art of printing was unknown, only a few people were able to read and write, and all book knowledge was confined to church officials and to those who were teachers in the universities of those days. During the period when printing was invented there was a general desire for learning throughout Europe, and this invention, while it made books cheaper, also made it necessary to possess at least the ability to read. So in order to gain knowledge, people began to learn to read; and in order to communicate with others who were not within talking distance, they were compelled to learn to write. Thus, printing is important because it caused knowledge to be spread among the many instead of keeping it confined to the few. It is true that in the early days of this art few people in comparison with the number today knew how to read or write, but since that time education for all has been spreading until at the present time a certain amount of schooling is compulsory for all the children in this country. The development of printing has made it possible for us to use our ability to read, because books on hundreds of different subjects, magazines, and newspapers are published at prices that are within reach of most of us. The development of public libraries, where books may be drawn out free of charge, is also the result of the invention of printing which has made possible the rapid production of many copies of single books. Thus knowledge has been placed within the reach of all who care to gain possession of it. Science, art, and literature are no longer the mysteries they were in bygone days; and the news of the current happenings all over the world is handed to us almost within a few hours after their occurrence through the medium of the daily newspapers. The monthly and weekly magazines and the newspapers not only print the news of the day, but they also publish stories and articles discussing a wide range of topics which are written in such a manner as to make them intelligible to all. The invention of printing, therefore, has aided in the movement to spread knowledge among the many.


Is print dead? This is a question that has been buzzing around the marketing world since the rapid surge of the Internet and social media. While many businesses have completely migrated their advertising efforts to the web because of its cost effectiveness, exposure potential and convenience, print still maintains its stance as a powerful and necessary component of an ad campaign. Let’s take a closer look at print media and some advantages it has over its digital counterparts. Is print dead? This is a question that has been buzzing around the marketing world since the rapid surge of the Internet and social media. While many businesses have completely migrated their advertising efforts to the web because of its cost effectiveness, exposure potential and convenience, print still maintains its stance as a powerful and necessary component of an ad campaign. Let’s take a closer look at print media and some advantages it has over its digital counterparts.


Brendan Timmins, Sight Unseen.


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Brendan Timmins designs chairs, tables, lights all right. His collection of furniture labeled “Scarp Work” is explained as, “The embrace of imperfection with structural stability as a control and adherence to process.” Timmins, a self described “multi-disciplinary creative”, mixes and matches his industrial design education with his street stylin’ sensibilities in Philadelphia.

When it comes to art and design, perfection is not necessarily a key factor of success. Sometimes it’s the inconsistencies and the unexpected twists that make a piece most interesting. At least this is the case with Brendan Timmins’ work. His latest creation in his “Scarp Work” furniture series is a wooden chair with pastel-infused mixed media. The pop of colors against the minimalist wooden seat is a common theme in Timmins’ work. Very urban chic – vintage hip meets modern design. Timmins’ is also a men’s designer for Urban Outfitters, where he also exhibits his knack for creative industrial design and style. Here is Brandan:

After graduation, I made a few time con suming and painstaking pieces that turned out well but had lost their fun by the time they were finished. Scarp came about after asking myself what I truly enjoyed about the process. It started out as a manufacturing exercise. I was curious about making a multifunctional furniture piece in an hour with just a chop saw, a drill, and a grinder. These initial exercises were the basis of Scarp; figuring out the minimal process to make a structural piece of furniture. To me, the pure functionality and quick repeatability were what made them intriguing.


Reading + Book Clubs

As if they didn’t have enough to cry about, London’s young bankers lost a favorite watering hole this year — the seminal Shoreditch nightclub Home, whose hipster cachet had long faded since its opening in 1997. When local designers Andrew Haythornthwaite and Shai Akram were invited to help transform the space into The Book Club — where the activities include not just eating, drinking, and dancing but also more cerebral pursuits like poetry, storytelling, and workshops — it was a delicate transition. “We didn’t want it to feel like a brandnew bar,” says Haythornthwaite. “We wanted it to be one of those places that seems like it’s always been there but you just haven’t noticed it.” The result is a kind of high-design rec room. The pair packed the space with elegant quirks, like a ceiling covered with 23,000 individually suspended lightbulbs. “There are so many amazing places around here,” Akram says of the Shoreditch neighborhood. “You need to have something that will set you apart.” Beyond the bulbs, the pair repeated simple elements throughout the interior. Just inside the entrance, the wall is peppered with houseplants, each mounted in its own terracotta pot. In the game room, a custom Ping-Pong table is accompanied by a wall of paddles, and one end of the reading room is stacked high with secondhand books. For Haythornthwaite, design runs in the family. His father, an established New Zealand-born industrial designer, worked for Henry Dreyfuss in New York, and all four of his brothers also ended up in the field. Akram, his partner in work and life, traces her creative influence a generation further: Her grandparents moved to the UK from Pakistan in the 1960s, and her grandmother set up a dressmaking shop where Akram can remember pestering her for the chance to dress the window so as to tell a story rather than simply display the merchandise. The pair met at London’s Royal College of Art, where they both studied under Ron Arad, and they’ve worked together on and off ever since. They took us through the process of transforming The Book Club space.


From time to time people have wondered why reading is important. There seems so many other things to do with one’s time. Reading is important for a variety of reasons. We will look at some of those fundamental reasons below, but it is important to realize that struggling with vital reading skills in not a sign a low intelligence. For example, John Corcoran, who wrote The Teacher Who Couldn’t Read, is a very intelligent man. He graduated from High School and College, became a popular High School teacher and later a successful business man all without being able to read. Many highly intelligent people have struggled with reading although, when properly taught, most people can learn to read easily and quickly. Now, if a man like John Corcoran can succeed without reading, why is reading important? A person should really read Mr. Corcoran’s story to get the feeling of shame, loneliness and fear that he experienced before he learned to read. He was able to succeed in spite of this major handicap because he was a man of intelligence, ability and determination. But, make no mistake, it was a handicap that made life harder and less enjoyable.


Reshaping Public Space A fundamental shift is occurring in the way that streets are planned and designed. This shift has been inspired by the ever-expanding realization that how we have planned transportation and our communities over the last 50 years have not only had detrimental community impacts, it has also failed to improve mobility and access to destinations.

Sink into this seating just once, and you’ll know how it got its name. Our sofa is designed with traditional English roll arms and extra-deep seats for easy lounging. This best selling collection offers the most customizable options from fabric, to fill to cushion style.


To date, transportation engineering, design and planning in the United States has focused mainly on the efficient and safe movement of vehicles. While these are serious concerns, this single-minded focus has had crippling social, community, and environmental impacts, without adequately addressing congestion and cost. Car-centric planning has encouraged sprawling development and adverse human health conditions such as asthma and obesity. By failing to take into consideration the character of communities or the needs of an entire spectrum of users (including bicyclists, pedestrians, and neighbors such as residents and local businesses) this capital-intensive approach has missed the opportunity to use transportation design to shape communities, not just connect them. A transformation towards more context sensitive means of travel will empower citizens, design practitioners, transportation planners and government officials to use transportation projects to promote and enable civic engagement, health, environmental sustainability, and economic vitality.

Among urban practitioners, such thinking has inspired the «city beautiful» and «garden cities» movement, and most recently, the project of «urban renaissance» and «new urbanism », commending a return to compact housing, front porches, pedestrian areas, shared urban assets, mixed communities, and the city of many public spaces. While the aspirations of urban practitioners have veered towards the civic and the communal rather than political outcomes, urban activists continue to believe that inclusive urban public spaces remain an important political space in an age of organized, representative, and increasingly centralized and also veiled politics. Such spaces - both iconic and

major spaces of public gathering as well as more peripheral spaces tentatively occupied by subaltern groups and minorities - are seen as the ground of participatory politics, popular claim and counter-claim, public commentary and deliberation, opportunity for under-represented or emergent communities, and the politics of spontaneity and agonistic interaction among an empowered citizenry. Here, the social dynamics of public space are judged as the measure of participatory politics. How should we judge the civic and political achievements of urban public space in light of the gap between readings within and beyond the urban canon? Is it possible to side with the agnostic

reading without endorsing the steady erosion of public space worldwide from privatization, excessive policing and downright neglect, which has resulted in the running down of public facilities, derelict or dangerous streets, the flight of the middle classes into gated communities, and the over-surveillance and customization of prime land (Mitchell, 2003; Smith, 1996; Low and Smith, 2006)? Low (2006, p. 47) warns, for example, that «if this trend continues, it will eradicate the last remaining spaces for democratic practices, places where a wide variety of people from different gender, class, culture, nationality and ethnicity intermingle peacefully ». 17

Furniture + Architecture (Design + Everyday Objects)

Aesthetic appeal plays the key role in both design and selection of furniture as furniture is what gives a home its final look and character. As a result, most homeowners choose furniture on the basis of its aesthetic appeal although functionality should be given just as much attention, if not even more so. The main purpose of furniture is to support your activities and needs and not vice versa. Unfortunately, finding furniture which is both visually appealing and functional is not an easy task. Functionality is a broad term which can mean just about anything but you can quickly determine whether a particular piece of furniture meets your needs or if it is completely useless. If you need a new dining set for example, it should obviously provide enough room for all your family members and perhaps a guest or two. If you need a new wardrobe for instance, ask yourself if it provides enough storage space for all your things and if it enables you to keep them well organized at the same time before you buy one. Then, you should focus on the small things and details which are often overlooked although they play an important role in functionality as well. For example, do the dining chairs or wooden stools feature leg pads to protect your floor from scratches, can the dining table be extended, is the dining table made from material which is resistant to staining and are the chairs covered with fabric which can be easily cleaned in case of a spilling accident, or does the wardrobe opens and closes easily, is the interior smooth enough not to damage your clothing, etc. Finding a piece of furniture which looks perfect, fits perfect in your room and offers everything you could possibly expect from it is indeed challenging. This is due to the fact that most pieces of furniture are made to meet the needs of a wider population and in the end, fail to meet anyone’s needs perfectly.


Furniture is one of the most important entities in a home. A home without furniture is incomplete. Home furniture usually includes sleeping beds, tables, chairs, sofa set and so on. There are plenty of ways of improving your home. One of the simplest is through home furniture. Having new furniture can make all the difference. Furniture in home improves its overall beauty. For instance, a brand new dining table can change the whole atmosphere of your dining room and be a major feature for your family and guests to enjoy. It is made from a variety of materials such as oak, pine, and glass. There are so many different types to choose from nowadays. Stylish dining chairs can also add to the dramatic effect of the dining table, especially high back or leather chairs. Home furniture usually includes sleeping beds, tables, chairs, sofa set and so on. There are plenty of ways of improving your home. One of the simplest is through home furniture. Having new furniture can make all the difference.



Bored of Neutral? As a student of industrial design history, I knew of only one object in the canon that had an Indian name, and it was designed by Ettore Sottsass Jr. Part of the designer’s groundbreaking first collection for the Memphis Group in 1981, the Ashoka lamp was named after a Buddhist emperor and seems, in its semicircular elements, to echo Buddhist reliquary structures, or stupas. Sottsass combined this backstory with the collaged aesthetic, pop pastels, and exposed lightbulbs that would characterize 1980s interior design. Few designers have been quite so eclectic in their pursuits, or so incompletely portrayed in their monographs, as Sottsass.

Faced with a career that was as much influenced by Sanskrit texts as supercomputers, both the historian Penny Sparke and Sottsass’s partner, Barbara Radice, focused on the big episodes—his brief stint at George Nelson’s office in New York, his association with Olivetti, the birth of Memphis, his return to architecture— leaving it to other, later scholars to expand on the ceramics,

“It is important to realize that whatever we do or design has iconographic references, it comes from somewhere; any form is always metaphorical, never totally metaphysical; it is never a ‘destiny’ but always a fact with some kind of historical reference. To put an object on a base means to monumentalize it, to make everyone aware it exists.” interiors, drawings, and photography. Sottsass’s affair with India, punctuated by nearly annual trips and outpourings of creative work, receives spare mention from Sparke and a couple of pages from Radice. But it’s interwoven throughout the length of a new 470-page monograph, written by Philippe Thomé and designed by Julia Hasting. It’s no small feat of graphic design that allows a reader to easily pull out a single strand from a dense matrix of influences that include neoplasticism, Pop Art, anticonsumerism, archaeology, systems thinking, and much more. Within a bifold blue cover that I associate immediately with the eighties, the book opens each section of Sottsass’s life with a narrative text and a slew of photographs, before exploring his projects in different disciplines by turn. 21

Geometric and tall bookshelf and drawers, organizers created by Ettore Sottsass. It holds many books and other objects.

End table that comes with off white and bright neon pink color.

Drawers come with pastel colors that will be appealing to a lot of artists.


Plexi, plastic and wooden chair with pattern printed.

Simple and modern chair with off orange color in fake leather seating.

Loveseat with various colors included. Primary colors and patterns printed on fabric.


Ettore Sottsass

Head Designer/ Architect Sottsass was born on 14 September 1917 in Innsbruck, Austria, and grew up in Milan, where his father was an architect. He was educated at the Politecnico di Torino in Turin and graduated in 1939 with a degree in architecture. He served in the Italian military and spent much of World War II in a concentration camp in Yugoslavia. After returning home in 1948, he set up his own architectural and industrial design studio in Milan, Italy for a while.

Sottsass had a vast body of work; furniture, jewellery, ceramics, glass, silver work, lighting, office machine design and buildings which inspired generations of architects and designers. In 2006 the Los Angeles County Museum of Art held the first major museum survey exhibition of his work in the United States. A great retrospective exhibition, Ettore Sottsass: Work in Progress, was held t the Design Museum in London, England in 2007.

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Tucked catalog  
Tucked catalog