Cloud Beanbag

The cloud was never intended to be merely a visual reference. At the beginning of the design process, I was attracted to its soft and irregular form, but as I developed the prototype, I realized that the real value of the cloud lay in the feeling it evokes rather than its appearance. I wanted the chair to provide the emotional comfort that people instinctively associate with a cloud: lightness, protection and calm. This idea gradually became a structural principle. Instead of allowing the beanbag to collapse completely like conventional models, I designed a form that gently supports the body from multiple directions while preserving its overall silhouette. The aim was to create the sensation of being held rather than simply sitting on a soft object.The writings of Thich Nhat Hanh encouraged me to think about comfort as a quiet, mindful experience instead of a purely physical one. His perspective on presence and gentle awareness reinforced my intention to design an object that invites people to slow down and reconnect with themselves. Friedrich Nietzsche influenced me differently. His reflections on embracing life and affirming human existence resonated with my belief that comfort is not a luxury but a fundamental human need. Together, these philosophical influences did not dictate specific ergonomic dimensions, but they shaped the values behind every ergonomic decision. The result was a chair designed not only to support the body, but also to create a sense of emotional reassurance, something reflected in the user evaluations, where many participants independently described the experience as feeling like a hug.

From the beginning, I wanted to understand not only whether people found the Cloud Beanbag comfortable, but also how they emotionally responded to it. For that reason, I combined three simple but complementary methods: questionnaires, direct observation, and video documentation. Eight participants with different ages, body sizes, and sitting habits were invited to use the chair naturally rather than follow strict instructions. Instead of focusing only on posture or pressure points, I paid close attention to body language, facial expressions, the amount of time they chose to remain seated, and the words they used immediately after the experience.The most valuable insight was that emotional comfort revealed itself through spontaneous behavior rather than direct questions. Several participants stayed seated longer than expected, adjusted themselves very little once they found a comfortable position, and naturally leaned into the surrounding support. What surprised me most was that different people independently described the experience using almost the same expression: they said it felt like being hugged. That description had never been suggested by me, which made it especially meaningful. Their feedback confirmed that the chair was offering more than physical softness; it was creating a feeling of security and emotional ease. Those observations strengthened my confidence that emotional well-being can be considered a legitimate design objective, alongside ergonomics, aesthetics, and functionality.

For me, sustainability is not defined by a single material choice. It begins with designing a product that people will want to keep, maintain, and use for many years. The Cloud Beanbag was therefore developed with a refillable inner liner and a removable cover, allowing users to clean, repair, or replace individual components instead of discarding the entire product. I believe extending a product’s useful life is one of the most meaningful forms of responsible design.Another important aspect is transportation. Although the Cloud Beanbag has a generous, sculptural appearance, its construction allows the outer cover and inner liner to be shipped compactly and filled locally after delivery. By integrating this capability into the product, shipping volume can be significantly reduced, making transportation more efficient while lowering the environmental impact associated with distribution.Material selection has also been an ongoing part of the project. I personally visited and held discussions with Iranian textile manufacturers, particularly Kalar, where I examined high-quality upholstery fabrics produced from recycled plastic materials. I also explored sustainable textile options with Arta Shokouh Yazd. These experiences showed me that environmentally responsible textiles are becoming increasingly available in Iran, although they currently remain more expensive than conventional upholstery fabrics. For the Cloud Beanbag, however, softness is not simply an aesthetic preference; it is fundamental to the emotional experience of the design. My goal is therefore not just to adopt recyclable materials, but to ensure they preserve the tactile warmth and comfort that define the product. This perspective also aligns with Jonathan Chapman’s concept of emotional durability: when people develop a meaningful relationship with an object, they are more likely to care for it, repair it, and keep it in use for many years. I believe true sustainability is achieved when environmental responsibility and emotional attachment reinforce one another rather than compete.