In celebration of International Council of Societies of Industrial Design (Icsid) #designingwomen project here is legendary female designer Patricia Urquiola presenting the Nub Chair from Andreu World. Enjoy!
As one of the major designers of the 20th century famous for producing seats shaped like mushrooms, tulips and ribbons, it is little wonder that Les Puces du Design and the German gallery owner Jean-Yves have come together to present a tribute to Pierre Paulin.
The tribute will bring together, in one place, Paulin’s extensive collection of seating designs which challenge our understanding of what a chair should look like.
Among the items on display will be his many creations for Dutch brand Artifort which not only pushed aesthetic boundaries during the mid 20th Century but demanded new construction methods and upholstery techniques.
The exhibition runs from October 8th to 11th, at the Les Puces du Design, so if you find yourself in Paris be sure to check it out.
More details here.
Does a comfy chair need to be bulky? Based on many of the offerings on the market, you might conclude as much. But Brandon Kim‘s new Lilt chair for Bernhardt Design proves otherwise—it is a sleek lounger with a wide seat that seems to balance precariously upon a stainless steel frame running along its edges, without any crossbar supports.
Now based in Manhattan, Kim began working on concepts for Lilt in October 2012, when he was still a student at the Art Center College of Design in Pasadena. (He graduated in 2013.) Bernhardt had approached Kim with a brief for a lounge seat. “From the beginning, there was a goal to create a chair that has a simple and streamlined aesthetic,” Kim says. “But, more importantly, the chair had to also be as lightweight as possible. The chair’s weight should be proportional to its clean aesthetic.” Kim knew that with a stainless steel frame, he had to be prudent with the amount of material used: “In order to limit and reduce the weight as much as possible, an efficient way of supporting the chair was needed instead of adding chunks of metal.
That challenge led the designer to innovate on the structure of the chair itself, re-envisioning how the frame could offer more support with less material. Kim recalled climbing the trees in his backyard and sitting in their branches as a child. Sparked by that memory, the concept for Lilt became centred around the idea of sitting on a tree branch—inspiring a triangular structure in the back legs of the chair.
“The triangular frame structure resembles branches and physically renders a scene of users sitting on a tree,” Kim says. Not only did the frame provide an interesting aesthetic detail, it also offered the structural support Lilt needed. The three-way joinery on each side provides extra durability and strength, allowing Kim to forgo any crossbar support in the seat’s shell or back. Looking back on the initial concept, Kim admits that it was a bit of a gamble. “I knew it could support a lot due to the x-y-z, three-way joinery,” Kim says. “There was no way it was going to wobble, but I was prepared to have to add a crossbar. None of us knew if it would be enough, but after the official stress test, it was surprisingly sturdy.” Lilt weighs a little more than 40 pounds and can easily hold more than eight times its weight.
Right out of school and working with a tight budget, Kim made prototypes sparingly and inexpensively—starting with paper and cardboard scale models while making iterations to his design in CAD. “As a young designer who just got out of a college, the cost for building prototypes isn’t easy,” Kim says. “Therefore, I tried to be as close as possible to what I wanted to design with the prototypes at the early stage.” Kim modeled Lilt in CAD, testing elements like proportions and pitch angles by comparing his chair to others on the market. To do this, Kim downloaded several 3D models of his competitors’ chairs and then compared them virtually to Lilt by setting them up side-by-side in render environments. He would then go to furniture stores, sit in the chairs and carefully examine these details in person, making adjustments to his own seat’s back in the computer model. “By doing this, I was able to closely predict how my chair would actually feel,” he says. “I repeated this step many times until I felt enough and right.” When it came time to make a full-scale, functioning prototype, Kim was satisfied with the result. “My prediction happened to be 99% correct,” he says.
Another feature Kim looked at when making these trips to furniture stores was the comfort of the different seats. With no crossbar support, Lilt would need a rigid seat shell—but as a lounge chair, it also needed to be quite comfortable. Kim opted for a quarter-inch-thick thermoformed plastic shell, with a three-quarter-inch foam lining on top. “The seat itself does not contain too much of cushion since the foam is only three-fourths of an inch,” Kim says. “However, in my opinion, comfort is not something that can be determined by the thickness of the seat. Of course, a thick soft foam is a very decisive factor, but I believe a harmony between the particular seat height and the precisely right back-pitch angle is the most significant element that affects comfort. Lilt has those elements perfectly orchestrated.”
Kim carefully tweaked the chair’s lines both for comfort and for overall elegance. Each line follows strict rules. For example, when viewing Lilt from the front, all side contours of the seat shell are laid out to be on the same angle as the four legs. “Every contour line and angle is carefully drawn and orchestrated to really sing the same song,” Kim says. He also studied how the chair interacted with each staged render environment. “I wanted a piece that can easily be harmonized in many surroundings as if it was always there,” he says. “I believe that’s where true elegance comes from.”
From initial design to final product—a process which spanned roughly five to six months—Kim says that the design remained largely unchanged. “The shape and form were always there from the beginning,” he says. “It’s just that making calls on proportion, leg angles, leg thickness, seat height, seat curvature and the pitch of the seat took a long process. . . . Among the list of those decisions, if any of them was off, then the chair would’ve never become what it’s like right now.” Lilt is now on display in the KE-ZU showroom, and more of Kim’s work can be found on his website, brandonkimstudio.com.
Originally published Core77.com
Pierre Paulin’s Ribbon Chair takes pride of place in music legend Alicia Keys 32-room house in Englewood, New Jersey.
A completely upholstered design by Paulin from 1966 and manufactured by Artifort. The chair is a a professional, innovative take on the well-known ribbon form and a beautiful example of applied art. The chair is featured in the collection of the National Gallery of Victoria in Melbourne, Australia.
KEZU and SYDNEY INDESIGN 2015
Immerse yourself in familiar domestic rituals whilst exploring the newest designs from the Milan Fair, ICFF New York and Neocon in a life affirming installation by Other Architects. Showcasing furniture and lighting from leading international brands Andreu World, Axona Aichi, Bernhardt Design, Enea, Expormim, Forestier, Lzf, Parachilna, Sancal and Vondom.
Take the direct bus between The Galleria and 69 O’Riordan Street on both Friday & Saturday! Free basement parking available at 69 O’Riordan Street…elevator to Level 1 for KE-ZU and other Sydney Indesign showrooms.
Tickets selling fast!
Livelife Talk with Sam Marshall, Shelley Simpson, Tim Ross & Nick Lobo
Friday 14th August, 12.00 pm
Longevity & Icons: Is the age of the icon over?
Don’t forget to use the discount code LLVIP to get 25% off.
Rituals: The Art of Tradition
In collaboration with Other Architects / otherothers
Perhaps, in the absence of communal life and collective belief, it is the routines and habits of the home that constitute our remaining engagement with ritual. In our closed and hidden spaces, we harbour secret superstitions and private rites.
Far from being inconsequential, these domestic rituals are our way of affirming our place in the world, of instilling meaning amidst the chaos of contemporary life.
Rituals: The Art of Tradition
Perhaps, in the absence of communal life and collective belief, it is the routines and habits of the home that constitute our remaining engagement with ritual. In our closed and hidden spaces, we harbour secret superstitions and private rites. Far from being inconsequential, these domestic rituals are our way of affirming our place in the world, of instilling meaning amidst the chaos of contemporary life.
13 – 15 AUG 2015
Showroom 33, Level 1, 69 O’Riordan Street, Alexandria
Piknik is the result of a competition organised for young designers by the design collective, Surtido and LZF. The winners were Belén Moratalla, Cristina Planells and Inelén Ortín, who at that time made up the design studio Macalula.
Piknik incorporates a rechargeable battery which lasts up to eight hours, a tubular piece of veneer covering the light source through which light emerges, and a handle at the top.
In addition, the lampshade hangs freely allowing it to rock by movement or the breeze creating a candle like effect that adds poetic touch to this new LZF product.
The Kramin Hotel, located in the hills of Jerusalem, houses 156 rooms that inspire tranquility and a relaxing atmosphere.
Each balcony has sweeping mountain-facing views in a region that is characterized by bountiful vineyards.
At the exterior, designer Guy Ikra, achieves a synergy between nature and architecture, bringing the elements together at voluptuous vertical gardens that surround the hotel.
This funky collection of wooden animal figurines designed by graphic designer extraordinaire Isidro Ferrer for Lzf, is a light hearted, gracious and welcome addition to our range of products. Come with us on a journey and enter the twisted world of Funny farm, a nonsensical group of strange, yet wonderful friends whose lives intertwine to make up this mad family
Colours designed by Noé Duchaufour-Lawrance for Bernhardt Design.