How does Joe Colombo’s Multichair move like that?

The Multichair consists of two rounded cushions covered in stretch fabric upholstery, one in a shallow “L” shape, the other a shorter line with rounded ends. Depending on how you arrange them, the pieces can come together as a reclined lounge chair, a dining chair, or a daybed. According to B—Line’s product sheet, the chair has a net weight of 18 kg (a little more than 39 lbs for Americans), or about the weight of a twin mattress. Though that may seem heavy at first glance, it comes in at less than a third of the weight of a George Nelson Daybed and less than half the weight of an Eames Lounge Chair. 

To achieve this relative lightness, the cushions are made of steel structures encased in density 35 (extra firm) polyurethane foam. Polyurethanes are a versatile synthetic material invented by German chemist Dr. Otto Bayer and his colleagues in 1937. Their first widespread use was as a rubber substitute in World War II, but polyurethane applications expanded in the ’40s and ’50s, appearing in beer barrels as insulation and shoe soles as synthetic leather. In 1953, the first flexible polyurethane foam was produced in the U.S., paving the way for its use in furniture and bedding. 

Only a year later, Colombo graduated from the Politecnico di Milano, where he studied architecture after a brief stint at the Accademia di Belle Arti di Brera. In the shadow of World War II and the development and use of atomic weapons, Colombo worked as an abstract expressionist painter and sculptor within the avant-garde Movimento Nucleare. 

When Colombo took over his family’s electrical appliance business after his father died in 1959, his fascination with the avant-garde and futuristic design remained, manifesting in an interest in new plastic materials such as polyurethane, PVC, ABS, and fiberglass. These materials allowed Colombo to experiment with form and function while maintaining low costs and easy reproducibility. 

When compared to traditional stuffings like animal hair or feathers, polyurethane foam provided a durable, fire- and heat-resistant, and inexpensive alternative that could hold its shape despite being lightweight. These properties made it extremely popular for mass-produced furniture, and by 2004, furniture and bedding would constitute about a fifth of all polyurethane use. Though the environmental impacts would later raise concerns about its widespread use, in the ’50s and ’60s, the material seemed ideal for imagining a future that wasn’t weighed down by traditional design moors. 

Industrial strength

Orange Multichair by Joe Colombo (image via B—Line)

Black Multichair by Joe Colombo detail (image via B—Line)

Though the cushion material is an important consideration, the Multichair’s functionality hinges on the two leather belts that can attach to four sets of chromium-plated satin-finished steel buckles—three on the “L” piece and one on the shorter piece. The belts are held in place by steel pins and bushings, or hollow cylinders that help reduce friction between two rotating parts that would otherwise cause premature wear and tear.

Bushings are often used in motor engines and electronic devices—a reflection of Colombo’s ability to combine art and industry. The bushings allow the pins to rotate within the pieces of the chair, absorbing the stress of moving or sitting on them. Meanwhile, the leather, a durable material with a high tensile strength, helps prevent the strap from tearing from repeated use.

The use of bushings is also a nod to the many hats Colombo wore throughout his life: while he worked as a painter and sculptor in the ’50s, he occasionally worked as a car salesman to help with his finances. His love of cars continued afterwards, and though his conceptualizations for car gear shifts and car designs went unrealized, the Multichair showcased a glimpse of his technical knowledge. 

“I did not design this chair. I calculated it.”

–Joe Colombo, commenting on a $10 molded plastic chair

Designing with time

Beyond its physical structure, the Multichair embodies Colombo’s interest in the relationship between space and time. Modularity was not merely an opportunity to experiment with new materials and mechanics; it was also a way to design furniture that was in constant conversation with the people who used it, moving with them throughout their days. 

Red Multichair by Joe Colombo (image via B—Line)