Bronze Furniture Design · 2025
Aeriform Armchair
- A' Design Award 2025 Bronze Winner in Furniture Design
- Awarded April 15, 2025
- CLIENT: Kristian Ruden
- Estimated Number of Design Views: 13,990
- Verification code DBF65D53C5 · Verify this award
About Aeriform Armchair
The Aeriform Armchair redefines comfort with its innovative approach to ergonomics and design. Conceived in virtual reality and informed by anthropometric studies, this chair offers versatile seating options, from relaxed lounging and sideways leisure to upright support. Its seamless design features effortless rotation and a springy base for a soothing rock. Crafted with a fiberglass shell, plush upholstery, and high-quality fabric or leather, Aeriform blends sophisticated presence with practical functionality, making it a standout addition to modern interiors.
Within the evolving discourse surrounding contemporary furniture design that seeks to reconcile the sculptural aspirations of mid-twentieth-century organic modernism with the material sophistication and ergonomic imperatives of twenty-first-century living, Kristian Ruden's Aeriform Armchair emerges as a compelling meditation on the tension between object as sculptural presence and object as functional hospitality, a duality that has animated furniture design since the postwar period when designers increasingly conceived seating as inhabitable sculpture rather than merely utilitarian support, the work appears to engage directly with the biomorphic vocabulary established by Scandinavian and continental European designers who sought to soften modernist geometries through embracing organic curves, flowing contours, and forms suggestive of natural phenomena—clouds, petals, shells, stones—rather than the rectilinear vocabularies of rationalist functionalism, the compositional achievement of the design resides in its successful navigation of volumetric complexity without sacrificing coherence, the chair describing a continuous three-dimensional gesture that moves from the protective, enveloping headrest through the supportive torso zone and forward into the capacious seat, each volumetric element maintaining formal relationship to the others through consistent formal language of soft, rounded geometries and smooth transitions, the chromatic restraint exercised in the cool slate-gray upholstery demonstrates sophisticated color intelligence, allowing the complex formal articulation to command visual attention without chromatic distraction, while the terracotta carpet beneath provides necessary thermal counterpoint that grounds and warms the composition, preventing the cool neutrality from reading as austere or clinical, the technical facility evident in the upholstery execution—the tight, even textile application across compound curves, the absence of visible seams or puckering, the consistent surface tension suggesting internal structural support that maintains form under use—speaks to manufacturing precision and material understanding, the integration of the slender black pedestal bases represents a particularly successful resolution of the perennial furniture design challenge of supporting substantial upholstered mass while maintaining visual lightness, the cruciform footprints providing necessary stability while the narrow columns create the illusion that the billowing upholstered forms float ethereally above the floor plane, liberated from gravitational constraint, thematically the work seems to explore the possibility of furniture that engages the body not through ergonomic segmentation—the analytical division of the human form into discrete zones requiring specific support—but through embracing, enveloping gesture that receives the body as continuous organic whole, the flowing contours suggesting accommodation rather than prescription, invitation rather than direction, the provision of the coordinating ottoman extends this somatic dialogue, offering options for postural variation and the possibility of full-body repose, the staging within the carefully composed interior environment reinforces the work's domestic aspirations and its intended integration into contemporary residential life, the ancillary elements—books, lighting, architectural backdrop—suggesting contexts of contemplation, reading, and sustained occupation rather than brief perching, one might observe how the design positions itself within ongoing conversations about the role of comfort in contemporary life, whether seating can provide both physical ease and aesthetic pleasure, whether sculptural ambition and functional generosity can coexist without mutual compromise, the work invites consideration of how form language communicates welcome, how material choices affect thermal and psychological comfort, and how contemporary design practice continues to mine and reinterpret the rich vocabularies established by previous generations while bringing new technical capabilities and evolved sensibilities to enduring questions of human-object relationship.
Press Kit
- Unique Properties
- The Aeriform is a luxury seating design focused on both comfort and aesthetic appeal. Its form draws inspiration from aerodynamic shapes, offering a sculptural presence. Crafted from high-quality materials, the armchair is designed with ergonomic support in mind. The use of innovative materials and precise craftsmanship sets it apart, blending artistry with functionality. Its unique design serves as both a functional piece and a statement of elegance, making it suitable for high-end interiors.
- Dimensions & Packaging
- Amchair sports 3 layer fiberglass frame with XPS foam core, various thickness and hardness of PU padding foam, fabric/leather upholstery with a single seam running around the edge. Base is done in steel with a 3D printed shell (time saving measures during prototype creation).
Dimensions of armchair: 1026 x 931x 1135
Dimensions of ottoman: 687 x 571 x 409 - Tags
- Armchair, sculptural, ergonomic, luxury, comfort, presence, high-end, dynamic, aerodynamic, seating
- Production Technology
- The prototype started with a foam core, CNC-milled from XPS foam and assembled with adhesive foam. It was sanded smooth, coated with epoxy resin, and layered with fiberglass for a strong shell. The base and legs were laser-cut steel, welded, and finished with a 3D-printed shell. The frame was padded with foam and batting, then covered with a precisely cut and sewn fabric. Finally, the chair was assembled with its base, lazy Susan, and headrest cushions.
- Design Challenge
- Main challenge was the lack of proper studies of comfort in anthropometric books. While ergonomy is well documented, there isn't much information abou comfort. Ergonomy looks at things from 2 dimensions, and while it's a good start, seating is usually a dynamic activity for the body and needs to be studied in 3-4 dimensions. Thats why personal testing on the jig was conducted.
- Project Duration
- Work on the project began in December 2023 and came to conclusion in June 2024 as the main focus of the diploma project.
- Operation Flow
- The Armchair is designed for ease and comfort, promoting a natural seating posture. Its flowing structure supports the body, distributing weight evenly and allowing various sitting angles, such as sideways or with legs crossed. No complex adjustments are needed; interaction is intuitive. A Lazy Susan facilitates movement and fidgeting, while the springy base offers a rocking motion. The design combines aesthetic elegance with practical functionality for a comfortable and inviting experience.
- Research
- Research started with ergonomics. Drawing inspiration from anthropometry books and personal tests on a special jig constructed to allow for change in seat and backrest positioning and change of angles. From that data was constructed a 3D "skeleton" of the armchair and then iterations took place in virtual reality. Testing was performed with people ages 18-60 as the main target demographic. First 1:1 model was made out of polystyrene and tested as well. Drawing conclusion on overall dimensions.
- Inspiration
- The Aeriform Armchair draws inspiration from the natural elegance of bird wings, evoking the feeling of an embrace. Designed entirely within virtual reality, the form was conceived from a flowing, ribbon like structure suspended in space. Influenced by Pierre Paulin’s Ribbon Chair, the design was further refined to create a more imposing and luxurious piece. Extensive prototyping and ergonomic testing via jigs and models were undertaken to ensure optimal comfort across various seating angles.
- Image Credits
- Image #1: Creator Kristian Ruden, Photo of Aeriform, 2024
Image #2: Creator Kristian Ruden, Photo of Aeriform, 2024
Image #3: Creator Kristian Ruden, Render of Aeriform, 2024
Image #4: Creator Kristian Ruden, Render of Aeriform, 2024
Image #5: Creator Kristian Ruden, Render of Aeriform, 2024 - Patents
- Patent pending. PVZ 2024-42455. Kristian Ruden. 2024. UPV.
Colors of Aeriform Armchair
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Design Interview about Aeriform Armchair
The Aeriform Armchair was born from a desire to capture the quiet grace of bird wings, unfolding mid-flight. I imagined a form that could feel like an embrace, soft yet powerful, sculptural yet inviting. Designed entirely in virtual reality, I sculpted it as if drawing with ribbon in the air, free from gravity and constraints.
I was also heavily influenced by Pierre Paulin’s Ribbon Chair, and I aimed to build on that legacy by designing something even more bold and imposing. But aesthetics weren’t everything—I went through several physical prototypes and ergonomic jigs to make sure the chair was actually comfortable in real use. I wanted it to be both a centerpiece and a genuinely functional seat.
I was also heavily influenced by Pierre Paulin’s Ribbon Chair, and I aimed to build on that legacy by designing something even more bold and imposing. But aesthetics weren’t everything—I went through several physical prototypes and ergonomic jigs to make sure the chair was actually comfortable in real use. I wanted it to be both a centerpiece and a genuinely functional seat.
With this design, my main focus was to create a seamless blend of sculptural elegance and genuine comfort. I wanted the Aeriform Armchair to feel like a statement. Bold, confident, and eye-catching, yet also be the kind of chair you could sink into for hours without a second thought.
Too often, showpieces sacrifice usability for aesthetics. I didn’t want that. I set out to prove that an iconic form can still offer an inviting, ergonomic experience. The goal was to strike that elusive balance: a chair that dominates a room without demanding constant attention, that looks like art but functions like a daily essential.
Too often, showpieces sacrifice usability for aesthetics. I didn’t want that. I set out to prove that an iconic form can still offer an inviting, ergonomic experience. The goal was to strike that elusive balance: a chair that dominates a room without demanding constant attention, that looks like art but functions like a daily essential.
My goal is to bring the Aeriform Armchair into the real world. Not just as a prototype or concept, but as a product available to those who appreciate bold, sculptural design. I’m currently looking for a luxury furniture manufacturer who sees its potential and shares the ambition to develop a production-ready version together.
There are still things I wasn’t able to fully realize on my own, like wrapping it in high-quality leather or crafting a cast chromed base, but with the right partner, I believe we can elevate it to its full potential. My hope is for the Aeriform to find its place among the icons: to be mentioned in the same breath as the Egg Chair, the Ribbon Chair, or the Papa Bear. I know it’s an ambitious goal, but I believe in the design, and I believe there’s a place for it in the canon of timeless furniture.
There are still things I wasn’t able to fully realize on my own, like wrapping it in high-quality leather or crafting a cast chromed base, but with the right partner, I believe we can elevate it to its full potential. My hope is for the Aeriform to find its place among the icons: to be mentioned in the same breath as the Egg Chair, the Ribbon Chair, or the Papa Bear. I know it’s an ambitious goal, but I believe in the design, and I believe there’s a place for it in the canon of timeless furniture.
The design process took about a year, though it was part of my diploma thesis, so I had to work within a set timeline. Initially, I had a different concept in mind, but a two-week study trip to Italy in September 2023 changed everything. During the trip, I had the honor of visiting the Poltrona Frau factory. Seeing their level of craftsmanship and attention to detail inspired me to design an armchair worthy of such an iconic manufacturer.
I reached out to them, hoping for a collaboration, but never heard back. Still, I didn’t give up on the idea. From September to January, I explored inspirations, wrote down ideas, and shaped the project’s vision. In January 2024, I began designing in earnest. I sketched by hand, sculpted in virtual reality, and built a custom jig to work out the ergonomics. I went through hundreds of VR iterations before settling on the final form.
In April, I moved into the engineering phase. I designed every part of the chair in detail, from structural components to fastening methods. With the help of a friend, I machined a foam core for the fiberglass shell, which I then laminated and upholstered. I also manufactured the leg and all of its hardware. By June, the first prototype was finished.
I reached out to them, hoping for a collaboration, but never heard back. Still, I didn’t give up on the idea. From September to January, I explored inspirations, wrote down ideas, and shaped the project’s vision. In January 2024, I began designing in earnest. I sketched by hand, sculpted in virtual reality, and built a custom jig to work out the ergonomics. I went through hundreds of VR iterations before settling on the final form.
In April, I moved into the engineering phase. I designed every part of the chair in detail, from structural components to fastening methods. With the help of a friend, I machined a foam core for the fiberglass shell, which I then laminated and upholstered. I also manufactured the leg and all of its hardware. By June, the first prototype was finished.
As I mentioned earlier, this design was sparked by my visit to Poltrona Frau during a study trip to Italy. That experience really lit a fire in me. I wanted to create something ambitious and meaningful as part of my diploma thesis. Something that would challenge me and bring together everything I had learned so far. I wasn’t interested in playing it safe. I wanted to do the unthinkable.
Some of my professors didn’t believe I could pull it off, which only pushed me harder. This project became a personal mission to prove that with enough vision, persistence, and skill, I could bring something bold and refined into the world entirely on my own.
Some of my professors didn’t believe I could pull it off, which only pushed me harder. This project became a personal mission to prove that with enough vision, persistence, and skill, I could bring something bold and refined into the world entirely on my own.
At the moment, the Aeriform Armchair is not in production, though I believe it's more than ready. My goal is to license the production rights to a well-established company with the reach and craftsmanship needed to connect this piece with the right audience. This is a luxury product, built to last for generations, and it requires a partner whose values align with both mine and those of the customers.
It’s not a mass-market piece. It’s large, bold, and unapologetically sculptural. It doesn’t fit every home, and it’s not meant to. But for those who resonate with its presence, I believe it can become something truly iconic.
It’s not a mass-market piece. It’s large, bold, and unapologetically sculptural. It doesn’t fit every home, and it’s not meant to. But for those who resonate with its presence, I believe it can become something truly iconic.
For a long time, I’ve wanted to dive deep into working with the human body—not just in terms of interaction, but especially when it comes to ergonomics and comfort. Ergonomics is often treated as a two-dimensional concept, focused on points of support. But comfort is more complex. It’s not just about where your body touches the seat, but how the form wraps around you, and how it supports you over time. Even the most ergonomic chair becomes uncomfortable eventually, because the human body is built to move.
That’s why this armchair was designed to accommodate movement. I wanted it to be a place where you could sit upright, slouch, slide down, lounge sideways, cross your legs, throw one leg over the armrest, whatever feels right in the moment. Comfort, to me, means freedom, and I wanted to capture that.
On a more personal level, I’ve always loved sculptural design, and few design objects let you explore that as freely as furniture. Especially seating. You’re able to treat it as both functional object and expressive form. So this was a natural fit for me.
That’s why this armchair was designed to accommodate movement. I wanted it to be a place where you could sit upright, slouch, slide down, lounge sideways, cross your legs, throw one leg over the armrest, whatever feels right in the moment. Comfort, to me, means freedom, and I wanted to capture that.
On a more personal level, I’ve always loved sculptural design, and few design objects let you explore that as freely as furniture. Especially seating. You’re able to treat it as both functional object and expressive form. So this was a natural fit for me.
Yes, definitely. Two major influences were Pierre Paulin’s Ribbon Chair and Hans Wegner’s Ox Chair. The Ribbon Chair inspired me with its flowing, sculptural form. It feels like a gesture frozen in time, and that elegance really stayed with me. The Ox Chair, on the other hand, has immense presence. It’s bold and confident, almost architectural. I also love that Wegner designed it with the intention that people could sit sideways in it. That kind of functional freedom really resonated with me and aligned with my own goals for the Aeriform Armchair.
The Aeriform Armchair is designed for individuals who value bold design and unapologetic comfort. Those who see furniture not just as function, but as art. It’s not for minimalists or those chasing trends; it’s for people who want to make a statement. Whether it ends up in a private residence, a luxury hotel lobby, or a collector’s gallery, the ideal customer is someone who owns the room. They appreciate sculptural form, premium materials, and the emotional presence a piece like this brings to a space. This armchair is for those who crave timeless design, comfort that lasts, and the kind of craftsmanship that leaves a lasting impression. It’s made for individuals who embrace boldness, are not afraid to stand out, and make their space their own.
What sets the Aeriform Armchair apart is that it was entirely conceived in virtual reality. This allowed me to push the boundaries of form and ergonomics in a way that traditional methods couldn't. While there are plenty of bold and sculptural armchairs out there, none have the same freedom of design, from concept to execution, that VR offered me. It’s a blend of innovative technology with timeless luxury, which makes it unique in today’s furniture landscape.
The name “Aeriform” is a nod to the armchair’s subtle aerospace edge, both literally and conceptually. The inspiration came from bird wings, but the connection runs deeper. If you were to slice through the chair at almost any point, you'd find an airfoil-like profile. That flowing, aerodynamic shape isn’t just for show—it turns out to be surprisingly comfortable. Even the legs, which didn’t need to be aerodynamic at all, ended up shaped like they were built for flight. There’s a kind of elegance in making something grounded feel as if it’s suspended mid-air.
I used a mix of traditional and digital tools throughout the process. It began with quick sketches on paper, followed by sculpting in virtual reality using Gravity Sketch. Designing in VR let me shape the chair freely in three dimensions, almost like drawing with ribbon in mid-air.
Once the concept felt right, I exported the model into Rhino to add some details and engineering. I also built a full-scale ergonomic jig to test seating positions and comfort in real life. Several 1:1 models were carved from polystyrene to study proportions and refine the physical feel of the chair. KeyShot was used for rendering materials and lighting, while Adobe tools helped with presentation and documentation.
Once the concept felt right, I exported the model into Rhino to add some details and engineering. I also built a full-scale ergonomic jig to test seating positions and comfort in real life. Several 1:1 models were carved from polystyrene to study proportions and refine the physical feel of the chair. KeyShot was used for rendering materials and lighting, while Adobe tools helped with presentation and documentation.
The most unique aspect is how the chair was conceived and sculpted entirely in virtual reality. That allowed me to create a form that feels like it couldn’t have been drawn on paper or modeled traditionally. Something fluid, weightless, and unconventional. The result is a bold sculptural shape that still manages to be deeply ergonomic and functional.
While my professors offered guidance throughout the diploma process, as they should, I often went in the opposite direction of their suggestions. Still, they ended up being genuinely impressed with the final result. On the technical side, I consulted Lubomíra Antochová, a professional upholsterer. I shared my idea of wrapping the entire chair with just two fabric pieces and a single seam. She warned me it would be incredibly difficult due to the complex shape, but also said she’d be impressed if I managed to pull it off. And, well… I did.
Technology played a huge role in bringing this design to life. From sketching the initial form in virtual reality to refining it in Rhino, I relied heavily on digital tools to shape the concept. CNC machining and laser cutting helped me build precise components for the jig, foam core and leg base, while 3D printing supported some small functional parts, scale models and prototype leg cover. The final prototype uses a fiberglass shell. A material that combines strength, flexibility, and sculptural freedom. Basically, I threw every modern tool I had at it to make sure the idea wasn’t just beautiful, but buildable.
Yes, my design was influenced by research into ergonomics, anthropometry, and comfort. I consulted various books on these topics to ensure a solid foundation for the chair's functionality. Additionally, the ergonomic jig I created allowed me to test and receive feedback from different people, helping me fine-tune the angles and heights for optimal comfort. This hands-on research was crucial in making sure the design wasn't just visually striking but also functionally sound.
The biggest challenge I faced was time constraints. I had a clear vision of how I wanted to build the chair from the beginning, but executing it within the limited timeframe was tough. Another hurdle was finding an upholstery manufacturer willing to take on such an ambitious project. Many declined or said it would take months to develop the necessary upholstery, so I ended up having to do it myself. The most surprising challenge, though, was sourcing the fabric. I didn’t want to use polyester because it lacks breathability, doesn’t stretch, and doesn’t feel luxurious. After some difficulty with suppliers who had long lead times, I ended up shopping locally and found the right material - wool. Although not exactly the shade or weave I had envisioned for the prototype. In the end, I’m happy with how it turned out.
I wanted to share my work with a wider audience and see how it would resonate on an international stage. It was important to me that the design be recognized not just locally, but globally. Entering a competition was a way to showcase my vision and get feedback from a broader design community. Plus, it felt like the right moment to put myself and the project out there. After all, if you believe in your work, why not share it with the world?
Throughout this process, I learned to trust my instincts more than ever. I also gained a lot of confidence in using virtual reality as a design tool—something I hadn't fully explored before. But the biggest takeaway for me was realizing just how much I’ve grown as a designer. To be able to take an idea from concept to a physical, functional piece, and to do it almost entirely on my own, was a huge achievement. It really showed me what I’m capable of when I push myself.
I believe that design should go beyond functionality and aesthetic, but also evoke emotion and become a part of how we experience the world around us. With the Aeriform Armchair, I wanted to create something that wasn’t just a piece of furniture but a statement, a conversation starter, and a symbol of true craftsmanship. I hope this piece will inspire people to rethink what comfort and design can mean in the modern world. Ultimately, I want it to stand the test of time, not just as a chair, but as an iconic piece of design history. However ambitious that might be.
Grand Interview about Aeriform Armchair
I had experimented with virtual reality design before, but never on something that would eventually become a fully realized physical product. So in many ways, this was new ground for me. I wanted to tie the virtual and physical worlds together in a way that felt natural, so I built an adjustable jig in real life that I could sit in and measure from. I then traced that jig in VR to use as a reference to keep the scale, ergonomics, and seating posture consistent with what a person would experience. With every iteration, I would sit in the jig, position the model exactly where it was and look around in VR, imagining how the chair would feel around me.At first, I tried sketching some bold concepts on paper and recreating them in VR, but they didn’t quite translate. The lines I liked on paper didn’t feel right in 3D space. So I flipped the process. Instead of translating sketches, I started sketching freehand directly in VR. The organic quality of modeling in virtual space felt just right. Shapes felt more sculptural and alive. One of the early sketches came from simply manipulating a flat plane between my hands, bending it like a ribbon suspended in air. That moment led to the core visual language of the armchair.From there, I refined the Sub-D surfaces until I had a volume that not only looked bold but also supported the human body well. I still used planar views on paper to cross-check and refine details, but most of the shaping happened in VR. Toward the end of the process, I paid a lot of attention to surfacing details using zebra mapping and reflection tests to refine the curves to a level that felt natural and perfected. It was a process of constant iteration, but VR gave me the creative freedom to sculpt the form in a way that traditional tools never could.
I admire the aesthetics of Pierre Paulin’s Ribbon Chair, and with the Aeriform Armchair, I wanted to pay homage to that classic while creating something distinctly my own. One of my main goals was to design a chair that’s not just sculptural but truly comfortable. Something you could sit in for hours, whether you're reading, relaxing, or scrolling on your phone.In my observations and design lectures, I learned that seating is inherently dynamic. We shift positions constantly, so I knew I wanted to create something that supports movement. My early sketches tried to blend the posture of upright seating with the laid back ergonomics of a lounge chair. That didn’t quite work as I envisioned, but it led me to realize how often I sit sideways in chairs. So I made that a central feature.This is where the influence of bird wings came in. I imagined large sweeping forms that would gently envelop the sitter, creating a sense of both security and privacy, while offering support for the back and head when sitting sideways. My initial drawings leaned more literally into wings and even had feather motifs, but as the design evolved, I stripped those elements back and embraced a purer, smoother form. The aerodynamic qualities remained as a subtle nod now visible in the cross sections - hence the name Aeriform.
Yes, traditional anthropometric studies mostly treat sitting as a two dimensional problem by measuring backrest angles, seat depth, and so on. But that approach feels inherently flawed. Humans are built to move. Even the most “ergonomic” position becomes uncomfortable when you’re forced to hold it for too long. Static sitting leads to fatigue, stiffness and poor circulation. It doesn’t reflect how we actually use furniture.During my research, I came across only one book that acknowledged this and tried to go beyond the static model. It introduced the idea of sitting as a dynamic, time based experience, so more like four dimensions: X, Y, Z, and time. It also provided valuable information about cushioning and how materials affect long term comfort. But when it came to supporting varied seating positions, it still fell short.That’s why I built my testing jig. It was a simple frame of two standing panels with a grid of holes, steel pipes and adjustable seat and backrest panels which attach to the pipes. This allowed me to test a wide range of angles and heights in real life. I mapped out the primary upright position as well as more relaxed, sideways poses for secondary position. I tested it on myself and others, took measurements, averaged to be able to fit more people, and then translated those measurements into virtual reality. Essentially, I created a kind of ergonomic skeleton inside VR that I could sculpt around. And it worked beautifully.
I enjoy working with composites, and one of the reasons why is the unique way they allow you to place strength exactly where it’s needed while skipping it where it isn’t. It’s a principle like an I-beam. The top and bottom flanges handle most of the stress, while the middle web just keeps them connected. You get incredible bending resistance without wasting material.Composites work the same way. They’re layered systems, where the outer surfaces handle the main forces, while the lightweight core holds everything together. This gives you excellent structural integrity with far less weight than solid materials.That’s why I chose to build the Aeriform Armchair around an XPS foam core. It acted as both a shaping tool and a structural element, essentially acting like a lost formwork that bonded the fiberglass laminate during the layup process. The fiberglass shell gives the piece its strength, while the core supports the complex curves and helps keep everything rigid and aligned. This process is similar to how boats or surfboards are made, where you need both performance and elegance in form.The 3D printed parts came into play for quick prototyping. They helped me test the visuals on a small scale before landing on the final form which I crudely cut out of Styrofoam in 1:1 scale later. And also 3D printing saved me a lot of time on the final prototype. The leg is designed to be made out of cast metal. But with time constraints I had welded a simple base which I elegantly covered with a 3d printed shell in the same dimensions as the production version.
The Lazy Susan and the springy base both support the idea that seating should be dynamic. Rocking gently side to side or leaning back and forth feels naturally comforting, it also keeps your body engaged and the blood flowing, which helps reduce fatigue during long periods of sitting.The rotation also serves a practical function. When there’s an ottoman in front of the chair, you can simply swivel to the side and step out easily. Once you’re up, the chair automatically returns to its original position, always keeping the space visually tidy and centered.
I see this award as a meaningful confirmation of my skills and a recognition of my vision. I always strive to approach design from a different angle and find paths that haven’t been taken, exploring forms and ideas that feel fresh. It’s an involved, time consuming process, but I thrive on that kind of challenge. This recognition motivates me to keep pushing those boundaries, not just for the sake of novelty, but to keep evolving as a designer. Moving forward, I’ll continue to focus on creating bold, original work that stands out and hopefully sets a new standard in how we think about comfort, form, and emotion in furniture.
There were a few key pivot moments that really shaped the final design. The first was transitioning from pen and paper to VR. I had high hopes for one particular paper sketch, but once I tried translating it into 3D space, it just didn’t work. That’s when I realized I needed to let go of the original plans and start freehanding directly in VR.Initially, I was aiming for something more monumental, grounded, almost brutalist, with a hint of streamlining. Many of my early forms were heavy and anchored. But in the middle of that exploration, I had drawn a wide floating ribbon. It was light, expressive, and dynamic. It won over my heart and ultimately became the foundation of the final design.Last big moment was when I scaled the form. The surfacing was nearly finalized when I decided to double-check how large it really was. Turns out, it was hilariously wide, basically a two-seater sofa. I built a 1:1 Styrofoam model, saw how excessive it looked, and began trimming it down slice by slice until it felt right. I updated the VR model accordingly and from there on, it was smooth sailing.
Statement pieces are meant to stand out. They’re bold, often opulent, and unapologetically central to a space. And that’s exactly what I set out to create. I wanted the Aeriform to feel like a monument, something iconic. But for me, beauty alone isn’t enough. I believe true design greatness happens when form and function elevate each other.To get there, I dug deep into ergonomic studies, anthropometric research, and even explored comfort as a broader concept, beyond just angles and measurements. I wanted to understand how people actually use furniture over time, not just in a static pose. Then came prototyping, testing, and iterating. Without this process, this would’ve just been a nice sculpture. But thanks to all that groundwork, I believe I ended up with a statement piece that not only looks powerful, but feels amazing to sit in too.
I approached the sculpting of the final form with a clear manufacturing concept in mind. Initially, I imagined a bent steel tube frame with netting and cushioning. But as I got closer to the production phase, I realized that shaping complex bends, even with a CNC pipe bending machine, would be far too complicated and restrictive. So I pivoted.The design’s aerodynamic qualities naturally pointed me toward composites, materials often used in aerospace and automotive applications. Processes like injection molding or rigid polyurethane casting were on the table, but I wanted something more hands on. Something I could control. Fiberglass became the perfect solution. It was straightforward: assemble CNC cut XPS foam sections, laminate them with a few layers of fiberglass fabric, and infuse it with resin. Surprisingly, the process went very smoothly.The bigger challenge came with upholstery. I wanted a natural fiber, something durable, breathable, and ideally with a bit of stretch. I visited countless shops and came up empty handed until I finally stumbled on a suitable wool fabric. Leather would’ve been a dream, but it was out of my scope for the prototype. Still, I think the final result worked out beautifully, and I’m leaving the door open for other materials in the production version.
I think we need to stop treating “ergonomic” as a buzzword slapped onto uncomfortable furniture. The industry loves to market rigid lumbar supports and “correct posture” as a universal fix, but let’s be real, what’s the point of a perfect posture if you lose circulation in your legs or your cheeks go numb after 20 minutes?One of the ideas I explored with the Aeriform Armchair is the dynamic nature of sitting. Humans move. We shift, recline, slouch, twist. Yet most chairs are designed for one static position. I think the future of seating should fully embrace this movement. Not just with adjustable levers, but by rethinking the very way we sculpt form around the human body. Maybe in the future we won’t even “sit” at all. Who knows? Magnetic suspension might be the next frontier.I also hope more designers explore virtual reality as a serious design tool, not just for flashy concept videos or clickbait. VR gave me a totally new way to shape and feel out the design. Sculpting from within, instead of drafting from above. But just using the tech isn’t enough. We need to pair it with real prototyping, testing, iteration. That’s how we move the field forward.Lastly, I think there’s a cultural shift waiting to happen. Furniture can be expressive. Emotional. Italians get this. But much of the world has fallen into soulless mass production. Cheap, disposable, and environmentally irresponsible. I believe truly great furniture should last for generations, both in quality and presence. Aeriform is my small step toward that future.