ASTON CHADWICK
DESIGN
GRAP 1041 TASK 2
LECTURER: MALCOLM THOMAS S3545186 ASTON CHADWICK
CONTENTS
INTRODUCTION DESIGNER IDEATION IDEATION DESIGN 1 DESIGN 2 DESIGN 3 DESIGN 4 REFLECTION
INTRODUCTION Creating a designed response to the work of furniture designer Khai Liew required critical and creative thinking. As Liew is classed as a modern designer his work is informed from a variety of sources that dont always align with current societal trends. As a result of Liew’s design language his work has evolved over a period of time however still in essence shares the same styling throughout each piece
Chair 2015
An underlying theme and something that Liew himself has itterated is despite the simplicity of some of his forms the technicality is in the underlying joints. The joints of which are typically crafted in a way that they are not noticeable, this creates seamless forms that are extremely difficult when created in wood. Liew’s designs are primarily created from a single variety of wood. A stand out element to some of Liews works is the profile of pieces when viewed from the side or front, it became aparent that the intricacies of some designs where hidden whilst the simplistic aesthetic is often highlighted. An example is in the Deloraine chair, the side profile is a simplistic form using straight lines. Each join is seamless, the arms run through the seat portion and into lefs as if they are the same piece of timber. This subtlety is what stands out in Liews de-
Circle 2014
Deloraine 1998
Khai Liew is a collector, conservator and dealer, a discerning consultant on early Australian furniture. Having dealt with lots of furniture in restoring them he was able to appreciate some of the complexity in their construction. He took inspira- tion from the traditional joinery and techniques used in ancient Egypt, China and Japan Khai Liew grew up in a largely mul- ticultural city which awarded him with a vast array of cultural experi- ences many would not experience at such a young age. These in influ- ences have no doubt helped Liew to form a unique style that is known as “eurasian� as well as an underlying amount of minimalism that creates understated designs that hide the complexity within the construction. The use of traditional joinery and woodworking techniques gives his modern designs a familiar element to them.
A commonly used join by Liew is the three way miter joint, a technique that he experienced at a young age. A fusion of early modernism and ancient chinese functionalism are stand out traits, Liew found similar traits in Danish furniture, which led him to find Gustave Eckes book for the first time.
IDEATION
IDEATION
DESIGNS This chair of which is influence by Khai Liews most recent work, shares the simplistic side profile paired with large full curved panels. The seat portion of the chair is just over 450mm high and the seat size is within a 350x350mm space. Despite the simplistic back it is set at a 5 degree angle to create a more comfortable posture. The Chair is crafted from 20mm wood which allows for minimal framing that does not obstruct the visible form. The back rest could possibly be made out of a thinner wood as the curve of the shape does provide rigidity. The small spherical cutout in the front helps break up the solid face.
DESIGNS
The second chair unlike the first does not include any curved forms and thus shows the influences of Khai’s early 2000 designs. The seat sits 450mm high and provides 350x350mm total space. The back rises another 400mm and the arms sits roughly halfway up the back which will coincide with most users. Despite the minimilistic forms, the complexity lies within the three way miter joints. As an imbalance an odd leg was added which is not a ditracting element but more so a subtle complimentary form. The leg is an acknowledgement of how some of Liew’s work can be sculptural.
DESIGNS
The side table, similar to the first chair design is heavily influence by Liew’s 2014 furniture designs, specifically table 2014 as it feature fulls panels that are curved seamlessly. The design features two main panels which act as legs. The draw and table portion is slightly undersized to produce a shadow line and floating appearance. The complexitiy lies within the joints of the table that give the centre a floating appearance and the outer shell a seamless structure. Constructed from 15mm timber the overall size is 350x350mm and 370mm high.
DESIGNS This stool is influenced by Liews 2014 furniture designs, specifically the pieces Chair 2015 and Desk 2015. From a side view the stool is a simple rectangle with a slightly bulged edges. The small cutouts in the front and rear as well as the inset seat are the main features. Following Liews ideaology of complex joinery the form of the stool uses extremely precise joins to produce a seamless appearance. The form could be produced by moderm CNC machining but being handcrafted helps to make it unique. As per the renders the grain flows around all sides. As the grain is a prominent feature each stool will be different and unique.
REFLECTION Through research and influenced ideation I was able to produce informed designs that are influenced by the current and past work of Khai Liew. With critical and creative thinking individual elements could be incorporated and used to influence the designs that were ideated. Despite the majority of my designs quite visibly influenced by Liew’s more recent work, additional steps and research was undertaken that informed the design decision to keep the overal forms minimal. The minimalistic forms are highlighted when viewing the designs from the front and side views. All designs were created using wood of which was uniform in each piece of furniture. The use of only one kind of material in each piece helps to further highlight the forms that were created. From the four designs the stool is my standout design. The way in which it is crafted to appear as one single piece excentuates the minimilistic form that has been re-itterated throughout both ideation and designs.
REFERENCES 1970s - Decade in context. (n.d.). Retrieved August 14, 2016, from http://www.skwirk.com/pc_s-14_u-189_t-508_c-1881/1970s-decade-in-context/nsw/history/australia-s-social-and-cultural-history-in-the-post-war-period/social-and-cultural-features-of-the-1970s Edgar, R. (n.d.). Khai Liew | NEUE LUXURY. Retrieved August 16, 2016, from http://www.neueluxury.com/issues/issue-3/khai-liew/ Forrest, N. (2013, February 11). Art Gallery of South Australia Releases Khai Liew Armchair. Retrieved August 10, 2016, from Art Gallery of South Australia Releases Khai Liew Armchair Hansen, C. (2010, December 01). Khai Liew. Retrieved August 16, 2016, from http://architectureau.com/articles/khai-liew/ Khai Liew. (n.d.). Retrieved August 16, 2016, from http://www.khailiew.com/ McCabe, C. (2015, February 05). A lyricist in wood: Adelaide designer Khai Liew. Retrieved August 10, 2016, from A lyricist in wood: Adelaide designer Khai Liew Ward, P. (n.d.). Khai Liew.