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Stool Glavy Roda Chair by Igor Dydykin |
Home > Winners > Design #100660 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
ID: In the old days, the place where the king, prince or head of the family sat was distinguished in a special way. In our time, this tradition has changed, but the need to take responsibility for yourself and your family remains. In the studio, we decided to create a meaningful chair design that embodies the key qualities of the head of a modern family: decency, organization and self-discipline.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
ID: The Stool Glavy Roda design embodies the qualities inherent in the head of the family: decency, organization and self-discipline. Right angles, circular and rectangular shapes, combined with decorative elements, maintain a connection between the past and the present, making the chair a timeless object.
FS: What are your future plans for this award winning design?
ID: We will be pleased to offer this project to the company that shares our values and is ready to take up full-scale realization of this design.
FS: How long did it take you to design this particular concept?
ID: The project began in February 2019 and ended in December 2020.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
ID: Stool Glavy Roda was one of the first projects implemented inside Dydykin Studio, from the first sketches to the prototype. Igor Dydykin: "The idea to put more meaning into design came when I was studying Russian style at an industrial design course in St. Petersburg, then we thought about a deeper meaning conveyed in objects through form, ornament, material and texture."
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
ID: Our design was made for Dydykin Studio and is not yet produced. We are ready to consider options for cooperation.
FS: What made you design this particular type of work?
ID: I like to put more meaning into the object, which is not obvious, but it will definitely work. Stool Glavy Roda is austere and laconic, elements of ornamentation that adorn the chair are typical for many nationalities, which makes this object international. The design and ergonomics are designed to serve the family from generation to generation.
FS: Where there any other designs and/or designers that helped the influence the design of your work?
ID: To strengthen the project, we turned to the Neverovs' carpentry workshop for the development of furniture, where the craftsmen helped to determine the right material, solve the problem of design and layout, and also implement a prototype of a new product.
FS: Who is the target customer for his design?
ID: The laconic design allows the chair to organically fit into the interior of a modern house or apartment, it is well suited for a work area or office. The simple construction of a wooden chair will last a long time, passing from generation to generation.
FS: What sets this design apart from other similar or resembling concepts?
ID: Stool Glavy Roda is ascetic, devoid of curvaceous forms and decor, but demonstrates the strength and determination of the owner. To keep the design of the chair up-to-date for longer, we cleaned it of stylistic elements, chose a three-legged layout for better stability, determined the optimal position of the armrests and backrests to ensure an ergonomic fit, and a recess for the hand is provided in the back for easy movement of the chair.
FS: How did you come up with the name for this design? What does it mean?
ID: Stool Glavy Roda is translated from Russian as a chair of the head of a clan, a chair for a person who is responsible for himself, for his clan, for his family.
FS: Which design tools did you use when you were working on this project?
ID: Several methods were used to create this prototype: manual sketches, polystyrene modeling to test proportions, and creating a 3D model for structural analysis. The three-dimensional ornament on the back of the chair was made on a CNC milling machine. All elements of the chair: legs, seats, backrest, were made and assembled by hand in a specialized workshop.
FS: What is the most unique aspect of your design?
ID: The large and small ornament on the back embodies the sign of the Sun, inherent in many peoples and nationalities, at the request of the owner, any word, coat of arms or symbol can be placed on the back.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
ID: Our team included: project manager Lyudmila Sapalova, 3D engineer Nikita Trofimenko, product photographer Anzelika Dydykina and woodworker Sergei Neverov, who helped develop the chair design and production technology.
FS: What is the role of technology in this particular design?
ID: We used Adobe software for idea development and visualization, and basic woodworking tools were used to create layouts and prototypes in the workshop: a circular saw, grinders, a milling machine and a CNC machine.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
ID: Conducted a study of chairs and thrones of different nationalities from the pharaohs of Egypt to the end of the 19th century, in order to understand what techniques were used to emphasize the greatness and importance of a person. These places were often accompanied by rich decorations, expensive materials and sacred symbols. The key qualities of the people sitting on the throne were severity, organization, self-discipline, responsibility for themselves and for their people.
FS: What are some of the challenges you faced during the design/realization of your concept?
ID: Seeing the whole project turned out to be a difficult task, despite the outward simplicity of the form. We had to test everything on full-size models.
FS: How did you decide to submit your design to an international design competition?
ID: We are a young and ambitious studio that strives for quality design all over the world. For this reason, we strive to participate in international competitions, which allows us to learn and improve the quality of our projects.
FS: What did you learn or how did you improve yourself during the designing of this work?
ID: Thanks to this project, we met talented people in Russia, some of them became members of the project team. We decided to create a world-class product, for this we had to improve our communication and critical thinking skills in order to go beyond the boundaries of the usual understanding of things.
FS: Any other things you would like to cover that have not been covered in these questions?
ID: We would like to thank the A’Design team for their timely feedback and the opportunity to grow professionally within your community.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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