Today, the loss of life and humanitarian suffering, such as racism and terrorism, is considerable. Besides, it is now possible to make human beings artificially. Considering those, it seems that the value of ‘life’ is transforming, and therefore, it is time to re-think about the ‘life’. This chandelier is inspired by the weak electrical current occur from an ovum at the very moment of the fertilization.
The Birth Lamp, by Satoshi Itasaka
Photography by Elly
Throughout history, Japan has faced numerous natural disasters. Each time, its people have stood strong and gone on to rebuild their communities. On 11 March 2011 the Great East Japan earthquake struck the country and has once again reminded us of the importance of disaster and emergency preparedness. Rather than the conventional emergency preparedness kits that all tend to resemble one another, people are now seeking a more versatile solution that is appropriate for a variety of situations. This called for the development of an emergency preparedness kit that includes the bare minimum necessary for a city-dweller to make it to a place of refuge during an earthquake or other disaster. The result is a whistle to alert others of one’s presence, a radio, raincoat, lantern, drinking water and a plastic case, all packaged inside of a 5cm wide tube that is waterproof and floats. The radio is equipped with manual charging functionality, which can also be used to charge your smartphone, lantern, or other devices via USB. The plastic case can be used to store medicine or anything else the user might deem necessary, and the tube in which the drinking water foil pouch is stored can also be used as a cup. Despite its compact design, the kit offers a rich set of features.
Slimmer and more compact than conventional emergency kits, it’s easy to carry and can also be worn over the shoulder using the included strap. The design makes it easy to keep it near the entrance and ready to go at all times – just leave it in the umbrella stand or hang it from a coat hanger. The outer tubing is available in silver, white, or black, and each tool is available in a selection of 3 different colours.
MINIM+AID, by nendo, for SUGITA ACE
Photography by Kenichi Sonehara
With the major exhibition »The Bauhaus #itsalldesign« (26.09.2015 – 28.02.2016), the Vitra Design Museum presents, a comprehensive overview of design at the Bauhaus for the first time. The exhibition encompasses a multiplicity of rare, in some cases never-before-seen exhibits from the fields of design, architecture, art, film and photography. At the same time, it confronts the design of the Bauhaus with current debates and tendencies in design and with the works of contemporary designers, artists and architects. In this way, “The Bauhaus #itsalldesign” reveals the surprising present-day relevance of a legendary cultural institution.
The Bauhaus #itsalldesign, by Vitra Design Museum
A collection that was created for the solo exhibition held at the “EYE OF GYRE” a gallery in Omotesando during Tokyo Designers Week 2015.
Since it is difficult to grasp beforehand the status of furniture being used when designing furniture for mass production, the designs inevitably tend to become one of an “average specification” that can respond to various scenarios. What’s more, the space will become evened out by such furniture filling the space. Thereupon, we expected a new relationship to develop between space and furniture by conceiving the design of the furniture from a specific space. By walking around the gallery we went through a special design process of being inspired by elements that are normally “troublesome”, such as the corner of the room or protruding columns. In the process, we took turns in verifying how the furniture was balanced as it was placed within the space, as well as the proportion of the furniture itself. This resulted in the creation of mysterious tables that consisted of a 5mm square metal rod with a small tabletop measuring a radius of 100mm attached to it.
The design utilizes the element of space as a part of its structure by “parasitizing” on to the corners or edges of the walls, the edge of the floor and exhibition stands.
Border Table, by Nendo, for EYE OF GYRE
Photography by Hiroshi Iwasaki, Masaya Yoshimura
For Another Country’s 5 year anniversary exhibition The Dorset Series, during London Design Festival, Studio Dessuant Bone were invited to design a limited edition object inspired by the brands Dorset origins.
Jurassic Light 117 is inspired by the Jurassic Coast’s Durdle Door, an iconic landmark of the Dorset coastline. The cylindrical negative space created by this arch has been interpreted to create the simple shape that forms the light. Jurassic Light 117 employs Portland stone that carries impressions of fossils from the Dorset area – so acting as a constant reminder of the origins of the design.
Material: Portland Stone & Brass
Jurassic Light 117, by Studio Dessuant Bone
At the moment a sushi chef makes a sushi above a beautiful chopping board stage in tranquil and serious space with a dim light, a sushi atmosphere arises. The act of making a sushi actualizes the stage and creates a food-art which is done in a minimum time. A reclaimed wood counter and a scale of the space which accentuate the stage are naturally derived. Art pieces as valuable as foods are placed around the counter.
The space provides an impressive experience of eating with wabisabi (Japanese philosophy of simplicity and tranquilness) based on the relationship between sushi and space. When people sit at a long table and art as food is provided, we call it a sushi restaurant. This is the beginning place of a sushi restaurant. The store has a new style of a sushi restaurant which is a genesis of it. The new is found in its history. (Makoto Tanijiri / SUPPOSE DESIGN OFFICE)
Sushi Yoshii, Minato-ku, Tokyo, by SUPPOSE DESIGN OFFICE
Photography by Toshiyuki Yano
Serif is a collection of screens and televisions, which have been designed for Samsung during the past two years. They also designed the interface inside Serif.
Serif is a television that moves away from a preoccupation with ultra-flat screens. Instead, it is an object that can be turned around and manipulated. It can stand anywhere, even on the floor with its own legs. What designers were looking for was a solid presence that would sit naturally in various environments, just like an object or a piece of furniture. In profile, it forms a clear capital “I” shape, its slim body broadening to form a surface like a little shelf at the top.
Serif, by Ronan & Erwan Bouroullec, for Samsung
The owner of this Brighton house required an interior that reflected the geometry of the building’s architecture. To achieve this brief, Mim Design undertook full planning, interior architectural design and decoration. Each view has aspect to a key interior feature or form, and each element within the house proportionally creates a sculptural form. The interiors have a sense of balance, calm and space.
From the front entry, leading through to the lounge with its elegantly curved fireplace, the space feels soft and warm. Light streams through the windows, and natural elements such as smoked oak floors, elegant grey marble, and black stained timber, create a muted sense of luxury.
MAH Residence, Brighton, Australia, by MIM Design
Photography by Peter Clarke
Carbon Chair is a consistently constructive and yet formal and experimental design by Thomas Feichtner. It is a sheet of carbon fibre, which contacts the floor at three points and depicts a line from above and below, positively and negatively. The result is a formal interplay of inner and outer surfaces – a recurring theme that runs through many of Feichtner’s works. (Limited Edition of eight pieces).
The Carbon Chair is part of the exhibition ‘Austrian Design Pioneers’ during the Milano Design Week 2015.
Carbon Chair, by Designer, for Thomas Feichtner