Designer chairs

They undoubtedly represent the most widespread furnishing of all, we find them indoors and outdoors, in residences, in workplaces, in accommodation facilities and in service facilities: we are talking about the designer chairs. The peculiarity that distinguishes them also constitutes their main function: to guarantee comfortable seating for a single person. The structure they are made of is formed by a horizontal seat, four vertical support elements, a backrest and sometimes two armrests. Depending on the type, model and style of the chair, these elements can vary in number, shape and materials. Regarding the latter, the most used are wood, aluminium and plastic fibres, although today, thanks to innovative techniques and ever-increasing versatility, it is possible to find new and unexpected ones.

Contents

• The development of the chair in history
• The ergonomic design of the chair
• The chair and its variations
• The Chairs: Icons Without Youmpo

Over time, the chair becomes a representative element for the style of architects and designers who, through a careful study of human proportions, make it a perfect combination of functionality and aesthetics. Some of the numerous models introduced by the artistic movements that have followed one another throughout history become design icons, sometimes unique pieces capable of giving strong personality to environments and at the same time guaranteeing the right comfort.   

The development of the chair in history

Originally, chairs were intended for the wealthier classes of society and single chairs were used by princes and popes to symbolize the power they held. The first certain evidence of the presence of seats dates back to the time of the ancient Egyptians, when ebony seats began to spread, often with ivory decorations, with legs that reproduced animal shapes.

Later Roman civilization introduced the so-called “curuli saddle”, an x-shaped seat, foldable and transportable, a symbol of judicial power and therefore used mainly by magistrates and members of high public offices. In the medieval period, however, a distinction was made between single seats, intended for kings and members of the clergy, and collective seats, intended for the people. While the former were imposing, solid and richly decorated, the latter consisted of a horizontal axis supported by two vertical elements but had no backrest. For this reason, they were uncomfortable and aesthetically unappealing furnishings.

It is only from the Renaissance that the chair becomes a piece of furniture of common use, widespread even in the most popular homes. There remains a clear distinction between these chairs and those intended for the wealthier segments of the population, equipped with a backrest made of Ionic columns. Becoming a piece of furniture of daily use, the chair takes on great importance and many designers try their hand at experimentation and original solutions.

The industrial design sees the chair as an object of common use with high potential: this is how different typologies emerge, characterized by various materials and shapes. From this moment on, in some cases, the seats become true icons, objects that bear the signature of architects and designers and that become progressively recognizable thanks to the strong aesthetic connotations that characterize them.

To view and download the dwg of some vintage chairs click here

The ergonomic design of the chair

In order to achieve the purpose for which chairs are designed, it is necessary to study and respect some basic rules for obtaining comfortable seating. One of the principles that underpins the design process of this type of furniture is represented by ergonomics. In order to achieve the purpose for which chairs are designed, it is necessary to study and respect some basic rules for obtaining comfortable seating.

One of the principles underlying the design process of this type of furniture is represented by theergonomics. The latter is the science that investigates the relationship between the human body and the tools at the service of man himself and has as its ultimate goal the comfort and psycho-physical well-being of the user. In short, a piece of furniture designed according to the rules of ergonomics must guarantee comfort to the person who uses it, without inducing unpleasant inconveniences and unpleasant effects on health caused by poor use. In these terms, the chair must be made up of components designed on the dimensions and needs of the body of individuals who are also very different from each other. For this reason, the measurements of the seat, backrest and any armrests must be modeled on proportions belonging to different individuals.

It is therefore essential that the interior design sector be shaped on the characteristics of the target that lives in the specific geographical areas to be served. However, despite these important differences, there are some parameters that allow us to understand whether a chair is ergonomic or not. The common goal is to ensure the correct posture when sitting: the sole of the foot must rest completely on the ground, the calf must remain in a vertical and orthogonal position with respect to the foot, while the thigh, in a horizontal position, must form a right angle with the torso which must maintain an upright position. It is important that the back is straight but that you can also change position as needed and that the neck remains relaxed in order to avoid feelings of discomfort.

Furthermore, it is important to clarify how the physical characteristics of the chair also change depending on its function: a chair used to eat a meal at the table will be different from one used to work or to relax in a relaxation area of ​​the house. For example, in the case of an office chair, it will be essential to be able to adjust the height of the seat and the inclination of the backrest and to be able to move thanks to the provision of special wheels.

Instead, in the case of seats inserted in a living room, it will be necessary to ensure comfort when having lunch or dinner, thanks to backrests that can maintain an upright position. Finally, chairs intended for reading corners and relaxation areas must be equipped with enveloping seats, useful for relaxing during free time. Regardless of the type of seat, what really matters is to satisfy the needs of the end user by ensuring constant mental well-being.

It is therefore clear that industrial design has a precise mission: that of studying and designing furniture and objects for everyday use, with the aim of improving the quality of life of those who use them.

The chair and its variations

The evolution of chairs has always been linked to changing lifestyles and needs that have influenced the way we live in spaces. For this reason, countless experiments have generated differentiated products designed for specific needs. Since the Industrial Revolution, chair production has seen a rapid increase and numerous completely innovative solutions have been introduced to the market.
These are seats designed to satisfy new needs and to amaze through unusual elements.

Among the different typologies that spread in this period we can include the rocking chairs which, thanks to the curved components at the base, guarantee a pleasant oscillating motion to those seated. Even the deck chair it soon becomes a classic for open spaces such as balconies and terraces but above all a real must have on the beach together with the sunbeds. Very well known, this type of chair guarantees different positions for the user, in fact it is possible to adjust the inclination of the backrest and consequently switch from the sitting position to the lying one. The added value consists in the possibility of closing it and transporting it easily thanks to the lightness of its structure.

Another type of seat that is widely used in contexts other than those mentioned is the cantilever chair, original for its “cantilever” configuration. The peculiarity consists in the folded vertical elements at the base and on the seat which are made of a single continuous tubular element. Having become a symbol for 1900s interior design, this chair is very widespread in service structures, offices, hotels but also in residences.

A chair designed to meet the needs of flexible users who love adventure and comfort is represented by the tripolina, a particular seat made of a completely foldable wooden or metal frame. The seat and the backrest are represented by a single fabric element, light but at the same time robust and welcoming.

Finally, among the most popular chairs ever, it is possible to mention the monobloc chair made of PVC, used in all types of environments, especially outdoors, comfortable and with a slightly spartan appearance.

Stools and benches can be considered a variant of the classic chair, often without backrests, have a higher height and are used in modern or industrial style environments. Beyond this classification, the chairs on the market are countless and are distinguished by workmanship, materials, colors and finishes.  

The Chairs: Timeless Icons

The chair has always been a piece of furniture at the centre of debate between designers and world-famous artists: a sort of cornerstone around which style, functionality, originality and comfort revolve. The artistic currents that have followed one another throughout history have contributed to determining the stylistic connotations and characterising elements that have made chairs true style icons. Sometimes provocative objects, sometimes innovative and multifunctional solutions, chairs have been able to exploit the hidden potential of materials and shapes, contributing to the development of the interior design sector. In fact, between the 70s and 80s of the twentieth century, with the advent of the Industrial Revolution, there was great excitement and production accelerated its pace and multiplied the products marketed.

Below we will mention some of the most famous chairs in the history of world design, highlighting the particularities that have made them icons known to all.

Michael Thonet – Model No.14 – 1859

One of the most famous chairs designed by Michael Thonet, made using the technique of Steam wood bending. The result was a light but very sturdy seat, with a timeless style and undisputed elegance that soon became an icon in nineteenth-century Viennese cafés. The innovative aspect was the possibility of breaking down each piece of furniture into six pieces that could be assembled and transported with extreme ease.

To view and download the 3D model click here

Charles Rennie Mackintosh – Hill House Chair – 1902-1904

Made by Rennie Mackintosh to furnish the interiors of Hill House in Scotland, this chair has become one of the most famous works of its author. Each piece of furniture in the house is conceived and designed as part of an organic and harmonious whole. Specifically, the elements of the seat are inspired by Japanese design and abstract geometries, with the aim of recreating a seat that is more of a work of art than a simple piece of furniture. The characterizing element of the chair is represented by the narrow and very high backrest, composed of a series of horizontal slats surmounted by a square grid. The result is a chair that is aesthetically very original but also functional thanks to the clever use of geometry and shapes.

Gerrit Thomas Rietveld – Red-blue chair – 1918

A symbol of De Stijl, the chair is the three-dimensional transposition of a Mondrian work. The structure is made up of a horizontal surface for the seat, a vertical one for the backrest and a series of strips connected to each other by means of quadrangular section mouldings. The joint seems to leave one element independent from the other and the surfaces thus appear to be coplanar but detached. The primary colors yellow, red and blue characterize the main surfaces, while the frame is entirely lacquered in black. The chair was conceived as a seat for reading and has become one of the major symbols of Dutch Neoplasticism. Simple and linear, this famous piece of furniture follows the flat figures and square lines typical of geometric discipline.

To learn more about the topic, see and download the dwg drawing click here

Marcel Breuer – Wassilly – 1925

Emblem of the roaring 20s, Marcel Breuer's Wassilly chair represents a combination of the dictates of the Bauhaus and the design experiments of the time. In fact, the peculiarity of this famous work is represented by the use, for the first time, of the metal tubular in the furniture sector. Inspired by the frame of his bicycle, Breuer tests the possibilities of the metal tube, using it for the entire construction of the structure, continuously and without interruptions. The seat and backrest, on the other hand, are built using a particular waxed fabric, the eisengarn, very resistant and long-lasting, thanks to which the furniture takes on a high solidity.
Among the many advantages of the Wassilly were the great availability of the material on the market and the compositional originality. Even today, a design icon, the chair is used in residential and office settings, maintaining its timeless charm.

To learn more about the topic and view the drawing click here

Charles & Ray Eames – Plastic Chair – 1950

The result of several years of experimentation, the Plastic Chair was born in 1948, a chair destined to achieve great success thanks to the foresight of its designers. The innovation, by Charles and Ray Eames, consisted in the conception of a shell that wrapped the shapes of its user, guaranteeing a good level of comfort. But the real innovation was represented by themultifunctional aspect of the chair: in fact, the standard seat could be combined with numerous types of "base" capable of ensuring different positions for the user. Made of fiberglass, the chair lent itself to industrial mass production and was pleasant to the touch and aesthetically pleasing. Designed to be a piece of furniture accessible to all but of excellent quality, the Plastic Chairs is still used in residential, public and service contexts, thanks to its versatility and adaptability.  

Gio Ponti – Superleggera – 1957

As you can deduce from the name, it is a session very light that can be easily moved. Made by Gio Ponti for Cassina, it is characterized by a frame entirely made of wood and seats available in woven straw and padded fabric variants. Emblem of simplicity and harmony, the chair is characterized by legs with a triangular section and an angular backrest. The lightness of the structure merges with the solidity of the beech wood seat, ensuring functionality and modern and essential aesthetics. Having become a true must-have in any environment, the Superleggera is still produced by the Lombard parent company, still preserving the craftsmanship of the past.

Eero Saarinen – Tulip – 1957

The seat stands out for its particular flower stem shape, originated from the intention of its creator to create a chair made of a single shell and without legs. However, the Tulip Chair, produced by Knoll, was created by assembling a metal base, which at the time was more resistant than plastic, and a seat in elastic material. The shell could be presented with or without textile covering. Its particular and almost futuristic appearance made this piece of furniture a style icon to the point that in 1966 it was used for the filming of the television series Star Trek. Unconventional and unique, combining flexibility and solidity, it has inspired numerous artists and exponents of the sector.

Verner Panton – Panton Chair – 1960

Originating from the collaboration between the designer Verner Panton and the famous company Vitra, the peculiarity of this chair consists in the world record of furniture made of a single body in plastic material. Mass-produced, this iconic chair is characterized by a soft and flexible silhouette that makes it very comfortable and recognizable on the market, in fact it has often been awarded and exhibited in world-famous museums. Furthermore, the chair is stackable and shock-resistant. Over the years, the chair has gone through variable phases in its production, soon becoming an icon thanks to its strong aesthetic impact. Today it is still widely produced because it is in demand on the market for its versatility of use, both in indoor and outdoor environments.

Giandomenico Belotti – Spaghetti Chair – 1979

A clever combination of Made in Italy craftsmanship and innovative modernity, the Spaghetti Chair establishes itself as a rigorous seat with universal beauty. Soon, the seat, designed by Giandomenico Belotti, is noticed and appreciated overseas, becoming one of the iconic pieces exhibited at the MoMA in New York. The backrest and seat are made of a PVC rod, wrapped around a steel structure and the result is a minimal and light piece of furniture to the eye. The chair is the “mother” piece of a collection of low stools, high stools and armchairs that are inspired by the Spaghetti Chair and through the subtraction of elements or the modification of the same find their own sense of being.

Philippe Starck – Louis Ghost – 2002

Born from the idea of ​​reinterpreting in a contemporary way the ancient pieces of furniture of the court of Louis XV, the Louis Ghost breaks down the rules of traditional design, making an entrance on tiptoe and with refined sobriety. Conceived as a seat aimed at surprising and astonishing the observer, it is sober and minimal, in contrast with the rich and articulated guidelines of its model. Despite the transparency and the apparent fragility of the material, the chair turns out to be resistant and robust, suitable for any type of environment, both internal and external. Produced in a single mold for Kartell, this piece of furniture will soon be the object of desire of lovers of minimalist rigor and pure geometry, becoming an icon of Made in Italy on an international level.