chair prototype 2008
by Konstantin Grcic (DE)
manufactured by Magis

As featured on the latest cover of DAMn°, Grcic’s first wooden prototype of the 360° chair (size: 50 x 40 x 80cm, material: pine wood) dates from July 2008. The final production model of the 360° chair, launched by Magis during Salone 2009, is manufactured in steel and polyurethane foam.


prototype 1999
by Martí Guixé (ES)


prototype 2008
by Ronan & Erwan Bouroullec (FR)
manufactured by Vitra

The first test injections of the Vegetal chair for Vitra are wild rough pieces, which are far away from what you would expect of industrial tooling. They take place at the early
stages of the adjustments for the final moulding parameters: after three years of development, a massive piece of stainless steel (a kind of cube, 15 tonnes) was put on the milling table, and stayed there for months, until it was cut in two parts, one is the front part of the mould, the other the back, and of course the outside shape of the chair lies in between these two elements. It’s an emotional moment when what can only be imagined in drawings or prototypes is realised in the final material. These pieces express the chemical and physical process that takes place inside the mould, showing step by step the birth of the chair. It’s why we have a special relationship with them.


prototype 2007
by Piero Lissoni (IT)
manufactured by Kartell

Chair in batch-dyed thermoplastic technopolymer; manufactured in one single piece using gas-blowing technology. It has a squared contour, a wide seat and a low, roomy backrest. Stable, shockproof and scratch resistant. It comes in a wide range of colours in a glossy finish. The name of the project was inspired by Liz Taylor, the modified
name Lizz an echo of the chair’s play with traditional proportions.


prototype 2007
by Ineke Hans (NL)
manufactured by Cappellini

One of the models to feature in Hans’ Neo Country collection for Cappellini, Country Rock reflects the designer’s interest in material qualities, unusual material combinations, human proportions and habits. Neo Country embodies her longing for a vernacular,
simple, no-nonsense and non-pretentious approach to design. The initial impression is of sober wooden furniture - apparently back to basics. However, at second sight the texture in the wood is not all it seems. Artificial & natural, traditional woodworking & 21st century technique, harmonised rather than opposed.


one-off 2008
by Kwanghoo Lee (KR)

This is an experiment in the study for raw materials. Focusing on the possibilities of introducing new shapes and seeing the other side, the original role of the material is shifted.
Size: 28.5 W x 50 H x 28.5cm D


prototype 2008
by Edward Barber & Jay Osgerby (UK)
manufactured by ClassiCon

The stool is made from three interlocking machined wooden arcs, joined centrally to a triangular wooden dished seat. The triangular structure is geometrically complex as each leg twists through 45 degrees from the floor to the seat as well as reducing in thickness, which gives a very strong tripod structure. The stool is lacquered with a black stain.


prototype 2008
by Maarten Baas (NL/DE)

The concept is based on miniature sketch models. The spontaneity, the roughness and the primal character of the models are transformed into real sized furniture.


one-off 2009
by Peter Marigold (UK)

Split Box Stool was one of the family of the Split project in which a single piece of split wood is used to generate a perfect, yet irregular form. With the lid closed – it has a curious shape, and then when the lid is lifted it kind of explains itself… the tips of the logs are almost like diagrams. Again for me it represents something between chaos and order. Perfection and imperfection. 


one-off 2009
by Arik Levy (IL)

A chair that becomes a lamp that becomes a chair that becomes a lamp… once the chair is connected and lit, is it more of a chair or more of a lamp? And when suspended what is it then?
Social stereotypes are similar to product typologies: I feel that the gap between them is the place where the real issues are raised. Pretty or not.


prototype MDF 2009
by Julien De Smedt (BE)

To make yet another chair is just as irrelevant as to make yet another type font. There’s so many of them that have proven to be readable. Do we need to re-think reading? Do we
need to re-think sitting? We need to RE-think economy: economy of production, economy of waste, economy of transport, economy of space. We propose Collapse, a collapsible chair that folds into a wafer thin plate. Its mechanism is simple and robust, its design frank and timeless. It doesn’t try to appear as something new or hopelessly claim another style but instead proposes an efficient and effortless way to store, ship and sit on a chair.


by Ilkka Suppanen (FI)
manufactured by Vivero

The prototype originates from a project for Vivero, a small Finnish furniture manufacturer with very limited resources but a brave mind. The idea is to make a relaxed
armchair - comfort with minimum investment and rational production. The chair is an intentional compromise between comfort, feeling safe, and alternative seating positions, rationality and production. Its asymmetric geometry allows for both relaxed cocooning and stool-like alertness, with a single moulded piece cut in various sections to create seat, backrest and neck support to save on costs. Angular planes, composed by u-shaped units, create the shape. The angles of the chair follow the line of the body, trying to achieve even support of the different parts.


Rosina prototype 2009
by Dejana Kabiljo (AT/HR)

Pretty heads to sit on explore the nicely regulated erotic allure that surrounds us, tracing out the customary grammar of desire. ‘You don‘t just fall out of the shower looking like that, pale champagne streaks in ash blonde hair reflect the flattering look of soft shading.
Hair falls freely in a deep tumble of waves, pale blonde tendrils... Dizzying swirls of colour.’ These beauties, angelic and gracious, radiate self-assurance, yet: ‘what shall we do with all this useless beauty?* (*D P MacManus)

Materials: horsehair on water resistant MDF, steel construction.


prototype, 2009
by Sylvain Willenz (BE)

The Candy Collection exploits the potential of steel reinforcement bars for concrete structures. Thanks to a simple industrial coating process normally used in the marine industry, the unattractive steel bars are given a new and seductive identity. A high gloss polyester
coating, applied to the textured bars gives off a multitude of bright reflections. This is the prototype in its final stage, just before it goes to be painted. The seat of the chair is made from a single laser-cut flat sheet of steel. Then the sheet goes into a folding process, lifted up in two parts, which make up the backrest. The joint is welded and cleaned. At the painting factory it is dipped in acid to take off any impurities. Then it goes into an oven, up to 350°C, and finally is electrostatically spray-painted. Quite a conventional painting process, except for the temperature and the high resistance, high gloss material used.


prototype 2009
by osko+deichmann, Blasius Osko + Oliver Deichmann (DE)

The bent tube is the symbol for modernity in furniture design. Until today this Holy Grail remained untouched. Now, for the 90th anniversary of the Bauhaus, the Straw Chair brings the first innovation into tubular steel furniture for over 80 years: the
kinked tube. Some might call it blasphemy, we call it reformation.


prototype 2009
by Heath Nash (SA)

For a while I have been imagining an Africa that was allowed to develop its own unique design needs, technologies and directions; separate to tastes and history from European colonialism. It’s just a trick really – to try and imagine-design the sorts of objects that could have evolved (and still can) from a simple woven grass mat, given the simplest needs and the
setting of South Africa as a beginning point for this hypothetical imaginary world.

The Roll-Up is my first object in this exploration of an imagined culture in
the impossible past and hopefully into the exciting future…


prototype 2009
by Judith Seng (DE)

Trift explores the ideal of perfect surfaces by destructing them within the same object.
Destruction or perfection - both require equivalent effort. Merging the two conflicting aspects, Trift approaches this ambivalence as an aesthetic reflection.


prototype 2007
by Alex Valder (DE)

A single and a double stool made of maple with colourful Abet Laminati seating.


prototype 2007-2009
by Xavier Lust (BE)

manufactured by Xavier Lust Studio
Defying metal’s heaviness, Lust transforms it into light and fluid self-standing structures using a peculiar and very personal process. He calls it (de)formation and it consists of
folding metallic surfaces into volumes of elegant and sober lines. With contrasting cultural references that span history, the Archiduchaise can in turn recall a graceful 17th
century dress or a contemporary sculpture. The arrogant and cold beauty of its large polished skirt seems to demand respect and invites one to keep a distance.

Prototype of a limited edition of 18 pieces (realised 2007 – 09), manufactured by Xavier Lust Studio in mirror-polished aluminium.


prototype 2009
by Bram Boo (BE)

Just like saints, who are often represented with an aureole surrounding their heads, I was inspired to use function and especially an overdose of storage units to create a kind of aureole for everybody who is going to be seated in this chair!


prototype 2004
by Richard Hutten (NL)
manufactured by Lensvelt Office Furniture

In 1993 Hans Lensvelt approached me to design a ‘No sign of design’ (an adage from my early career) chair, with a wooden shell and a metal frame. For me, the best example of this typology was the Butterfly chair by Arne Jacobsen and I wanted to add something to his chair. Through the extreme bending of the wood, we could make the shell half as thick as the Jacobsen chair – halving the weight and amount of trees needed. During the process of making it, Hans and I were always referring to the chair as ‘this’ chair: ‘This chair has to do this and this chair has to do that.’ In the end we decided to call this chair This chair. Later on we also made a plastic version of This chair, which is called That chair. The prototype of This chair was only made to test the comfort, not the visual aspects. Good comfort, with good lower back support, was very important to me. Hans and I always took this testing very seriously, and there was always beer involved for the best results.


one-off 2009/1916,
by Jerszy Seymour Design Workshop (UK/DE)

Eames Chair copy with intervention by amateur, meaning lover, appassionato and nonprofessional
as a way of being.


prototype 2009
by Jörg Hundertpfund (DE)

This is a chair.
Obviously just another position to all the others.
Also a final point, as there is not much left to say with a chair.

Material: coated polyurethane, size: 75 x 45cm approx..


prototype 2009
by Lachaert & d’Hanis (BE)

The stool has the form of a chaton with its stone, traditionally used for mounting diamonds and other precious stones. Enlarging this typical jeweller’s object arouses the
fantasy, playing a game with expectations, with proportions. Deviating from the familiar
measure of things, breaking all the rules. The Chaton Siège is for use outdoors; a jewel, a precious ornament in the landscape.


artist proof 2009
by Studio Makkink&Bey (NL)

commissioned by La Galerie de Pierre Bergé & Associés Pixelated Chair with pillow (edition of 3+1). Dutch trees and sheep make a collection of furniture that changes the Gallery into a temporary test house. Slats, felt, a sewing
machine and capable hands have worked together and shared knowledge to compose a temporary apartment. The Pixelated Chairs are constructed out of short white wooden slats of 44 x 18mm, that have been stapled together in the shape of classic armchairs. The seating is assembled of felt blocks with a sewed in wood pattern, and filled with wool.

www.jurgenbey.nl                                                         Photo by Alain Speltdoorn

one-off 2003
by 5.5 designers (FR)

This chair is a unique piece; it was born during the first Furniture Hospital in Nîmes, France, for the Réanim project with Secours Populaire Français. The aim was to collect old abandoned furniture and give it a second chance by using all different kinds of treatment. 5.5 designers decided to ommercialise a range of treatments to give everyone the possibility to cure broken furniture: crutches, seat prostheses, suture kits and graft kits. Mille Pieds chair is the beginning of this reflection: to cure broken chairs with a systematic method. This model was made using six different chair profiles and two green ‘splints’ as a frame.


chainsaw prototype 2006
by Stéphane Barbier Bouvet (FR)

The workshop brings the designer into a fascinating technical world, just like that of a manufacturer. Along with their curiosity and knowledge, the designer faces the tools, these human body extensions, that are just here, present and inert, ready to perform
intelligent actions. Even if the essence of this form is still missing, we know that it has a
precise goal, not coming from nature but from human intelligence. The tool questions, surprises; we want to capture it the proper way and perform the function assigned to it…
The construction of the Tools Chair followed this principle. The designer, with the help of a precision tool, digs inside the bowels of a block in order to give a shape and a function. The chosen instrument is leaving its singularity inside the raw material - a strong line, a soft line, a warm tone, a cold tone. These are unpredictable characters due to the tools or by hand, some accidents that are the soul of the object.


prototype 2008
by Pierre Kracht (DE)

A structure, a sculpture,
a shadow of its former self,
a cloud, a cover, perforated
skin, a net, a string, no contend left.
A prototype and archetype, to gain insight.
A memory. Big nothing.


prototype 1999
by François Azambourg (FR)

Fifth research prototype. 185 g/sq.m polyester sailing canvas, structured by polyester string. Rigid dual-component PU foam.
Button on the left.
Size: 72 H x 41 W x 48cm D; 2750g

1- Turn Right activating button
     several times.
2- Shake the chair for 20 seconds.
3- Slowly turn the chair twice.
4- Hold the chair until inflating
     begins (about one minute).
6- After inflation, let rest for 10 minutes before use.


prototype 2006
by Marcel Wanders (NL)
manufactured by Moooi

Mannequin is a concept from Wanders where you have the freedom to change the cover of your seat yourself. Ideal for restaurants and commercial projects and the
home, Wanders has designed three brand new fabrics for the model. How will you dress your mannequin?

Material: polyester and cotton fabric, powder-coated steel frame; indoor use only. Safely stackable up to six seaters!


prototype 2009
by Jason Miller (US)

The Woolly chair is a chair made almost entirely of animal hair. The chairs structure is industrial wool felt, which has been folded and sewn. The back and the arms remain flexible and conform to the sitter. The outer cover is a bison hide. Like a bear rug or a Native American robe, a whole, tanned hide is used as is. It's a decadent chair.


prototype 1988
by Bruno Munari (IT)

This chair has never been manufactured and only one
prototype exists, with just three small drawings of the chair and details of the feet. The bent tubular frame is in polished brass, and the feet, or better still, the paws, are in polished walnut with gilded nails.

Date of project: 1945

prototype 2009
by Michael Young (UK)
manufactured by DD-3

In its original format, the slender structure of the wooden Coen chair was constructed by a series of technically challenging engineering manoeuvres. Its popularity was
inspiring enough to make more advanced studies to create it in carbon fibre, of which the prototype is shown here. This special edition series was launched in mid-April
during one of Asia’s leading contemporary art fairs, ART HK 09, where design editions company DD-3 produced an exhibition of Young’s most recent explorations of materials and technology.


one-off 2005
by Patricia Urquiola (IT)

It is a tribute to Vico Magistretti and to the Selene chair that I have always loved. And to the amusing seat covers that taxi drivers around the world use as a healthy add-on
to their seats. The result is a marriage of two fetishes, which match perfectly together. It’s love at first sight.



François Azambourg
Maarten Baas
Edward Barber & Jay Osgerby
Stéphane Barbier Bouvet
Ronan & Erwan Bouroullec
Bram Boo
Julien De Smedt
Konstantin Grcic
Martí Guixé
Ineke Hans
Jörg Hundertpfund
Dejana Kabiljo
Richard Hutten
Pierre Kracht
Lachaert & d’Hanis
Kwanghoo Lee
Arik Levy
Piero Lissoni
Xavier Lust
Studio Makkink & Bey
Peter Marigold
Jason Miller
Bruno Munari
Heath Nash
Judith Seng
Jerszy Seymour Design Workshop
Ilkka Suppanen
Patricia Urquiola
Alex Valder
Marcel Wanders
Sylvain Willenz
Michael Young
5.5 designers