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A Rare Bone chair by Joris Laarman
by Luke T. Baker
Dutch designer Joris Laarman was only three years out of Design Academy Eindhoven when his 2006 Bone chair became an instantaneous icon portending the formal and technical possibilities of the then‐nascent field of digital design. Laarman designed the chair using data driven modeling software that simulates the natural growth patterns of bones and trees— highly efficient structures that redistribute their mass at specific points in response to physical stress—creating an ultra‐strong chair with a minimum of material. With its low, mirror‐polished aluminum seat supported on a skeletal structure of attenuated members that seem to organically emerge from the floor, the Bone chair’s curiously original form captures tensions between the artificial and the natural, the industrial and the handmade.
"If Mother Nature wanted to create a chair, it would probably look something like the results we would get."
—Joris LaarmanLaarman’s application of synthetic biology to this piece of domestic furniture established him as an experimental pioneer at the vanguard of emergent digital design practices. The Bone chair quickly caught the attention of the international design community, with 6 examples from the edition of 12 (of which the present chair is number two) being acquired by major international institutions, among them the Museum of Modern Art in New York, the Vitra Design Museum in Germany, as well as the Rijksmuseum and Centraal Museum in the Netherlands.
The Bone chair marries digital technology and nature in a seamless union that dispels the false dichotomy between them. From his earliest works, Laarman has derived aesthetic inspiration from the natural world (his insistently decorative Heatwave radiator from 2003 resembles an unruly, Neoclassical‐inspired acanthus leaf pattern). The Bone chair marked the designer’s first foray into using natural science to dictate not just the formal appearance of an object, but the structural logic that underpins its engineering and construction. Laarman became fascinated by the efficiency and material economy of human bones after discovering the work of German biomechanical scientists Claus Mattheck and Lothar Hartzheim. Their research revealed that our bones are continuously shaped by the body as it removes bone tissue from areas requiring less strength, reducing skeletal weight while reinforcing structural soundness.
To apply these biological principles to the design of a chair, Laarman partnered with European automotive manufacturer Opel, which had adapted Mattheck and Hartzheim’s research on these naturally occurring “smart” systems into modeling software that could develop more efficient industrial components. The program’s algorithms mimic the body’s own reductive process, removing excess material from a rudimentary mass (akin to the way a sculptor frees a figure from a block of stone), to arrive at an essential shape that’s structurally optimized for its a principal purpose—to carry weight. “If Mother Nature wanted to create a chair, it would probably look something like the results we would get,” Laarman noted of the modeling process.
Video showing the optimization process used to model the present chair, 2006.
©Joris Laarman Lab.Though it originates from a mathematical formula processed by a computer, the Bone chair takes the human body as a direct point of reference. Its structural members are almost identical in scale to our own bones, and they share the same organic aesthetic with their gentle curves and asymmetrical proportions. In a sense, the Bone chair acts as a prosthesis for the body it serves, a synthetic skeleton designed in the exact same manner as the biological one it supports.
For Laarman, the Bone chair project cemented a commitment to digital technologies as principal elements of his creative practice, tools that function not as replacements for, but as extensions of traditional craftsmanship and hand making. To Laarman, “Rather than something nostalgic, craftsmanship ought to be seen as always evolving, and that, with the help of high-tech tools, should be central to society.” Producing the chair necessitated mastery of two distinctly different technologies still in their relative infancy at the time: computer‐aided modeling software to pare away excess matter from the design on screen, and 3D‐printing capabilities to build ceramic molds from the digital file—reductive technology driving additive technology.
"Rather than something nostalgic, craftsmanship ought to be seen as always evolving, and that, with the help of high-tech tools, should be central to society."
—Joris LaarmanLaarman chose to fabricate the edition in aluminum for its high strength‐to‐weight ratio akin to bone tissue. To cast the object as a single piece from the complex, multi‐part mold demanded the skill of a seasoned craftsperson experienced in working with these new 3Dprinted forms. Once cast, months of meticulous hand polishing were required to take the hollow aluminum piece to its finished state. The Bone chair’s ultimate reliance on human artistry underscores that no machine—regardless of how sophisticated and precise—can best the embodied knowledge, tactile sensitivity, and aesthetic judgment of the person who sanded down the chair’s surface, felt its texture beneath their fingertips, and adjusted the gesture of their hand tool to resolve any imperfections.
Left: The mold used to fabricate the Bone chair. Right: Image of the casting process.
© Image courtesy of Joris Laarman Lab. Photography by Daniel Nicolas.The Bone chair lay the groundwork for Laarman’s continued explorations into the role of digital technology in design, and he would go on to adapt these hybrid design techniques with other objects that would become the “Bone Furniture” series. “Modernist pioneers were all about assembly and standardized parts in a geometric form language dictated by the limitations of industrial machines,” Laarman once observed. “In our digital era, however, we are no longer bound by these limitations. With digital design and fabrication tools we can create smarter, customized forms that are much more complex.” Sculpted into its striking form through biomechanical data, the Bone chair became a bellwether for the optimized objects of the future, engineered in with collaboration with nature, made manifest through technology, and refined by human hands.
Provenance
Friedman Benda, New York
Acquired from the above by the present owner, 2007Literature
Louise Schouwenberg, "Digital Déco," Domus, no. 900, February 2007, pp. 20, 22
Paola Antonelli, ed., Design and the Elastic Mind, exh. cat., Museum of Modern Art, New York, 2008, p. 71
Conny Freyer, Eva Rucki, and Sebastien Noel, Digital by Design, Crafting Technology for Products and Environments, London, 2008, pp. 24-25
Anita Star, ed., Joris Laarman Lab, exh. cat., Cooper Hewitt, Smithsonian Design Museum, New York, 2017, pp. 6-7, 65, 70-73, 313
Property from an Important European Collection
45
"Bone" chair
2006
Aluminum.
30 x 17 1/2 x 30 3/8 in. (76.2 x 44.5 x 77.2 cm)
Produced by Joris Laarman Lab, Amsterdam, the Netherlands. Number 2 from the edition of 12 plus 3 artist's proofs and 1 prototype. Underside incised with the artist's facsimile signature and 2 / 12.
Estimate
$500,000 - 700,000
Sold for $630,000
Benjamin Green
Associate Specialist
Associate Head of Sale
bgreen@phillips.com
+1 917 207 9090
Design
New York Auction 7 June 2022
1
Georges Jouve
Large "Cylindre" vase
Estimate $25,000 - 35,000
Sold for $32,760
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2
Pierre Chapo
Table, model no. T21 D, and four benches, model no. S38
Estimate $7,000 - 9,000
Sold for $22,680
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3
Josef Frank
"Flora" cabinet, model no. 852
Estimate $50,000 - 70,000
Sold for $138,600
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4
Jean Prouvé
Set of six "Semi-metal" chairs, model no. 305
Estimate $40,000 - 60,000
Sold for $75,600
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5
Georges Jouve
Pair of planters
Estimate $5,000 - 7,000
Sold for $6,930
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6
Georges Jouve
"Cylindre" vase
Estimate $4,000 - 6,000
Sold for $5,040
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7
Georges Jouve
"Boule" vase and two bottles
Estimate $18,000 - 24,000
Sold for $18,900
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8
Georges Jouve
Pair of wall lights
Estimate $8,000 - 12,000
Sold for $37,800
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9
Georges Jouve
"Boule" vase
Estimate $10,000 - 15,000
Sold for $20,160
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10
André Borderie
Panel
Estimate $7,000 - 10,000
Sold for $5,670
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11
Jean Prouvé
"Antony" chair, model no. 356
Estimate $15,000 - 20,000
Sold for $44,100
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12
Alexandre Noll
Table lamp
Estimate $8,000 - 12,000
Sold for $56,700
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13
Georges Jouve
"Cylindre" vase
Estimate $4,000 - 6,000
Sold for $9,450
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14
Georges Jouve
"Cylindre" vase
Estimate $10,000 - 15,000
Sold for $16,380
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15
Georges Jouve
"Cylindre" vase
Estimate $4,000 - 6,000
Sold for $5,040
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16
Jean Prouvé
Set of four "Tout bois” chairs
Estimate $15,000 - 20,000
Sold for $32,760
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17
Jean Prouvé
Sun shutter, designed for schools in Cameroon
Estimate $10,000 - 15,000
Sold for $13,860
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18
Georges Jouve
Chalice
Estimate $6,000 - 8,000
Sold for $11,340
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19
Jean Prouvé
Sun shutter, designed for schools in Cameroon
Estimate $10,000 - 15,000
Sold for $17,640
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20
Jean Prouvé
Set of six "Semi-metal" chairs, model no. 305
Estimate $40,000 - 60,000
Sold for $52,920
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21
Jean Prouvé
Cabinet, model no. 152
Estimate $30,000 - 50,000
Sold for $94,500
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22
Georges Jouve
"Boule" vase
Estimate $4,000 - 6,000
Sold for $8,190
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23
Georges Jouve
"Boule" vase
Estimate $18,000 - 24,000
Sold for $73,080
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24
Jean Prouvé
Pair of "Semi-metal" chairs, model no. 305
Estimate $25,000 - 35,000
Sold for $34,020
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25
Jacques Adnet and Jacques Lenoble
Coffee table
Estimate $8,000 - 12,000
Sold for $16,380
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26
Jean Besnard
Low bowl
Estimate $1,000 - 1,500
Sold for $4,410
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27
Alberto Giacometti
Pair of rare "Main Tenant une Coupe" wall lights
Estimate $200,000 - 300,000
Sold for $617,400
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28
Jean Besnard
Table lamp
Estimate $6,000 - 8,000
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29
Raymond Delamarre
"La Tentation"
Estimate $15,000 - 20,000
Sold for $32,760
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30
Jean Besnard
Vase
Estimate $3,000 - 5,000
Sold for $8,190
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31
Maison Jansen
Side table
Estimate $4,000 - 6,000
Sold for $5,040
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32
Attributed to Joseph Urban
Pair of monumental candle holders, from the Mary and Joseph Urban residence, Yonkers
Estimate $8,000 - 12,000
Sold for $7,560
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33
Émile-Jacques Ruhlmann
Bed, model no. 894b NR
Estimate $25,000 - 35,000
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34
Gustav Gurschner
Two vases
Estimate $8,000 - 12,000
Sold for $10,080
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35
François-Xavier Lalanne
"Mouton de Pierre"
Estimate $300,000 - 500,000
Sold for $529,200
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36
Gustave Miklos and François Louis Schmied
"La Rivière Enchantée," unique paneled wall composition
Estimate $250,000 - 350,000
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37
Jean Besnard
Vase
Estimate $4,000 - 6,000
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38
Jean Besnard
Vase and footed bowl
Estimate $5,000 - 7,000
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39
Jean Besnard
Large bowl
Estimate $4,000 - 6,000
Sold for $5,040
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40
Ron Arad
"2RNot" chair
Estimate $20,000 - 30,000
Sold for $25,200
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41
Hervé van der Straeten
"Volubile" ceiling light, model no. 306
Estimate $25,000 - 35,000
Sold for $40,320
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42
Hervé van der Straeten
"Anneau" console
Estimate $25,000 - 35,000
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43
Ron Arad
Monumental and unique "Blown Out Of Proportion (B.O.O.P.)" vase
Estimate $30,000 - 50,000
Sold for $40,320
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44
Shiro Kuramata
"Miss Blanche" chair
Estimate $250,000 - 350,000
Sold for $516,600
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45
Joris Laarman
"Bone" chair
Estimate $500,000 - 700,000
Sold for $630,000
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46
Jun Kaneko
"Untitled" Dango form
Estimate $10,000 - 15,000
Sold for $24,570
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47
Giovanni Ferrabini
Rare console table
Estimate $15,000 - 20,000
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48
Betty Woodman
"Twisted Handle Vase with Shadow"
Estimate $15,000 - 20,000
Sold for $17,640
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49
Ruth Duckworth
"Untitled"
Estimate $2,000 - 3,000
Sold for $3,780
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50
Ruth Duckworth
"Untitled"
Estimate $4,000 - 6,000
Sold for $4,032
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51
Gio Ponti
Wall-mounted chest of drawers, designed for the Hotel Royal, Naples
Estimate $30,000 - 50,000
Sold for $75,600
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52
Gio Ponti
"Diamond" flatware service for 24
Estimate $18,000 - 24,000
Sold for $88,200
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53
Gio Ponti
Side table with extendable leaves, from the "Domus Nova" series
Estimate $4,000 - 6,000
Sold for $8,190
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54
Jean Puiforcat
Rare table clock
Estimate $12,000 - 18,000
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55
Gabriella Crespi
“2000” extendable coffee table, from the "Plurimi" series
Estimate $30,000 - 40,000
Sold for $75,600
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56
Corrado Corradi Dell'Acqua
Pair of "Montecarlo" side tables, model no. T 12
Estimate $2,000 - 3,000
Sold for $3,276
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57
Gio Ponti
Dressing table, designed for the Hotel Royal, Naples
Estimate $5,000 - 7,000
Sold for $15,120
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58
Gio Ponti
Pair of wall-mounted shelves
Estimate $15,000 - 20,000
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59
Ico Parisi
Console table, model no. 1109
Estimate $15,000 - 20,000
Sold for $35,280
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60
Doyle Lane
Weed pot
Estimate $5,000 - 7,000
Sold for $23,940
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61
Doyle Lane
Weed pot
Estimate $4,000 - 6,000
Sold for $9,450
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62
Doyle Lane
Weed pot
Estimate $5,000 - 7,000
Sold for $5,040
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63
Doyle Lane
Weed pot
Estimate $4,000 - 6,000
Sold for $32,760
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64
George Nakashima
Pair of "Conoid" lounge chairs
Estimate $10,000 - 15,000
Sold for $18,900
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65
George Nakashima
"Greenrock" console table
Estimate $20,000 - 30,000
Sold for $30,240
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66
George Nakashima
"Conoid" platform bed and "Conoid" headboard with storage
Estimate $18,000 - 24,000
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67
Harry Bertoia
Rare "Sonambient" sounding sculpture
Estimate $20,000 - 30,000
Sold for $75,600
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68
Harry Bertoia
Suspended gong
Estimate $25,000 - 35,000
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69
Harry Bertoia
"Sonambient" sounding sculpture
Estimate $15,000 - 20,000
Sold for $21,420
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70
Harry Bertoia
Suspended gong
Estimate $20,000 - 30,000
Sold for $16,380
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71
Harry Bertoia
"Sonambient" sounding sculpture
Estimate $20,000 - 30,000
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72
Harry Bertoia
Suspended gong
Estimate $25,000 - 35,000
Sold for $25,200
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73
Harry Bertoia
"Sonambient" sounding sculpture
Estimate $12,000 - 18,000
Sold for $10,710
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74
Harry Bertoia
"Singing bars"
Estimate $4,000 - 6,000
Sold for $3,780
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