Cassia Chair
The product development
Today we would like to give you an insight into how we have developed our new Cassia Chair.Starting from the first drawing to the choice of fabric for our collection shooting. HAVE A LOOK !
Cassia is the perfect addition to our dining series. Whether as a small side chair or as a comfortable dining chair. Cassia chair has a curved back and seat shell such as a flexible swivel base.
THE LEITMOTIF
The shape of the chair is derived from a flower. The symbolic shape and the use of monochrome and bright colours of the velour fabrics give the chair some kind of pop-art touch.
The Cassia Chair is defined by a curved back and seat shell. The elements nestle against the body and embrace it protectively.
The linear stitchings in the back and seat emphasise the symmetrical appearance of a flower structure.
Parallel to the formal development of a new product, we also look for a suitable name that not only sounds nice but also fits the concept in terms of content. The association of a picture with a flower suggested itself to look around in the field of botany and to play through different names.
Cassia is derived from the cinnamon cassia. A plant species from the genus Cinnamomum. It supplies the so-called Cassia-cinnamon spice. The linear irregular stitchings also remind of cinnamonsticks, which is the bark of the cinnamon.
THE DESIGN PROCESS
At the beginning it is usually only a quick drawing or a small model that helps us to capture the shape. This snapshot often doesn’t stay that way, but changes with every additional factor that results during the design process.
To define the size and proportions, we build a model in 3D first. The height of the backrest and the width of the seat are, at this stage, mainly oriented towards comfort requirements and provide rough measurements.
From the 3D data, a wooden frame is manufactured in 1:1, on which the form can now be worked out. Since the wooden frame is not visible, it is only used for constructive support. It is dependent on the outer layer of the padding and the fabric cover. Every change of this shape requires a change of the cut and the wooden frame.
DESIGN DEVELOPEMENT
In the course of the process, the shape of the backrest was reduced to the maximum and turned over completely once. We also “acted through” how the chair would look like without the armrest. Finally, after a lot of “trial and error” we were led back to the starting point.nkt.
In order to determine the desired seating comfort, different foam densities and waddings are tested. They also determine the voluminous appearance of the design. In order to cleverly integrate seams and zippers, we tried different possibilities in many small individual steps which slowly became more and more precise.
Design : Dagmar Marsetz
