Niels Diffrient: Rethinking the way we sit down

61,855 views ・ 2009-04-21

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00:12
When I was five years old
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I fell in love with airplanes.
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Now I'm talking about the '30s.
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In the '30s an airplane had two wings
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and a round motor,
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and was always flown
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by a guy who looked like Cary Grant.
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He had high leather boots,
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jodhpurs, an old leather jacket,
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a wonderful helmet
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and those marvelous goggles --
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and, inevitably, a white scarf,
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to flow in the wind.
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He'd always walk up to his airplane
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in a kind of saunter,
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devil-may-care saunter,
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flick the cigarette away,
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grab the girl waiting here, give her a kiss.
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(Laughter)
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And then mount his airplane,
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maybe for the last time.
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Of course I always wondered what would happen
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if he'd kissed the airplane first.
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(Laughter)
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But this was real romance to me.
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Everything about flying in those years,
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which was -- you have to stop and think for a moment --
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was probably the most advanced
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technological thing going on at the time.
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So as a youngster,
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I tried to get close to this
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by drawing airplanes,
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constantly drawing airplanes.
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It's the way I got
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a part of this romance.
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And of course, in a way, when I say romance,
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I mean in part
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the aesthetics of that whole situation.
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I think the word is the holistic experience
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revolving around a product.
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The product was that airplane.
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But it built a romance.
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Even the parts of the airplane
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had French names.
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Ze fuselage, ze empanage, ze nessal.
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You know, from a romance language.
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So that it was something that just got into your spirit.
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It did mine.
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And I decided I had to get closer than
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just drawing fantasy airplanes.
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I wanted to build airplanes.
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So I built model airplanes.
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And I found that in doing the model airplanes
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the appearance drawings were not enough.
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You couldn't transfer those
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to the model itself.
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If you wanted it to fly
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you had to learn the discipline
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of flying.
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You had to learn about aeronautics.
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You had to learn what made an airplane
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stay in the air.
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And of course, as a model in those years, you couldn't control it.
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So it had to be self-righting,
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and stay up without crashing.
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So I had to give up
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the approach of drawing
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the fantasy shapes
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and convert it to technical drawings --
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the shape of the wing, the shape of the fuselage and so on --
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and build an airplane over these drawings
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that I knew followed some of the principles
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of flying.
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And in so doing, I could produce
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a model that would fly, stay in the air.
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And it had, once it was in the air,
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some of this romance that I was in love with.
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Well the act of drawing airplanes
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led me to,
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when I had the opportunity to choose
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a course in school,
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led me to sign up for aeronautical engineering.
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And when I was sitting in classes --
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in which no one asked me to draw an airplane --
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to my surprise.
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I had to learn mathematics and mechanics
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and all this sort of thing.
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I'd wile away my time drawing airplanes
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in the class.
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One day a young man looked over my shoulder,
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he said, "You draw very well.
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You should be in the art department."
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And I said, "Why?"
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And he said, "Well for one thing, there are more girls there."
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(Laughter)
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So my romance was temporarily shifted.
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(Laughter)
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And I went into art
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because they appreciated drawing.
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Studied painting; didn't do very well at that.
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Went through design,
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some architecture.
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Eventually hired myself out as a designer.
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And for the following 25 years,
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living in Italy,
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living in America,
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I doled out a piece of this romance
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to anybody who'd pay for it --
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this sense, this aesthetic feeling,
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for the experience revolving around
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a designed object.
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And it exists.
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Any of you who rode the automobiles --
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was it yesterday? --
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at the track, you know the romance
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revolving around those high performance cars.
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Well in 25 years
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I was mostly putting out
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pieces of this romance
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and not getting a lot back in
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because design on call
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doesn't always connect you with a circumstance
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in which you can produce things of this nature.
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So after 25 years I began to feel
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as though I was running dry.
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And I quit.
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And I started up a very small operation --
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went from 40 people
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to one,
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in an effort to rediscover my innocence.
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I wanted to get back
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where the romance was.
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And I couldn't choose airplanes
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because they had gotten sort of unromantic
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at that point,
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even though I'd done a lot of airplane work,
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on the interiors.
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So I chose furniture.
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And I chose chairs specifically
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because I knew something about them.
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I'd designed a lot of chairs, over the years
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for tractors and trucks
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and submarines --
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all kinds of things.
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But not office chairs.
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So I started doing that.
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And I found that there were ways
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to duplicate the same approach
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that I used to use on the airplane.
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Only this time,
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instead of the product being shaped by the wind,
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it was shaped by the human body.
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So the discipline was --
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as in the airplane you learn a lot about
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how to deal with the air,
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for a chair
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you have to learn a lot about how to deal
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with the body,
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and what the body needs, wants,
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indicates it needs.
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And that's the way, ultimately
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after some ups and downs,
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I ended up designing the chair I'm going to show you.
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I should say one more thing. When I was doing those
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model airplanes,
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I did everything.
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I conceived the kind of airplane.
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I basically engineered it.
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I built it.
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And I flew it.
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And that's the way I work now.
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When I started this chair
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it was not a preconceived notion.
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Design nowadays, if you mean it,
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you don't start with styling sketches.
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I started with a lot of loose ideas,
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roughly eight or nine years ago.
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And the loose ideas had something
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to do with what I knew happened with
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people in the office,
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at the work place -- people who worked,
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and used task seating,
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a great many of them sitting in front of a computer
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all day long.
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And I felt,
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the one thing they don't need,
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is a chair that interferes
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with their main reason for sitting there.
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So I took the approach
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that the chair should do as much for them
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as humanly possible
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or as mechanistically possible
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so that they didn't have to fuss with it.
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So my idea was that,
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instead of sitting down and reaching
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for a lot of controls,
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that you would sit on the chair,
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and it would automatically balance your weight
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against the force required
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to recline.
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Now that may not mean a lot to some of you.
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But you know most good chairs do recline
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because it's beneficial to open up this joint
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between your legs and your upper body
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for better breathing
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and better flow.
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So that if you sit down
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on my chair,
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whether you're five feet tall
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or six foot six,
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it always deals with your weight
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and transfers the amount of force required
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to recline
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in a way that you don't have to look
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for something to adjust.
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I'll tell you right up front,
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this is a trade off.
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There are drawbacks to this.
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One is: you can't
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accommodate everybody.
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There are some very light people,
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some extremely heavy people,
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maybe people with a lot of bulk up top.
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They begin to fall off the end of your chart.
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But the compromise, I felt,
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was in my favor
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because most people don't adjust their chairs.
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They will sit in them forever.
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I had somebody on the bus out to the racetrack
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tell me about his sister calling him.
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He said she had one of the new, better chairs.
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She said, "Oh I love it."
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She said, "But it's too high."
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(Laughter)
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So he said, "Well I'll come over and look at it."
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He came over and looked at it.
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He reached down. He pulled a lever. And the chair sank down.
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She said, "Oh it's wonderful. How did you do that?"
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And he showed her the lever.
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Well, that's typical
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of a lot of us working in chairs.
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And why should you
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get a 20-page manual
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about how to run a chair?
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(Laughter)
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I had one for a wristwatch once. 20 pages.
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Anyway, I felt that it was important
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that you didn't have to make an adjustment
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in order to get this kind of action.
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The other thing I felt was that armrests
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had never really been properly approached
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from the standpoint of how much
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of an aid they could be
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to your work life.
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But I felt it was too much to ask
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to have to adjust each individual armrest
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in order to get it where you wanted.
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So I spent a long time.
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I said I worked eight or nine years on it.
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And each of these things went along
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sort of in parallel
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but incrementally were a problem of their own.
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I worked a long time on figuring out
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how to move the arms over a much greater arc --
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that is up and down --
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and make them a lot easier,
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so that you didn't have to use a button.
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And so after many trials, many failures,
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we came up with a very simple arrangement
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in which we could just move
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one arm or the other.
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And they go up easily.
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And stop where you want.
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You can put them down, essentially out of the way.
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No arms at all.
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Or you can pull them up where you want them.
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And this was another thing that I felt,
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while not nearly as romantic
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as Cary Grant,
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nevertheless begins to
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grab a little bit of aesthetic
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operation, aesthetic performance
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into a product.
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The next area that was of interest to me
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was the fact that reclining
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was a very important factor.
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And the more you can recline,
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in a way, the better it is.
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The more the angle between here and here opens up --
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and nowadays, with a screen in front of you,
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you don't want to have your eye drop too far in the recline,
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so we keep it at more or less the same level --
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but you transfer weight
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off your tailbones.
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Would everybody put their hand under their bottom
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and feel their tailbone?
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(Laughter)
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You feel that bone under there?
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(Laughter)
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Just your own.
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(Laughter)
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There's two of them, one on either side.
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All the weight of your upper torso --
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your arms, your head --
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goes right down through your back,
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your spine, into those bones when you sit.
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And that's a lot of load.
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Just relieving your arms with armrests
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takes 20 percent of that load off.
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Now that, if your spine is not held in a good position,
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will help bend your spine the wrong way, and so on.
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So to unload
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that great weight --
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if that indeed exists --
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you can recline.
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When you recline you take away a lot of that load
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off your bottom end, and transfer it to your back.
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At the same time, as I say, you open up this joint.
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And breathability is good.
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But to do that, if you have any
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amount of recline,
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it gets to the point where you need a headrest
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because nearly always,
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automatically hold your head
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in a vertical position, see?
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As I recline, my head says more or less vertical.
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Well if you're reclined a great deal,
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you have to use muscle force
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to hold your head there.
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So that's where a headrest comes in.
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Now headrest is a challenge
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because you want it to adjust
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enough so that it'll fit,
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you know, a tall guy and a short girl.
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15:28
So here we are.
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15:30
I've got five inches of adjustment here
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15:34
in order to get the headrest in the right place.
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15:37
But then I knew from experience
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15:39
and looking around in offices
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15:42
where there were chairs with headrests
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15:45
that nobody would ever bother
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15:47
to reach back and turn a knob
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15:50
and adjust the headrest to put it in position.
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15:52
And you need it in a different position
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when you're upright, then when you're reclined.
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15:56
So I knew that had to be solved, and had to be automatic.
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16:00
So if you watch this chair
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as I recline, the headrest comes up
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16:05
to meet my neck.
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Ideally you want to put the head support
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in the cranial area, right there.
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So that part of it took a long time
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to work out.
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16:22
And there is a variety of other things: the shape of the cushions,
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16:25
the gel we put.
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16:28
We stole the idea from bicycle seats,
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16:31
and put gel in the cushions
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16:33
and in the armrests
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to absorb point load --
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distributes the loading so you don't get hard spots.
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You cant hit your elbow
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on bottom.
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16:46
And I did want to demonstrate
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the fact that the chair can accommodate people.
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While you're sitting in it you can adjust it
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16:56
down for the five-footer,
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16:59
or you can adjust it
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for the six-foot-six guy --
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all within the scope of a few simple adjustments.
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17:13
(Applause)
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About this website

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