A narrow strip of wood
The timber arms are a good place to begin looking at Martin Visser's SZ 63. They are narrow beside the upholstered seat and back, yet give the hands a surface of their own. A dark square-section frame draws the larger outline.
Spectrum and Pastoe both date the design to 1960 and credit Visser. Spectrum places it in the period when he was directing the company's design work, with an emphasis on simple forms and economical use of material.12
The arms make that economy easy to see. A small amount of timber marks a particular point of contact, beside the broad upholstered surfaces that receive the body.
Three materials, three jobs
Pastoe specifies a square tubular metal frame, solid timber arms and fabric or leather upholstery. The parts have different roles within one composition.2
Follow the frame towards the floor, then look at the breadth of seat and back. Their larger surfaces sit within an outline whose section remains clear. The timber arms add a narrower line at hand level.
That change of scale gives the chair two useful readings. Across the room, the frame organises its outline. Close to the seat, the wooden arm offers a surface whose size and material relate to a smaller part of the body.

Different specifications, a familiar arrangement
Spectrum describes wenge arms with a black frame. Pastoe's selected offerings list oak or walnut arms and their own upholstery options. These are parallel descriptions of particular configurations, rather than a documented sequence from one timber to another.12
The comparison brings attention back to the arrangement. Timber, covering and frame remain distinct enough to follow, with the narrow arms continuing to mark their place beside the seat.
Return to the point where a hand might rest. That modest strip of wood helps give the larger upholstered form its human scale.

