This is an unusual chair designed by Therese Granlund. It made of polyurethane foam, a low class material that usually hidden in furniture. It has a form of melting foam, a playful and interesting form that catch the attention of people who see it. More information by Therese Granlund:

Design can be seen as the vehicle of the established aesthetics of our time. But it is a car stuck in the slow lane, constantly being overtaken by other media in popular culture. A state of indifference has turned the design industry into a gathering of narcissistic cowards, a club that also includes myself.

As much as my critic was turned towards the current design scene I realise that this is also how I modify my own design and myself. This personal condemnation became a self-reflection on my own limitations. I was asking myself; can I design my way out of my own better judgment?

This project is an investigation into how design could be more vital, more challenging and less predictable. It explores different possibilities to confront and attack the obsession with perfection and control.

I started to active seek for a method/material where I was being forced to confront my own conclusions of aesthetics, where I needed to sacrifice my obsession of control in order to reach a better state of creativity. These become an on-going opposition, a balance between authority and randomness, prediction contra openness. How much should I involve myself without killing the energy in the material, how do I show the power and wildness in its best way?

Concerning my requests I choose to construct my design out of polyurethane; a low class material with all lacks of any pretension or artificiality that would vainly over shine meaning and function. As it is the most used material in the furniture industry today, it became my representation for what I was criticizing. The usually hidden material was giving a revenge to become the star of the act, a play where the material taking the lead and me as the designer becomes inferior.

As a result I wish people to be disturbed when they see my design, yet too captivated not to touch or interact with the objects. I play with desire and provocation with a collection of furniture that blurs our perceptions of taste and values, acceptance and trash.

The furniture is as mush of a statement as a functional object, a manifest imbedded within the objects’ functionality and appearance. If I can stay balanced on the border between attraction and repulsion I have succeeded.

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