Chair for piazzolla

a chair for

ASTOR PIAZZOLLA by

DANIEL ABAD &

JONAS CHIN course

ARCH 365

table of contents 1 2 3 4 5 6 7 8 9 10 11

THE THE THE THE THE THE THE THE THE THE THE

CLIENT INSTRUMENT DESIGN ASSEMBLY CHAIR DISCLAIMER MAKERS BUDGET MATERIALS STRUCTURE CONCLUSION

ASTOR PIAZZOLLA 1921-1992

Argentinian by birth, Astor Piazzolla is the father of Nuevo Tango, a movement that saved a struggling music style and ensured its place in the 20th century and for years to come. Astor Piazzolla incorporated the elements of Jazz to create a new character for Tango, and he did not stop to experiment on new music styles even after he established himself as the most prominent musicians in the genre. From his studies on classical music and camera orchestra he adopted the persona of the conductor which forged a character and reputation that followed him wherever he performed. Piazzolla, Tango, the Bandoneon. Our chair will focus on the relationship between these three; Artist, Art, Palette. We will draw inspiration from the instrument, a traditional craft that has lost its chance to be mass produced when the German factory was bombed. The melancholy of the music will be the austerity of the design and the elegance of the instrument will be our detailing language, we will convey the sorrow Piazzolla tries to communicate through his music. Piazzolla brought about a new way to play the instrument.

He stood up with one foot in a wooden cube. We will treat the box as an acoustic resonance device, where the vibrations are passed on from the bandoneon to the bandoneonist to the chair making the whole an instrument.

450 mm “Toco con violencia, mi bandoneón tiene que cantar y gritar.

No concibo el color pastel en el tango.”

450 mm “I play with violence, mi bandoneon has to sing and scream.

I can’t conceive pastel colours in the Tango.”

THE INSTRUMENT

The bandoneon is an wind musical instrument, of free vibrating reeds fed by a bellow, a relative of the concertina. It is of rectangular shape, square section and has a very peculiar pitch. Its name comes from the German “bandonion” but its popularity in South America brought the name “bandoneón” It was designed in Germany as an evolution of portable organ, originally used for religious music which is why it sounds so solemn and melancholic.

Arriving in Argentina it was sold wildly popularized by sailors and immigrants and quickly adopted by musicians to give a peculiar sound Tango, eventually becoming a trademark of this genre.

PROTOTYPING

When designing the chair we set out to develop it from Astor Piazzolla's cubed foot rest. We understood that with the chair folding inwards, there needed to be a rigid frame within the cube that could take the boxes propensity to collapse inwards when load is applied within its volume.

The frame does exactly that, it transfers the loads downwards while keeping the four legs from collapsing into the chair.

From the manufacturing point of view, making two square frames with boards of plywood keeping them together. makes for a rigid enough structure that the complex moving parts of the chair can be installed prior to capping the cube for aesthetics. If the caps were structural, it would be very difficult to fit the seat pin joints.

The seat of the chair is supported by a square rigid frame. The seats hang in tension from the two vertical members. When weight is applied in the seat, the pins transfer all vertical loads up through the seat, to the rigid frame and down onto the ground. The resulting pull from the tension on the seat is countered by the horizontal component of the beam, the arm rest. This horizontal member exists in compression and counters the large moment generated by the pinned seat transfer.

SKETCH MODEL

FOOT STOOL

CHAIR

560 35

150

35

35

35

300

380

450

FOOT STOOL

55

450

55

560 Top View 35

62

35

35

560 35

100 291 350 97

380

380 35

450

450

35

35

450

55

55

450

55

35

55

560

35

91

35

35

Front Elevation

55

450

55

560 35

62

35

35

560 35

35

100 291

380 35

350

97

35 380

450

450

CHAIR

55

450

55

35

Top View

55

450

55

560 35

359

380 35

450

91

35

35

55

450

Front Elevation

55

ASSEMBLY AXONOMETRICS

Assemble side frames.

Joined by a lap joint

Place top and front plywood sandwiched panels

Place front and back panels ensuring the sides end up square.

Once chair is operational, the sides of the box can be capped.

One holes have been drilled into frame, place the assemble seat and front panel.

Hold assembly in place with the other frame

Glue corner details, sand if necessary to ensure prefect fit.

Paint and finish plywood.

EXPLODED AXONOMETRICS

SEAT ASSEMBLY

PROCESS PHOTOS

Setting the rigid frames on the back and from bracing panels

Marking the spots where the steel rods meet the rigid frame

Pre-drilling the holes for the steel rod supports

Dry fitting the laser cut panels which are to be attached on the sides

Finishing the triangle corner details

Covering all screw holes with wood filler

Sanding down the seat for a smooth transformation

Drilling the threaded steel rod through the routed plywood panels

Laying out the chair within the frame, ensuring all dimension are square

Applying first coat of paint on the plywood

Side panels are attached with the acorn nuts, second coat drying

Fitting of the corner detail on the mittered triangular hole

THE CHAIR

Traditionally Astor Piazzolla would leave his instrument on the foot stool before and after performing.

The chair is opened by pushing down and shearing the magnetic force keeping it in place.

BRIEF DISCLAIMER

..BUT WHY NOT JUST MAKE THE CHAIR OPEN UP LIKE A BANDONEON? This was a recurring discussion throughout the process. From the beginning we did not want the chair to open up like the instrument. Even though we used the detailing language of the craft, our main focus was always to make the chair an evolution of the foot rest, not the instrument.

The bandoneon on its own is such a beautiful object we never wanted the chair to detract from the music performance. In these series we can appreciate the trinity we set out to represent and curate; Piazzolla, Tango, Bandoneon.

JC

DA

COMPONENT DIMENSIONS 1 6mm x 100mm x 450mm

Spruce Plywood, Tripled up 1 6mm x 150mm x 450mm

Spruce Plywood, Tripled up 1 6mm x 300mm x 450mm

Spruce Plywood, Tripled up 1 6mm x 350mm x 450mm

Spruce Plywood, Tripled up 2 6mm x 450mm x 560mm

Spruce Plywood, Doubled up 4 6mm x 450mm x 55mm

Spruce Plywood, Doubled up 5 6.35mm x 450mm

Stainless Steel Threaded Rods 8 50mm x 50mm x 426mm

Framing Lumber

8 5mm x 5mm x 5mm Triangular Corners 8 6.35mm

Stainless Steel Acorn Nuts 8 6.35mm x 50.8mm

Hex Bolts, Coarse Thread 16 12.7mm

Self-tapping Robertson Screws

EXPENSES Sketch Model 6 Paper clips $000 2 Cardboard Sheet 36”x48” $700 Prototype 1

Sheet spruce 6mm plywood

$2000

Final Chair 16 Self tapping wood screws $000 4 Steel threaded rods $2800 2 Band aids $000 8 Sets of bolts and acorn nuts $3500 4 Framing Lumber 2”x2” $800 2 Sheets spruce 6mm plywood $7500 2 Hours laser cutting time $2000 14 Ounces of black paint $1400 1 Bondo Filler $600 1 Can of silver spray paint $650 2 Paintbrushes $1500 1 Detail brushes $100 4 Neodymium Magnets $1000 Total $24550

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Fy = 5MPa

S = bh2/6 = 450(18)2/6 = 24300mm3

Fb= M/S = 0.150kNm/24300mm3 = 6.17MPa > 5 MPa

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With a safety factor of 2, the Fb of the critical section is within the safety range, so the critical section is adequate.

CONCLUSION

Piazzollaâ&#x20AC;&#x2122;s chair is a simple detailed object. As a foot stool, the chair stays true to its design and structural appearances. It is in its most simple form, a box. The chair is meant to be an evolution of this box. How to conceal a chair in what had to be a seamless cube? This was our main challenge through conception and design.

We kept all noticeable joints to miters to ensure a clean edge, which perhaps would bring up to question our use of plywood which chips very easily when machined thin.

The interior frame couldâ&#x20AC;&#x2122;ve been stronger and more accurate had we used oak or maple rather than spruce.

We are very proud of the object we have crafted, it serves exactly the way we designed it. As a foot stool, it compliments the performer without overpowering the simple and sublime nature of tango. As a chair, it is a comfortable height, and the side details compliment the person sitting down the same way the detail on the instrument accompany the intricate bellow. We hope to make proud the mestro.

GRACIAS