No.15
A Chair for Life:
Designing the Chair Blueprint
No.15
A Chair for Life:
Designing the Chair Blueprint
The chair “No.15,” unveiled in October 2024, features a gently soft seat that conforms to the body and a beautifully flowing form that transitions from the uniquely curved backrest to the legs, resulting in a design that is both elegant yet inviting.
My ambition is to create a design that can be called the “blueprint of a chair,” even if it’s just one in a lifetime. A chair is a product made up of very few elements: a back, a seat, and legs, making it impossible to hide any flaws. For instance, how can one design a new letter while adhering to the rules of an already established alphabet of 26 letters? This approach is fundamental when designing a blueprint.
The design of “No.15” developed around the rounded shape of the rattan backrest. By patiently making minor adjustments while testing angles and comfort, we completed a chair that redefines the blueprint of chair design.
Smooth, flowing curves
Wooden seat that comfortably fits the body
I envision products that closely integrate into people’s lives to be as free as fashion, possessing gentle and delicate details that can accompany them for many years. With such an identity, "No.15" has the potential to become an iconic piece for DAFT about DRAFT.
Creating new letters like A’, B’, and C’ within the established 26 letters of the alphabet is relatively easy. However, designing a chair’s blueprint is more challenging, akin to creating a new alphabet.
Hans J. Wegner designed over 500 chairs during his 92-year life, but only two or three can be truly called blueprints. The creation of a chair blueprint is thus an extremely rare achievement.
For example, the Greek letter Σ (Sigma) cannot be included among the 26 letters of the alphabet, as it resembles the letter E too closely in design.
When pursuing comfort in seating, the shape naturally tends to become beautiful.
Since people come in various heights and body types, there is no single product design that fits everyone. Design must consider the majority.
While ergonomics is a well-known concept, it can often be somewhat inconsistent.
The design of sofas and chairs is fundamentally different. Designing a sofa is akin to making “clothing,” while designing a chair is more similar to creating a “sculpture.”
I consider how to design a form that remains aesthetically pleasing when of course sitting normally on, even when someone sits with their body facing the backrest of the chair.
There is a lot of modern and simple stuff out there, but I want to incorporate something. I don’t want to simply express one genre.
Furniture with a strong presence, where details are memorable.
Simply dropping furniture into a space can sometimes be a boring approach. I want to create something that brings variety to the space, changing how it’s used and the atmosphere.
Furniture works with space. When furniture is designed properly, everything is connected and does not float in the space.
We create with craftsmen who can respond to even the most difficult orders. Designers have the aspect of nurturing craftsmen.
As time goes on, the emergence of new designs becomes increasingly difficult. Still, I want to hold on to the belief that “there’s still something new to create.”
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