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Another interested member wrote, "Maybe this chair is a case of the sum of the parts being greater than the whole...the height of the front of the seat off the
ground, the angle of the seat off the ground, the angle of the back to the seat, the angle your arms rest on the armrests, etc, leave your body in such a pose
that it just feels right." That was after experiencing an Origami at T West, too.
Interesting ... my response was just the opposite. Comfy as it comes. Admittedly, not an easy chair to move, but if you think of it as a lounge chair, it shouldn't be moving anyway. You _do_ have to get used to getting out of them without tipping forward ...Matt wrote:I sat in one of these chairs at T-West and found it comfy, but can't really fall in love with the design. Too heavy and over-complicated.
Humble student of the Master
"Youth is a circumstance you can't do anything about. The trick is to grow up without getting old." - Frank Lloyd Wright
And this is the result:
(You can see a version of this finished model with textures in my images dedicated to the Pauson house)
Recently, I discovered that on Cassina's website it is possible to download a three-dimensional model of the famous chair, so I decided to download it in order to compare it with the one I made:
The "pink" model is that of Cassina, and you can see the two overlapping models here:
What can be concluded from this?
1.- I have lost many hours of modeling making a chair that does not look much like the original chair
2.- Wright's drawing is undoubtedly a very embryonic state of his design, which evolved into what we can see today.
tipping forward as a sitter put pressure on the arms, when arising ? Given the weight of the chair, I'm surprised that this was found necessary. Lautner
did without it, in his minimal design for Sturges.
Remember that virtually every maker's version is different, in one way or another, from every other. This applies to Cassina as well; just because
they have a contract with the Foundation doesn't mean they didn't make their own changes.
One obvious one, in comparison to your pink model, is the swept-back leading edge to the arm. And, they came up with their own colorways---not
colors that Mr Wright used, for this chair at least, if ever.
I'm glad you produced your exercise. The world can't have too many versions of the Origami Chair !
That said, your chair might contain a couple of issues. One is the front inner corner, where the top of the chair side meets the arm. Other versions of the chair, it seems, have avoided the nipped corner of the plane of the arm at this intersection, a slight deficit in my view. Purity (if also variety) of geometric form is a hallmark of Wright's work, which seems at every turn to magically avoid such compromises. Another point is the projection of the seat plane beyond the front edges of the chair sides, this projection being a part of virtually every example of the chair besides your own.
Your digital model avoids both of these problems, in fact.
I am impressed that your equipment was able to produce the running finger joints along what are usually, I think, mitered corners of the chair. Do you intend to make your full-sized chair with this joinery ? If so, that would be another novelty distinguishing your chair---for better or worse---from all others. When plywood, a material composed of thin veneers, is chopped up by complex joinery leaving many short-grain snippets of veneer, some of those little pieces can be expected, sooner or later, to depart, leaving flaws in an otherwise handsome form ?
Though many are using CNC technology to finger-joint plywood today, I think most of them wisely use broader and fewer projections, which admittedly provide less glue area on the cheeks of the pins. Perhaps the technique is intended to provide registration of the joined parts, rather than as a traditional means to a glue-only connection ?
Carry on, and let us see where you go with this project. You have joined the select and quite small group of "Victims of the Origami," as I think they might collectively be called !
My Hope is that the finger joints would provide more glue area to make a secure joint overall. What do you think? Would "broader and fewer projections" make for a stronger joint?Though many are using CNC technology to finger-joint plywood today, I think most of them wisely use broader and fewer projections, which admittedly provide less glue area on the cheeks of the pins. Perhaps the technique is intended to provide registration of the joined parts, rather than as a traditional means to a glue-only connection ?
Thanks for any advice.
From woodworker extraordinaire Stafford Norris III, we have a chair he made in red oak for a Howe
homeowner. He says he's seen more than one Howe design; this one seems to eliminate even the
vestige of the "tail" that is the extension of the seat panel.
Starfford writes, "The upholstery was done by one of Howe’s original people." What a beautiful chair:
a model of technique and finesse that should guide the would-be Origami mechanic in his pursuit.
Note in Howe's section drawing a second seat panel was added after the parts schedule was drawn up---and perhaps after he tried the built chair for comfort ? In any event, Howe's version of Wright's chair, eliminating the inessential while retaining the form, demonstrates nicely that Howe was his own man.
Only Lautner's Origami, as seen at the Sturges house, is as spare as Howe's: