TOOL CHAIR BY FREDERIC JULIAN RÄTSCH

"How do we actually sit? Do we really need the whole seat or a classic backrest? Is there always a front or a back? - To questioning known typologies and standards is fundamental in my work as a designer. It is not about making just new and pleasing things, or even for a fashion trend, but rather about driving forward an evolution of things. In doing so, it is necessary to fathom out and change boundaries. The TOOL CHAIR is a chair which enables - maybe even provokes - flexible seating. It enables the sitter to take up various postures and positions. A bent plate on the side offers support, be it as arm rest or backrest, to hold on to, to rest on or place something. With its narrow seat, the TOOL CHAIR cultivates the habit of sitting on the edge of a chair. With its rounded sides and edges, it does not prescribe a sitting posture and allows the sitter to move in any direction.

On average we sit about 9.3 hours per day - much more than we stand, walk or lie. Sitting permanently in one position is unhealthy and sap one's energy. The TOOL CHAIR is to help the user remain concentrated, not for relaxing. On this chair you stay agile - you stand up and sit down again. The seat height is higher than usual to facilitate this. The TOOL CHAIR does not extrapolate immediately, but rather has to be discovered. This involvement increases the "potential for identification". Mostly the chair is not perceived indifferently, but surprises and provokes the user towards discovery.

The TOOL CHAIR is the result of the bachelor thesis on the subject of "Serial Production - a Restriction". In addition to the theme of agile seating, the project’s focus was the precise multiplication of a product with the tools of university’s workshop. The concept and design were continually tested and adapted with serial production in mind.

The restriction was taken as a chance for simplicity and clarity. The design is characterized by straight wooden slats which are just cutted in a special angle and glued afterwards. Tools for the reproduction of components were built in order to manufacture several chairs in a standardised process."

Wia.

KYOTO CHAIR BY DMITRY KOZINENKO

"The idea of a chair is inspired by the ancient Japanese culture. It is a combination of ancient traditions and crafts ultramodern forms. "

Fine structure of hosting colorful metal seat and back all connected curves in this back room, coming tighten and stiffen the assembly as a traditional Japanese knot certain outfits.

More information for Dmitry Kozinenko 

By Blog Esprit Design

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THE BOW TIE CHAIR BY GRIDESIGN STUDIO

Bamboo is one of the symbols of the Taiwanese culture. This product utilizes the flexibility and strength of Taiwanese bamboo to perform a brand-new style of modern furniture. Constructed by heating laminated bamboo several times, to give its curved shape. 

The chair offers users of experience of comfort and good ventilation, with two storage areas on both sides.Taiwan-based Gridesign Studio and founder Scott Lin have chosen two types of shades, smoked and unsmoked bamboo color. 

This Tie chair looks more like a fashion accessory and sculpture, than ordinary chair.

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CHAIR NO.14 BY MICHAEL THONET

Since 1859, when chair No. 14 was first introduced, more than 50 million units have been sold all over the world. It is made using a unique steam-bending technology, known as bentwood, that required years to perfect. With its affordable price and simple design, it became one of the best-selling chairs ever made.  Thonet's No. 14 was made of six pieces of steam-bent wood, ten screws, and two nuts. The wooden parts were made by heating beechwood slats to 100 °C (212 °F), pressing them into curved cast-iron moulds, and then drying them at around 70 °C (158 °F) for 20 hours.^[3] The chairs could be mass-produced by unskilled workers and disassembled to save space during transportation, an idea similar to flat pack IKEA furniture.

Thanks to its low weight, attractive price and legendary strength, this chair quickly found its place in the cafes of Vienna, earning the nickname the "café chair".

When Michael Thonet first introduced his ‘Consumsessel Nr. 14’ in Vienna in 1859, he could have had no idea that it would become the chair with the highest production run of all time. Since then, the chair, is made of solid bentwood and has been in continuous production by Michael Thonet’s descendants at the firm’s headquarters in Frankenberg, Germany. 

Developed specifically to appeal and be affordableby to broad levels of the population, it was to launch Thonet's international reputation in the 19th century. Today, the company is run by the fifth generation of the Thonet family, direct descendents of Michael Thonet, in Frankenberg in North Hesse, Germany, Thonet's head office.

The chair can be found the world over – in private dwellings or in public buildings – in Asia, Australia, Africa, North- and South America and, of course, in Europe.

Often mispronounced "Tho-nay" the name is pronounced "toe-net" with a hard beginning and ending t.

Chair No 14, today known as 214, is still produced by Thonet.

ARBOREUS BENCH BY ROTA LAB

When nature forms meet the function. Organic inspired forms made of solid ash and american walnut, begin to expand apartment in Rome. Starts with ceiling and turns into steel solid seat “becoming a complex and harmonious installation inspired by natural forms.”

Says Rota Lab, the piece was “inspired, on the customers demand, by Reinoso’s ‘Spaghetti bench’, (and) required two months of intense experimentation on wood bending and one month to build and assemble it.”

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