Chair by Glass Hill


This wooden chair by designers Markus Bergström and Joe Nunn of Glass Hill for Phillips de Pury is on show at the Saatchi Gallery in London.

Chunky dowels form legs and support the backrest, and are inserted in two batons supporting the seat.

Made of pine, the chair is on show alongside work by Max Lamb, Nendo, Julien Carretero and Raw Edges as part of an exhibition entitled Connectors.

Here's some more information from Glass Hill:

Glass Hill for Phillips de Pury & Co

Phillips Chair
United Kingdom, 2010, Southern yellow pine
Currently showing in Connectors exhibition, Saatchi Gallery
Edition of 25 + 1 prototype

'We asked Markus Bergström and Joe Nunn to create a chair that would complement their design for the exhibition space at Phillips de Pury. The duo from Glass Hill responded with this perfectly proportioned seat that speaks to the virtues of simplicity, form, and craftsmanship, and our need for them. Asked about their process, they said well-considered dimensionality speaks with the greatest eloquence. We agree.' – Phillips de Pury & Co

‘Southern yellow pine variously planed, dimensioned and machined. 450 mm front seat height pitched at 3 degrees to rear along 290mm deep seat. Back rest opens at 102.5 degrees from seat plane rising to 760mm above floor height and dropping 290mm towards to seat back. Overall depth of seat area from back rest plane is 360 mm. Seat is mounted to double rails set at an angle 6 degrees from seat edge with 8 no. 4×40mm screws. Both rails are ex45×60mm with a machined top angle of 4 degrees in opposing lateral planes. All legs and support for back rest are mortised into this rail. Front legs mount perpendicular to rail and seat, back leg at 24 degrees from seat angle and back rest mount at 12.5 degrees on opposing (top) surface. The rail’s pitch projects the front legs to the limits of the chair's overall width of 340mm, dictated by the square cut seat and back. The sides of the chair are parallel.’ – Glass Hill

Bergström and Nunn are since 2010 co-founders of Glass Hill, a practice that provides clients with architectural, interior, furniture and product design solutions. Bergström and Nunn met at the Royal College of Art (RCA) in 2005 on Ron Arad’s Design Products course.
Originally from Sweden, Bergström studied at Danish College of Design, Copenhagen, before moving on to the Design Products program at the Royal College of Art (rca). Meanwhile Nunn was studying in High Wycombe, the home of English vernacular furniture, on completion moving to London and becoming Tord Boontje’s first assistant before starting at the RCA. Previous to founding Glass Hill, Bergström worked for a London based architect's practice and Nunn was Tom Dixon's furniture designer.

Markus Bergström (b. 1979, se) Joe Nunn (b. 1980, uk)

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Posted on Friday June 4th 2010 at 4:43 pm by . Copyright policy | Comments policy

  • liam

    Furniture designers and makers put in a lot of time and effort to make high quality and respectful furniture. I could make this in an evening

  • Eat your heart out Gerrit Rietveld!

  • looking this chair it came to me a big influence of a great architect,,, Enzo Mari, with his chair produced by artek.

    • mario

      enzo mari is not an architect

  • some details suggest the idea of an optic design work, but the idea is marginalized by its nice proportions, smartness and minimalism

  • Olly

    I like it a lot but it’s going to warp like crazy when the wood dries out…surely!?

  • dj

    495 Pound??? If it was sold for 80Euros, I would have said “OK”. But this is just rediculous… It is not a challenge to make an expensive chair!!!

  • mikaël

    Reading this post felt like watching the emperor trying on his new clothes…
    Call me cynical, but when I saw the first pic followed by all the name-dropping, my first thought was “these kids can only be from RCA” and there it was. The worst part is that I like the piece and love Glass Hill’s work, maybe the discourse and presentationt just lacks the humility the object implies.
    The press release is more eloquent about the state of design today and more thought-provoquing than the chair could ever be.
    I’m having an amour/haine moment, sorry.

  • felix

    I don’t see the point of this chair. It looks kind of neat in these photos but if I saw it in real life I doubt I’d give it a second glance.

  • morgan geist

    Hello this is Morgan Geist,

    mikaël, you beat me to it!
    A chair that is designed with consideration and humility in mind is polarised by the end-less name dropping of super-star designers.

    It is sad to see that these young fellas are riding the names of those twice/three times their age. Surely they are confident and talented enough not to be doing this…or maybe not?


    Morgan Geist

  • Really?

    (I thought this perfectly proportioned response speaks to the virtues of simplicity, form, and craftsmanship)

  • happygo

    ever thought that the “names” are built on the work of people half/a third their age?

  • bored…

    I really wanted to like this chair… but I just couldn’t do it. Then I laughed because I thought it was a joke. Then it made me sad because I realised it isn’t.

    Has it really come down to this?

    Also, the angles are wrong and the seats too narrow.

    Also, Isn’t ‘the home a vernacular furniture’ a contradiction in terms (eye roll).


  • davide

    it works only if it becomes “open source”, you guys give away the drawings and people build the chair on their own.
    otherwise you’re just taking yourself too seriously

    ps.pine wood is crap

  • mick

    people are just not ready for this kind of design…

    think about a “chair”, the most “primitiv” design…and think about the way they called their chair: “chair”…

    …and it’s easier to spit on something to complimented. Simplicity is a virtue. People are still in a vision in which the object is thought to be complicated for years … time to change!