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Tired chair

About Project

During the use of chairs, a conceptual contrast arises between the object and the user. The chair should be a rigid, static and tireless object, directly contrasting the soft, dynamic and sometimes tired nature of its user. The main principle of Collectible design in my view is the narrative story element of the objects, rendering function secondary. During my research in Collectible furniture I’ve come to notice opposites in form, material and context. My concept aims to flip the properties of user and object, resulting in a dynamic, soft and tired furniture piece in form, while retaining its characteristics in its material.

I communicated the feeling of tiredness and fatigue by deforming structural elements. Starting with a simple, child-like depiction of a chair, I simulated forces acting upon the object in the computer and tweaked the parameters based on the outcomes. The design process blurs the line between designer and tool, placing the designer in the role of a curator. The emerging questions about the ideas of what furniture should be, the role of the designer and the unique nature of each simulation, adds to the story of the object.

The manufacturing process could be based on inflating a very thin sheet metal structure and pushing it down with a hydraulic press, or as with the 1:5 scale prototype model it could be printed with an industrial size 3d printer.

About Project

During the use of chairs, a conceptual contrast arises between the object and the user. The chair should be a rigid, static and tireless object, directly contrasting the soft, dynamic and sometimes tired nature of its user. The main principle of Collectible design in my view is the narrative story element of the objects, rendering function secondary. During my research in Collectible furniture I’ve come to notice opposites in form, material and context. My concept aims to flip the properties of user and object, resulting in a dynamic, soft and tired furniture piece in form, while retaining its characteristics in its material.

I communicated the feeling of tiredness and fatigue by deforming structural elements. Starting with a simple, child-like depiction of a chair, I simulated forces acting upon the object in the computer and tweaked the parameters based on the outcomes. The design process blurs the line between designer and tool, placing the designer in the role of a curator. The emerging questions about the ideas of what furniture should be, the role of the designer and the unique nature of each simulation, adds to the story of the object.

The manufacturing process could be based on inflating a very thin sheet metal structure and pushing it down with a hydraulic press, or as with the 1:5 scale prototype model it could be printed with an industrial size 3d printer.

Nominations

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