Many designers in the realm of modern furniture design have drawn inspiration from Eastern aesthetics. As early as the 18th century, Thomas Chippendale ranked Ming-style furniture alongside Gothic and Rococo styles as one of the world's three major furniture styles in his The Gentleman and Cabinet-Maker's Director, placing the Ming style at the forefront. He even designed court furniture for the British royal family based on Ming and Qing dynasty seating, thereby sparking the first wave of enthusiasm for Eastern aesthetics in Europe.

In the 20th century, Kaare Klint pioneered the integration of the proportional logic found in Ming-style furniture into the Nordic design system; notably, "The Chair," designed by Hans J. Wegner, achieved global renown after being used by John F. Kennedy during a presidential debate.

None of these designers sought to reproduce a Chinese chair. Instead, they interpreted what Eastern aesthetics meant to them through their own work. This further affirmed grado’s belief that Eastern aesthetics is not synonymous with nostalgia or revivalism. It can coexist with modern design, evolve with the times, and continue to grow.

The Qiyan Lounge Chair is a continuation of this way of thinking.

The Meaning of Qiyan

In Chinese, Qiyan means “eaves.” An eave offers shelter from the elements, creating a familiar sense of comfort and a place to pause within its protection. Beneath the eaves, people can gather with guests or simply sit in quiet reflection. It connects people with their surroundings while creating space for human connection.

The upward curve of traditional Chinese eaves is not merely decorative. Its sweeping form also serves practical purposes, helping to shed rain while allowing for natural light and ventilation. The Qiyan Lounge Chair draws from the beauty of this distinctive form, allowing the Eastern aesthetics and functional thinking rooted in Eastern design to coexist naturally in a contemporary piece.

Where Eastern Aesthetics Meets Modern Design

grado's designers did not simply place the form of traditional Chinese eaves onto a chair, nor did they use Eastern patterns or decorative motifs as the defining features of the Qiyan Lounge Chair. For grado, true fusion means bringing the way Eastern furniture design considers the relationship between people, objects, and space into contemporary furniture design.

The designers began by considering what an eave and a chair have in common in the way they make us feel.

Eave provides shelter from the elements, creating a sense of warmth and security. Qiyan Lounge Chair was designed to offer that same feeling. The wingbacks on either side of the chair extend outward like traditional Chinese eaves. Rather than directly adopting details such as roof tiles or dougong, the interlocking wooden brackets traditionally used in Chinese architecture, the designers retained only the upward sweep of the eaves and the sense of shelter they create beneath them. High back and wing create a “cocooning” effect, giving the user a sense of personal space even when the chair is placed in a public setting.

The ash wood frame is formed as one piece, while the armrests are slightly wider and positioned lower near the elbows, providing comfortable support when leaning back. The headrest is not fixed to the chair, but designed as a separate element to provide precise support for the neck.

The designers also made thoughtful use of simple physics in the headrest. A solid, copper-plated stainless steel rod is inserted into the end of the hanging strap, allowing it to fall naturally into place when draped over the back of the chair. The adjustable height of the headrest accommodates users of different heights. Qiyan Lounge Chai does not merely use Eastern aesthetics as a symbolic element in its design. Instead, it is woven into the way the chair considers comfort, proportion, privacy, and the relationship between people and furniture.

The Craftsmanship Behind the Chair

The Qiyan Lounge Chair not only translates the design philosophy of Eastern aesthetics into the language of modern furniture design but also carries on the Eastern artisan's emphasis on craftsmanship and detail.

The ash wood is precision-milled using five-axis machining, while the curves of the armrests are carefully hand-sanded. Finger joints creates seamless connections between the wood, leaving no noticeable gaps to the touch. The curved backrest is custom-pressed to achieve its precise form, with every screw concealed from view. These craftsmanship details may not be immediately visible, but they are what define the chair's fluid silhouette and enduring comfort.

grado believes that Eastern aesthetics and modern design naturally belong together.

Modern design focuses on structure, proportion, and production logic, while Eastern aesthetics speaks to warmth, ease, and an undisturbed sense of home. The former shapes the form of furniture; the latter speaks to the authentic relationship between people and the way they live.

The Qiyan Lounge Chair is grado’s interpretation of how Eastern aesthetics can be thoughtfully integrated into contemporary furniture design — and a reflection of that belief brought to life.

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