Glider Chair

One aspect of the Glider Chair that has not yet received the attention it truly deserves is the degree to which it represents an entirely new typology within contemporary furniture design. Many high-end pieces distinguish themselves through materials or detailing, but the Glider Chair is built on a structural and conceptual logic that is fundamentally different from what currently exists on the market.The chair unites sculptural expression and functional clarity in a way that is rarely seen. Its form is not an aesthetic gesture added on top of a conventional construction; it is the construction. The seat-fold, the cantilever base, and the overall balance of the piece emerge from one coherent idea, where structure, geometry and storytelling are inseparable.This integration of narrative is also unique. In the Beuys Series, the reference to Joseph Beuys’ healing is embedded in the felt, while the upcoming Hodja Series draws on the cultural mythology of flying carpets. These layers are not decorative — they shape the identity and the physical experience of the chair.Finally, the replaceable seat-fold introduces a level of longevity and adaptability that is extremely rare in the high-end segment. It allows the chair to evolve over time without traditional upholstery work, making it both sustainable and visually versatile.If there is one dimension I would highlight for the design community, it is this: the Glider Chair is not simply a new chair. It is a new way of thinking about how sculptural logic, functional engineering and cultural storytelling can coexist as equals within a single piece of furniture.

The felt entered the process after I had completed my initial prototype in 4 mm vegetable-tanned grain leather. Grain leather is beautiful and performs well structurally in relation to the seat-fold, but its smooth surface can be a challenge in terms of comfort. A colleague suggested that I try working with felt, and I’m still grateful for that hint. The introduction of felt, in combination with the glider theme, immediately opened a conceptual door, allowing me to draw on Joseph Beuys’ compelling story of his plane crash and rescue by nomads.The interplay of diametrical opposites has always been a natural part of my practice. I’m drawn to the meeting point between the organic and the industrial — not as a contrast to be resolved, but as a productive friction that generates form, meaning and emotional resonance. In the Glider Chair, the warmth of the felt and the geometry of the steel are not competing forces; they are two parts of the same idea, reflecting a broader design philosophy in which materials with fundamentally different logics can coexist and enrich one another.That this pairing also fits seamlessly into a wide range of spaces is a welcome bonus. It softens the modern functionalist home and adds a touch of modernism to the traditional living room.

I am a passionate advocate for Merino wool, both in my work and in my daily life, and I cannot think of a material better suited to this chair project. Merino wool felt supports human comfort while contributing to long-term sustainability. It is essential for our wellbeing that we embrace naturally functional materials, which in my view will always be preferable. The structure of the felt, its expression, and the way it is shaped and processed open up possibilities for a wide range of new products based on emerging sustainable materials and future material logics. Such innovations could form the basis for future series, expanding the narrative universe established by the Beuys Series and the Hodja Series.