the art of playing
No two instruments are the same. No two players are identical.
As musicians we are individuals. We are expressive. We are creative.
Design in Harmony links good design to the musician based on three simple principles:
- The Aesthetic. Using form and carefully considered materials Design in Harmony brings together instrument and player as a visual entity.
- Functionality. With individuality in mind our seating is designed to suit your posture and playing style.
- Sustainability. Handmade in Scotland, Design in Harmony demonstrates quality and craftsmanship at every turn, using temperate sustainable hardwoods and where possible, British fabrics.
Time and again we end up sitting on mass produced inappropriate seating, perched at the front, swinging forward or slumped at the back. This seating often looks unattractive alongside our instrument and it often fails to suit the natural posture we want for playing.
What is the right seat for you?
You are an individual and what is right for you is what is comfortable, encourages a natural posture and allows free movement. From our experience we have found that players who like to perch on the front edge of a chair like the tilted top of the Harmony seat. Those who prefer to sit more deeply on a chair and carry their weight through their bodies, for example when operating pedals on a piano or a pedal harp, the Concerto bench is the seat for you.
Over the past 50 years much research has been done to find the optimum seated position for many activities within the work environments. In a recent research paper “The Seated Musician; Furniture Design and its Effect on Performance and Health”, author David Brothers from the College of Architecture and Design at the New Jersey Institute of Technology specifically examines the ergonomics for musicians in research that supports the tilted Harmony seat design that we have developed. In essence paper concludes that optimum posture is achieved by resting the feet flat on the floor and sitting upright to allow normal concave curvature of the back, or lumbar lordosis.
It is important that whichever seat you prefer to use you feel well supported and able to move freely on it. To quote David Brothers “It is universally agreed that a good understanding of playing posture is directly linked to exceptional instrument control and mastery. What is less understood is the influence of chair design on the ability to achieve these goals” We put good design first.
Heather Downie – performer and tutor RCS