Gold Furniture Design · 2022
Fly Armchair
by Pepe Lima
- A' Design Award 2022 Gold Winner in Furniture Design
- Awarded April 15, 2022
- CLIENT: Móveis James
- Estimated Number of Design Views: 74,348
- Verification code DD54549B58 · Verify this award
About Fly Armchair
Fly is an armchair designed for indoor spaces. The design is based on studies of deconstructivist composition, so the parts appear separated, as if exploded, while forming a harmonious whole. Rounded edges between the surfaces soften the visual discontinuity. A solid wooden structure inside supports the seat and the backrest and carries the other elements. The structure is covered with foam and fabric, and the parts and the feet are screwed in hidden positions. Two pointed elements under the armrests add strength to the arms and the feet. Fly measures 91 x 73 x 80 cm.
Emerging from the rich tradition of organic modernism that traces its lineage through the bentwood innovations of the nineteenth century and the molded plywood experiments of mid-twentieth-century masters, this remarkable armchair by Pepê Lima represents a sophisticated contemporary contribution to furniture design's ongoing exploration of natural form and structural expression. The work demonstrates exceptional command of laminated wood technology, employing the material's inherent capacity for complex curvature to achieve a silhouette that evokes avian flight without descending into literal representation, maintaining instead an elegant abstraction that allows functional considerations to guide formal decisions. The designer appears to have drawn upon both craft traditions and advanced manufacturing possibilities, achieving transitions between planes and the integration of structural and aesthetic concerns that reward sustained examination. The leather upholstery, rendered in a warm umber that harmonizes beautifully with the wood's golden tones, provides both visual and physical comfort, its generous padding suggesting an invitation to prolonged contemplation. Particularly noteworthy is the treatment of the armrests, which extend beyond functional necessity into sculptural territory, their tapering profiles creating dynamic visual energy while potentially offering practical utility as side surfaces. The raised backrest panel creates an intriguing dialogue between the wood's exterior shell and the leather's interior embrace, suggesting a protective enclosure that nevertheless remains open and welcoming. This piece invites consideration of how contemporary designers continue to find fresh expression within established material traditions, and how the dialogue between natural form and human function remains an inexhaustible source of creative possibility, what associations does the wing-like silhouette evoke in your own experience of this remarkable object.
Press Kit
- Unique Properties
- The Fly armchair's greatest differentials are its illusorily disconnected parts, which are presented as something "exploded" and which awaken the spectator's reflection: "how can everything be in its proper place without the aid of wooden crosspiece, screws and supports?" The layers play and the paradoxical perception of a product with totally separate elements, but resulting in a harmonious whole, is also one of the attributes that makes Fly different from other products in the same category.
- Dimensions & Packaging
- L91 x W73 x H80 cm
- Tags
- Furniture, modern, plywood, wood, armchair, exploded, deconstructivism, disconnection, confort
- Production Technology
- Due to the absence of crosspieces and other fixation points, the armchair has an elaborate solid wooden structure inside that at the same time accommodates the seat and backrest, it serves as the main structure for the armchair. Such structure is covered with foam and fabric where the other parts and feet are screwed in a hidden and strategic way. After that, the two pointed "under armrests" are attached to the armchair, which besides being aesthetic, play an important function in the structuring and solidity of the armchair feet and arms.
- Design Challenge
- The main challenge in the Fly Armchair, was to develop methods to assemble all the parts of the product as invisibly and sturdy as possible.
- Project Duration
- The project started in September 2020 in São Bento do Sul / Brazil and finished in March 2021.
- Operation Flow
- Due to the choice of materials, the armchair is a product totally designed for indoor environments and is not suitable for wet and outdoor environments. Extremely humid environments or direct contact with water can damage and warp the plywood. Direct sunlight should be avoided so as not to fade the plywood and fabric. In the case of synthetic leather, overheating can reduce its life cycle.
- Inspiration
- Contrary to most creations Fly was not born through a source of material inspiration; it is the result of studies of deconstructivist compositions with the objective of creating a product with disconnected elements but that paradoxically could result in a harmonious object. The focus was to use the "organized-chaos" with a concordance of the radii between the edges that soften the discontinuity and convey the impression of something exploded while fitting together with precision and coherence.
Colors of Fly Armchair
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Contemporary Furniture Design Studio
We specialize in creating distinctive furniture designs that balance artistic expression with commercial viability. Our award-winning approach combines deconstructivist aesthetics with production expertise, helping manufacturers launch standout collections.
G0E3 ShopDesign Interview about Fly Armchair
The central concept was to create a product that had its parts disconnected, but that was still able to maintain an idea of continuity. I studied at length the Deconstructive Style, and I was able to use layering and contrasts to show the texture of the wood as though the chair were dressed in armor. Even with the separate parts, I tried to maintain coherence within the radiuses and parallelism with the lines to have an idea of fluidity.
The goal was to propose something paradoxical, that is, to suggest continuity as well as fluidity between the elements that do not touch. Normally, fluid products with good continuity have their parts very well connected; organic as to appear to be in a liquid state. An example would be the arm of an armchair that leaves from the hind leg homogeneously, as though it were an extension of said leg. From there, I set myself the goal of exploring the idea of continuity from a different perspective.
The Fly armchair was launched in the second semester of 2021, and it has found a solid ground amongst clients and consumers. The acceptance of the product has been excellent, moreover; the myriad of finishing options opens a wide range of possibilities for customization. For that reason, I believe that we are talking about a product that will reach a great number of sales for a long while. Because of the grand possibility of customization, it is a product that people will likely not grow tired of quickly. We will keep it in line while sales remain satisfactory.
The conceptual aspect of the chair didn’t take a lot of time to be developed. It took me about a week between having the idea and sketching the first concepts until the final 3D model. I showed the product to a partner company, and the project was approved, which caused me to spend another couple of days doing the technical detailing. The prototyping took me longer, something close to six months. It is a product that demanded techniques and solutions that were, until then, unknown to us.
I like to work with freedom. Usually, products that are hired don’t have the same degree of creativity as the products I make simply because I want to make them when I don’t have any restrictions to create. I am yet to understand the patterns that I use for my creations, or even if there is a pattern. I simply woke up in the mood to draw an armchair that looked as though it had exploded, but that still had a high degree of continuity. This way, things just happened.
The Fly armchair is produced by a factory located in the city of São Bento do Sul, in the state of Santa Catarina, in Brazil. It has been produced and commercialized since the second semester of 2021.
I am a curious designer. I love challenging myself and going beyond my own expectations. I am constantly searching to draw something different and unheard of before. For a while now, my inspiration hasn't been something of the physical world like elements found in nature; my inspiration has been my own goals which I set out for myself for each product. In the case of the Fly armchair, my inspiration, my goal, was to create something that seemed as though it had exploded but at the same was continuous, like organized chaos.
I’ve never stopped to think about it, but I’ve always admired the lines and products by Charles and Ray Eames. When one thinks about a plywood piece, it is impossible not to have Eames’ products in mind. With that said, I believe, one way or another, the Lounge Chair contributed to what the Fly armchair turned out to be.
It is a piece for a daring audience, one that keeps up with design tendencies, and who is constantly seeking cutting-edge products with a different style. Often, these types of clients have their houses as shrines to art, architecture, photography, and design, and they won’t hold back on their efforts to have pieces that add to their creative and unique decor. Usually, it is a group of people who belong to either the upper-middle or upper class, due to the price tag on the product, which is not usually very low.
Honestly, I have never seen anything like it. Maybe there is a product or concept that is similar, but none of which I am aware. With that said, I would only be able to compare the Fly armchair with other products from a wider perspective, for example, armchairs. Regarding the ones currently existing on the market, I believe that its construction, its different and daring lines, as well as its originality make it an outstanding armchair.
I chose this name because depending on how the chair is configured along with the space into which the chair would be put, the parts would appear to struggle as if they weren’t connected to anything or anywhere. This thought was united with a comment from a friend who saw the project and asked me if it flew, for him, it seemed to be aerodynamic; hence, the name “Fly”.
I always draw with a black pen in a checkered notebook. I think the pen is important because it cannot be erased, it helps to train confidence in my stroke; risked, there is no return. The squared paper helps me maintain proportions even in free sketches. In the computing part, software for 3D modeling and rendering and an image processing program. That's it, I'm a hands-on product designer.
I have a strong bias to talk about this, but I am completely in love with the lines and the ratios that compose the Fly armchair. When I saw the finished piece for the first time, I felt quite proud of myself, and I remember having the distinct thought that I had made a product with exceptional harmony among its shapes. So, I believe that that is its most unique feature.
My studio is one-man; here I am the one who does everything: I create, design, model and render in 3D, I propose to partner factories, prepare the technical drawings, monitor prototypes, take care of my social networks, website, etc. It's quite heavy but I prefer that way, being behind every stage.
All my years of experience on the shop floor have allowed me to design things with the necessary knowledge of how they would be made in mind. However, the Fly armchair was a little more complex because I had never produced anything like it before. In this case, the talents of the prototypist from Móveis Jaime were essential to help me fill in certain gaps missing from the project.
All my years of experience on the shop floor have allowed me to design things with the necessary knowledge of how they would be made in mind. However, the Fly armchair was a little more complex because I had never produced anything like it before. In this case, the talents of the prototypist from Móveis Jaime were essential to help me fill in certain gaps missing from the project.
It is a product whose details require precision. All the elements need to end in such a way that is perfect for its assembly; thus, more artisanal manufacturing wouldn’t be adequate for this product. We resorted to cutting-edge machinery to make all the cuts, holes, and bevels in the piece. Because it is an armchair that uses all its upholstery as a single structure, the wooden boxing had to be very well planned, which meant that a high level of precision would be necessary for the structure not to compromise comfort.
I researched Deconstructivism, I read a lot about it, mostly to be able to understand what had already been done and its characteristics. I spent many hours also studying metallic connection solutions for the structure because, in my first draft of the armchair’s structure, this was still an enigma to be solved. During the first stage of the project, I knew what I wanted, but I didn’t know how to make it all work together.
I believe that the most difficult part of the development was thinking about the structure of the frame. I needed to bring forth a product that was resistant as well as sturdy enough not to wobble when someone sat on it. Because both arms and legs are disconnected and attached only by an internal arm, called “Spear”, that doesn’t have a relevant role in the structuring of the chair, I concluded that the upholstery would have to do most of the hard work. I had to come up with an idea as to how I could keep the upholstery strong and steadfast without compromising the comfort of the piece. This was quite complicated. Another thing that took quite some effort is that I tend to be very methodical when it comes to bolts and screws that can be seen; I avidly try to hide them, and that was a very challenging thing to solve in this product, but I successfully managed it.
Something told me that I had to share this product with the world. When you look at my career, clearly, I’ve never been a designer who has focused on participating in award competitions, I’d even dare to say that there are only a handful of times that I have entered such events. Yet, this time I felt like this product was different. I had a feeling that there was truly something unique there, and I needed to share it with the largest number of people possible, as to create a precedent. Another interesting point is that I’ve always considered myself a bit of a “wild” designer, and I needed to know if I were the only one who liked that product; if it was bare insanity on my behalf, or if it was truly a wonderful product.
I widened my knowledge of upholstery. Until then, I had a limited understanding of everything that happened inside of an armchair, a couch, or anything of the sort; however, because the upholstery is the key structural element of this product, I had to educate myself on the matter. The stability of the plywood, how to work with it, and the techniques of attachment were experiences that taught me many things and have helped me in the creation of new products that are still in the prototyping phase.
For now, I think that's it. I am very happy with the award, and I hope that others will come. Thanks.