(from the entry submission)

"Springing from the architect's interest in both piano playing and piano design and technology, the "Attetude" chair was designed to highlight the dual qualities found in piano design: the sensuous, curving quality of the finely veneered outer rim - the most visible, identifiable feature of a grand piano - and the more rough, unfinished qualities of some of the piano's inner construction. Both seen and unseen parts of a piano contribute to its tonal quality, but its unseen parts actually contribute more to its tone than the visible parts.

The "Attetude" chair attempts to shift the balance between the seen and unseen, giving equal respect to both. The seat has been made of the tail portion of the outer rim. The back is cut from the double-curved portion of the rim on the upper treble side of the piano. The back is held in place by wooden blocks cut from the pedal lyre of the original piano, which are themselves held in place with metal rods - two of the three original rods connected to the piano's pedals.

But an equally prominent portion of the chair is the two vertical supports. These are pinblocks, the raw looking, but meticulously fabricated wooden part that holds a piano's tuning pins tightly in place. The tightness of the pins in the pinblock is what keeps the strings in correct tension and, therefore, in tune. The pinblock is one of the most vital parts of a piano, but usually only a very small portion of it is visible - most of it is never seen, buried in the overall construction of the piano.

The "Attetude" chair presents the rough pinblocks equally with the prettier parts. This reflects the equal importance not only of the more and less visible parts of a piano, but also the equal importance of the more and less visible members of our society.

And on top of all that, we think the chair looks pretty cool, too."