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Washington, D.C.







Industrial Designer

Seeking only to transform a metaphoric uncured plane of carbon fiber into a load-bearing form, the Sepal Set utilizes the 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 studies 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 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 seats and backplanes are collected and folded into a W-shaped spine, respective of petals and sepals converging into a receptacle and peduncle of a flower. , This spine connecting the seat and back 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 complement the divided Sepal Table surfaces.

Designed in concert with the Sepal Side Chair, the Sepal Table explores modern composites' capabilities. The table is, in essence, a simple plane molded on the vertical axis into stiffened planes, a spanning beam, and legs. A more elaborate explanation begins with an uncured resin and carbon fiber sheet bound at its edges. A consistent pressure force exerted from the sides loosens the material, slowly creating ripples in the plane. With an additive pressure over time, these ripples converge and solidify at the interior of the rectangular plane, creating a central ridge and diagonal tributaries.

As this ridge cures and stiffens, the force, ultimately seeking an exit downward through the plane, forms a valley between. As the valley deepens, shaping a beam, tears begin at the unbound corners of the plane. These tears allow cupped legs to press beyond the plane. The remaining force pushes across the table surface towards the solidified ridge, leaving a slight concave depression in the surface plane. A bellied beam is pressed and solidified by pouring over the taut central ridges from the table surface. The remaining pressure exits the beam towards the unbound corners, sculpting narrow, direct legs. The complete cured form recalls its creation in tracing water over its surface; the four table surface planes collect thin sheets of water, overflowing at the central spine into the main beam, gathering at the center, and ultimately spilling through the cupped legs.

The generous dimensions of the table suit it to the function of a dining or conference table, allowing for eight seats by length and two by width. The pressed beam and legs are positioned to the center of the table plane to not interfere with the function of the table surface. While the fluid-collecting nature of the form is responsive to drink, the central ridge and edges evenly support a sheet of glass if the fluid lines are desired as a visual element and not a tactile one. The open legs and beam can hide and accommodate corded and cabled electronic necessities.

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