Insight Archives - Page 9 of 12

Innovation and Expression: Why Designers Love Chairs So Much

Few objects in the world of design hold the allure and fascination of the chair. It’s a product that has been reimagined countless times by designers across generations and yet, designers never seem to get tired of it. No matter how many chairs get designed, designers return to the challenge of the chair again and again. As a design challenge, the chair has the capacity to blend art, technology, and human-centered functionality into a single, everyday object. This Insight article explores why designers love chairs so much, outlining how the chair is a prime platform for innovation in materials and technology as well as a vehicle for personal expression, with a rich tradition of modeling new design ideas.

Eames 1946 LCW chair — *The 1946 LCW Chair by Ray and Charles Eames.*

A Tradition of Innovation

Chairs aren’t just practical objects; they are design icons that have continually pushed the boundaries of what’s possible. The molded plywood chairs by Ray and Charles Eames were proof-of-concept products that demonstrated the incalculable value of the plywood molding technology, which added strength and versatility to the previously overlooked material. In 1859, Michael Thonet revolutionized production with his Era chairs, the first chairs made of solid bent wood, a modular design that was efficient to produce and populated cafes all over Vienna, and then all over the world. Chairs have often led the way in material and manufacturing innovation, and served as a vehicle for showcasing a fresh approach to an existing material, or a pioneering approach to a novel material.

These iconic innovative designs set the stage for generations of designers to follow, challenging them to rethink both the form and function of the chair. It’s no surprise that many of the world’s most iconic designs are chairs, which have not only defined the spaces they inhabit but have also shaped broader design movements. There is a long design tradition of the chair leading the pack, serving as the ideal model for a new aesthetic or manufacturing technique.

1859 Thonet Era Chair — *The 1859 Era Chair by Michael Thonet.*

Balancing Form, Function, and Innovation

Designing a chair is about more than aesthetics; it’s about problem-solving. A chair must be comfortable, structurally sound, and versatile enough to serve different purposes and users. At the same time, provided it will hold a person, and perhaps even this is not required for some concept chairs, the parameters are wide open. This combination of complexity and fluidity makes it a perfect canvas for innovation and play. Chairs are a unique product that interacts directly with the human body, requiring a precise blend of form and function. Achieving this balance is a designer’s ultimate challenge, but it’s also a key driver of design breakthroughs. Chairs force designers to think critically about ergonomics, proportions, and engineering, all while maintaining artistic vision and preserving artistic freedom.

Pioneering New Materials

One of the most exciting aspects of chair design is the opportunity to experiment with new materials. Over the years, designers have worked with everything from bent wood (Thonet) and tubular steel to cutting-edge composites, plastic polymers, and even recycled materials.

Marcel Breuer’s 1925 Wassily chair was the first bent tubular steel chair design and remains a classic, highly popular today. It breaks a classic club chair down to the absolute essential form and the modular design can be seamlessly assembled on an industrial scale.

Philippe Starck’s injection-molded Louis Ghost Chair was one of the first to show how polycarbonate could be used to create transparent, durable, and lightweight furniture, changing the way designers think about both materiality and sustainability. Like Breuer, he was playing on a traditional chair design that everyone would recognize, the ornate 18th century chairs of King Louis XVI. New materials like carbon fiber and bio-based plastics have also paved the way for more sustainable and lightweight chair designs, addressing environmental concerns while pushing aesthetic boundaries.

*The 1925 Wassily Chair by Marcel Breuer.*

Technological Innovation in Chair Design

Technological advancements are also transforming the way chairs are designed and produced. CNC cutting, 3D printing, and robotic manufacturing have enabled designers to explore previously unimaginable forms. These technologies reduce waste and allow for more precise, customized designs.

The Master’s Chair by Philippe Starck, for example, uses injection-molding technology to fuse together the outlines of three iconic chairs into a single, seamless piece, paying homage to three masterful designs: Arne Jacobsen’s “Serie 7” chair, Eero Saarinen’s “Tulip Armchair” and Charles Eames’ “Eiffel Chair”. Similarly, the elegantly molded Diamond Chair by Harry Bertoia exemplifies how industrial manufacturing techniques can be applied to create intricate, sculptural forms.

*The 1952 Diamond Chair by Harry Bertoia.*

Chairs as Personal Narratives

Chairs are much more than objects of utility. They are reflections of the designers who create them, often embodying their personal stories, values, and design ethos. For many designers, creating a chair is akin to writing a personal narrative.

The iconic Egg Chair by Arne Jacobsen, for instance, was not just a modernist response to form and function. It also reflected Jacobsen’s desire to create a sense of comfort and enclosure in an increasingly fast-paced world. It was designed for the reception areas of the Royal Hotel in Copenhagen in 1958, created to provide a sense of privacy in public spaces. Each curve and contour (or the absolute absence of curves and contours!) of a chair tells a story about the designer’s worldview and creative journey. Chairs are not only functional solutions, they are the cumulation of hundreds of aesthetic decisions made by the designer, and walk the line between art and design.

For designers, a chair is a blank canvas, ready to be filled with their unique artistic voice. The simplicity of its form offers endless possibilities for experimentation. Whether it’s playing with organic shapes, bold colors, or unconventional materials, chair design allows for unfiltered creative expression. In the case of the Wiggle Chair by Frank Gehry, the use of layered cardboard wasn’t just a material choice—it was a statement about impermanence, sustainability, and the rejection of traditional materials. The chair’s playful, fluid form echoed Gehry’s architectural style, bridging the gap between furniture and art.

Small Object, Big Impact

So why do designers love chairs? Despite their compact size, chairs often act as catalysts for larger design trends. They allow designers to experiment with new ideas on a manageable scale. Success in chair design can reverberate across the design world, influencing everything from architecture to product design. We suspect that chairs will always be a designer’s dream object. They invite endless opportunities for innovation. Whether it’s through new materials, manufacturing techniques, or technological advancements, the humble chair has repeatedly redefined the possibilities of design. And as technology continues to evolve, so too will the chair—pushing the boundaries of what we think is possible in design, all while remaining a functional part of everyday life.

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Design History Series N. 020

Eileen Gray and the Bibendum Chair

Interior Decadence

Eileen Gray, born in Ireland in 1878, was a pioneering figure in modern design. She studied fine art before undertaking an apprenticeship in a London lacquer workshop. Gray moved to Paris and swiftly established herself as a leading designer of lacquered screens and decorative panels. Her interior design style was modern and decadent, featuring luxurious, theatrical touches and unexpected materials. Gray exhibited chrome, steel tube, and glass furniture in 1925, well ahead of her design contemporaries Mies van der Rohe and Marcel Breuer.

At 46 Gray took up architecture, where her style embodied avant-garde modernism, departing from the rigid rationality of architectural contemporaries like Le Corbusier. Gray’s approach to modernism prioritized lived experiences, featuring personal, bespoke touches that spoke directly to the needs of the client. Like Charlotte Perriand, she felt that architecture and furnishings should be developed in tandem to create a harmonious home.

Totally Tubular

One of her iconic creations is the Bibendum Chair, a timeless classic from the 1920s. Designed specifically for lounging and socializing, the Bibendum Chair features a distinctive back and armrests composed of two semi-circular, padded tubes encased in black leather. The name “Bibendum” was inspired by the Michelin Man, a character of stacked tires created by French artist Marius Rossillon. The chair was commissioned by French hat designer Madame Mathieu Lévy, for whom Gray redesigned an apartment in Paris. The Bibendum Chair, along with other furnishings, rugs, and lamps, became a highlight of the project.

Constructed with a polished, chromium-plated stainless steel tube frame—a groundbreaking material at the time—the Bibendum Chair was unusually large. The frame featured beechwood and rubber webbing for added comfort. Gray intentionally opted for plain coverings to maintain a simple aesthetic, complementing the bold art that shared the space. The success of the design instilled confidence in Gray, prompting her to open her own gallery in 1922. The Bibendum Chair would go on to be featured in a number of Gray’s interior projects.

The Bibendum Chair marked a departure from Gray’s earlier traditional work, aligning with the modernist movement. The Bibendum Chair continues to be celebrated as a design classic though, during Gray’s lifetime, her success was modest. Her legacy was overshadowed by Le Corbusier, who famously painted murals in the nude all over E-1027, a brilliant house designed by Gray with which he was obsessed and which was often misattributed to him (and in front of which he drowned). Only in her nineties did Gray receive international acclaim for her contributions to architecture and design. She passed away in Paris in 1976, leaving behind a legacy of innovation and timeless design.

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Creativity as a Natural Pathway

This article, co-written by Rebeccah Pailes-Friedman and Elham Morshedzadeh, Ph.D., was published in the Summer 2024 Issue of Innovation Magazine.

As industrial designers, we often rely on the natural flow of creativity to fuel our work, drawing inspiration from our surroundings, cultural experiences, and intuitive processes. However, sticking exclusively to these familiar paths can sometimes limit our potential for truly groundbreaking innovation. In this discussion, five talented women industrial designers explore the concept of creativity as a natural pathway as well as the benefits of embracing less conventional approaches. By stepping out of our comfort zones and experimenting with new techniques, we can uncover disruptive solutions and push the boundaries of design, opening up a world of possibilities that may have otherwise remained hidden.

We began by defining natural versus unnatural paths to creativity. The discussion revealed diverse perspectives among the six of us. A natural path to creativity was generally seen as an organic process, drawing on intuition, personal experiences, and iterative design. Celeste Greenbaum, Human Centered Researcher and Industrial Designer at Philips, highlighted this by explaining that natural creativity stems from “things that you derive from your skill set from, or from iteration.” This type of creativity is intrinsic and emerges from the designer’s own abilities and observations, grounded in traditional and learned methods in the design process.

An unnatural or supernatural path to creativity, on the other hand, was thought to involve external influences or unconventional methods. For example, generating an algorithm or using AI was considered an unnatural pathway. An unnatural approach leverages technology and other external tools to stimulate creativity, pushing beyond the innate capabilities of a single human mind. Elham Morshedzadeh, Ph.D., Assistant Professor, University of Houston and IDSA WID Committee member, expanded on this by noting that unnatural creativity “can have a broader interpretation” and includes learned techniques that may not come intuitively. By embracing these unexpected and often abstract and not fully explored methods, designers can uncover innovative solutions that might not arise from traditional processes alone. As Dr. Mary Beth Privitera, M.Des., PhD FIDSA Principal, Design & Human Factors at Sentiar and Professor, Biomedical Engineering University of Cincinnati, pointed out, the interplay between natural and supernatural pathways can lead to unique and diverse design outcomes, enriching the creative process through a dynamic exchange of ideas and methods.

The design process is fluid and knowing when to shift your thinking is critical. As the conversation shifted to pinpointing the moment when a designer realizes that it’s time to change up the way they are thinking, the group brought forth a rich tapestry of experiences and insights. Greenbaum reflected on challenges wherein traditional methods fell short, such as designing a product for children that initially seemed uncomfortable and unappealing. She shared, “I get really stuck when the design requirements lead to something that looks like a torture contraption.” Changing up the approach can lead to fresh ways to think about a design. This change often requires reaching outside conventional techniques and incorporating elements that transform the product into something playful and engaging.

Privitera underscored the designer’s responsibility to think differently, stating, “It’s almost like your responsibility to think differently.” When assessing any project, it’s essential to ask ‘is this something that’s desirable?’ The drive to infuse unique, appealing elements into designs is necessary , whether developing medical tools or everyday kitchen items. By embracing diverse approaches, designers can break free from conventional constraints and create products that resonate on both functional and emotional levels.

Katie Lim, Senior Industrial Designer, frog & Chair of IDSA Women in Design NYC Chapter, emphasized the importance of storytelling in guiding clients and users through innovative changes, noting that “if you can tell somebody a really good story you can hook them in from the beginning.” Storytelling helps mitigate resistance to change and makes new ideas more accessible. It can be a valuable tool when faced with resistance to thinking differently. Morshedzadeh expanded on the significance of storytelling, particularly in today’s technologically advanced landscape. She pointed out that “having these technologies helps us to create more realistic stories” and has revolutionized how designers communicate their visions. This blend of narrative and visual tools fosters a deeper emotional connection between a product and its users.

The conversation then shifted to examining how natural and unnatural methods might influence user experience. This part of the discussion highlighted the importance of empathy, attention to detail, and the inherent biases that designers must navigate. Lim emphasized the significance of stepping outside of personal design perspectives to truly understand user needs, sharing an example of designing an unboxing experience for cancer patients. She noted that “going through the actual motions to understand all those in-between moments of the key touch points” is imperative for creating a user-centered experience. Greenbaum concurred, adding that meticulously mapping out every detail of user interaction is essential, even if it feels “unnatural” due to the depth of analysis required.

A rigorous approach to understanding user experience ensures that designers can identify both the strengths and weaknesses of a design. On the other hand, Privitera highlighted the challenges of qualitative research, pointing out that it’s inherently biased by personal interpretations and selection criteria. She stressed that navigating these biases requires “taking that leap of faith and looking at it from another perspective” to achieve an optimal solution. She also described the complexity of designing for future technologies, such as augmented reality in medical applications, where traditional design tools and prototype testing fall short. Privitera aptly summarized this dynamic tension: “I’m designing a new future, but I’m not in that future. And so I’m predicting again what I think that future might be.” This underscores the iterative nature of design, where natural intuition and unnatural, innovative methods must work in tandem to enhance user experiences in the most effective way.

Balancing intuition and critical thinking in design, especially when using generative tools, was a topic that sparked diverse perspectives among the group. Yi-Ping Wong, Director of Operations for IN2 INNOVATION believes that the balance lies in using generative tools for improvements, validations, and inspirations. “If we can feed generative tools with information and parameters derived from intuition and critical thinking, they can help generate ideas that we might not have thought of ourselves. While these ideas may not be the final solution, they can push the boundaries of our approach” Greenbaum highlighted the importance of understanding both personal and stakeholder biases. She emphasized that designers must introduce innovations in ways that respect users’ autonomy and expertise.

Morshedzadeh echoed the need for designers to embrace scientific methods to enhance decision-making reliability, despite the resistance this approach might face within the design community. She argued that using established tested methods would help us avoid making biased decisions. This integration of scientific rigor can help designers navigate their preconceived notions and produce more robust outcomes.

Privitera discussed the fluid interplay between unstructured intuition and structured critical thinking. She illustrated this balance with a personal example: “In my own head, I am a superhero with the cape and I can come up with really creative ideas that are wacky and fun.” Yet, these ideas are then rigorously evaluated to ensure feasibility. This interplay is pivotal, as designers oscillate between unfettered creativity and practical constraints, depending on whether they are refining existing products or conceptualizing entirely novel ones. Starting with broad, imaginative concepts before refining them with practical constraints allows designers to avoid being constrained by existing paradigms. Lim noted, “If you start off with the constraints, you’re designing the same thing everyone else is designing.” This process of shifting from unstructured to structured thinking fosters innovation while ensuring practical yet creative viability.

When discussing how to stay up to date with emerging technologies and tools in the design field using both natural and unnatural approaches, the panel offered a range of strategies. Lim emphasized the value of looking beyond the traditional design sphere: “I like to look outside of the design.” This approach broadens the scope of inspiration and keeps designers informed about trends in various industries.

Privitera highlighted the importance of attending conferences to gain exposure to unexpected innovations: “Attending conferences, you see a whole host of different things that you wouldn’t even expect.” She noted that events like the Industrial Designers Society of America (IDSA) conferences offer diverse insights that can inspire new design approaches. Industry conferences and tradeshows, such as CES (Consumer Electronics Show), and SXSW (South by Southwest), have always focused on the latest technologies, tools, and industry trends. These events provide an excellent opportunity to learn about a wide range of topics and perspectives in one setting. Wong added, “Networking with professionals who are passionate about these subjects is also valuable. Whether you agree or disagree on certain topics, it is important to maintain an open attitude towards discussion and new perspectives.”

Other participants also shared their methods for staying informed. Greenbaum mentioned the benefits of interdisciplinary learning that arose from her interest in cognitive psychology, which has now extended into nursing training to deepen her clinical knowledge. This point was emphasized by other panelists who shared examples of designers that sought additional training in fields like acupuncture and surgery. These experiences provide valuable perspectives that significantly enhance their design capabilities in their chosen field.

Morshedzadeh, sharing an academic perspective, emphasized the importance of continuous learning: “When I come across something that I believe I can teach or incorporate into one of our courses and it piques my interest, I’ll incorporate it into the curriculum, starting with elementary basics. This way, we can practice and explore its potential.” This approach not only keeps her skills sharp but also ensures that new graduates are well-equipped with the latest tools and technologies, boosting their confidence and employability.

In conclusion, the discussion among this group of industrial designers, all with a wide variety of experience and specialization,underscores the importance of embracing both natural and unnatural paths to creativity in the design process. While drawing from personal experiences and intuition forms the foundation of design, integrating unconventional methods and technologies can unlock new pathways of innovation. By challenging conventional thinking and experimenting with diverse approaches, designers can break free from limitations and uncover disruptive solutions that resonate deeply with users. Furthermore, maintaining a balance between intuitive creativity and critical analysis, as well as staying informed about emerging technologies through avenues like industry conferences and interdisciplinary learning, are essential for driving continuous growth and pushing the boundaries of design excellence. As we navigate the ever-evolving landscape of design, it is this dynamic interplay between tradition and innovation that fuels our journey towards creating impactful and meaningful experiences for users worldwide.

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Bridging the Gap: Strategies for Collaboration Between Designers and Engineers

At Interwoven, we routinely collaborate with engineers to develop innovative products. The Apex Exosuit we developed with HeroWear is a great example of how powerful a design and engineering collaboration can be. They appreciate our commitment to creating a fantastic user experience, and we appreciate their expertise in developing a reliable product that really works. The line between design and engineering can be hazy, as demonstrated by this famously long and hotly debated Core 77 forum thread, “Do engineers really “design” anything?”

While some designers have a strong understanding of engineering principles, and some engineers have a strong understanding of design principles, it is rare to find professionals who are experts in both fields. Engineers specialize in engineering knowledge, designers specialize in design knowledge, and product development teams need both. In this Insight article we discuss what designers and engineers bring to the table and share key strategies for working with the other team. This article has two parts: part one contains tips for designers working with engineers and part two contains tips for engineers working with designers.

Value Added

We have found, with any collaboration, that the more each side appreciates the value the other side brings, and the more each side communicates with and invites the ideas of the other, the more successful the project is. In a product development team, synergy between designers and engineers is indispensable, with each discipline bringing distinct and complementary skills to the table. Designers play a key role in shaping the user experience, focusing on aesthetics, functionality, overall usability, and the big picture value of the solution. Their creativity and user-centric mindset contribute to crafting visually appealing and intuitive interfaces. Engineers serve as the architects who bring these designs to life, leveraging their technical expertise to implement and optimize functionalities. Their proficiency ensures that the product not only meets design expectations but also adheres to technical constraints and achieves optimal performance.

Part 1: Tips for Designers Working with Engineers

Acknowledge the Role of Engineers

In the collaborative landscape of product development, designers and engineers form a dynamic partnership to transform ideas into tangible realities. Engineers, often regarded as the interpreters of conceptual visions, play a pivotal role in translating proposals into functional, scalable, and reliable products. Some of the most iconic products of the 21st century came out of collaborations between designers and engineers, like the Nest Thermostat, developed by Nest designers (who were formerly Apple designers) and Google engineers.

Seek Their Contribution Early

Regardless of the abundance of engineers within a company, it is imperative to view them not only as useful resources but as the architects of foundational elements of a project. They are essential contributors to a product’s core functionality, speed, and scalability. Their innovation drives technological advancements and transforms a sheet of requirements into meaningful outcomes. Inviting engineers into the vision of the project at the start fosters excitement and ownership, keeping teams aligned and efficient. This tip works in both directions; having both teams on the same page from project inception results in powerful projects that develop efficiently. Each will see opportunities and potential pitfalls that the other might miss.

Understand their Constraints Early

Understanding the constraints of the engineering team is related to the previous strategy but so critical that we felt we needed to call it out separately. Engineering-savvy designers can understand engineering constraints early in the process to avoid becoming attached to or spending too long on impractical designs. By consulting engineers before finalizing designs, designers can ensure that creative ideas align with technical and time limitations, preventing wasted effort on unfeasible concepts. Ask them questions, and respect their answers.

Make Friends

To work seamlessly with engineers, designers can recognize the influential impact engineers can have on the development process. Convincing a small group of engineers can be the key to implementing a product idea. Establishing robust relationships and addressing design issues directly with engineers, rather than relying solely on formal channels, can expedite the problem resolution process exponentially. Quick, casual check-ins can catch major issues, clarify important constraints, inspire innovation, and more. Bonus: more friends.

Foster Design Appreciation

The atmosphere of collaboration improves when engineers value good design. Designers can either recruit engineers with a discerning eye for design or cultivate an understanding of design principles among existing engineering teams. This involves explaining design decisions, sharing values, and educating engineers on aligning their implementations with design intentions. This strategy reflects a broader need for an understanding of what design brings to the table; not just a pretty shell but a careful consideration of the functionality and usability of a product. Engineers care about this, too!

Communicate Design Evolutions

Designers can communicate the evolving nature of designs to save engineers from investing time in a solution that may undergo significant changes. Transparent discussions about potential modifications allow engineers to create more adaptable and flexible code. This means staying in close collaboration through the implementation phase to resolve issues promptly and to encourage a solution-oriented mindset in both teams. When communicating, consider adopting a format of modular workflows and roadmaps that will look familiar to engineers.

Be Meticulous

Meticulousness and attention to detail in design are crucial aspects that help anticipate and address potential issues during implementation. Designers are famous for caring about details, and engineers, though they may be focusing on different details, are as detail-oriented as designers, if not more so. To win the hearts of engineers, designers can demonstrate that they also care about engineering priorities. Considering edge cases, such as error states, user extremes, and transitions, not only enhances the overall design but also aids engineers in planning and estimating project timelines.

Part 2: Tips for Engineers Working with Designers

Learn the Lingo

As with navigating any new territory, learning a bit of the local language goes a long way. To effectively collaborate with designers, engineers can shift their communication focus from metrics to user-centric language. Instead of discussing optimizing conversion rates or increasing click-through rates, engineers can frame discussions around simplifying user interactions and ensuring a seamless user experience.

Recognize Design’s Diversity

Engineers can acknowledge the diverse strengths of designers and apply these strengths to the right problems. Understanding that design encompasses graphic design, interaction design, product design, and more, is crucial. The specialities present within a team may not be immediately visible. Recognizing that different designers excel in various areas fosters an appreciation for those skills and ensures that the right designers tackle the right problems, contributing to a more effective and well-rounded design team.

Understand Design’s Hierarchy

Designers operate at different levels, each with distinct responsibilities. From designing specific forms to crafting comprehensive systems, engineers can recognize the varying levels of design complexity. The more senior a designer is, the more likely they are to focus on abstract problem-solving, contributing to the overall vision and strategy of a product.

Solicit Feedback

The collaborative aspect of design thrives on critique and feedback, which is the cornerstone of design education and the design process. Engineers can enhance their collaboration with designers by encouraging regular feedback sessions. During the developmental stages of a project, designers benefit from interacting with their peers to refine ideas, while collaboration with engineers becomes more prominent during the execution phase. See also Part 1, Strategy 4: Make Friends.

Embrace Qualitative Data

Engineers need to understand that much of what designers value is challenging to measure quantitatively. A quality user experience, long-term sentiment, and overall delight are integral aspects that designers aim to achieve, and these elements may not be easily captured by short-term quantitative metrics. Engineers can recognize the qualitative impact of design decisions on the overall user perception and experience.

Prioritize Consistency

Design-savvy engineers can appreciate the importance of consistency in design across different parts of an application or system. Recognizing that users engage with various features, engineers can avoid designing in isolation, ensuring coherence in user interactions. Consistency contributes to a seamless and less confusing user experience. This is part of embracing and leveraging the power of a design language.

Value Design Details

Recognizing the significance of details is crucial for engineers working with designers. Implementing designs with precision, setting high-quality standards, and going the extra mile to perfect small details contribute to a positive collaboration. Valuing design details is a direct path to a designer’s heart and fosters a shared commitment to building exceptional and user-centric products. Engineers who demonstrate that they understand the importance and the value of these details will be in a powerful position to encourage designers to care about their own priorities and to build lasting relationships that can lead to future collaborations.

Get Collaborating!

It is no coincidence that Part 1 and Part 2 feel like mirrors of one another. Great collaborations involve respect and understanding between teams. Ideally, the collaboration between designers and engineers is a dynamic exchange, where innovative concepts are translated into tangible, functional solutions. Together they form a cohesive team that combines creativity with technical proficiency, delivering products that resonate with users and stand out in the competitive landscape. Here is a great article from Spotify outlining what a successful collaboration between engineering and design looks like for their teams.

Successful collaboration between design and engineering hinges on recognizing the pivotal role engineers play, building strong relationships, fostering an appreciation for design, understanding constraints, maintaining transparent communication, working closely during implementation, and delivering complete and detailed designs. These strategies form the foundation for a symbiotic and effective partnership in the realm of product development.

Design History Series N. 018

Dava Newman and the MIT BioSuit™

In our Design History Series we highlight iconic women in design history and their innovative work. The historic contributions of women to design are many, and we aim to increase the awareness of these contributions in order to counteract a general trend of underrepresentation. In this issue we celebrate Dava Newman, an American aerospace engineer, director of the MIT Media Lab, and former NASA deputy director. Newman was instrumental in designing a spacesuit specifically tailored for female astronauts, addressing long-standing issues of ill-fitting suits for women.

Smart Start

Dava Newman, born in Montana in 1964, developed a deep fascination with space exploration and engineering from a young age. She earned a Bachelor of Science degree in aerospace engineering from the University of Notre Dame in 1986, followed by a Master of Science degree in aerospace engineering from the Massachusetts Institute of Technology (MIT) in 1989 and a Ph.D. in aerospace biomedical engineering in 1992. She’s been a professor of aeronautics and astronautics (the science and construction of space vehicles) at MIT since the 90s and became the director of the prestigious MIT Media Lab in 2021. Impressed yet?

The MIT BioSuit™

Throughout her career, Newman has been a trailblazer, developing innovative technologies that advance the field of space exploration. One of her most significant contributions is the development of the MIT BioSuit™, a spacesuit concept designed to revolutionize extravehicular activities (EVAs) for astronauts. Unlike traditional bulky spacesuits, the BioSuit™ acts like a second skin, enhancing mobility and reducing fatigue, offering astronauts greater flexibility during space missions.

In 2019, NASA’s cancellation of the first all-women spacewalk due to ill-fitting spacesuits highlighted a critical issue: the outdated design of spacesuits. NASA’s Extravehicular Mobility Units (EMUs) dated back to 1978, and their maintenance costs limited the availability of suits, particularly in smaller sizes. This poses significant challenges for smaller astronauts, especially women, affecting their mobility and comfort during space missions. Newman recognized the need for innovation in spacesuit technology to address these limitations and was already leading a research team that was tackling them head-on.

The development of the BioSuit™ represents a collaborative effort involving engineers, designers, textile specialists, and students from various disciplines. By leveraging expertise from diverse fields and incorporating cutting-edge materials and design principles, Newman’s team aims to revolutionize spacesuit technology. The BioSuit™ prototype is a lightweight, stretchy, 3D knit garment that is customized to each astronaut. These “second-skin” spacesuits incorporate small, spring-like coils made from a shape-memory alloy (SMA) that contract in response to heat, essentially shrink-wrapping the garment around the astronaut’s body. Controlling contraction and expansion with heat was a key innovation to solving the problem of how to get in and out of a skintight suit.

The key breakthrough in the design lies in the application of mechanical counterpressure, which directly applies pressure to the skin, eliminating the need for the traditional gas-pressurized suits. Made from elastic and active fabrics and designed to provide the pressure necessary to inhabit space (equivalent to one-third of sea level atmospheric pressure), the suit achieves the same pressurization as traditional spacesuits while enhancing mobility and reducing the overall weight. This approach supports astronauts in the vacuum of space while providing them with unprecedented freedom of movement during planetary exploration.

Newman’s vision for the future of spacesuits aligns with NASA’s goal of maximizing efficiency and mobility for astronauts on long-duration space missions. The suit has been improving steadily since the early 2000s, incorporating more and increasingly sophisticated technology (an accelerometer, gyroscope, and on-board machine learning algorithms, among others), and has been featured in a wide range of international exhibitions, including the Museum of Modern Art. The latest iteration of the suit was presented at the 2022 Mars conference. Newman’s work represents a significant advancement in spacesuit technology with potential applications for future Mars exploration missions, a particular interest of hers. With continued research and development, these “second-skin” spacesuits could revolutionize space exploration, enabling astronauts to explore distant planets with greater ease and agility. Newman’s life and work exemplify the transformative power of engineering in advancing space exploration and human understanding of the universe.

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