Formful Wood. Explorative Furniture
ISBN 978-3-86859-588–8 https://www.jovis.de/de/buecher/product/formful-wood-explorative-furniture.html
ISBN 978-3-86859-588–8
https://www.jovis.de/de/buecher/product/formful-wood-explorative-furniture.html
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MARIO RINKE, FLORIAN HAUSWIRTH [EDS.]<br />
FORMFUL WOOD<br />
EXPLORATIVE FURNITURE
JOSEPH SCHWARTZ<br />
PREFACE<br />
4<br />
MARIO RINKE AND FLORIAN HAUSWIRTH<br />
DESIGN AND CONSTRUCT A PLYWOOD SEAT!<br />
8<br />
CHRISTOPH SCHINDLER<br />
REFERENCING AS AN EVOLUTIONARY PROCESS<br />
15<br />
ALESSANDRO ORESTE TELLINI<br />
EDUCATIVE CRAFT<br />
23<br />
FLORIAN HAUSWIRTH<br />
DESIGNING IN THE WORKSHOP—THINK WITH YOUR HANDS<br />
35<br />
OBJECTS IN PROGRESS<br />
RAOUL DUBOIS, SVEN HÖGGER, SAMIRA MUSTER, FABIAN REINER,<br />
VALENTIN RIBI, MANON ZIMMERLI, MAXENCE RYAN, ALEXANDRA GRIEDER,<br />
NICOLAS HARTER, ZIU BRUCKMANN, DEIARA KOUTO, ILGHAR DADGOSTARI,<br />
JOSHUA RITTER, LEA BISSIG, LEONIE HOCHSTRASSER, LORENA ADLER,<br />
LUKAS TOPPLER, MELINA MICHAELIDES<br />
43<br />
GALLERY<br />
RAOUL DUBOIS, SVEN HÖGGER, SAMIRA MUSTER, FABIAN REINER,<br />
VALENTIN RIBI, MANON ZIMMERLI, MAXENCE RYAN, ALEXANDRA GRIEDER,<br />
SIMON WÜST, NICOLAS HARTER, ZIU BRUCKMANN, DEIARA KOUTO,<br />
ILGHAR DADGOSTARI, LEA BISSIG, LEONIE HOCHSTRASSER,<br />
LORENA ADLER, LUKAS TOPPLER, MELINA MICHAELIDES, MERET TRÖSCH,<br />
NADIA HUBER MEICHTRY, NATALIE AGREDA, NILS WIDMER,<br />
OLEKSANDRA MEDVEDEVA, SELINA CADRUVI, URSINA HASLEBACHER,<br />
VIVIANE STÜSSI, AYNUR TURUNC<br />
81<br />
OBJECTS IN PROGRESS<br />
MERET TRÖSCH, NADIA HUBER MEICHTRY, NATALIE AGREDA, NILS WIDMER,<br />
OLEKSANDRA MEDVEDEVA, SELINA CADRUVI, URSINA HASLEBACHER,<br />
VIVIANE STÜSSI, AYNUR TURUNC<br />
146<br />
SEBASTIAN KRAFT<br />
GRAIN ORIENTATION, GROWN AND SHAPED<br />
165<br />
MARIO RINKE<br />
THE FORM AS AN IMPRINT OF AN IDEA<br />
175<br />
NICOLAI DE GIER<br />
TECTONICS<br />
187<br />
CONTRIBUTORS / TABLE OF FIGURES<br />
199
FORMFUL WOOD<br />
EXPLORATIVE FURNITURE
PREFACE<br />
JOSEPH SCHWARTZ<br />
4
Can there be a more enticing and challenging task for students, even if ultimately<br />
not particularly complex, than to design, create—and yes—make with their own<br />
hands “formful wood”—also known as stools, chairs and benches, even small<br />
pieces of furniture—within an interdisciplinary study setting? Contemplations of<br />
this nature have taken on current prominence, especially since the label “formful<br />
wood” is a nod to the distinguished peculiarity of the designs of Alvar Aalto.<br />
Courtesy of Artek, the furniture company that accompanied the course, Alvar Aalto’s<br />
designs have been incorporated into our design semester. This is therefore an<br />
experiment which was nurtured into reality at the Lucerne University of Art and<br />
Design where it became embedded in the object design philosophy, as well as at<br />
the Department of Architecture at ETH Zurich where it was incorporated into structural<br />
design courses. Both institutions were very energized due to the successful<br />
debut of the courses in 2015.<br />
While the main aim of the object design course is to promote researchbased<br />
design that appeals to the senses and provides responsible and compelling<br />
solutions to challenges of today’s cultural and social environment, the professorship<br />
of Structural Design at the Department of Architecture at ETH Zurich<br />
places the focus on the recognition of interaction between internal forces and<br />
forms of load-bearing elements and purposefully applies it to the architectural<br />
design process. The insight that the concept of construction controls the distribution<br />
of internal forces within broad boundaries is key to creative structural<br />
design and makes possible in the first place the playful articulation of the tectonics<br />
of bearing and joining.<br />
With a focus on bending wood as a starting point, surprising design ideas<br />
were uncovered, accompanied by corresponding prototypes built by the students.<br />
Everything centered around construction, transformation and manipulation at the<br />
intersection of design and art. The participants soon became aware that at the<br />
beginning of the process there is a need to discover and acquire knowledge not only<br />
of the method of construction itself, but also of many other aspects such as materiality,<br />
flexibility, stability, functionality, identity and interaction with the user. Very<br />
helpful in this regard was the ongoing examination of Artek’s philosophy, which,<br />
modern manufacturing techniques notwithstanding, does not consider furniture<br />
as an industrial artifact, but rather an expression of socio-philosophical concepts<br />
and therefore an echo of its time.<br />
The students’ exposure to artisan skills at the RAPLAB workshop at ETH<br />
Zurich served as a vivid tool that greatly aided the introduction to and understanding<br />
of principles of construction. What are the ways in which wood can be bent?<br />
What are the options created by the layering of veneer? How can individual parts<br />
be joined; how do they respond to gentle or vigorous touch? What is the effect of<br />
space between parts? What, ultimately, is the relationship between force, material<br />
and form? How can a concept be taken to its ultimate conclusion, developed<br />
5
DESIGN AND CONSTRUCT A PLYWOOD SEAT!<br />
10
A TEACHING PROJECT TRANSCENDS DISCIPLINES<br />
This complex of topics forms the basis of our design workshop. In spring 2018, the<br />
Object Design department at Lucerne University of Applied Sciences and Arts<br />
and the Chair of Structural Design at ETH Zurich’s Department of Architecture<br />
launched a joint course that was taught to 28 students from both universities with<br />
the goal of designing and building seating objects made of plywood, as a collaborative<br />
effort. We received support from Artek, our industry partner, whose name<br />
combines the words art und technology, and who still employs the same, delicate<br />
handcrafted manufacturing processes that became the hallmark of their furniture.<br />
Artek’s so-called L-leg, a narrow curved chair leg, also dubbed the “little sister of<br />
the architectural column” by co-founder Alvar Aalto, is a typical example of these<br />
processes and became a launching pad for the design project. It is made using a<br />
combination of steam bending and molded plywood, whereby irregular cuts are<br />
sawn into the end of a piece of wood which was then bent and glued together<br />
with another piece using veneer strips. Three legs of this nature are subsequently<br />
mounted to the seat by the user himself. The uniqueness of this type of furniture<br />
turned it into a cult object. The intricate process could only be assembled through<br />
extensive testing in the workshop. Artek thus combines the curiosity and experimentation<br />
of design with craftsmanship and industrial practices. This philosophy<br />
makes Artek an ideal partner for our design workshop. Object design and architecture,<br />
craftsmanship and industry—crossing the boundaries of individual disciplines<br />
and schools of thought was a central goal pursued by the workshop and gave rise<br />
to a interdisciplinary research and work process among students and supervisors.<br />
The workshop started off with participants getting to know each other, as<br />
well as the industrial and craft work processes and materials. The head of Artek’s<br />
manufacturing operations in Turku, Finland, explained typical manufacturing methods<br />
via video conference. It was impressive how much these processes resembled<br />
time-honored manufacturing methods—a continuity that was also reflected<br />
in remarkably consistent products. This marked an important starting point for the<br />
students: processes were experimented with and used as springboards for new<br />
functions and forms. A visit to a veneer factory also made a significant impression<br />
on the students. There, they were able to observe how thin veneers were cut from<br />
a tree trunk and underwent further processing. Those two encounters, Artek’s<br />
L-leg and the flat veneers in the factory, opened wide the range of experimental<br />
approaches presented by the designs. Once the students had received a detailed<br />
introduction to manufacturing techniques and tools in the workshop, they settled<br />
down and began to work on their projects.<br />
11
REFERENCING AS AN EVOLUTIONARY PROCESS<br />
inter- or transdisciplinary process. If a design concept cannot be detached from<br />
its reference, we are tempted to call it a copy. A carefully conceived product, on<br />
the other hand, equally creates closeness and distance to its reference, updates<br />
it, and gives it another artistic status.<br />
7<br />
Moreover, the new design might become<br />
a new model itself. A well-referenced project is as much culturally involved as it<br />
is independent.<br />
Despite the omnipresence of referencing, there are surprisingly few written<br />
statements on its use and meaning in product design, with the discipline being<br />
in the shadow of art and architecture history. 8 As an intellectual tool for our future<br />
handling of references at the school of art and design, this paper reflects some<br />
attitudes based on experience gathered from selected design modules. [→ FIGURE 1]<br />
MATERIAL AND SEMI-FINISHED PRODUCTS<br />
Referencing a material from a different context is one of the common referencing<br />
methods in product design, let us think for instance of Marcel Breuer’s Wassily<br />
Chair (1925) related to tubular steel from bicycle frames or the Aluminum Group<br />
by Charles and Ray Eames (1958) inspired by the construction elements of contemporary<br />
airplanes.<br />
In the design module “Praise of the Light,” participants were to conceive<br />
a lamp. The school provided shōji paper as a material used in traditional Japanese<br />
architecture for covering room dividers. As a second design inspiration, LED filament<br />
bulbs were specified, the low operating temperature would allow the positioning<br />
of the bulb very close to the paper. Although only one factor had been<br />
changed compared to the well-known Akari luminous sculptures (1958) by Isamu<br />
Noguchi, novel formal languages were created. [→ FIGURE 3 and 4]<br />
CONSTRUCTION<br />
Constructive details are an important factor in formulating the character of a<br />
design and often refer to areas outside the design theme. A well-known example<br />
would be the Knotted Chair (1996) by Marcel Wanders, in which knitted joints<br />
become stiff through a change of material from wool to carbon fiber.<br />
In the project “Construction and Transformation,” we collaborated with<br />
the Chair of Structural Design at ETH Zurich. 9 From the perspective of product<br />
design, we had noticed that many students had insufficient intuition about structural<br />
concepts including dimensioning and therefore felt the need to set an appropriate<br />
impulse.<br />
We asked the participants to design a piece of furniture that is able to<br />
bear the load of a person and apply an appropriate structural principle. Comparing<br />
the results, we had the impression that many students understood the methods<br />
of structural design as a formal vocabulary, which they incorporated into their<br />
designs. [→ FIGURE 5 and 6]<br />
18
CHRISTOPH SCHINDLER<br />
HISTORY<br />
Historical embedding and formal recourse help us not to lose touch while something<br />
new develops. There are different strategies for dealing with design history.<br />
If we think of design history, we usually think of a design history “canon” and<br />
emphasized “key objects,” embedded in an art–historical model that moves from<br />
one “great movement” to the next. 10 If a designer imitates a style or age, we call<br />
this attitude “retro.” A redesign of such a key object is labelled “approbiation,” like<br />
Stefan Zwicky’s redesign of Le Corbusier’s LC2 in concrete and reinforcement.<br />
Together with a team of design historians and in the context of a vintage<br />
design salon, we carried out the module “Memories of Objects and Their Stories”:<br />
the participants chose a historical reference from the living area and placed it in<br />
a contemporary context. The references were not specific designs from known<br />
designers, instead they belonged to a certain type of vernacular, indigenous and<br />
anonymous family of objects, a kind of Bernard Rudofsky approach transferred<br />
11<br />
to design. [→ FIGURE 7 and 8]<br />
CONTEXT<br />
A reference to a related or entirely different discipline gives the customer the impression<br />
of moving in a field that he or she can hardly enter otherwise. Such a reference<br />
is the fuel filler cap of all generations of the Audi TT since 1998, which is formally<br />
reminiscent of automobile racing and thus emphasizes the sportiness of the car.<br />
Under the title “Inspired by Textile Objects,” we offered a module that<br />
drew its inspiration from the digital archive of the Zurich silk industry, which was<br />
designed by a research group at our school. 12 We were interested in how peculiarities<br />
of textile patterns—rapport, weaving techniques, patterns, colors—could<br />
be transferred from one design discipline to the other and, practically speaking,<br />
from flat textiles to the third dimension of product design. The openness of the<br />
question allowed a broad solution space. It was hard to tell whether the resulting<br />
objects can still be categorized as product designs, became art, are between<br />
the disciplines, introduce a new field or whether the disciplines have dissolved.<br />
CONCLUSIONS<br />
For our School of Art and Design, design modules based on referencing are among<br />
the most appreciated courses, both internal among students and teachers as well<br />
as external colleagues from our discipline. For most students, this is the moment<br />
in their curriculum when they start to relate themselves to the world. They interact<br />
with practice, disciplines, history and cultures and are introduced to the complexities<br />
of design.<br />
In contrast to specialized courses in any of the chosen fields, a design<br />
module does not set out to give a complete overview of a field. Correspondingly,<br />
students do not learn in depth about the field of their reference, instead they<br />
reflect on its relation to product design. Moreover, they gain an awareness that<br />
instead of just one perspective on the world there are many, depending on place,<br />
culture, profession, as well as ethnicity, age, religion, gender and so on. Referencing<br />
is more of a method than a content.<br />
19
DESIGNING IN THE WORKSHOP—THINK WITH YOUR HANDS<br />
36
FLORIAN HAUSWIRTH<br />
ing or CNC milling. Conversely, it is not so easy to translate real handmade objects<br />
into 3D data. However, that data is needed for precise assembly or later production.<br />
And yet, industry and developers of CAD systems have not shown much interest<br />
in this transfer. Nonetheless, for designers of real products, this interplay is crucial.<br />
Apple Chief Designer Jonathan Ive is also among those who have observed<br />
a growing division between digital design and practical manufacturing in education:<br />
“So many of the designers that we interview don’t know how to make stuff,<br />
because workshops in design schools are expensive and computers are cheaper.<br />
(…) That’s just tragic, that you can spend four years of your life studying the design<br />
of three dimensional objects and not make one.“ 3<br />
DESIGNING IN THE WORKSHOP<br />
My open-minded approach to designing in the workshop has been molded by time<br />
spent training and working as a model maker. During my apprenticeship, all work<br />
followed a precise plan, and I subsequently had to teach myself to break free from<br />
this structure. During my stint in the development department of the furniture company<br />
Vitra, I began to take notice of how things seemed to center around a “materialized<br />
idea,” its form, rather than the actual physical object (model). Occasionally, we<br />
had to painstakingly assemble objects for 2–3 weeks only to saw them into pieces<br />
within seconds and reassemble them with great effort and prescribed precision.<br />
It is not easy to describe the design process in the workshop. At the most<br />
fundamental level, all steps should be designed in such a way that the unforeseen<br />
is taken into account. Unpredictable things can happen “on a whim” or in the form<br />
of “mistakes” that creep in but may also point to another, perhaps simpler way<br />
of doing things. This “openness in planning” could be compared to interactions<br />
between craftsman and designer. Especially when one gets a little tired or bored,<br />
this can be an exciting thing. Even a situation or activity where a person is unfocused<br />
or absent-minded can give rise to something new. “To me, boredom is the<br />
mother of creativity. And also curiosity.” 4 says designer Ron Arad.<br />
Communication in the workshop is more direct and informal than in an<br />
office setting. It is never unclear what you are talking about. I always find “work<br />
discussions” with students very interesting. Conversations can go off in various<br />
directions, which then require further decisions. Some people need confirmation<br />
and encouragement while others need to be challenged by provocation when they<br />
become bogged down or get carried away with implementation issues. In addition,<br />
random visitors can be a disruptive force that breathes life into a process.<br />
An ideal scenario has students learning a practical trade mingle with<br />
students of a different educational background in the same class, because this<br />
makes them rise to challenges through their different approaches. To put it pointedly,<br />
the nerds and the uninitiated need to bounce ideas off each other during the<br />
design process. People will dig deep into a subject matter only to pull back later<br />
to analyze the process with a sense of detachment. Compare this with the feedback<br />
scenario that is associated with the design process “Double Diamond”: “The<br />
Double Diamond is a simple visual map of the design process, divided into four<br />
distinct phases—Discover, Define, Develop and Deliver.” 5 Irrespective of the discipline,<br />
this process always allows for different options to be examined and narrowed<br />
down to a specific answer. This applies to both defining the problem and<br />
determining the solution, which makes it a double diamond.<br />
37
PULPO<br />
L: 520 mm × W: 480 mm × H: 790 mm<br />
The architectural moment, in the right-angled cutting of two L-legs by Alvar<br />
Aalto, was the starting point for a long series of concrete designs. The focus lay<br />
on both bent linear elements and on planar surfaces. A first concrete design led<br />
to a frame that was composed of assembled, transformed Y-legs, over which a<br />
large surface for sitting and two smaller surfaces for depositing the arms had<br />
been arranged, all of them like deep-frozen cloths. Although both elements had<br />
been derived from Artek examples, they were unable to form a sensible entity.<br />
Furthermore, the production of the legs and their attachment was found to be<br />
both impractical and too expensive. In an additional step, the rod-shaped legs<br />
had also been reworked into surface-like elements. The individual parts were<br />
sewn together at those points where they overlap or touch, which approaches<br />
the sensuous impression of the textile surface.<br />
The most important aspect of the Artek design was, however, the simplicity<br />
of expression and, above all, the uncomplicated assembly. A direct joining<br />
of these components became a central aspect of the next step. Starting once<br />
more from the Artek stool, the design was revised and now based itself on a<br />
seating surface with three identical legs, one of which now forms the backrest.<br />
This new simplicity immediately expressed itself in its childlike, organic forms.<br />
It was easy to stack the three identical, spoon-shaped legs and to pack them in<br />
a space-saving manner. Furthermore, the assembly is simple and clear. Due to<br />
its bent shape, the 7 mm thick cross-glued wood veneer has an enormous rigidity.<br />
For weight reasons, the seating surface is hollow. This means that screws<br />
can be simply pushed through and tightened with a nut.
RAOUL DUBOIS<br />
[GALLERY] → 82<br />
45
JOLICOEUR<br />
L: 300 mm × W: 600 mm × H: 410 mm<br />
What does a seating object look like which not only has to be elegant and sensuous,<br />
but also has to be robust because of frequent use? The objective of the<br />
proj ect was to develop a seat for public transportation facilities. A number of<br />
free sketches led to important steps in the direction of a target form, where comfort<br />
and simplicity are combined in curves. Extensive production tests led to a<br />
seat that is constructed in one piece. A fixed inner and flexible outer formwork<br />
was created for this purpose. In this first step, a lot of effort was spent on producing<br />
a strong curvature, after which the seat had to be stabilized in a second<br />
step, through a combination of these surfaces. The formwork, which had been<br />
rebuilt with a lot of effort, made a still tighter curvature possible at this point.<br />
The radical concept of a closed, simple and comfortable form led to a result<br />
that expands the formal language of plywood and indicates additional potential.<br />
54
MANON ZIMMERLI<br />
[GALLERY] → 96<br />
55
BOBI-STOOL 155<br />
L: 520 mm × W: 374 mm × H: 300 mm<br />
66
ILGHAR DADGOSTARI<br />
[GALLERY] → 112<br />
In the design, the name Artek stands for the connection between identity,<br />
function and art. Despite modern production techniques, products are not<br />
always considered as purely industrial artifacts. Instead, they are frequently<br />
an expression of socio-philosophical concepts and, with that, representatives<br />
of their time. In this sense, the project searches for forms that go beyond the<br />
pure material and production technology.<br />
Following this guiding principle, especially the use and the meaning of<br />
symbolism have been made the focus of the creative process. The interaction<br />
between form and material develops via numerous attempts that are made on<br />
different scales. Due to the material properties of cardboard, the initial tests<br />
and first development of forms were carried out in this material. The designs<br />
developed this way are then worked out more precisely in their form by using<br />
a milling machine. A model is created using a scale of 1:3 or 1:5 and then made<br />
of aircraft plywood, after which it is examined for strengths and weaknesses.<br />
On the basis of the achieved results, weak points were strengthened in the final<br />
design and fixed with screws. Unlike other projects, the form of the object is<br />
not created by using a press mold. Instead, it is the result of an active deformation<br />
process of the wet wood.<br />
This has led to the creation of an abstract object that can be used as<br />
seating furniture, both in the home area and in public institutions, such as galleries<br />
or museums. The basic concept of the form is designed to promote a dialog<br />
between various cultural, social and historical contexts. 67
HENK<br />
L: 520 mm × W: 260 mm × H: 500 mm<br />
Very early on in the project, the potential of a folding chair was recognized and<br />
investigated with a first model. This consisted of four bent U-parts, which could<br />
be folded in two directions and which generated unusual shadows in light. This<br />
trial model was the starting point for the project. While the folding function was<br />
integrated, the radii of the U-shaped of the chair legs were changed. In this way,<br />
different functional models were created with strongly reduced shapes, so that<br />
the intersections of the U-legs could come into their own.<br />
For the production of the chair legs, flexible and airplane plywood were<br />
used, which was cut into strips and coated with polyurethane wood adhesive,<br />
after which it was wrapped around the prepared form made of MDF. A shaping<br />
machine was then used to remove the unnecessary material. The two forms of<br />
the seating surface meet when the chair is folded open. The two selected shapes<br />
form a rounded end to the chair legs, together with the cushion and the leather.<br />
Henk stands for lightness and mobility. If required, the volume of the<br />
chair can be reduced through the folding function, so that it is easier to store<br />
it. The user has the choice of using this in the living room, on the veranda or<br />
while camping.<br />
78
MELINA MICHAELIDES [GALLERY] → 124<br />
79
PULPO<br />
82
RAOUL DUBOIS<br />
[PROGRESS] ← 44<br />
83
JOLICOEUR<br />
96
MANON ZIMMERLI<br />
[PROGRESS] ← 54<br />
97
SPLIT STOOL<br />
106
NICOLAS HARTER<br />
[PROGRESS] ← 60<br />
107
MYCRET SOLID STOOL<br />
114
LEA BISSIG<br />
[PROGRESS] ← 70<br />
115
L //KE<br />
126
MERET TRÖSCH<br />
[PROGRESS] → 146<br />
127
STOOL 62<br />
134
OLEKSANDRA MEDVEDEVA [PROGRESS] → 154<br />
135
BIRK BANK<br />
L: 1350 mm × W: 450 mm × H: 800 mm<br />
Based on Alvar Aalto’s “Stool 60” and its L-legs, as well as the concept of self-assembly,<br />
a modular system for a seating bench was developed, which can be used<br />
in many different ways. Variations in the legs of the bench play an important role<br />
in this regard. These are bent with the help of cuts and steam, and then glued<br />
together with inserted veneers. The legs are made of maple wood, and the parts<br />
for the arms and back are manufactured from spruce tree wood. Due to the way<br />
in which they are joined, the legs appear to wind themselves around the seating<br />
surface, the back and the armrests, as if they were plants. This organic motif<br />
helps to form the bench into an entity that offers great comfort, despite the seriality<br />
of the elements: since the backrest and the armrests are bent, the body can<br />
comfortably snuggle up to the bench.<br />
BIRK BANK is delivered with exchangeable legs, which can be combined<br />
with various armrests, backrest and seating surfaces. This means that this bench<br />
can be adapted individually to each place where it is used.<br />
150
NATALIE AGREDA [GALLERY] ← 130<br />
151
PENKKI<br />
L: 1100 mm × W: 600 mm × H: 900 mm<br />
The design of the “Penkki” has two roots. Firstly, the construction and the<br />
esthe tics of the L-legs that were used for the “Stool 60” of Artek, which serve<br />
as a technical foundation for its production, and secondly the highly symbolic<br />
Swiss “Landibank” of Burri, which serves as an esthetic reference. The radical<br />
simplicity of these motifs was recorded in a comic-like pencil sketch, which in<br />
turn became the basis for its further development. The objective was to come<br />
as close as possible to the esthetics of the two-dimensional sketch in a three-dimensional<br />
space, without appearing to be grotesque. This is why rather rough<br />
forms were used and why the edges were given an imperfect finish. The object<br />
was manufactured according to the Artek example, whereby the cantilevered<br />
legs were produced with the help of a counter-form. Simple spruce wood planks<br />
were used for the seating surfaces and the backrest. Through the esthetics<br />
of repetition, the bench wins dynamism, and the straight hardwood is given a<br />
snappy touch. Through its direct connection with the original sketch, the creative<br />
process is conveyed by the object itself. Here seating furniture has been<br />
created in wood, which gives both a playful and a minimalist impression, while,<br />
due to its lightness, giving a new interpretation to cozy sitting in the living room.<br />
This has led to the creation of a niche product in the crossover between a stool<br />
and a bench, indoor and the outdoor space and between two cultures, namely<br />
Finland and Switzerland, as a cantilevered bench for the living room.<br />
158
URSINA HASLEBACHER [GALLERY] ← 138<br />
159
GRAIN ORIENTATION, GROWN AND SHAPED<br />
FIGURE 1 Oak outer string timbers required for shipbuilding<br />
FIGURE 2 Structure of a wood cell<br />
FIGURE 3 Stress distribution in curved wood<br />
FIGURE 4 and 5 Hay sled
SEBASTIAN KRAFT<br />
the material does not have to stretch or compact. By placing a metal bending rail<br />
on the outer (pull) side, the tensile component can be completely removed from<br />
the wood. Metal has a considerably higher tensile modulus (and a higher tensile<br />
strength) than wood and takes over the tensile stress. As a result, the wood<br />
“only” has to compress—on the inside now several times over. According to a rule<br />
of thumb, hardwoods such as beech, oak, ash and elm can be bent by a minimum<br />
radius of three to four times the thickness of the piece in question. Conifers, on<br />
the other hand, only allow 18 times the radius. 1 [→ FIGURE 3]<br />
DAMPNESS<br />
In preparation, the air-dry wood is moistened with water. When moisture is supplied,<br />
the cells swell and the properties of the cell building blocks change. E-modulus<br />
and strength decrease. Moistening beyond the fibre saturation point does not<br />
further soften the wood, contents are washed out if necessary and cell cavities<br />
filled with water can lead to breaking outwards on the pressure side during bending.<br />
TEMPERATURE<br />
Temperature has a great influence on the mechanical properties of the wood.<br />
In combination with wood moisture, an increase in temperature leads to a loosening<br />
of the fiber composition and to plastic deformation (in contrast to elastic<br />
deformation, in which the object returns to its original state after loading/bending).<br />
Elongation now causes much less stress than with dry, unheated wood. The<br />
deformability of the cell walls allows for strong compression. <strong>Wood</strong> should be<br />
continuously warmed to 80° C and moistened up to the fiber saturation point.<br />
GROWTH RINGS<br />
A load in the tangential direction is advantageous, i.e. the cross-section to be bent<br />
should preferably have standing growth rings (90° to the bending direction). Grain<br />
orientation should be parallel to the longitudinal axis. Cut fibers break outwards<br />
during bending, the piece has a reduced load-bearing capacity.<br />
METHODS<br />
The wood is steamed or boiled in a closed container, then bent and fixed as quickly<br />
as possible over a press mold or several points. After cooling it is loosened and<br />
can be further processed. Since the wood springs back a little after forming, the<br />
bending form must be 10–20 % beyond the target geometry. Additional fixation<br />
over several days or weeks—e. g. with a clamping set or nailed strips—prevents<br />
slow resetting further. Each wooden part takes on an individual shape after bending,<br />
therefore it is important for parts that are in a series production that they are<br />
fastened at several points (at least three) when installed.<br />
167
THE FORM AS AN IMPRINT OF AN IDEA<br />
FIGURE 1 US Patent, John Henry Belter, “Manufacturing <strong>Furniture</strong>,” 1858
MARIO RINKE<br />
itself in England as a metaphor for the cheap and deceptive. The French furnier<br />
of the 16th century still stood for adornment and meant covering a piece of wood<br />
with a nobler one.<br />
The development of plywood as we know it today is mainly the work of<br />
two people whose patents dominated the discourse in the USA in the 1850s and<br />
1860s: Belter and Mayo. The cabinetmaker John Henry Belter (Johann Heinrich<br />
Belter), who immigrated from Germany, owned a furniture factory in New York<br />
and received numerous patents for machines and plywood techniques. Interestingly,<br />
in the documents of his ‘pressed-work’ there are even depictions of press<br />
molds and arrangements of the lamellas [→ FIGURE 1]. Belter only briefly names the<br />
essence of the well-known plywood, the gluing of thin layers of wood in layers, in<br />
order to then focus on the actual application: “giving increased beauty, strength,<br />
and other valuable qualities to what is termed ‘pressed-work’ furniture (…)”. 4 Belter<br />
used his technique to make the back of a chair. Until then, an object produced<br />
in this way had been produced flat or curved in only one direction because of its<br />
material characteristics. Belter produced a closed tubular shape from which he<br />
cut out the individual back segments. By means of the tubular shape, he shaped<br />
his curved chair backs: In the direction of the tubular shape, he bent the individual<br />
staves, in the tangential direction he pushed them together at slanted edges,<br />
similar to the wall of a barrel. This allowed him to easily achieve a double curvature,<br />
which provided greater stability and made the element lighter. For esthetic<br />
and technical reasons, the outermost layer was to be vertical and—to give the customer<br />
a good impression—made of rosewood. Similar to his patent for the rosewood<br />
bed 5 in 1856—for its frame he developed a circular, curved plywood surface—the<br />
specially shaped wooden component is a replica of an established shape<br />
yet using a new process. Plywood is therefore a practical, lighter and more compact<br />
substitute for a multi-part and multi-stage construction method. It is only<br />
applied to the part of the furniture whose geometric complexity normally meant<br />
a greater construction effort.<br />
In 1865 John K. Mayo’s patent, on the other hand, aimed at a general production<br />
of materials. 6 He first described the process of artificially joining the layers:<br />
“The invention consists in cementing or otherwise fastening together a number<br />
of these scales of sheets, with the grain of the successive pieces, or some<br />
of them, running crosswise or in diversely from that of the others (…).” The specific<br />
direction of the timber grains takes on a specific arrangement and the layers<br />
neutralize each other to a certain extent. For this new wood building material,<br />
the scale boards, he had specific forms and technical applications in mind, as<br />
he explains in a patent in 1868. 7 There, elements in the form of tubes or hollow<br />
boxes are depicted and described in order to be used as lightweight and particularly<br />
load-bearing bridge beams. Constructively, they refer to the contemporary<br />
wrought-iron components whose typical forms they adopt. But also the connection<br />
details, e. g. sleeve joints and, if necessary, rivets, are taken over. Scaled<br />
boards are produced as “improved material,” which produce different technical<br />
forms. Mayo’s collage-like drawing [→ FIGURE 2] thus stands for the principle of construction:<br />
The individual, the thin, narrow layers of wood, are transformed into a<br />
new, continuous mass whose plate-like form is determined by the industrially executed<br />
layering only. This continuous mass already has a new artificial shape, i.e.<br />
the straight plate, which is combined to form boxes or is constantly curved to the<br />
shape of a tube. The new nature of the material, its layering with its specific directions<br />
and the overall curvature, is laid out in the reorganization and fixation of the<br />
177
TECTONICS<br />
FIGURE 4 Paimio lounge chair, Alvar Aalto, 1930<br />
FIGURE 5 Chieftain chair, Finn Juhl, 1949<br />
FIGURE 6 Romans’ curule seat, Sella Curulis<br />
FIGURE 7 PK22, Poul Kjærholm, 1955 FIGURE 8 PK 41, Poul Kjærholm, 1961<br />
190
NICOLAI DE GIER<br />
Technique prepares and works up the materials and gives form to them and to<br />
the associated parts, partly through the techniques of adapting and finishing<br />
them, but also through modes of joining the constituent elements that have been<br />
adapted to the chosen material.<br />
When new techniques are contrived, new possibilities of working with<br />
existing materials arise. When the technique of steam bending was developed<br />
by the Thonet brothers, new ways of designing furniture were rendered feasible.<br />
Suddenly, it was possible to move, in a simple way, from the vertical to the horizontal<br />
plane without having to do so via an assembly or via joining. Not only did<br />
the new possibilities have an influence on the form, they also affected the whole<br />
process of formation. Consequently, the world’s first industrial articles of furniture<br />
could be mass-produced.<br />
TECTONICS AS A FACTOR IN THE FORMATION OF MEANING<br />
The formation of meaning in a given article of furniture’s construction depends<br />
on the perceptions and associations fashioned actively by both the creator and<br />
the viewer. How the furniture articles’ construction is perceived and interpreted<br />
and what meaning the architect has supplied to the construction, along with how<br />
this is perceived by the viewer on the basis of his/her experiences, all depend to<br />
a marked extent on the cultural horizon and on the political, social and economic<br />
circumstances under which the articles have been created.<br />
Certain articles of furniture carry more significance than others and this<br />
establishment of meaning is crucial when we consider that some articles of furniture<br />
make a deeper impression on us, regardless of what period of time they<br />
have been created in, because they have been executed with an affirmative artistic<br />
insistence that extends beyond their own contemporary time.<br />
The tectonic articulation is the generator of the formation of meaning in<br />
the manner of joining the elements. In other words, through a closer analysis of a<br />
given article of furniture’s materially related adaptation and finishing, of its execution<br />
with respect to form and of the significance of the joinings, the tectonic<br />
idea of the work can be read. Tectonics unites the artistic purpose with the materiality,<br />
the form and the technique.<br />
“Architecture begins when two bricks are put carefully together.” 4<br />
Mies van der Rohe<br />
—<br />
1 Werner Blaser. Joint and connection. Basel 1992<br />
2 Kenneth Frampton. Studies in Tectonic Culture. The Poetics of Construction in the<br />
Nineteenth and Twentieth century architecture. Cambridge, MA 1995<br />
3 Anne Beim. Tektoniske visioner i arkitektur. Copenhagen 2004<br />
4 Gustav Friederich Hetsch. Bemærkninger angaaende Kunst, Industri og Haandværk.<br />
Copenhagen 1863<br />
191
CONTRIBUTORS<br />
NICOLAI DE GIER is Associate Professor, architect<br />
MAA, graduated from The Royal Danish Academy<br />
of Fine Arts, School of Architecture and trained as<br />
a cabinetmaker. He is head of the <strong>Furniture</strong> master’s<br />
program. Nicolai de Gier has published a number<br />
of articles, papers and books on furniture and<br />
design, participated in design talks, exhibitions, workshops<br />
and documentaries about furniture design. He<br />
co-founded and runs the design brand TAKT.<br />
FLORIAN HAUSWIRTH is an industrial designer and<br />
“industrial craftsman” thanks to his training as a<br />
technical model maker. During his work as a prototype<br />
builder and materials researcher at Vitra, he<br />
learned various design approaches and also experienced<br />
the transition from analog to digital design<br />
in the product development of the furniture company.<br />
Today he runs a design studio and label “Industrial<br />
Craft” where he places machine processing and<br />
handmade products in an equal relationship to each<br />
other. Florian teaches on the Object Design Program<br />
at the Lucerne School of Art and Design.<br />
SEBASTIAN KRAFT is a carpenter and timber engineer.<br />
From 2007–2011 he worked in the materials department<br />
of the Bern University of Applied Sciences in Biel.<br />
He has been self-employed since 2011 and develops<br />
professional solutions for the application of wood and<br />
derived timber products. Since 2014 he has been a<br />
lecturer for wood theory at the Lucerne University of<br />
Applied Sciences and Arts.<br />
MARIO RINKE is a structural engineer and construction<br />
historian, specialized in early reinforced concrete<br />
and timber construction. He is a senior researcher at<br />
the Department of Architecture at ETH Zurich where<br />
he has lectured since 2011, having been at the Lucerne<br />
University of Applied Sciences and Arts since 2009.<br />
He obtained his Diploma in civil engineering from the<br />
Bauhaus University in Weimar in 2006 and his PhD<br />
at ETH Zurich in 2013. After working as a structural<br />
design engineer in London and Zurich, he runs his<br />
own office in Zurich. Mario is a founding member of<br />
the International Association of Structures and Architecture<br />
(IASA) and regularly publishes in the fields of<br />
architecture and construction.<br />
CHRISTOPH SCHINDLER studied architecture at the<br />
University of Kaiserslautern and received his doctorate<br />
from ETH Zurich. Since 2005 he has been a partner<br />
at schindlersalmerón in Zurich, responsible for<br />
product development with a focus on contract furniture.<br />
Since 2014 he has been Head of the Object<br />
Design Program at the Lucerne School of Art and<br />
Design.<br />
JOSEPH SCHWARTZ has been full professor at the<br />
Chair of Structural Design at the Department of Architecture<br />
at ETH Zurich since 2008. He obtained his<br />
Diploma in civil engineering from ETH Zurich in 1981<br />
and his doctoral degree in 1989. Between 1989 and<br />
1999 he lectured at several universities in Switzerland.<br />
From 2001 to 2008 he was professor at the Lucerne<br />
University of Applied Sciences and Arts. Joseph<br />
Schwartz was associate partner of a consulting office<br />
in Zug, Switzerland, from 1991 to 2001. Since 2002 he<br />
has been the owner of a civil engineering office in Zug<br />
involved in the design of building structures, in close<br />
cooperation with several leading Swiss architects.<br />
ALESSANDRO TELLINI studied industrial and product<br />
design at the University of Applied Sciences and Arts<br />
Northwestern Switzerland (FHNW) and has a formal<br />
education as a graphic designer from the Basel School<br />
of Design Switzerland. He joined the Rapid Architectural<br />
Prototyping Laboratory (Raplab) at the Department<br />
of Architecture at ETH Zurich as Research Assistant<br />
in 2009 and became director of the Raplab in 2011.<br />
Alessandro is a lecturer at ETH and involved in different<br />
teaching and research projects in the department, ranging<br />
from design studios to elective classes and from<br />
model building to large-scale prototypes. In 2017 he<br />
co-founded Faber Atelier, his own small-scale design,<br />
and furniture company.<br />
STUDENTS OF ETH ZURICH Ziu Bruckmann, Raoul<br />
Dubois, Alexandra Grieder, Nicolas Harter, Sven Högger,<br />
Samira Muster, Fabian Reiner, Valentin Ribi, Maxence<br />
Ryan, Simon Wüst, Manon Zimmerli<br />
STUDENTS OF LUCERNE UNIVERSITY OF APPLIED<br />
SCIENCES AND ARTS Deiara Kouto, Ilghar Dadgostari,<br />
Lea Bissig, Leonie Hochstrasser, Lorena Adler,<br />
Lukas Toppler, Melina Michaelides, Meret Trösch,<br />
Nadia Huber, Natalie Agreda, Nils Widmer, Oleksandra<br />
Medvedeva, Selina Cadruvi, Ursina Haslebacher,<br />
Viviane Stüssi, Aynur Turunc, Joshua Ritter<br />
199
TABLE OF FIGURES<br />
NICOLAI DE GIER: TECTONICS<br />
All images: Brian Buchard<br />
FLORIAN HAUSWIRTH: DESIGNING IN THE WORKSHOP—<br />
THINK WITH YOUR HANDS<br />
All images: Lucerne School of Art and Design<br />
SEBASTIAN KRAFT: GRAIN ORIENTATION, GROWN AND SHAPED<br />
1 Etienne-Nicolas Blondeau, Nicolas Claude Duval le Roy<br />
and Honoré-Sébastien Vial du Clairbois. Dictionnaire<br />
encyclopédique de marine. Paris 1783–1787<br />
2–3 Wolfgang Fiwek. Holz biegen. Hannover 2014<br />
4–21 Lucerne School of Art and Design<br />
MARIO RINKE: THE FORM AS AN IMPRINT OF AN IDEA<br />
1 John Henry Belter. US Patent “Manufacturing <strong>Furniture</strong>” 1858<br />
2 John K. Mayo. US Patent “Materials for Bridges & c.” 1868<br />
3 Otto Hetzer. UK Patent “Improvements in Composite<br />
<strong>Wood</strong>en Structural Elements (…)” 1906<br />
4 Carl Kersten. Freitragende Holzbauten. 2nd Edition. 1926<br />
5 Brooklyn Museum<br />
CHRISTOPH SCHINDLER: REFERENCING AS AN<br />
EVOLUTIONARY PROCESS<br />
1 Fabia Burkard<br />
2 Wikimedia Commons<br />
3 Andri Stadler<br />
4 Wolfgang Mayer<br />
5 Andri Stadler<br />
6 Wikimedia Commons<br />
7 Sophie Schüpbach<br />
8 “Silk Memory” web database<br />
ALESSANDRO ORESTE TELLINI: EDUCATIVE CRAFT<br />
All images: Raplab ETH Zurich<br />
INTRODUCTION<br />
pp. 10/12 bottom: Lucerne School of Art and Design / ETH Zurich<br />
p. 12 top: artek<br />
OBJECTS IN PROCESS<br />
All images: Lucerne School of Art and Design/ETH Zurich<br />
LAST PAGES<br />
pp. 192–195: Lucerne School of Art and Design/ETH Zurich<br />
pp. 196/197: Andri Stadler
DESIGN AND<br />
CONSTRUCT<br />
A PLYWOOD<br />
SEAT!
Design and construct a plywood seat! Based on the famous L-leg, which was designed by the architect Alvar Aalto for<br />
the Finnish furniture company Artek, an experimental study project investigated the potential and design possibilities<br />
of glued and bent wood. In close cooperation with Artek, 28 students of architecture at the ETH Zurich, and students of<br />
object design at the Lucerne University of Applied Sciences and Arts, not only turned the material on its head, but also<br />
questioned the sensuous qualities of the objects, their construction as an architectural place and sitting as a social<br />
event. This volume presents the surprising and unknown aspects of a well-known material, illuminates the respective<br />
creation process and reflects on its context in a variety of essays.<br />
Contributions to the volume were made by Nicolai de Gier, Florian Hauswirth, Sebastian Kraft, Mario Rinke, Christoph Schindler<br />
and Alessandro Oreste Tellini