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Born Washington DC 1949

father: George Danko; patternmaker and model maker

mother: Arlene Danko; homemaker and landscape painter

education: BA, Art and Art History; University of Maryland,1971.

Made sculptured fixtures for local shopkeepers in Washington DCs Georgetown area.. local store owner Mary Vinton co-signed loan to buy machinery

1971-1973
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1974

Designed and built first of three cantilevered sofas for Georgetown Leather Design. First project that represents the Danko methodology: combining esthetics, physical structures and technique for a novel outcome.

1975-1976

Received NEA Craftsman Fellowship.

Visited Thonet plant in NC. reflecting growing interest in limited production furniture. Carved the snake sculptures for the Paradise Café. Began designing first plywood chair.

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1977

Moved shop to Alexandria, VA. Continued to develop the one piece plywood chair.  Father designed and made the first plywood press to mold the plywood chair. Opened a retail store on King Street, and had shop in the back.

1978

IMuseum of Modern Art NYC accepted the first one piece plywood chair into its Design collection. In show at American Crafts Museum, NYC: NEW HANDMADE FURNITURE.  Designed and made Chuck’s Desk, a first try at molding curved panels.

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1979

Designed the #4 and #8 Crystal tables: Fascinating structures, only 2 discrete parts,  very mathematical. Will work with any even number of trapezoids; top and bottom pieces are rotated from each other 360˚ divided by the number of trapezoids

1979 (continued)

Designed and made a bentwood rocking chair. Designed and made double #8 Crystal table that expands molecularly.

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Designed the Clyde’s chairs for Clyde’s Restaurant, Tysons Corner VA.  First large commission for multiples.  Awarded a National Endowment for the Arts Design Fellowship, 1980.    

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1980
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1981

Carved the High Tech Chippendale table. The Smithsonian's National Museum of American Art acquired a #8 Crystal table and six of the first one piece plywood side chairs.

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1981(continued)

Designed a second and a simpler one piece plywood chair.The design was originally for Knoll International. It had a variable cross section as a way of making the rear legs thicker for strength. Also designed and made the Spyder tables, which came in 3 and 4 legs.

1982

Designed and developed the Unfolding Chair.  The Unfolding Chair had polyester straps molded into wood.  This allowed the chair to fold without using visible hardware.  The design received much critical acclaim and was accepted into two Smithsonian's National Museum of American American Art in Washington DC.  (where it is currently on display). 

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1983

Designed and made the Everychair Series. The upholstery seat panels were a different structural application of the folded wood concept.  The Everychair Series won the IDSA, Certificate of Achievement; Cooper Hewitt Museum, New York acquired the Unfolding Chair

1982 (continued)

Designed the Lazy Spiral Chair. The seat/back is adjustable allowing the chair to recline.

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1984-1986

Developed the Waveform chair.  A unique physical structure guided the design that may well be among the most comfortable chair ever. See DESIGN STATEMENT.

Designed and building personnel residence. Museum of Modern Art, NY acquired the Bodyform Chair. Completed chairs for the Rainbow Room at Rockefeller Center

1984-86 (continued)

Completed chairs for the Rainbow Room at Rockefeller Center, NY. Museum of Modern Art, NY acquired the Bodyform Chair.

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1987

Completed personal residence in the Moyaone Reserve in Accokeek, MD. The house is partially earth sheltered with heat mass and passive solar orientation. Self contracted and built window walls.

1988

Designed house for Eric Straus, a neighbor in the Moyaone Reserve. He liked my house with the window wall, earth berm and concrete for heat mass with passive solar orientation. Also built window walls.

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1989

Fan Chair. Design reflects unique physical structure using folded wood back and seat and stress skin panels under seat to hold structure together. Quite a comfortable chair.

1990-1991

Designed the chair for the Electronic Cottage.  The design adopts a way to use stress skin engineering to structure a chair. Eliminates the need for conventional joinery and secondary bracing.  The design also experiments with folded wood and color inlay.

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