Chair Shorts
Chair Shorts
Chair Shorts
Chair Shorts

Chair Shorts

Regular price $60.00
Please allow 3 working days to process before shipping
14oz Heavy Weight - Navy Shorts
100% US Cotton - w/ Drawstrings + Pockets

Chair Event - George Brecht (1972)
"Chair Events" is a performative and participatory installation that actualizes the concepts of occurrence and randomness in the same way as Brecht’s many other object-based events. There are several extant versions of "Chair Events" approved by Brecht, each with varying numbers of chairs and assortments of objects.

Each event is, in principle, an open work that can exist in two forms: as a performative installation that consists in enacting the many possible arrangements of chairs and objects, and as a sculptural (static) form that documents the arrangements made and the actions enacted with the chairs and the chosen objects in a given time and space. According to Brecht’s initial concept, each event is enacted during the timespan of a single occasion and ends afterwards.

The first “Chair Event” came out of George Brecht’s critical thoughts on the institutional forms of distributing, exhibiting and consuming art. This version of "Chair Events" features a wooden chair with pressure-sensitive tape, metal grater, offset flag, measuring tape, and wooden board game pieces.

Gruppo Strum - Pratone
The object, seat, and lawn furniture Pratone by the Gruppo Strum (G. Ceretti, P. Derossi, R. Rosso) was designed for Gufram and gives you room to relax and dream between the large blades of grass.

As part of the hippie movement in the 1960s, Pratone is symbolic of a longing for closeness to nature. The material used - polyurethane foam - was first introduced to furniture design in the mid-60s and caused waves. Pratone is possibly the best example of the material's unique qualities being utilised consciously and overtly in the world of design.

Originally designed in 1966, production of Pratone first began in 1971. By 1996, around 60 pieces had been produced, including many that were bought by museums and galleries.


Gray - Transat Chair
The Transat chair was designed by Eileen Gray in 1927 for her Villa E 1027 in Italy, on the Côte d'Azur. With an adjustable headrest and occasionally a sling seat, the chair was clearly informed by the simple functionalism of a deck chair, well-suited to her home that was itself intended to evoke a sense of living on a houseboat. The design marks Gray’s transition towards modernism which she embraced during the mid-1920s. The present iconic design is a perfect expression of her individualist approach, in which thoughtfully considered materials, artistic form and engagement with human behaviors are considered in her adoption of basic modernist principles.

The design was produced in small and long versions, with sycamore and lacquered arms, and with canvas, fabric, pony skin and leather seats. Twelve armchairs are known to have been created, and nine to still exist. Of this small group, four are in sycamore and five in lacquer.

Boeri, Katayanagi - Ghost Chair

Designed by Cini Boeri and Tomu Katayanagi for Fiam Italia, Ghost Chair is made entirely from a single, monolithic curved glass giving the illusion of floating.  Aptly named because of its transparency, Ghost Chair is made of 12mm thick, gently curved glass, able to support 330 pounds. Manufactured in Italy, Ghost Chair is a true modern design classic and is a part of various permanent museum collections.


Rudolph - Rolling Lounge Chair 
The Rolling Lounge Chair was designed by Paul Rudolph, one of America’s greatest Modern architects. Rudolph was famous for his strong, expressive forms, powerful spaces, and innovative use of materials & light. A very prolific designer of both architecture and interiors, his active career extended to nearly the end of the 20th century, and across the decades he continued developing his aesthetic and experimenting with space & materials.

Rudolph’s own residences were his “laboratories” for exploring ways to shape space and create dynamic forms. When he was looking for furniture for his own home, he found that there was nothing on the market that would fit well with the interiors he was creating - so he designed his own furniture, of which this chair is a prime example.

Rudolph uses a system of modular components to create furniture of great visual lightness & transparency. In addition, its use of casters makes it very flexible for moving into a variety of room arrangements.

Eero Aarnio - Bubble Chair (1968)
As a young boy Eero Aarnio had been fascinated by soap bubbles. In the city he had never made one but fleeing the war to the countryside he remembers blowing huge soap bubbles from a barn. The bubbles would take off with the wind and drift far away to the fields. The image of a field filled with transparent soap bubbles stuck with him. After the success of the Ball Chair, Eero carried on designing again with a functional aim. Although a perfect hiding place from the outside world, Eero had found that reading in the Ball was not ideal. There was not enough light inside this cocoon. He had all kinds of ideas on how to let in light inside the Ball Chair including an experiment with a small window. After various efforts, he wondered, could the shell be made of a transparent material?


At first, he draught the shell to consist of two halves, joined together with a seam. He came to the conclusion that it would probably work, but the look would not be what the designer desired. The family had half-round acrylic ceiling windows at their home, and Eero started to wonder, how are they actually made?  Eero grabbed the yellow pages and under the occupation listings found a company, which produced ceiling windows. He picked up the phone, called them and simply asked how the windows are made, and if his idea could work. It was possible, acrylic can be heated and blown into shape, just like a soap bubble. However, Eero faced another problem. With a shell made of acrylic, how would one fasten the shell to the pedestal? The structures would be too complex to work with, and the aesthetics would be completely different. There simply was no nice way to attach the shell to a leg. Finally, he came up with the idea of fixing it to the ceiling. The final sketch was designed in 1968. Now, one won’t run out of light reading in the Bubble, it’s flooding with natural light from all directions.

One and Three Chairs - Joseph Kosuth (1965)
One and Three Chairs consists of a chair, a photograph of the chair, and an enlarged dictionary definition of the word "chair". The photograph depicts the chair as it is actually installed in the room, and thus the work changes each time it is installed in a new venue.

Two elements of the work remain constant: a copy of a dictionary definition of the word "chair" and a diagram with instructions for installation. Both bear Kosuth's signature. Under the instructions, the installer is to choose a chair, place it before a wall, and take a photograph of the chair. This photo is to be enlarged to the size of the actual chair and placed on the wall to the left of the chair. Finally, a blow-up of the copy of the dictionary definition is to be hung to the right of the chair, its upper edge aligned with that of the photograph.

Ombra Tokyo Chair - Charlotte Perriand (1954)
The Ombra Tokyo chair was designed for the 1954 Synthèse des Arts exhi­bi­tion in Tokyo that featured the work of Char­lotte Perriand, Le Corbusier, and Férnand Léger. Perriand’s inspi­ra­tion was the gentle folds that characterize Japanese origami.

A supreme example of Perriand’s mastery of volumes, the Ombra Tokyo chair is shaped by the inher­ent salient thin­ness of the pressed plywood that Perriand has grace­fully manip­u­lated in the most profoundly fluid ways. The legs of Ombra Tokyo appear as though they have been cut and folded from the continuous seat and back – these splayed verticals exquisitely form gently upturned ​“feet” as they approach the floor. The back of Ombra Tokyo chair has been bifur­cated by a single verti­cal cut that flows into a beau­ti­fully artic­u­lated, curved recti­lin­ear void – allow­ing space to move through the chair’s form, further rein­forc­ing the levity of the design.