Most chairs are designed for the everyday act of sitting – at a desk, relaxing, or enjoying a meal. But what about those who require a more dynamic and specialized seating experience? Painters, for example, often work on vertical canvases, require a chair that offers mobility, support, and freedom of movement. Industrial design student Teo Primo Frizzarin recognized this need and developed the “Leo” chair, a concept specifically designed for artists.
Designer: Teo Primo Frizzarin
Frizzarin, studying at ECAL (University of Art and Design Lausanne), focused his efforts on creating a chair that caters to the unique demands of working with a vertical surface. The Leo chair aims to provide painters with enhanced mobility and crucial arm support, essential for the creation of their masterpieces. The name itself, “Leo,” likely evokes the legacy of Leonardo da Vinci, hinting at the chair’s artistic purpose. The Leo chair draws inspiration from the form and function of a horse saddle. This design provides a stable seat while simultaneously granting the user greater freedom of movement compared to a traditional chair.
You get a conventional looking backrest but it also appears to be an arm support, which is probably what’s needed more. This support is not only adjustable in height but also in position, accommodating the varied postures and angles painters adopt while working. This adaptability is key, as artists often shift their positions and reach across the canvas as their work progresses. The prototype of the Leo chair showcases its mobility-enhancing features, including integrated wheels. These wheels allow the artist to easily maneuver around their workspace, retrieving paints, brushes, solvents, or other materials without needing to stand up and disrupt their creative flow. This thoughtful detail addresses the practical needs of painters who often require quick access to a variety of tools and supplies.
Frizzarin’s innovative design earned him a “Très Bien” mention for his diploma project, suggesting a promising future for the Leo chair. This recognition underscores the potential market for specialized furniture that caters to the specific requirements of artists. Currently, painters often rely on standard chairs, rolling chairs, or swivel chairs, none of which are perfectly optimized for the demands of their craft. The Leo chair offers a compelling alternative, potentially revolutionizing the way artists interact with their workspace. While still a concept, the Leo chair represents a significant step towards a more ergonomic and artist-centric approach to furniture design. It raises the question: will the Leo chair become the new standard for artists’ seating, or will it inspire further innovation in this often-overlooked area of design?
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