In describing Shiro Kuramata's objects, Deyan Sudjic used descriptors like "fragile," "challenging" and perhaps most evocatively, "immaterial," to convey the work's seemingly impossible forms. Most were rendered in materials that went against design orthodoxy for a given use. With his 1976 "A Laminated Glass Chair," Kuramata pioneered a radically new type of chair, and by pushing the boundaries of its material, laid the groundwork for future design in glass. Unlike more well-known transparent chairs, such as the nostalgic cliché that is Philippe Starck's Ghost Chair, Kuramata's glass masterpiece looks forward, resolutely, immaterially.