To take another person’s idea – even a simplistic design – and enhance and develop it into a “real” design requires both respect of the original thought, great skill and a large degree of own vision for the project. Jonas was the perfect choice for the design.
Based on the original PowerPoint drawings, Jonas developed a number of different interpretations. Drawn by freehand in pencil, the alternatives immediately showed Jonas’ magnificent contribution to the further development of the Ballerina Sweetspot – matching the simplicity and elegance of both the contemporary and great classic Nordic designers like Mathsson, Jacobsen, Wegner and Kjærholm. Even in these Da Vinci like pencil strokes, we got the growing feeling of being on to something really special – maybe even a future design classic that would earn its right to be placed at MOMA. Yet all we wanted was to design the optimal listening chair.
From the very beginning an important change to the original design was the size of the head rest – something that was too wide in the original design and would therefore block reflecting soundwaves coming from the back and side walls. So Jonas had reduced that even more.
Secondly, with a knowledge of the body’s true proportions (something that Michael didn’t really have from a design point of view), the chair grew in size without ever losing its elegance or “lightness”.
On 2nd September 2008, Jonas presented two designs routes - one more futuristic but clearly inspired by the curved back of the original PowerPoint designs. To this he added a quite short & sharply cut off arm rest. In the other design, Jonas dropped the futuristic curves in favour of a more contemporary and organic shape that flowed onto the arm rests, which themselves had been elongated as well as angled, instead of cutting it "off" so abruptly. This was the design we liked the most - but with the slimmer head rest of the futuristic design.
Once we had decided on which of the designs to go forward with, we needed to move it from the two-dimensional pencil strokes, to the three-dimensional world of Computer Aided Design (CAD). This gave us the ability to twist and turn and view the Ballerina Sweetspot from each angle, continuously refining the design and intended functionalities – as well as coming as close to a final product as we could, albeit in a virtual world.
But even with the most refined CAD programs, you really don’t get a feeling for how good you actually sit in the intended design.
We therefore needed to build a real-scale model – not an actual prototype, but an ergonomics model. 
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