Designers have begun blurring the line of paper and prototype to create sketch-inspired furniture.
Over the past year, two designers have unveiled furniture collections implementing the clever concept; one by Korean designer, Jinil Park and the other by Tokyo University of the Arts student, Daigo Fukawa.
Both collections see the furniture structures formed from wire and steel materials, creating an aesthetic that appears to be two dimensional but is actually fully-functional three dimensional furniture.
The idea of Park’s “Drawing Series” came about through his own illustrations, when he began to consider the feasibility of his drawings as structures.
Park’s furniture pieces are created by spot-welding thin wires that “combine and intersect” together in order to hold the weight of a human.
Park’s initial Drawing Series collection consisted of two chairs, two desk lamps and a small table in classic black and red.
He has since created an additional two collections where he explores colourful wire (orange, yellow etc.) and has implemented various chair styles and a stand up storage cabinet.
“The key point of my work is the moments where the line is distorted,” Park said. “They express the designer’s feeling, status, and emotion.”
“In the matter of design, the line plays a very basic but also crucial role because it is an element that generates a standard point for both the beginning and the end of any work piece.”
In contrast, Fukawa’s furniture pieces feature fine lines that are a little more rough in their design but are structurally as strong as Park’s pieces.
The collection came about through a project Fukawa completed for his senior thesis exhibition, entitled Rough Sketch Products.
The furniture seems to be suspended in mid-air and appears very two dimensional. Fukawa brought people to sit on the scribble-looking pieces to prove their sturdiness.
Rough Sketch Products offer a raw, playful style with structures moulded with wire to bring the whimsical fine lines to life.
Both collections were photographed against crisp white backgrounds (photos of Fukawa’s work have minimal shadowing) to give the effect of an illustration on a page.
While the jury is still out on the comfort factor, these designs are really about an ambitious aesthetic – one that sees a chair look like it’s walked right out of an etch-a-sketch. The designs are clever but not necessarily practical.