We had the distinct pleasure to interview award winning designer Kristian Ruden about their original and creative Armchair design work. Kristian Ruden is an award-winning industrial designer, that makes our world a better place with their original armchair works.
Kristian Ruden ("KR") answered Design Interview ("DI") questions about their award-winning work Aeriform Armchair. Interview questions prepared by Frank Scott.
KR : The Aeriform Armchair was born from a desire to capture the quiet grace of bird wings, unfolding mid-flight. I imagined a form that could feel like an embrace, soft yet powerful, sculptural yet inviting. Designed entirely in virtual reality, I sculpted it as if drawing with ribbon in the air, free from gravity and constraints. I was also heavily influenced by Pierre Paulin’s Ribbon Chair, and I aimed to build on that legacy by designing something even more bold and imposing. But aesthetics weren’t everything—I went through several physical prototypes and ergonomic jigs to make sure the chair was actually comfortable in real use. I wanted it to be both a centerpiece and a genuinely functional seat.
KR : With this design, my main focus was to create a seamless blend of sculptural elegance and genuine comfort. I wanted the Aeriform Armchair to feel like a statement. Bold, confident, and eye-catching, yet also be the kind of chair you could sink into for hours without a second thought. Too often, showpieces sacrifice usability for aesthetics. I didn’t want that. I set out to prove that an iconic form can still offer an inviting, ergonomic experience. The goal was to strike that elusive balance: a chair that dominates a room without demanding constant attention, that looks like art but functions like a daily essential.
KR : My goal is to bring the Aeriform Armchair into the real world. Not just as a prototype or concept, but as a product available to those who appreciate bold, sculptural design. I’m currently looking for a luxury furniture manufacturer who sees its potential and shares the ambition to develop a production-ready version together. There are still things I wasn’t able to fully realize on my own, like wrapping it in high-quality leather or crafting a cast chromed base, but with the right partner, I believe we can elevate it to its full potential. My hope is for the Aeriform to find its place among the icons: to be mentioned in the same breath as the Egg Chair, the Ribbon Chair, or the Papa Bear. I know it’s an ambitious goal, but I believe in the design, and I believe there’s a place for it in the canon of timeless furniture.
KR : The design process took about a year, though it was part of my diploma thesis, so I had to work within a set timeline. Initially, I had a different concept in mind, but a two-week study trip to Italy in September 2023 changed everything. During the trip, I had the honor of visiting the Poltrona Frau factory. Seeing their level of craftsmanship and attention to detail inspired me to design an armchair worthy of such an iconic manufacturer. I reached out to them, hoping for a collaboration, but never heard back. Still, I didn’t give up on the idea. From September to January, I explored inspirations, wrote down ideas, and shaped the project’s vision. In January 2024, I began designing in earnest. I sketched by hand, sculpted in virtual reality, and built a custom jig to work out the ergonomics. I went through hundreds of VR iterations before settling on the final form. In April, I moved into the engineering phase. I designed every part of the chair in detail, from structural components to fastening methods. With the help of a friend, I machined a foam core for the fiberglass shell, which I then laminated and upholstered. I also manufactured the leg and all of its hardware. By June, the first prototype was finished.
KR : As I mentioned earlier, this design was sparked by my visit to Poltrona Frau during a study trip to Italy. That experience really lit a fire in me. I wanted to create something ambitious and meaningful as part of my diploma thesis. Something that would challenge me and bring together everything I had learned so far. I wasn’t interested in playing it safe. I wanted to do the unthinkable. Some of my professors didn’t believe I could pull it off, which only pushed me harder. This project became a personal mission to prove that with enough vision, persistence, and skill, I could bring something bold and refined into the world entirely on my own.
KR : At the moment, the Aeriform Armchair is not in production, though I believe it's more than ready. My goal is to license the production rights to a well-established company with the reach and craftsmanship needed to connect this piece with the right audience. This is a luxury product, built to last for generations, and it requires a partner whose values align with both mine and those of the customers. It’s not a mass-market piece. It’s large, bold, and unapologetically sculptural. It doesn’t fit every home, and it’s not meant to. But for those who resonate with its presence, I believe it can become something truly iconic.
KR : For a long time, I’ve wanted to dive deep into working with the human body—not just in terms of interaction, but especially when it comes to ergonomics and comfort. Ergonomics is often treated as a two-dimensional concept, focused on points of support. But comfort is more complex. It’s not just about where your body touches the seat, but how the form wraps around you, and how it supports you over time. Even the most ergonomic chair becomes uncomfortable eventually, because the human body is built to move. That’s why this armchair was designed to accommodate movement. I wanted it to be a place where you could sit upright, slouch, slide down, lounge sideways, cross your legs, throw one leg over the armrest, whatever feels right in the moment. Comfort, to me, means freedom, and I wanted to capture that. On a more personal level, I’ve always loved sculptural design, and few design objects let you explore that as freely as furniture. Especially seating. You’re able to treat it as both functional object and expressive form. So this was a natural fit for me.
KR : Yes, definitely. Two major influences were Pierre Paulin’s Ribbon Chair and Hans Wegner’s Ox Chair. The Ribbon Chair inspired me with its flowing, sculptural form. It feels like a gesture frozen in time, and that elegance really stayed with me. The Ox Chair, on the other hand, has immense presence. It’s bold and confident, almost architectural. I also love that Wegner designed it with the intention that people could sit sideways in it. That kind of functional freedom really resonated with me and aligned with my own goals for the Aeriform Armchair.
KR : The Aeriform Armchair is designed for individuals who value bold design and unapologetic comfort. Those who see furniture not just as function, but as art. It’s not for minimalists or those chasing trends; it’s for people who want to make a statement. Whether it ends up in a private residence, a luxury hotel lobby, or a collector’s gallery, the ideal customer is someone who owns the room. They appreciate sculptural form, premium materials, and the emotional presence a piece like this brings to a space. This armchair is for those who crave timeless design, comfort that lasts, and the kind of craftsmanship that leaves a lasting impression. It’s made for individuals who embrace boldness, are not afraid to stand out, and make their space their own.
KR : What sets the Aeriform Armchair apart is that it was entirely conceived in virtual reality. This allowed me to push the boundaries of form and ergonomics in a way that traditional methods couldn't. While there are plenty of bold and sculptural armchairs out there, none have the same freedom of design, from concept to execution, that VR offered me. It’s a blend of innovative technology with timeless luxury, which makes it unique in today’s furniture landscape.
KR : The name “Aeriform” is a nod to the armchair’s subtle aerospace edge, both literally and conceptually. The inspiration came from bird wings, but the connection runs deeper. If you were to slice through the chair at almost any point, you'd find an airfoil-like profile. That flowing, aerodynamic shape isn’t just for show—it turns out to be surprisingly comfortable. Even the legs, which didn’t need to be aerodynamic at all, ended up shaped like they were built for flight. There’s a kind of elegance in making something grounded feel as if it’s suspended mid-air.
KR : I used a mix of traditional and digital tools throughout the process. It began with quick sketches on paper, followed by sculpting in virtual reality using Gravity Sketch. Designing in VR let me shape the chair freely in three dimensions, almost like drawing with ribbon in mid-air. Once the concept felt right, I exported the model into Rhino to add some details and engineering. I also built a full-scale ergonomic jig to test seating positions and comfort in real life. Several 1:1 models were carved from polystyrene to study proportions and refine the physical feel of the chair. KeyShot was used for rendering materials and lighting, while Adobe tools helped with presentation and documentation.
KR : The most unique aspect is how the chair was conceived and sculpted entirely in virtual reality. That allowed me to create a form that feels like it couldn’t have been drawn on paper or modeled traditionally. Something fluid, weightless, and unconventional. The result is a bold sculptural shape that still manages to be deeply ergonomic and functional.
KR : While my professors offered guidance throughout the diploma process, as they should, I often went in the opposite direction of their suggestions. Still, they ended up being genuinely impressed with the final result. On the technical side, I consulted Lubomíra Antochová, a professional upholsterer. I shared my idea of wrapping the entire chair with just two fabric pieces and a single seam. She warned me it would be incredibly difficult due to the complex shape, but also said she’d be impressed if I managed to pull it off. And, well… I did.
KR : Technology played a huge role in bringing this design to life. From sketching the initial form in virtual reality to refining it in Rhino, I relied heavily on digital tools to shape the concept. CNC machining and laser cutting helped me build precise components for the jig, foam core and leg base, while 3D printing supported some small functional parts, scale models and prototype leg cover. The final prototype uses a fiberglass shell. A material that combines strength, flexibility, and sculptural freedom. Basically, I threw every modern tool I had at it to make sure the idea wasn’t just beautiful, but buildable.
KR : Yes, my design was influenced by research into ergonomics, anthropometry, and comfort. I consulted various books on these topics to ensure a solid foundation for the chair's functionality. Additionally, the ergonomic jig I created allowed me to test and receive feedback from different people, helping me fine-tune the angles and heights for optimal comfort. This hands-on research was crucial in making sure the design wasn't just visually striking but also functionally sound.
KR : The biggest challenge I faced was time constraints. I had a clear vision of how I wanted to build the chair from the beginning, but executing it within the limited timeframe was tough. Another hurdle was finding an upholstery manufacturer willing to take on such an ambitious project. Many declined or said it would take months to develop the necessary upholstery, so I ended up having to do it myself. The most surprising challenge, though, was sourcing the fabric. I didn’t want to use polyester because it lacks breathability, doesn’t stretch, and doesn’t feel luxurious. After some difficulty with suppliers who had long lead times, I ended up shopping locally and found the right material - wool. Although not exactly the shade or weave I had envisioned for the prototype. In the end, I’m happy with how it turned out.
KR : I wanted to share my work with a wider audience and see how it would resonate on an international stage. It was important to me that the design be recognized not just locally, but globally. Entering a competition was a way to showcase my vision and get feedback from a broader design community. Plus, it felt like the right moment to put myself and the project out there. After all, if you believe in your work, why not share it with the world?
KR : Throughout this process, I learned to trust my instincts more than ever. I also gained a lot of confidence in using virtual reality as a design tool—something I hadn't fully explored before. But the biggest takeaway for me was realizing just how much I’ve grown as a designer. To be able to take an idea from concept to a physical, functional piece, and to do it almost entirely on my own, was a huge achievement. It really showed me what I’m capable of when I push myself.
KR : I believe that design should go beyond functionality and aesthetic, but also evoke emotion and become a part of how we experience the world around us. With the Aeriform Armchair, I wanted to create something that wasn’t just a piece of furniture but a statement, a conversation starter, and a symbol of true craftsmanship. I hope this piece will inspire people to rethink what comfort and design can mean in the modern world. Ultimately, I want it to stand the test of time, not just as a chair, but as an iconic piece of design history. However ambitious that might be.
