The Hulot system is highly modular and designed for repairability and adaptability. What were the biggest challenges you faced in developing this system to ensure it meets the diverse requirements of public and gastronomic areas?
Gastronomic establishments have completely different requirements compared to private households. At home, people sit on a chair for 2 to 3 hours, on average. In catering areas, these objects are exposed to different intensities of use, 6-8 hours a day, 365 days a year. This means that such furniture must be manufactured to be significantly more robust. In this particular case, the design still has to fulfil the requirements of the circular economy. I had to do a lot of research to come up with a simple solution.
I decided to develop a system in which the furniture is customised. Each piece of furniture consists of the same node element, to which structural elements are attached in a slightly modified form. These are easily removable, so each object remains repairable. Above all, a chair can be transformed into a table in just a few simple steps.
The Hulot system uses recycled and recyclable materials. How do you source these materials, and what criteria do you use to ensure their quality and sustainability?
The materials for the Hulot system are selected based on specific requirements. The node element is crafted from cast aluminum, which is derived from recycled secondary materials. This process consumes only a fraction of the energy compared to primary extraction.
Additionally, aluminum is exceptionally lightweight and anodised, eliminating the need for paint while producing corrosion-resistant parts. Structural elements like the legs are also composed of aluminum. The seat and table surfaces feature wood, chosen for its warm aesthetic and ability to store significant amounts of CO2.
Optionally, the seat and backrest surfaces can be covered with recycled leather to enhance their warm character. Overall, the components are made from non-harmful materials or recycled and recyclable materials.
Your work includes experimental studies with smart materials. Can you share a specific project where smart materials significantly influenced the design outcome?
In a research project, I explored the feasibility of a switch-free bathroom. I installed piezoelectric ceramics beneath the tiles, typically used as actuators in electrical circuits, but also capable of functioning as sensors. In my setup, these sensors detected minimal pressure on the tiles, enabling them to serve as light switches.
The potential applications extend far beyond lighting control; it could also include regulating temperature and water fittings using similar technology. The possibilities are nearly limitless.
The Filou chair is designed to support active sitting. What insights or research guided the ergonomic and structural design choices for this chair?
The Filou chair evolved through a series of tests and prototypes. Initially, I explored conventional and rational seat geometries, refining them progressively.
The pivotal discovery came when I realised that positioning the knees below the pelvis naturally encourages a more upright posture. A higher seat height and the ability to dynamically slide forward with the skid directly promote ergonomic sitting.
How do you ensure that the graphic character of the paracord-covered seat complements both the functionality and aesthetic of the Filou chair?
During the design process, I discovered paracord early on. It is highly durable and can be woven beautifully in rows. Given the relatively high sitting position, I needed to create a soft surface to prevent restriction of movement and discomfort on the legs. A standard cushion was not suitable for several reasons: they are often glued together and made of inseparable components, and I sought a lightweight construction similar to the wire chair frame.
As a lecturer in the furniture and interior design department at BURG Giebichenstein Halle, how do you incorporate your professional experience and design philosophy into your teaching?
This varies depending on the project. In foundational courses, I impart basic knowledge of furniture construction, with increasing emphasis on sustainability.
However, the core focus remains on understanding construction principles and statics. We extensively discuss sustainability aspects such as material selection, standardisation of parts, flat packing, shipping efficiency, and lightweight constructions. These themes are further explored in depth during advanced projects.
What trends or innovations are you most excited about introducing to your students, and how do you encourage them to explore sustainable design practices?
I am honestly always surprised at how sustainability has become a given among young students. This reassures me greatly. Nevertheless, we try to critically question existing structures, test various sustainable materials, and explore alternative joining methods.
For example, last year we investigated the possibilities of a new material. This material is pressed from wood and activates the wood‘s lignin as a binder. As a result, the material can be bent like solid wood. I strive to instil this curiosity about the things around us directly.
How do you see the role of modularity evolving in future furniture design, particularly in terms of sustainability and user engagement?
I attribute great importance to modularisation in the furniture sector. Adaptation and repair aspects alone will bring significant changes in the coming years. I also noticed how some companies are already rethinking these areas, aligning new designs with this approach, and adapting existing designs. This makes me very happy.
