Herkner has also taken an unusual approach to the design of Theia. Instead of making the seat shell the center of its design, here, rather, it’s the frame. ‘The metal tube not only forms the base, it runs over the back and seems to embrace the chair. This is reminiscent of the fine setting of jewellery.’ Freely following Dieter Rams‘ design thesis that ‘Good design is honest’, the technical construction is not hidden but, on the contrary, prominently staged to become an aesthetic element. In this way, Herkner brings the upholstery and base into a balance of meaning with each other. ‘The frame not only forms the feet, it also accentuates and defines the seat. During development, we thought long and hard about whether or not to open up the back. I found this element very important because the frame circumscribes the recess.’ Theia also cites designs from the 1960s with its fine, strictly upholstered shell and enclosing metal frame. The design is restrained yet expressive, which makes it a universal piece of furniture that fits in just as well in the contract sector as it does in private living spaces. Herkner sees his design as a logical extension of Freifrau‘s portfolio: ‘The character of a brand results from the sum of its products and with each new design, you can add an attribute or bring another language into the programme.’
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