Archive for the ‘How to stop smoking’ Category

My Father died of lung cancer that’s why im scared that it would happen same thing to my hubby. I convince him many times to stop smoking but he won’t listen. He does smoke when im not around with him.

That’s gonna be REALLY hard, especially if he was a smoker before you two met. But, the most important thing is, does HE want to quit. If he doesn’t, then as hard as it is, I think you should respect his decision. If he does, or at lease would consider trying, then there’s hope…

You can try to convince him by bribing him with other goodies… make a game out of it, and get fun and creative (if you know what I mean). Make deals with him… and above all, just them him how much you love him, and since you already lost somebody you love due to smoking, you don’t know if you’ll be able to handle the lost of another… Good luck!

I’ve asked my first floor tenants to stop smoking and they don’t seem to listen to a word I say. What are my rights and how can I get them to stop smoking?
FYI: most apartments in Chicago do not have contracts, but there are still actions you can take. But what are they?

be glad you have tenants.
paying smokers beat an empty apartment

Of all furniture pieces, the chair may be the most imperative. While most of the other forms (save for the bed) are designed to support objects, the chair supports a human form. The term chair is intended to be viewed here in the larger sense, from stool to throne to developed forms including a bench or sofa, which should be seen as extended or connected chairs, and whose character (i.e., whether they are intended for sitting or reclining) is not clearly definitive.

The social history of the chair is as curious as its history as an art and craft. The chair is not simply a physical support and aesthetic artwork; it historically was an indicator of social placement. From the historical royal courts there were significant signifiers between being seated on a chair with arms, or a chair with a back but without arms, or worse having to sit on a stool. During the 20th century, a director’s and/or manager’s chair has been regarded as an identifier of superior position, and in democratic government debate the speaker sits on an elevated platform.

As its furniture purpose, the chair is used for a variety of different models. There are chairs created to fit man’s age and physical form (the high chair, the wheelchair) and for his position in society (the executive chair, the throne). During past days there were chairs for births (birth chairs); in the 20th century, there have been chairs used to die in (the electric chair). We design chairs with one, two, three, and four legs, chairs with or without arms, and chairs with or without backs. There are chairs that can be folded for easy storage, chairs on wheels, and chairs on runners.

Modern day living has derived unique chairs in automobiles and aircraft. All these chair shapes have evolved to match to growing human uses. Due to its close relationship with man, the chair lives to its full purpose only when used. Although it doesn’t make a difference to one’s appreciation of a cupboard or a bureau if there might be items inside or not, a chair is really understood and fairly judged by a person utilising it, for chair and sitter complement the other. Thus the individual elements of a chair are named likened to the limbs of the human form: arms, legs, feet, back, and seat.

Because the elementary purpose of your chair is to support our body, its credit is evaluated firstly for how suitably it measures up to this practical purpose. Within the creation of the chair, the designer is limited in the static regulation and principal measurements. Through these rules, however, the chair creator has marvellous freedom.

The history of the chair covered dates of several thousand years. There were cultures that have created significant chair shapes, expressive of the foremost craft in the areas of technique and design. Among these societies, a mention needs to be made of ancient Egypt and Greece; China; Spain and The Netherlands in the 17th century; England in the 18th century; and France in the 18th century during the reigns of Louis XV and Louis XVI.

Egypt
Two ancient Egyptian chair forms, both the upshot of skilled scheme, were known from tomb discoveries. First of the two is a four-legged chair with a back, the other a folding stool. The typical Egyptian chair would have four legs structured similar to those of a chosen animal, a curved seat, leading to a sloping back supported above vertical stretchers. In this design a strong triangular construction was crafted. There was in our knowledge no notable difference in the construction of Egyptian thrones and chairs for ordinary populace. The real difference lied in the type of ornamentation, in the particulars of more expensive inlays. The Egyptian folding stool likely was designed for an easily stored seat for army. As a camp stool the type existed for much later periods of time. But the stool then also was designed as the use of a ceremonial seat, its technical function as a folding stool simply forgotten. This can today be noted, from as early as 1366 57 BC in two stools, formed in ebony with ivory inlay work and gold mounts, from the tomb of Tutankhamen. They are constructed in the structure of folding stools but can’t be folded because the seats are made with wood. The simplistic manufacture of the folding stool, being of two frames that rotate on metal bolts and hold a seat of leather or fabric set between them, then appeared somewhat later in the Bronze Age folding chairs of Scandinavia and northern Germany. The best recognised of this form is the folding stool, of ashwood, which is now at Guldh j (National Museum in Copenhagen).

Greece and Rome
The archetypal Greek chair, the klismos, is recognised not as any ancient object still around but seen in a trove of pictorial evidence. The significant kind is the klismos drawn on the Hegeso Stele at the Dipylon burial place in outer Athens (c. 410 BC). It is a chair with a backward-sloping, curved backboard and four curving legs, only two of which could be displayed. These strange legs were possibly manufactured out of bent wood and were in that case put under extreme pressure under the weight of the sitter. The joints fastening the legs to the frame of the seat would have been therefore very solid and were overtly denoted.

The Romans embued the Greek designs; quite a few models of seated Romans offer designs of a thicker and which appear to be a somewhat more crudely constructed klismos. Both features, light and heavy, were seen again in the Classicist epoch. The klismos influence is found in French Empire styles, in English Regency, and in special kinds of considerable uniqueness around Denmark and Sweden from 1800.

China
The progression of the chair in China cannot be followed as long as the ancestry of the chair in Egypt and Greece. Since the Tang dynasty (AD 618 907) an unscathed collection of images and paintings has been kept, with images of the interiors and outer parts of Chinese households and their furniture. Another preservation of the 16th century are a collection of chairs crafted of wood or lacquered wood, that bear an intriguing similarity to styles of previous chairs.

As in Egypt, two chair forms dominated in China: a chair having four legs and a folding stool. The four-legged chair can be designed both with and without arms but always with the square seat and straight stiles (upright side supports) to give support to the back. In one image, it must be said, the stiles could be delicately curved by the arms in order to suit the shape of the S-shaped back splat (the basic upright of a back). Together, the three limbs were mortised onto the yoke-like top rail. Although the innovation of the Chinese back splat exercised a foundation for English chairs within the Queen Anne period, wooden sections that only just to a particular extent stabilise corner joints (as well as being loose into the bargain) represent a design solely to Chinese chairs. The four legs are set through the seat frame, which finishes upon the rounded staves. All members are round in section or have rounded edges references maybe to the bamboo tradition. The seat is not comfortable and might have had a plaited form. These chairs needed the sitter to stay stiff and upright; if too much pressure is forced on the back, the chair has a habit of falling over. In patriarchal Chinese households of this period armchairs likely were reserved only for elderly people in the family, for they were held in great esteem.

The Chinese folding stool is thought to have come to China from the West. It is akin so very much from the Egyptian or Scandinavian folding stools, but it possesses a change in that the top rail is intricately held to the two legs of the stool with a curved member, which is generally designed with metal mounts. From a Western understanding the resulting effect of these two furniture items is stylized. The manufacture and decorative issues are combined in a manner that is both na ve and refined. The patched up appearance is an upshot of the manner that the individual items do not seem to have been constructed by use of either glue or screws, but had been mortised onto one another and locked into its place in the manner of a Chinese puzzle.

Spain: 17th century
The Golden Age of Spain of the 17th century also put its name on the chair. Artworks display a design of chair with a relatively crude wooden frame; a back and seat, nailed on, possessing two layers of leather, with horsehair stuffing between the layers, stitched to show up a pattern of little pads. The front board and a similar board at the back could be folded after unscrewing some tiny iron hooks. Therefore the chair was a portable piece of furniture when traveling which, during the same time, granted the status of a four-legged, high-backed armchair.

The Netherlands: 17th century
A low, square, upholstered type of chair can be displayed in engravings of the interiors of wealthy Dutch homes by Abraham Bosse, a French artist, and in paintings by the Dutch artists Johannes Vermeer and Gerard Terborch. Though this type of chair might also be found in countries in which Dutch styles of interior decoration and Dutch furniture won favour, it is not held that the innovation actually started in The Netherlands. Typically, the legs of the chair are smooth, round in section, and of slim measurements; they are occasionally baluster-shaped (vase-shaped) or twisted. It is obviously a bourgeois piece of furniture and was crafted in vast numbers, as indicated from one of Abraham Bosse’s engravings, in which there is an entire row of such chairs lined up against a wall. The design asserts itself by virtue of its harmonious proportions and delicate upholstery in gilt leather or fabric edged with fringes.

France and England: 17th and 18th centuries
The French Rococo chair in its most mature of forms that was, as brought out in Paris around 1750 conquered most of Europe and has been imitated or copied during the mid-20th century. The design owes such popularity to a combination of leisure and elegance. The seat conforms to the human body and grants a relaxed seated position. The back is bow-shaped, the legs curved. Normally the seat and back are upholstered, and there are tiny upholstered pads over the armrests. Smooth transitions are found between seat frame, legs, and back cover all the joints, which are constructed on craftsmanlike principles despite the absence of stretchers between the legs.

French Rococo chairs and imitations of them are made from wood of quite thick measurements; but all members are deeply molded, all superfluous wood has been sanded away, and more upmarket chairs may be further embellished with highly delicate and decorative carving. The wood might be varnished, stained, painted, or gilded. Silk damask or tapestry is often used for all of the upholstery on the seat, back, and armrests; canework is sometimes used rather than upholstery.

English chairs of the 18th century were more open in form than the French. The French taste for stylistic uniformity, which spread from the highest circles in Paris and Versailles over most of France and was popularised in large parts of the Continent, had no parallel in England. Prior to 1740, the most commonly used wood was walnut; thereafter, and for the rest of the century, it was mahogany. Walnut, though beautiful in hue, was soft and therefore less suited to wood carving than to rounded, curving forms. Outer surfaces, such as the back and seat frame, were usually veneered. During the walnut period, highly overstuffed armchairs, covered with leather or embroidered material, were also developed. The best upholstery of this period is precisely and firmly modelled and accentuated by braiding or tacks. When imports of mahogany became common, no specifically new chair designs appeared, but the character of the woodwork changed. Mahogany, having a firmer, closer grain, could be cut thinner, which meant that individual parts of the chair could be more slender in shape. Mahogany also lent itself better to carving than walnut. Carving was concentrated more on the arms and back than on the legs, which as a rule were straight and smooth with chamfered (bevelled) edges and molding. There was a wealth of variety in chairback designs, featuring elegant, pierced, vase-shaped splats or two upright posts connected by horizontal slats (ladderback).

Alongside the French Rococo chair and the best English chairs in walnut and mahogany, the stick-back chair was relatively unaffected by the stylistic changes of the day. Originally a medieval form, known, for example, from paintings by Pieter Bruegel the Elder and still found in mid-20th century in the churches and inns of southern Europe, the stick-back chair (in all of its variations) consists basically of a solid, saddle-shaped seat into which the legs, back staves, and possibly the armrests are directly mortised. This typically peasant form underwent a renewal and a process of refinement in England and America during the 18th century. Under the name Windsor chair (a term that seems to have been used for the first time in 1731) or Philadelphia chair, it became well-known and was widely distributed throughout the world.

Late 18th to 20th century
During the Neoclassical period, no basic changes took place in chair forms, but legs became straight and dimensions lighter. Backs in the shape of classical vases replaced the fanciful outlines of the Rococo period. Around 1800, freely executed imitations of Greek and Roman chairs of the klismos type, with curved legs and backrest, appeared. French chairs of the Empire period, executed in dark mahogany and embellished with ornate bronze mounts, created a ponderous effect.

In cheaper versions of inferior workmanship, bourgeois chairs of the 19th century carried on the traditions of the 17th and 18th centuries. The only real innovations were the bentwood (wood that has been bent and shaped) chairs in beech that became popular all over the world and were still made in the 20th century. Around 1900 the continental Art Nouveau and Jugendstil styles (French and German styles characterized by organic foliate forms, sinuous lines, and non-geometric forms), and the Arts and Crafts movement in England (established by the English poet and decorator William Morris to reintroduce idealized standards of medieval craftsmanship), gave rise to original chair designs by Eug ne Gaillard in France, Henry van de Velde in Belgium, Josef Hoffman in Austria, Antonio Gaud in Spain, and Charles Rennie Mackintosh in Scotland. These new furniture styles did not exercise wide, let alone decisive, influence. The Art Nouveau chairs designed by the French architect Hector Guimard, for example, are collector’s pieces, but his name is known to a broader public only because of his fanciful entrances to the Paris M tro.

Modern
After World War I, the Bauhaus school in Germany became a creative centre for revolutionary thinking, resulting, for example, in tubular steel chairs designed by the architects Marcel Breuer, Ludwig Mies van der Rohe, and others. During World War II, the aircraft industry accelerated the development of laminated wood and molded plastic furniture. The dominant chair forms of this period go back to designs by Alvar Aalto, Bruno Mathsson, and Charles and Ray Eames. Rapid technical developments, in conjunction with an ever-increasing interest in human-factors engineering, or ergonomics, indicate that completely new chair forms will probably be evolved in the future.

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My boyfriend has been doing it for quite some time now. I’m never around him when he does it but I’m close friends with a friend he does do it around. This "close friend" encourages it, & sometimes even participates. I want them both to stop. I mean, my boyfriend just smoking is enough but I just hate the idea of him, or anyone smoking weed. I want him to stop smoking it, i know this could take awhile, but I at least want to know how to get him to stop. And if I could to get him to stop smoking, period.

whats your reasoning for wanting him to quit? how is it hurting you or even him? it’s not… so just calm down dont be that annoying girlfriend who wants her bf to quit smoking weed for no reason. maybe you should try smoking with him.

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