Singaporean self-taught artist and designer David Lee, the creative force behind I Am Not David Lee art studio, champions anonymity to let his works do the talking, emphasizing that creation transcends individual identity and emerges from collective input. He left his full-time job in the creative industry behind to fully embrace his passion for art, and when the COVID-19 pandemic struck in 2020, he ventured into experimental design. Seamlessly blending art and design, he experiments with everyday materials, defying conventional norms to uncover their hidden potential and introduce innovation through controlled chaos. For him, experimentation is a core principle, allowing him to explore uncharted creative territories beyond traditional constraints.
This innovative approach led Lee to craft sculptural furniture – such as his Monolith chair and table – made from a single piece of aluminum alloy through laser-cutting and bending, a process that challenges the resource-intensive complexity of traditional furniture production, while prioritizing sustainability and reducing environmental impact. There’s also his Ugly Ducting light experiment sculpture, inspired by scribbling, which transforms a simple washing machine duct hose into a striking three-dimensional luminous form via a method he refers to as “bricolage”. The glowing, uneven lines appear to float in mid-air, giving the impression of an artist’s sketch brought to life. He discusses his design philosophy.
The Monolith chair’s production process emphasizes minimizing waste, conserving human resources and reducing environmental impact. Can you walk us through the specific methods or techniques you employed to achieve these sustainability goals, and how they informed the overall design, functionality and esthetic appeal?
The Monolith chair represents a shift from traditional chair production methods by emphasizing sustainability through a streamlined approach. Traditionally, chair production involves managing around 12 components from three different materials, processed through multiple machines and handled by several individuals, which leads to significant waste and resource use. In contrast, the Monolith chair is made from a single piece of aluminum, which is laser-cut and bent using a traditional bending method call “bump-bending”. This method, known for its cost-effectiveness and reducing additional tooling requirements, minimizes waste by reducing the need for multiple components and extensive labor.
The Monolith chair’s design is a result of its production methods: clean lines and lack of visible joints which contributes to its sleek, contemporary look, reflecting a commitment to both functionality and environmental responsibility. It showcases a thoughtful approach to sustainability, combining material efficiency, reduced labor and a minimal environmental footprint with striking design and functionality.
Why did you choose aluminum as a material?
This streamlined production process offers several sustainability benefits. By using only one material and a simplified manufacturing process, the Monolith chair significantly cuts down on material waste and the need for human resources. Aluminum, chosen for its recyclability, can be reused indefinitely without losing quality, which reduces raw material needs and energy consumption, leading to lower greenhouse gas emissions. Additionally, aluminum’s durability ensures a longer lifespan for the chair, reducing the frequency of replacements and further minimizing environmental impact.
How do you see your approach influencing the future of furniture design, and what message do you hope your work will convey to both designers and consumers regarding sustainability?
My approach with the Monolith chair aims to significantly influence the future of furniture design by showcasing how a conventional production method can set new standards for sustainability. This design conveys a clear message about the importance of integrating production methods and material knowledge in design. I strongly believe that sustainability goes beyond just using eco-friendly materials, technology or AI; it involves optimizing production methods to minimize waste and conserve resources. By adopting a more efficient manufacturing process and questioning traditional practices, I advocate for a shift toward more thoughtful, resource-efficient design. My aim for Monolith is to demonstrate that sustainability can be seamlessly incorporated into design without compromising on quality or esthetics.
What’s your definition of “sustainability”, and are the solutions, materials or methods you proposed truly sustainable?
My definition of sustainability is about creating solutions that have a lower environmental impact throughout their life cycle, and improving existing practices to drive broader systemic change. The Monolith chair aligns with this definition through its use of a single material and a simplified production process, which reduces both resource needs and manufacturing waste. While no solution is entirely perfect, I believe the Monolith chair represents a significant step forward in sustainable furniture design and serves as a practical example of how innovative thinking can yield meaningful environmental benefits.
In summary, the Monolith chair is designed to influence the future of furniture design by demonstrating that simplicity and efficiency can drive sustainability. I hope it encourages other industry professionals to adopt similar practices, and inspires consumers to understand that less is more and to continue to support more sustainable design choices.