IMG_9505.jpg
HUP_3698.jpg
IMG_8877.jpg
j.jpg
IMG_9663.jpg
IMG_9505.jpg

Mint Chair


SCROLL DOWN

Mint Chair


Mint_CHAIR

 

My Grandmother’s home sat solidly within the slopes and slight undulations of the surrounding landscape. A split level, the house had a massing that was notably horizontal. The kitchen connected directly via screen door to her extensive garden and incorporated her garden’s summer colors: pumpkin-orange, paprika- red, sunflower-yellow. Rows of garden flowers created a sort-of floral labyrinth. Running along the foundation of the home, within easy reach of the screen door, were three large peppermint beds. As if intentionally punctuating the house’s horizontal orientation, the Peppermint plants climbed vertically. Saturday afternoons spent with my grandmother and my brothers would include simple, didactic tasks in her garden, one of which was picking peppermint for tea. Upon finishing our tasks, my brothers and I would come back into the house and relax in my grandfather’s favorite chair as we each enjoyed a glass of peppermint tea. As a child, and even today, I find these memories surprisingly immediate and soothing—the scent of the mint, the feeling of the leaves and sturdy stems in my fingers, and even the bright sunshine of languid days.My objective is to explore ideological, cultural and social ideas through the production of physical objects. The chair is a re-inscription of my own memories, and the most immediate aspects of these memories are stimulated by touch and smell. As a result, the design is informed by the the tactile qualities the boucle fabric and the smell of fresh peppermint. 

 

 
 
HUP_3698.jpg

New Page


New Page


Developing form

 

The form of the chair was developed through contemporary technologies including Rhinoceros 3D modeling software and computer numeric controlled (CNC) machining, as well as traditional crafts such as upholstery and metal work.

Chair tooling: Five 2"sheets of Polystyrene Low Density foam machined (4 ft x 8 ft) individual sections pieced together and laminated and sanded. The tooling was then coated with the lacquer, followed by a release agent. The last two layers (release agent and wax) enable the fiberglass shell to detach from the tooling after it has cured. The following diagram illustrates the shape of the tooling both when put together and as cut sections. After tooling was assembled,

 
 

DIFFICULTIES OF SCALE

The only fabrication setback occurred during milling process. Upon lamenting the section cuts I realized the tooling was much too large. In an attempt to better understand my error I came across the following explanation on the  difficulties of envisioning changes in volume.

 

"Allometry derives from the fact that geometrically a large object has more volume in relation to its surface than a small object; more precisely surface increases by the second power of the linear dimension whereas volume increases the third. In the weightless space of mathematics such a transposition makes no difference but when it occurs in the physical world under the influence of a constant gravitational pull, the difference matters a great deal. To the extent that an increase in volume means an increase in weight and shape is altered when size changes. In the psychological world of perceptual awareness, the constant factor that makes for a similar difference is the disproportion in size between man and his dwelling place. The human animal is relatively small and confined to the ground, and since his locomotion is accordingly slow, he builds for himself environments in which the local developments are small. The shorter the distance from an object , the greater the visual angle, which determines which determines the size of an image received by the eyes. In a constricted environment, therefore, a relatively small part of a building or space fills a large area of the visual field and may be surveyable only if the eyes and the head rove back and forth in scanning motions"

(Arnheim, 1977).

IMG_8877.jpg

Fabrication


Fabrication


Fiberglass

Technique: WetWrap

 

1. Chopped Strand Matt Fiberglass 1 1/2oz. 
2. Epoxy Resin
3. Synthetic Veil  
4. Vinyl Foam: Divinycell 5 lb. Density
5. White Plaster Dry Mix
6. PVA release

 

 

 
j.jpg

UpHolestery


UpHolestery


UPHOLSTERY

 
 
IMG_9663.jpg

Steel


Steel


 

Tactile Qualities

of FabrIC

 

I created The Mint Chair as both a technical exercise, and also a conceptual work in which I sought to recreate memories through the tactile qualities of fabric, the calming smell of peppermint and the use of organic forms recalling my grandmother’s garden and my grandfather’s beloved “womb” chair.

 

Thanks


Thanks