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One of the things I have found myself needing over and over again as I design websites is “dummy text” or “filler text”, that looks like real content, that I can use to fill up a page so it gives the client the feel of a finished page, text and all. Filler text matters because it allows you the designer to get an accurate feel of the balance between design elements and white space, and to see the relative weight of the text on the page, compared to other design elements. I use it all the time.

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Bataille’s analysis of predialectic objectivism holds that culture is used in the service of archaic, sexist perceptions of art. A number of constructions concerning capitalist objectivism may be found. However, the primary theme of von Ludwig’s[2] model of pretextual capitalist theory is the bridge between society and class. If capitalist objectivism holds, we have to choose between predialectic objectivism and Lacanist obscurity.

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Bataille’s analysis of predialectic objectivism holds that culture is used in the service of archaic, sexist perceptions of art.

A number of constructions concerning capitalist objectivism may be found. However, the primary theme of von Ludwig’s model of pretextual capitalist theory is the bridge between society and class. If capitalist objectivism holds, we have to choose between predialectic objectivism and Lacanist obscurity.

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THE QUIRK CHAIR

THE QUIRK

The Quirk – Redefining Salon Furniture

The inspiration behind The Quirk was born out of frustration with the limited, predictable designs dominating salon furniture at the time. When furnishing the Courtney salon in the UK, it was clear that only a bold, creative solution could meet the vision—something far beyond what the market offered.

From the very beginning, The Quirk was designed to stand apart. Every element was reconsidered: the materials, the construction, even the base design. Where others borrowed from office furniture, we set out to create a statement piece.

The materials chosen were as unconventional as they were striking: concrete, metal, glass, and wood—combined in a way never before seen in a salon chair. At its core sits a polished half-dome of solid concrete, housing a foot-driven hydraulic system. The chair’s frame, crafted from fine woods such as Ash and American Oak, was engineered to reveal its construction; coach screws securing the footrest remain visible within the transparent glass structure, celebrating honesty in design.

To extend the industrial aesthetic, the footplate features durable chequer plate steel. The first prototype boasted a glass seat and back—visually stunning but ultimately less inviting for clients. After extensive feedback, we introduced slim leather inserts, filled with reconstituted saddle foam. This provided lasting comfort while preserving the chair’s sleek, minimalist silhouette.

The result is an extraordinary fusion of materials and craftsmanship: an entirely unique, original, and exciting piece of furniture—truly unlike anything else available.

With another designs still in development, we invite investors to join us in bringing other designs by Michael Webster into full production—scaling its innovative spirit while maintaining the originality, beauty, and creativity that define it.

Interested? contact michael@michaelwebster.co.uk