Seeking only to transform a metaphoric uncured plane of carbon fibre into a load bearing form, the Sepal Set utilizes matching language of stress resolution commonly found in the stiffened planes of plant structures to resolve two dramatically different functions, the chair and table.
Intent upon creating a consistent language of form defining a ‘morphology of chairs and tables,’ the Sepal Chair is a study of surfaces transformed into stiffened shapes. The bent and folded planes are derivations of structures found in flowering plants. While the Sepal Table deviates only in the vertical axis, the Sepal Chair is conceived as a series of shaped planes driven by the forces of a seated person. The deflection of the cantilevered seat and back surfaces creates a spring-like supple surface to meet the human body. These seat and back planes are collected and folded into a W-shaped spine, respective of petals and sepals converging into a receptacle and peduncle of a flower. Connecting the seat and back, this spine unfolds again into four C-shaped legs carrying the forces to the ground, as a peduncle divided and split into four open stems.
The upright and dynamic form of the Sepal Chair is supportive of spirited debates, while the spring-like deflection of the thin carbon fiber material allows for lasting comfort. The unconventional spade shaped seat and back compliment the divided Sepal Table surfaces.