Goals for this project are as follows: 
     1. Absent of excessive design elements 
         - From the first glance, it should be difficult for the viewer to think of any excessive 
           design elements to get rid of without sacrificing its overall aesthetic or function.
     2. Simple parts and construction 
         - Like the legendary Thonet no. 14, the chair must consist of minimal number of parts 
           and be easy to assemble. 
     3. Sensual or conceptually anthropomorphic
         - Not to be confused with blatant anthropomorphism, the lines found in the chair must derive its 
           inspiration from or make inexplicit connections to the simple and elegant lines of the human body. 
     4. Harmony between aesthetic and function 
         - The materiality of bent plywood must simultaneously play an integral part in both the 
           aesthetic and the function of the chair. Aesthetic and function must be interconnected. 
     5. Iconic
         - The silhouette of the chair must be simple or/and eccentric enough to be 
           easily recognizable and memorable.
Initial Ideation / Sketches 
     The ideation method the designer chooses for each project debatably plays a huge role in the outcome of his/her
     design. As vacuum form bent plywood became the chosen method of construction, it became clear to abandon
     sketching as the main means of ideation. 
Paper Models
     Having similar qualities as bent ply, paper offers a much more direct and pure method of ideation. 
Scale Model
     The scale model serves multiple purposes in that firstly, you can get a clearer sense of how to build the full scale
     model, secondly - although the full scale model should still be considered a prototype - it gives you an another 
     pass at fine tuning the lines and proportions of the chair before the full scale build, and thirdly and most 
     importantly, it makes an excellent decor item for your bachelor apartment.
Process 
     On a side note, my belief in the significance of conviviality in an academic and creative environment has 
     deepened throughout this project. Unfortunately, conviviality - convivere: to live together - seems to be 
     desperately lacking in many design schools today. True discussion, collaboration, and exchange - the bedrock 
     of all creative institutions - can only thrive in an environment of conviviality. Bit too utopian of a thought one might
     criticize, but it is difficult to see what the disadvantages of advocating for conviviality would be. It is unclear if it is
     the pedagogical structure itself or today's general social attitude that seems to discourage conviviality among 
     peers in industrial design programs. It is interesting to note that the process of vacuum forming bent plywood 
     itself helped encourage conviviality, as many larger pieces couldn't be oriented in the vacuum bag by one
     person. Thus forcing people to work together and strengthening the atmosphere of conviviality as a result. 
Consisting in total of three bent plywood pieces, two rubber pucks, and four screws, this chair offers 
a glimpse at the possilibility of mass production. 
The side profile, reminiscent of the female waistline, translates to a simple graphic that has an iconic quality. 
The back pan, which intersects with the top and side handles, portrays a familiar aesthetic 
vocabulary of common household dining chairs. 
Fine tuning the lines before the final construction.
Rear View
Close-Up
Exhibition - Manoogian Gallery (2015 ~ present) 
Chosen to be represented as one of the best student work from College for Creative Studies, this project is 
currently on display at the Manoogian Gallery in midtown Detroit.

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