Arai
new
residence
Explores the balance between precision and imperfection in Computer-Aided Manufacturing (CAM), embracing digital fabrication’s constraints to create a refined, sculptural form.
Meaning "new residence" in Japanese, Arai serves as a modern counterpart to Marcel Breuer’s Wassily Chair, reinterpreting tubular steel design through contemporary digital craftsmanship. Inspired by Japanese design principles, it embodies simplicity, precision, and harmony, pushing the boundaries of CAM to redefine furniture-making.
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Identification
Inquiry & Exploration
During the initial research phase, I explored key precedents to inform my approach, with Marcel Breuer’s iconic Wassily Chair as the primary inspiration. I analysed its manufacturing techniques, material choices, and precise measurements, studying how Breuer’s pioneering use of bent tubular steel redefined furniture design.
This research led to an investigation of Computer-Aided Manufacturing (CAM) and its potential to push Breuer’s approach further. Recognising the efficiency and elegance of tube bending, I explored how digital fabrication could refine and evolve these structural principles. The goal was to create a piece that honours the functional minimalism of the Wassily Chair, while introducing new fabrication possibilities that align with contemporary design and technology.
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With Marcel Breuer as the chosen design influence, the next step was to explore the history of the chair. Designed in 1925, the Wassily Chair was one of the first to use bent tubular steel as a structural material. Inspired by the lightweight yet strong construction of bicycle frames, Breuer experimented with electrically welded and chrome-plated steel tubing, creating a seamless, modern aesthetic. By reducing the chair’s form to its purest structural elements, he set a precedent for industrial manufacturing in furniture design.
Understanding this manufacturing process led to the decision to select Computer-Aided Manufacturing (CAM), specifically tube bending, as the primary fabrication method. Studying existing tube-bent chair designs revealed opportunities to refine and push this technique further. The project sought to build upon Breuer’s minimalist structural principles, exploring how digital fabrication could enhance material efficiency while maintaining a sculptural, visually striking presence.
Additionally, the project drew inspiration from Japanese design principles, particularly the emphasis on simplicity, balance, and material honesty. These philosophies, often seen in traditional craftsmanship and contemporary minimalism, guided the approach to form and structure—where each curve, joint, and connection was carefully considered not just for function but for harmony within the overall composition. This fusion of modern digital fabrication and timeless Japanese aesthetics allowed Arai to evolve into a piece that feels both technologically advanced and deeply rooted in design heritage.
Ideation
Building on the foundational influence of Marcel Breuer’s Wassily Chair, the ideation phase expanded to explore other tube-bent furniture designs that pushed structural and material boundaries. These precedents provided insight into how minimalist frameworks can be enhanced through material selection, form refinement, and contemporary fabrication techniques.
The Cantilever Armchair by i4 Mariani showcases a sleek, uninterrupted tubular steel frame, emphasising both structural efficiency and elegance. Its flowing curves inspired considerations for continuous form within the Arai project. Similarly, the FK 87 Grasshopper Chair, designed by Fabricius & Kastholm, combines precision metalwork with leather tensioning, a technique explored in Arai’s seating elements. The Paulistano Chair, known for its singular bent steel frame supporting a suspended leather seat, informed the exploration of how a single material gesture could define both structure and comfort.
These references contributed to the iterative design process, reinforcing the goal of merging traditional craftsmanship with digital fabrication to create a piece that feels both timeless and technologically advanced.
A more fluid, organic approach, this design features sweeping curves and a wrap-around frame that enhance comfort and interaction. Drawing from traditional Japanese furniture and the concept of Ma (間), it balances negative space and visual lightness. The seamless tube bending evolves Breuer’s modernist ideals into a sculptural interpretation. Additionally, the reversible design allows the chair to be flipped, revealing an alternate color to adapt to different environments and moods.
Concept 2
This concept refines Breuer’s Wassily Chair, reducing the form to essential lines and functional surfaces. Inspired by Shibui (渋い)—a Japanese principle of understated elegance—it emphasises simplicity, balance, and efficiency. The lightweight tubular frame and precisely placed seating elements create a minimal yet highly functional design, seamlessly integrating digital fabrication for precision.
Concept 3
Concept
Generation
Following an in-depth ideation phase, the design process evolved through multiple concept iterations, each exploring tube bending and material interaction in unique ways. These concepts were developed to test different structural, aesthetic, and ergonomic principles while staying true to the project’s core themes—precision, imperfection, and Japanese design principles of balance and simplicity.
This concept emphasises sharp, angular forms, creating a layered sense of depth and negative space. Inspired by constructivist and brutalist aesthetics, it explores precise, repeatable structures using digital fabrication. The rigid geometry reflects modern Japanese architecture, where structure and material constraints define form
Concept 1
Development
Following the selection of Concept 3 for further development, the design process focused on gaining a deeper understanding of ergonomics and user comfort. The initial phase involved the creation of a custom ergonomic testing rig designed to simulate a variety of seated postures. This rig enabled iterative testing of seat angles, backrest inclinations, and leg positioning, with the aim of identifying an ideal relaxed seating posture to inform the final design direction.
The insights gathered from this ergonomic research formed the basis for the next stage: aesthetic refinement. The original form was reassessed and simplified into a more minimal and cohesive design. Although the structure was streamlined, key visual elements were retained to preserve the core inspiration of the original concept and maintain design continuity.
To better visualise and evaluate the chair’s performance, a simple pitch deck was developed. This included analysis of structural forces and material behaviour, alongside high-fidelity renders to provide a clear understanding of how the chair would both look and perform in a real-world context.
In parallel with the digital development, a low-fidelity prototype was produced using PVC electrical conduit. This physical model served as a valuable tool for spatial exploration, offering a hands-on sense of the chair’s proportions, stance, and overall presence within a physical environment.
Arai
new residence
Following an extensive phase of development, a decisive final design emerged that successfully captured both the methodology and core inspiration of the project. The resulting chair pays clear homage to Marcel Breuer’s iconic Wassily Chair, while reinterpreting its formal language through a contemporary lens. By embracing modern tube-bending techniques, the design offers a refined structural update that brings new relevance and vitality to a historically significant piece of furniture.
The visualisations that follow showcase the final chair in a range of material variations, highlighting the design’s versatility and adaptability. Each version demonstrates how the core form can evolve to suit different aesthetic preferences and interior contexts, reinforcing the chair’s potential as both a statement piece and a functional object within modern environments.
After pursuing this direction, I took a step back and recognised that, while the design had been successfully simplified, it no longer fully captured the essence of the original concept or reflected its core inspirations. This led to a renewed phase of form exploration, during which I investigated a wider range of design expressions to better align with the chair’s intended identity. Through a series of sketches, digital models, and form studies, I arrived at a refined concept that struck a more meaningful balance between aesthetic clarity and conceptual depth. When presented to potential users, this iteration was well-received, validating the direction and informing the next steps in the development process.