Jules S. Jaffe ᱨᱮᱱᱟᱜ Zig ᱯᱤᱲᱦᱤ ᱫᱚ ᱯᱷᱟᱨᱱᱤᱪᱟᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2020 A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱞᱚᱦᱟᱯᱷᱟᱨᱱᱤᱪᱟᱨ· 2020
Zig ᱯᱤᱲᱦᱤ
Jules S. Jaffe ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: Jules S. Jaffe
ᱯᱷᱟᱨᱱᱤᱪᱟᱨ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#89459 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Zig ᱯᱤᱲᱦᱤ ᱵᱟᱵᱚᱛ ᱛᱮ
ᱱᱚᱶᱟ ᱰᱤᱡᱟᱭᱤᱱ ᱫᱚ ᱴᱮᱠᱱᱤᱠᱟᱞ ᱮᱱᱮᱢ ᱠᱚ ᱥᱟᱶᱛᱮ ᱥᱚᱡᱷᱮ ᱟᱨ ᱠᱟᱹᱢᱤᱠᱚ ᱵᱟᱱᱟᱨ ᱞᱟᱹᱠᱛᱤᱭᱟᱱ ᱥᱚᱸᱫᱚᱨᱵᱷ ᱨᱮ ᱠᱟᱴ ᱨᱮᱱᱟᱜ ᱟᱡᱟᱜ ᱜᱩᱱ ᱠᱚ ᱫᱮᱠᱷᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱢᱚᱱᱮ ᱠᱷᱚᱱ ᱦᱮᱡ ᱟᱠᱟᱱᱟ᱾ ᱡᱩᱞᱥ ᱮᱥ. ᱡᱟᱯᱷᱮ ᱞᱟᱹᱜᱤᱫ, ᱱᱚᱶᱟ ᱜᱮ ᱯᱷᱟᱨᱱᱤᱪᱚᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮᱱᱟᱜ ᱮᱱᱮᱢ ᱠᱟᱱᱟ᱾ ᱱᱚᱸᱰᱮ ᱮᱱᱮᱢ ᱫᱚ ᱢᱩᱪᱟᱹᱫ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮ ᱦᱟᱹᱞᱠᱟᱹ ᱟᱨ ᱛᱟᱱᱟᱵᱽ ᱨᱮᱱᱟᱜ ᱢᱚᱱᱮ ᱥᱟᱶᱛᱮ ᱴᱷᱟᱶ ᱛᱤᱸᱜᱩ ᱟᱨ ᱫᱟᱲᱮ ᱮᱢ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ᱾ ᱛᱮᱭᱟᱨ ᱯᱤᱲᱦᱤ ᱨᱮ ᱩᱫᱟᱹᱦᱨᱚᱱ ᱞᱮᱠᱟᱱ ᱫᱟᱲᱮ ᱢᱮᱱᱟᱜ-ᱟ ᱢᱮᱱᱠᱷᱟᱱ ᱦᱟᱹᱞᱠᱟᱹ ᱟᱨ ᱥᱟᱹᱱᱛᱤ ᱨᱮᱱᱟᱜ ᱢᱚᱱᱮ ᱦᱚᱸ ᱢᱮᱱᱟᱜ-ᱟ, ᱡᱟᱦᱟᱸ ᱡᱤᱭᱚᱢᱮᱴᱨᱤ ᱠᱷᱚᱱ ᱦᱮᱡ ᱟᱠᱟᱱᱟ, ᱡᱟᱦᱟᱸ ᱯᱟᱭᱛᱷᱟᱜᱚᱨᱮᱭᱟᱱ ᱠᱚᱣᱟᱜ ᱚᱠᱛᱚ ᱠᱷᱚᱱ ᱪᱟᱹᱞᱩ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱠᱷᱚᱱ ᱰᱤᱡᱟᱭᱤᱱᱚᱨ
ᱢᱟᱱᱟᱱ
A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Zig ᱯᱤᱲᱦᱤ ᱫᱚ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Zig ᱯᱤᱲᱦᱤ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- The stool employs a unique triple mitered joint that did not exist before. The challenge here was to provide enough stability and strength to accommodate a feeling of lightness and tension in the final design.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- 505 x 185 x 180
- ᱴᱮᱜ ᱠᱚ
- stool, chair, sitting device
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- The design was realized in maple because it has the requisite capability to be accurately cut without worrying about splintering. This is actually version 4.2 that took place over 2 years with a variety of materials (oak) and a variety of machining techniques. Ultimately, a set of table saw fixtures that were precisely measured and inclined were used to have the surface meet with extremely high accuracy. The challenge with any cantilever is strength and stability. Hence the large mating surfaces. There are no screws or any other metal parts used in construction. Only wood. Purity of materials was a prime consideration.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- The continuous challenge of creating functional items that are also aesthetically pleasing is a constant challenge. Research in form, function and the engineering needed to accomplish the mutual goals of fulfilling those aspirations is a constant pursuit. Ancient concepts related to the golden triangle and its harmony with human perception is related to the construction of this stool as it incorporates a triangular structure that also needs to be extremely stable. The final realization was an exercise in precise and multi-dimensional angles.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- As with all projects the tension between good design and stability and strength in construction is paramount. In this case, many of the preliminary designs, when constructed cracked under the weight of the sitter. In addition, since the surface between the base and the supporting rod and the supporting rod and the seat are not orthogonal, it took a great deal of geometric reasoning to make those top and bottom surfaces parallel, as in any design close to this.
- ᱯᱨᱮᱨᱚᱱᱟ
- Overall the stool is an homage to Gerrit Rietveld. However it incorporates a Zen-like feeling of peacefulness and rest but with the tension of a cantilever. Hence, it uses contrasting elements to achieve its unique design. The stool inspires sitting upright in a meditative position and is also excellent for artists such as guitarists and cellists to use as it has no protruding parts and the base retracts from the seat edge. It is very stable but allows freedom of movement.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- The project took 2 years to execute in a workshop in La Jolla, CA, USA.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- Simply sit on it.
- ᱯᱮᱴᱮᱱᱴ ᱠᱚ
- None
- ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- Jules S. Jaffe (only)
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- Image # 1: Jules S. Jaffe, 2019.
Optional image #2 Jules S. Jaffe, 2019.
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
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ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
