Jordan Kurz Furniture Design Portfolio

CONSUM·MATE

simplicity of design two part construction single piece seat and back minimum number of welds bend > weld hardware possibilities

Hand-carved Foam Form

Vacuum Bent Plywood Wood & Steel Parts Assembly

Diacro Bent Mild Steel Frame

Ply Wood & MDF Jig

TIG Welded Frame

16 welds - 60 min.

CORE

THE GOOD LIFE

Wide design for meditation postures. Stretch fabric to relax in any position.

Generous width for intimate sharing. Foot rest cleanly stores under lounge.

Water jet cut aluminum core. Structural aluminum fabric stretchers

Wood frame

Anodized aluminum Sunbrelle stretch fabric

STABLE

THE FORM OF TREND

THE POTENTIAL OF EMPTINESS MU

Mu is a concept that is translated as “emptiness.” The more accurate meaning is “space with potential.”

This interior is an attempt to capture this concept which is found in many Japanese homes, tea rooms, and temples.

The sparse furniture and decor is a reflection of Mu leaving very little to distract. The simplicity of the objects and furnishings embody the ideals behind “wabi”, which are humility, being free from materialism, and staying in harmony with nature.

The aesthetic is intended to bring one’s focus back to a state of zen or “empty mind”.

a room that is empty allows for focus relaxing recentering being an atmosphere that fuses the comfort of the inside the beauty of the outside a place to find balance physical mental spiritual a space that in its emptiness becomes useful

The sunken built-in seating provides the feeling of being grounded and presents a humble view of nature. The large windows can be opened to create a dining space for eight people.

There is a series of shelves to display various books and decor items. The shelf provides storage space for the zabuton floor pillows, used for sitting and meditating comfortably on the tatami floor.

The bonded bamboo floors gradually transition to the stone of the garden, which blends the line between the interior space and the outdoors.

The exterior bonsai garden, with a bamboo deer scare, enhances the connection with nature and contributes the element of flowing water. The subtle wave in the truss timbers is a visual representation of the element of wind that can flow through the space.

The intention was to create a space that provided an open yet comfortable atmosphere, close to nature, and without distractions

THE RED CHAIR

DESIGN AS NARRATIVE

FURNITURE IS DESIGN. FURNITURE IS ART.

WHAT IF FURNITURE WAS A LITERARY WORK?

THE BOOK CONTAINING THE STORY, WOULD BE THE MANIFESTATION OF DESIGN LANGUAGE. THE FORM.

PUSHING THIS ANALOGY FURTHER WOULD BE THE LITERARY ELEMENTS.

THE MATERIALS THE TEXTURES THE FINISHES

THE WORDS THE SENTENCES

THE PLOT DEVICES

THAT DRAW THE READER INTO THE NARRATIVE

The intention of The Red Chair is to tell a story through the medium of furniture. The work will draw on the research from several areas of study including:

• Physiological and psychological reactions to colors, materials, and textures.

• The relationship between people and objects

Emotional design

Shape, color, and texture, have always been a concern of both the designer and the artist. Visceral design deals in extremes, soft vs sharp, bright vs dark, smooth vs rough. These characteristics are powerful tools that can be used by the creator to capture the attention of the viewer on a primal pre-conscious level and trigger an immediate emotional impact. People experience an object first through their senses, what they see, what they feel, these initial subconscious interactions and the emotions they elicit are the catalysts for desire. Without first establishing subconscious desire, people never get to conscious reflection-- the point where they apply their experience, culture, and knowledge to make a lasting emotional connection to the object (Norman). Whether this use of visceral design is applied to sell a product or to tell a story the same principals are at work.

This collection uses forms and finishes that speak in a design language based on this visceral phenomena with the intention of drawing the viewer into the narrative as well as elevating the work’s market potential.

The Red Chair delivers a narrative through a cohesive collection that communicates my experience in event production, art, and design. An expressive story of growth, told through the visceral use of craftsmanship, form language, and materials, that culminates in a market ready design.

I had a desire. A feeling that I must. I would lay awake at night staring at the patterned acanthus leaves the intricate rosettes scrolled across the copper tiled ceiling of my room deep in thought.

I found myself with a need to use my hands a desire to spend my time focused on bringing something tangible into the world.

In those early hours I would get lost in memories my childhood the warmth of the Florida sun on my face the smell of salt water and suntan lotion the sweet taste of citrus pulled from the orange tree in my grandmother’s backyard.

But also there in the dimly lit floral patterns of the ceiling tiles was something else a memory more sinister.

I had a story that I needed to tell. A tale of how the present grows from the darkest soil of the past.

As is the nature of memories, it is often the unpleasant ones that take root.

It’s ironic that I’ve become a furniture designer, because one of my darkest memories is of a chair…

The Red Chair.

BANNER PARALLEL