Planer Chair Project

Evatt Holmström Design 2 / SP16

INDUSTRIAL DESIGN STUDIO 2 Planar Chair Project

The Planar Chair is the final project of Year 1 in the Industrial Design Program. Students learn to manage the relationship of planar shapes in three-dimensional space through this exercise. The project further refines the form giving skills that students have been cultivating throughout the D2 semester.

Work begins with the creation of abstract planar form studies, followed by a broad firsthand survey of multiple seating styles – from task chairs to lounge seating – in order to understand the strengths and weaknesses of each. At the same time, broad-based three-dimensional exploration begins as a large number of scale models are created. The forms then go through multiple rounds of refinement and are combined with basic principles of ergonomics to create seating designs that are novel in form yet firmly grounded in ergonomic reality.

PROJECT BRIEF

SECTION # 1Three-Dimensional Abstraction

In the first stage of the design process, there was a heavy emphasis for abstraction before the thought if designing an actual chair. This exercise was to reinforce the method of thing abstractly in three dimensions and developing the idea into a reality.

Figure 1In this abstraction, I wanted to experiment with the placement of planes both to understand relationships of differing form sizes and to test the compositional components of spacing and alignment.Figure 2Here, I was focused more on the compositional aspects of multiple curved planer forms. Ultimately gave me an understanding of the limitations of the material and the relationships of similar forms on a singular plane.

Figure 3This was an abstraction based on elongation of planes and how they interact as they are being layered together. It was also an experiment on shadow interaction with those layers.

Figure 4The image at the beginning of the section was the most important abstraction as it gave me a basis to go off of throughout the rest of my process in terms of lighting interaction, layering of planes, and the relationship of differing forms as a composition.

Figure 3Experimentation with Negative Space

Figure 1Planer Experimentation

Figure 2Curvilinear Formations on Straight Axis

Figure 5Study of Adjacent Forms and Negative Space

The forms shown here are the second and third tiers of my abstractions of form language. Here, I wanted to understand more specific interactions and functions of planer forms in order to further my understanding moving forward into the design process.

Figures 5 and 6In these two abstractions, I was wanting to experiment with concepts that would be beneficial with moving forward in my process, so I focused on negative space and composition. Those concepts are key in attempting to create a satisfying three dimensional form using the sheet materials that the models were to be made of, and those concepts are important to creating form in general.

Figures 7-10These abstractions were not as impactful in the overall design process as the aforementioned; however, in studying these forms, I gained valuable insight on the characteristics of form, lighting, and other attributes that led to further experimentation in later models.

Figure 6Compositional Experimentation

Figure 9.Experimentation of Shadow Manipulation

Figure 10Lighting Experimentation w/ Emphasis on Layering

Figure 7Height and Negative Space Abstraction

Figure 8Study of Piercing Planes and Straight Axis

SECTION # 2Beginning of Form and Ergonomics

After the abstraction of form and understanding the elements of form language at the planer perspective, we were asked to develop concept ideas for the beginnings of our chair design with vague ideals of ergonomics implemented in the concept sketches. Figure 1In Figure 1, I was focused on the idea of creating a sort of lounge chair that would fit the majority of the human body, and in the design I wanted to implement unibody armrests that also served the purpose of supporting the chair. I also wanted to experiment with proportions and ergonomic functionality.

Figure 2This chair model is where the most inspiration came from for future models in terms of basic design elements. In this sketch, I wanted to experiment with the curvature of the back of the seat in relation with the back and, the construction of the dominant structure is entirely unibody. Which is an element I was trying to push for in most of my models.

Figure 3The sketch at the beginning of the section is an experimentation of a lounge-rocker concept that I was wanting to further incorporate into future studies. Its construction is entirely unibody (aside from the headrest portion near the top of the form), and it was an important study on the limitations of my material.

Figure 1Experimentaion of Lounge Chair w/ Unibody Elements

Figure 2Experimentation of a Lounge Chair w/ More Upright Posture

SECTION # 3Aesthetic and Egronomic Research

After there was intence abstraction of form and development of understandings of multiple concepts in form interactions and relationships, the next phase in this exercise was to research current forms that were on the market and study the ergonomic strengths and weaknesses of each. This phase of the design process was to understand the human scale and the tendencies of current designers in terms of handling ergonomic issues and applying that knowledge into our design.Figure 1This study was important in order for me to understand how quality chair construction is implemented in relation to the human scale. Also, the construction of the arms was influential in how I looked about other research studies.Dimensions of full Chair: Depth: 29” Width: 22” Height: 31”

Seat: Height: 17” Width: 21” Depth: 24”

Figure 2This study showed impressive compositional aspects in the construction with how the angles and radii are all relating to each other. The seat inclination was a bit more severe than the other chair studies, and that was to compensate for the rocking motion that the chair is designed for.34” Width: 24” Height: 47” Seat: Height: 17” (at neutral position) 19.5 (at apex of rocking motion) Width: 20” Depth: 22

Figure 3This study was to understand the consumer based design ideas. It is a very standard design with higher-end materials and finishes

Figure 3Study of a Consumer-Focused Design

Figure 1Lumbar Support and Arm Construction

Figure 2Composition and Seat Inclination

Figure 4The form at the beginning of the section is an influential modern chair design. The reason for the study of the chair was to examine the qualities of a great design and attempt to implement a few aspects, such as the lumbar support and seat height, in order to understand the comfort of a well-designed chair.Dimensions of full Chair: Width: 40” Depth: 34” Height: 35 ½” Seat Height: 16” Arm Height: 20 ½”

Dimensions of Ottoman: Width: 25 ½” Depth: 20 Height: 16

Figures 5 and 6This study was to better understand the construction of a quality, unibody chair design in which reflected my ideas for how I wanted to approach the construction for my design. It also was a study in the relationship between the chair and the legs of the user, and how an ottoman affects it.Seat: Height: 17.5” Width: 23” Depth: 23”

Ottoman: Height: 17.5” Width: 23” Depth: 17”

Figures 7 and 8This study was particularly valuable, as it was one that I pulled many elements from in order to further my design aspirations. The construction of the chair was the main focus in the study, and the dimensions of the seat and arms were particularly interesting as well. Dimensions of full Chair: Depth: 27” Width: 24” Height: 33”

Seat: Height: 17.5” Width: 22” Depth: 22”

Figure 5Overall Construction Study w/ Ottoman

Figure 7Study of Lumbar Support and Arm Height

Figure 6Study of Construction of Arms into Feet

Figure 8Study of Seat Width and Arm Positioning

SECTION # 4Post-Research Form Development

After researching a multitude of chairs in order to study the successful ergonomic aspects and design elements of quality chairs, we were to implement the information we have gathered into the designs of future design sketches. We were to focus on the proportions of proper chair design in relation to the human form and scale, and design accordingly.

Figure 1This was my final experimentation in the lounge-rocker concept. In figuring out the limitations of the Bristol board in terms of creating tight internal radii, I decided to forgo from further incarnations. However, the information about the limitations of the material were critical in the rest of my design choices.

Figure 2This was the first attempt at implementing the research portion into my design. Proportionally, it was a bit too erratic, but I wanted to experiment with the idea of having a dominant unibody structure with dual-purpose armchairs. This was the form that was the turning point in my design process.

Figure 3The form at the beginning of the section is an attempt at the unibody form language that I have been attempting to handle. The back support design is referenced in many other sketches and is the outline for many of the more successful sketches.

Figure 1Lounge-Rocker Experimentation

Figure 2Unibody Lounge chair w/ Dual-Purpose Armrests

Figure 4A slightly more reclined version of Figure 3. It was an experimentation on back support angles and comfortable reclination.

Figure 5This was an experimentation on the width of a seat and the positioning of the armrests. There was an exploration into more lumbar support as well in order to further study ergonomics.

Figure 6 Figure 6 was valuable to the design process as it was one of the more realistically feasible sketches, and many of the sketches created after it (including Figure 7) are essentially refinements of this particular sketch. It was an experiment on creating appealing negative space with curved and radiused planer construction.

Figure 7This sketch was important throughout the process, as it provided a more complete skeleton as to what would eventually be the final design. I wanted to increase the radii on most of the curved portions in order to create a more comfortable and ergonomically sound composition

Figure 4Study of Seat Reclination

Figure 6Aesthetic Experimentation with Negative Space

Figure 5Study of Lumbar Support and Arm Position

Figure 7Experimentaion with Composition

SECTION # 5Refinement in a Singular Direction

After the last section in which we had to focus on the ergonomic feasibility of the chairs, we had to create a singular form and slightly vary the form in order to perfect the ergonomics and the overall composition of our chairs. The final form choice was to be constructed out of higher value materials.

Figure 1This iteration of the final design was to be ergonomically and visually sound, but upon further review, I was recommended to shorten the footprint and experiment with more comfortable seating positions.

Figure 2This iteration was my first attempt in reducing my design’s overall footprint. However, it was not as successful in exploring more comfortable seating positions as I previously hoped it would. It is essentially a more snug and reclined version of Figure 1.

Figure 3The form at the beginning of the section is the final form iteration that was completed before the construction process. The back and lumbar support is more upright and has a slight bend at the beginning of the seat in order to slightly cradle the user. The footprint was reduced to a more realistic dimension I used this form to outline the construction of my final .model.

Figure 1Base Form

Figure 2Reduction of the foot

SECTION # 6Final Model

The final stage of development was the construction of the final model. This is the culmination of all of the previous research and model iterations up to this point, and all of the previous knowledge and critique that we have gathered over the course of the project was to be implemented here.Figure 1This view of the final model highlights the ergonomic qualities of the design choices I had made. Such as, the drastically reduced footprint leading to a more upright an intentional profile. There is also ample lumbar and back support, so that the chair is much more comfortable.

Figure 2This view highlights the width of the seat and position of the arms. Both were calculated to fit most sized individuals and still be comfortable.

Figure 3The view on the beginning of the section highlights the overall composition of the form as a beautiful and intentional chair design.

All of the research and critique that I was given throughout the project was put into account while creating the final model, and I feel as if I was successful in creating a form based off of the feedback I had received.

Figure 1Profile View

Figure 2Angled Forward View

Hero Shot