“These vases follow my personal research on glass. Two of the most famous traditions in glass working are in Finland and in Italy, so this family of vases wants to be a homage to the work of nordic masters like Tapio W., together with the work of italian glass blowers. In the sixties and seventies wonderful pieces came out from the collaboration between designers and glass manufacturers: this was my inspiration so I tried to do a collection of vases with simple, archetypal shapes, but giving a modern taste “exagerating” the heads and emphasizing with colors like metals.” – Giorgio Bonaguro.
Tapio Vases, by Giorgio Bonaguro
Photography by Andrea Basile Studio
Francesco Faccin designed this project to provide an answer to the provocative message sent to him from the Tempo Italiano platform. It invited its participants to reflect on design past and present, on the meaning of production today, on a return to the origins of the basic needs and actions within a system of sustainable values.
Re-Fire is a kit for manually lighting a fire; it was inspired by the systems used by primitive Man. Two pieces of different types of wood – a piece of hardwood and a piece of softwood) are rubbed together; in just a few seconds, the friction produces smouldering ash and this can be used to light a fuse in a highly inflammable dry material. Each component is essential for the creation of fire, and the specific wood types selected correspond to a precise technical characteristic.
For Francesco Faccin, Re-Fire is an attempt to re-synchronize with Man’s most instinctive needs using a contemporary means. Producing an article that will produce fire obliged the designer to repeat the gestures of our ancestors, in this case using sophisticated tools that are readily available to all, such as laser cutting machines, CNC routers etc.
Re-Fire, by Francesco Faccin, Photography by Delfino Sisto Legnani + Studio Faccin
Copenhagen weaves years of refined craftsmanship with contemporary lifestyle. With its light Nordic design, the loudspeaker plays elegantly together with the surroundings.
Henrik Mathiassen, Design & Creative Director at design-people, gives… a brief insight into the design process behind Copenhagen.
The distinct characteristic of Copenhagen is its Nordic expression. How do your interpret Nordic design?
Nordic design addresses complex issues and turns them into simple and appealing solutions. Keynotes are respect for materials, details, and for the user experience.
Your design approach is based on years of research into user preferences. Why this approach?
Desirable design is achieved through connecting to people’s values and creating everyday benefits. Our team of researchers, psychologists, and designers, together with the skilled Vifa team, have taken Copenhagen all the way through the music listener’s journey; from dreams and desires to realization.
How does this approach manifest itself in Copenhagen?
It has helped us designing a great, well-crafted loudspeaker that integrates itself gently in people’s lives and homes. All details are toned down to the essentials with high finish and ease of use. The exquisite basics for anyone who values exclusive design just as much as authentic sound.
The design of IOOI turns the world of hookahs upside down. Sophisticated materials are presented in a minimalistic an extraordinary design. Modern materials, like anodised aluminium, polished brass, crystal clear glass and 3D printed parts are composed to this outstanding sculpture.
IOOI Hookah, by Christian Zanzotti
For more than 150 years, the longstanding silver manufactory of Jarosinski & Vaugoin has been producing high-quality silver objects. At the beginning of the 20th century, the manufactory–founded in 1847 by Carl Vaugoin, who specialized in heavy, handmade cutlery–relocated to Zieglergasse in Vienna’s 7th district, just a few minutes’ walk from Feichtner’s current studio. Today, Jean-Paul Vaugoin represents the sixth generation of his family to continue the tradition of this renowned business. For their collaboration, Feichtner took inspiration from Jarosinski & Vaugoin’s history: during the late 1960s, the silver manufactory produced several replicas of the legendary Saliera by Benvenuto Cellini, of which one was presented by the Republic of Austria to Queen Elizabeth II as an official gift on the occasion of her state visit in 1969. The manufactory’s current collaboration with Feichtner has given rise to a series of silver spice containers that are gold-plated on the inside. The salt cellar can be tilted to remove salt through an opening with two fingers in order to sprinkle it. In this way, Feichtner gets the salt cellar’s users to playfully but consciously approach the concept underlying an object that sees little use today, rather than just to casually shake on salt. “I didn’t want to design a second Saliera–instead, I wanted to come up with a new take on its approach to salt,” says Thomas Feichtner of his design. “Saliera” will be first shown on the occasion of the opening of the Vienna Design Week 2013.
Les Poupées, meaning dolls in french, is a first collaboration between Italian designer Luca Nichetto and French gallerist Pascale Cottard Olsson in Stockholm. The series consists of a candle holder in ceramic and a vase in glass, elegantly combined in one object. However, it is not the multifunction that is the heart of this project, but rather the melting pot of different cultures. When asked to do a product for the french-swedish gallery, Nichettos main aim was to capture the different cultures coming together in this collaboration. Drawing inspiration from Finnish, Italian and Japanese design tradition, Nichetto cites the simplicity and purity of the Finnish artist and designer Timo Sarpaneva, as well as the combination of colors and materials used in Italian architect Ettore Sottsas well known totem vessels, as two influencing sources. The japanese wooden dolls, also called Kokeshi, has also served as an influence for les Poupées.
Les Poupées by Luca Nichetto
Gardenias is a collection of furniture for the garden. That’s not a real genre, but it does differentiate Gardenias from other exterior furniture collections. Subtlety, beauty and memory are omnipresent in its design, along with a determination to make the collection broad, varied, multipurpose and open. Further pieces will be added in the future. There will be room for sculptural vases and planters of surprisingly fine terracotta, chairs with or without a pergola, benches and even an attractive watering can.
One of the most outstanding characteristics of the collection is the way its translated the generally rigid and square-shaped image of outdoor metallic furniture to a language that is more romantic in form and also suitable for indoor use. It carries the unmistakable mark of Hayon in the svelte, subtle and feminine forms. It is almost Gaudí-sque (or should we say Gardenia-esque) in so much as it renders metal with organic, almost natural shapes – ones that are more generally seen in furniture made of wood.
Gardenias, by Jaime Hayon, for BD Barcelona Design
Aiming to raise discourse on the future of design, Droog Lab went to Shenzhen, China, the epicentre of copycat culture, with the intent of copying China. The result is a collection of 26 works by Studio Droog, Richard Hutten, Ed Annink, Stanley Wong and Urbanus each taking copying as a starting point. From a classic Chinese teapot with an added robust handle by Richard Hutten, to an inverted Chinese restaurant that features a miniature table setting inside a fish tank by Studio Droog-each piece translates an essence of the original in a literal way.
Chinese companies and the government are working hard to shed their copycat reputation. But copying does not only produce exact replicas. Chinese imitation and pirated brands and goods often introduce novelty by adding something, upgrading, or adapting for another market. By linking copying to creativity, The New Original demonstrates that the process of copying is clearly more than just mere replication-it can be a real driver in innovation.
“We have reached a level of saturation in design and in the market, that it’s time to think more intelligently about what to do with the surplus, and use it in the design process. We should take better advantage of our collective intelligence,” states Renny Ramakers, co-founder and director of Droog. “Imitation can also be inspiration.”
Droog Lab: The New Original, March 9th – April 9th, 2013, at Hi space, zhen Jia shopping mall, 4th floor, No. 228 Tianhe Road, Tianhe District, Guangzhou, China
The Woods is the second collaboration between the Norwegian design studios StokkeAustad and Andreas Engesvik, Oslo. The inspiration was found in the forests and the lights of the North. A tree changing colours and transparency through the seasons is a fascinating process which was captured in this glass object.
Our ambition was to work sculpturally — without any specific function other than the purely decorative. A renewed interest in the field of craftsmanship, tradition and new categories – has brought us into an area and expressions that we wanted to explore further. Thus, reducing the gap between industrial design and what we know as arts and crafts.
The unique, free standing glass sculpture The Woods, is a made out of hand blown glass. Each sculpture consists of seven trees — joined in two separate sections.
The Woods, by StokkeAustad and Andreas Engesvik
Eclipse is a clock where the face transforms as time changes. The hands mark a visual rhythm, an optical illusion made from the black circles which overlap and move. The time is always visible whilst the clock is transforming.
Eclipse Clock, by Constance Guisset, for Petite Friture