The Butterfly Chair (BKF) is my product of focus for it’s relevance to society as a source of inspiration and self-expression. DTU Lectuer Testamonial "Thank you for a well executed product analysis regarding the BFK. I read it with great interest - and as a non owner and infrequent user also learned a great deal about the almost chaotic situation regarding intellectual property right, a big number of variations. I like your illustration on Context (p 16) Regards, Per"

1. THE BUTTERFLY CHAIR (BKF)
41078 Industrial Design II

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3. 33

4. Introduction
• Purpose
– This product analysis (PA) was conducted in connection to the civil engineering master’s course
Industrial Design II, at the Technical University of Denmark (DTU).
• Subject
– The Butterfly Chair (BKF) is the product of focus for it’s relevance to
society as a source of inspiration and self-expression.
• Method
4
– Susann Vihma’s Design Semiotic is the core approach of
this analysis. The approach can be represented in five
dimensions, similarly this presentation aims to provide
product context within those dimensions (syntax,
aesthetics, pragmatics, materials, and semantics). As a
result this presentation will relay not only what and why
a product is but the historical physical evolution as well
as the expressive, significance of its communicative
dimensions.

5. Origins
The BKF chair was famously designed by three iconic
architects Juan Kurchan, and Jorge Ferrari Hardoy
(Argentinian) and Antonio Bonet (Catalonian). Launching
Austral Group in 1937, three years before the BKF was
first showcased at the Salon de Artistas in 1940.
Following major success, the simplicity of form and
function and ailing to patent the chair, the design was
replicated millions of times to this day.
The chair was glorified through the purchased by MoMA
(1940) and soon after licensed to Artek (1941) then to
Knoll (1947-1951). Local and international recognition
was ushered by the cultural growth period in which it was
created. The 1920s
and 1930s in Argentina was the pivotal time for wealth,
expansion, and culture. The chair flowered along side rising
stars of the film, dance (tango), and music.
Knoll ceased production in 1951 as a result of WW2 causing a
steel shortage and the court determining that the “Harody’s
Chair” was too similar to earlier precedents to claim copyright
protection. Chicago Tribune (1999), “Knoll’s loss, is of course,
the world’s gain”. in the 1950 to 1960 the chair was picked up
by marketers as a symbol of modern living, extreme informality.
Airborne is the only official company still producing the chairs,
originally partnered with Juan Kurchan. The market is extremely
diverse with manufactures focusing on target markets, such as
Weinbaum focus on the luxury segment.

6. Syntax
Construction
Appreciated by connoisseurs, hipsters and students
alike the the chair design the chair is not only beautiful
but it is significantly cheap to produce. In 1948 the
chair was made using an industrial produced frame
during a time when there was a demand for cheap
modern furniture after the war. This technique was
cheaper then the hand made wooden alternatives. Costs
were reduced further by replacing the original painted
wrought-iron frame with stainless steal or epoxy-
lacquered steel. Covers were produced in cheaper
fabrics. Page 8 showcases the construction of the
Roorkhee and Tripolina in comparison to the BKF.
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Structure
The BKF was an extension of two earlier designs, the
Roorkhee (1890s) and Tripolina (1881). The BKF chair
remains typically similarly modular due to it’s
interchangeable covers and foldable frame. However, the
structure is starkly simpler. Over time the core driver of
structural change is the changing heights and weights of
humans. In the 1930’s industrialized countries Men
reached an average height of 168 cm and Women just
156 cm. The design of BKF was designed on these
figures. Weinbaum a contemporary manufacture
introduced a new version of the chair titled the GRAND
COMFORT which is up to 30cm longer in height.

7. 7
Tripolina
BKF
Roorkhee (1890s) Tripolina (1881) BKF (1938)
Structural Evolution

8. Aesthetics
Colouring
Majority of the chairs current retails offer black and
tan leather covers, aswell as a variety of cotton
covers following colour and print trends. Weinbaum
leather covers are coloured using vegetable oil.
Unlike Weinbaum, BigBKF focus on the traditional
aesthetic leaving natural range marks, scars and
wrinkles to confirm the authenticity of the leather. In
contrast the. Historically there was only one colour
frame available, as technology has progressed it is
possible to powder coat the frame choosing from
more than 200 colours in the RAL spectrum.
Style
The butterfly chair style has maintained a modernism
style, effortlessly simple utilizing a mixture of traditional
and modern materials. “A rejection of good posture and
formal clothing” NewYorkTimes. The following page
depicts the original mass produced chair in comparison
to a tailored 21 Century version. Known deviation's from
this smooth aesthetic is most obvious represented
through the use of uncommon materials such as a metal
cover which removes the intended mood and enlighten
style of the chair.
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9. 9
1938
Manufacturer: Artek-Pascoe, New York
Size: 93 x 71.5 x 75 cm
Frame: Painted wrought-iron
2015
Manufacturer: Weinbaum, Germany
Size: 100 X 118 X 86 cm
Frame: Brushed stainless steel

10. Aesthetics
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Feeling
I feel relaxed, edgy and inspired. Some
feel swallowed whilst other love the
chair's unique grace the feeling of being
hugged and reassured.
Materials
The most common cover materials include
are leather, cotton and canvas. The frame
materials include tubular iron frame, stainless
steel, or chrome.
Form
The BKF is more commonly known as the
butterfly chair for is form and symmetry.
The base is typically made with four
symmetric base loops. The original chair
had just three. The chair now comes with a
variety of additional accessories and forms
such as a bolster, ottoman, or side table
and children's or twin sizes.
Colouring
Colourful, varied and timeless. Can be
DIY or tailor ordered to suit individual
needs.
First Impression
Durable, comfortable, an intellectuals
best friend.

11. Pragmatics
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Sizes
Twin, children's, original, and large size.
Direct Function
Sitting, sleeping, and resting.
Indirect Functions
Studio prop, decoration, symbol of
taste, personal statement, conversing
tool, gathering place, smoking chair,
sun-baking, napping, eating, reading,
nursing, pampering, star gazing and
playing music.
Modes
As the materials evolved outdoor
durability was enhanced, turning the
chair into a sort after outdoor furniture
alternative. Other modes include office,
study, public, art, and living room.

12. Pragmatics
12
Indirect Functions
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13. Materials
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Materials
Every year new material are being produced and
applied to the BKF by companies like Airborne,
pushing the boundaries with materials such as
metal mesh and feathers. The most common cover
materials include are leather, cotton and canvas.
Livonworld.it believe the adaptability to any interior
is the reason for the chairs success.
CB2 manufacture the frame with tubular iron,
finished off with a a light antiqued zinc and water-
based clear matte powder coat. The Weinbaum
“Original” version has four intersection brushed
welded frame of stainless steel. Less common is the
chrome finish by BigBKF whilst Modish offers an oxidized
steel frame. The following page depicts two examples of
common cover and frame material types.
Through the form of the cover and the evolution of
material varieties the product reassures the lounger that
the chair will remain relevant. This perception can only
be sustained when then buyer purchases from a quality
supplier, focused on durability and change. Long term
this maintains the product value, short term, each time
you change the material it’s a new experience.

14. 1414
Cover
Material: Cotton
Manufacture: Airborne, France
Frame
Frame: Brushed stainless steel
Manufacturer: Weinbaum, Germany

15. Semantics
The informality and openness of design provides the user with pragmatic freedom. Advertising has glorified
the weird and the further the user takes the chair the more historically aligned we are. The 60’s proliferated
the chairs uses through advertising as seen on page 10. Many of these uses certainly emphasize the
products emotional abilities, evident in the popularity among teenagers and students. As all users of the
chair identified with the informal way of sitting, it helps capture the imagination of modernism and change.
Those who used the chair want a new way to enjoy the activities in their daily life. The chair identifies with
this movement, it is socially sensitive, evoking a new way to sitting and engaging. Young families bought
the chairs in droves and yet movie star collected the originals. Overall the product is collectable and
prestigious at the same time accessible and fun, it depends on the environment the end user determines.
The chair may be inspired by the Tripolina, Harrods catalogue (1895) “the most potable on the market”
however the BKF rightfully communicates homeliness, no need for portability. Kaufmann described the BKF
as functional, handsome, and relatively inexpensive. In the end the BKF offers a different value proposition
which changed the customer demographic from military to artists and mass market appeal which made it
still popular today. 15

16. Context
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Historicisme
• Roorkhee
• Tripolina
• Joseph B. Fenby
• WWII
• Campaign Furniture
Modernism
• BFK
• Austral Group
• Edgar Kaufmann
• Argentina’s economic
reconstruction
• Argentina’s Mass
Democracy
• American Consumerism
• Artek-Pascoe
• Knoll Assoicates
• Butterfly by Pierre
Paulin (1954)
Today
• Butterfly Chair (BFK)
• Airborne
• Technology
Advances
• Globalization
• Post-Modernism
• Supply Chain
Management
• DIY
• Weinbaum
• CB2
• BigBFK
Legend:
Objects
Stakeholders
Environment
Competitors

17. Final Word
Through this PA the BKF has considered the design choices of Austral group and the endless authorized
and unauthorized replicas that have influenced and been influenced by society since conception in 1938. It
was discovered that despite the structural similarities in earlier products, the BKF environmental context
and modernism approach determines it’s use. It was discovered that the chair is a source of inspiration and
self-expression for all ages. The designs openness has spurred possibilities for interpretation, many
adding form based accessories and adjustments to suit 21st Century structure. The extensive fan based
exemplified through countless Pinterest boards and blogs have been symptoms of globalization and
technology growth. Alleviated ristricted accessibility from the United States and Argentina, the chair is now
available online and in many different stores. Continued accessibility to this iconic sling chair will ensure
the informal message of social engagement and relaxation continues.
It was challenging writing this PA as a result of the uncontrolled production of the BKF. Certain
manufactures were designated out of scope, those who diverted from the core semantics of the original
product. This criteria helped frame and focus the story, balancing complexity and effectiveness.
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18. 181818
Juan Kurchan
Jorge Ferrari Hardoy
Antonio Bonet
S146107 – Brook McKay
Product analysis of the BKF

19. References
• Airborne n.d. “Collections” Accessed March 1, 2015. http://www.airborne.fr/#!collections/c1p9kA.
• BigBKF n.d. “Fabrication” Accessed February 26, 2015.
https://www.pinterest.com/antoniouy/bkf-con-o-en-famosos/.
• Bodie and Fau n.d. “AA Butterfly chair – Black structure” Accessed February 26, 2015.
https://www.bodieandfou.com/products/aa-butterfly-chair-black-structure.
• CB2. 2015. “1938 tobacco leather butterfly chair” Accessed March 1, 2015.
http://www.cb2.com/1938-tobacco-leather-butterfly-chair/s185649.
• Cuero. 2015. ”La Mariposa.." Accessed February 27, 2015.
http://www.cuerodesign.com/mariposa_leather.html.
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20. References
• Dario Alfonsi n.d. “Tripolina” Accessed February 28, 2015.
http://darioalfonsi.com/new-chairs/tripolina/.
• Design Museum n.d. “B.K.F. Hardoy Chair” Accessed February 28, 2015.
http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/bkf-hardoy-
chair-grupo-austral.html.
• Dobell, William. 1979. “Modern and Postmodern” Accessed February 26, 2015.
http://www.sharecom.ca/greenberg/postmodernism.html.
• El Rincon del Vago. 1998. “La decada de 1930” Accessed February 26, 2015.
http://html.rincondelvago.com/argentina-en-1930.html.
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21. References
• Frommer’s n.d. “History” Accessed February 27, 2015.
http://www.frommers.com/destinations/buenos-aires/672897#sthash.UqANap1h.N7b49V
2o.dpbs.
• Gareth., R. Jones, George, M., Jennifer. (2013). Essentials of Contemporary Management 5th edn.
McGraw Hill: New York, United States
• Greenbaum, Hilary and Dana Rubinstein. 2012. “Who Made That Butterfly Chair” Accessed February 28,
2015.
http://www.nytimes.com/2012/03/11/magazine/who-made-that-butterfly-chair.html?_r=0.
• Gonzalez-Arnao, Antonio. 2011. “BKF con o en famosos” Accessed March 1, 2015.
https://www.pinterest.com/antoniouy/bkf-con-o-en-famosos/.
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22. References
• Gonzalez-Arnao, Antonio. 2011. “Marcel Breuer” Accessed February 27, 2015.
http://anexosolanadelmar.blogspot.dk/2011_02_01_archive.html.
• Klatt Beth, Mary. 1999. “Float Like a Butterfly” Accessed February 27, 2015.
http://articles.chicagotribune.com/1999-02-21/news/9902210428_1_slipcover-butterfly-
chair-sling.
• Liernur, Jorge Francisco. 2011. “..A CIAM Brigade In The Far South 1937-1948” Accessed February 26,
2015.
http://sma.sciarc.edu/subclip/jorge-francisco-liernur-austral-group-a-ciam-brigade-in-the-
far-south-1937-1948-clip_4309/.
• Livon World. 2014. “L’OGGETTO CULT: LA SEDIA BUTTERFLY BKF” Accessed March 1, 2015.
http://www.livonworld.it/2014/04/16/loggetto-cult-sedia-butterfly-bkf/.
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23. References
• MoMA n.d. “B.K.F. Chair” Accessed February 28, 2015.
http://www.moma.org/collection/object.php?object_id=4393.
• Remodelista n.d. “AA Airborne Butterfly Chair” Accessed February 28, 2015.
http://www.remodelista.com/products/aa-airborne-butterfly-chair.
• Vihma, Susann. 2009. “On design semiotics" Accessed February 27, 2015.
http://www.mei-info.com/wp-content/uploads/2014/02/MEI_3031_13.pdf.
• Weinbaum n.d. “The modern view” Accessed February 28, 2015. http://www.weinbaum.eu/epages/
63212480.sf/en_GB/?ObjectPath=/Shops/63212480/Products/1%5B8%5D.
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