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FoodWork: 8 Norwe­gian designers

Dodo is a small container for soy sauce or oil. The container is made in silicone so that you can squeeze out the liquid. The shape of the con­tainer gives it a clear direction of use and also exudes a strong personality.

Ori grinders and salt cellar. These grinders and cellar were results from experi­menting with origami in our studio. The shapes of folds and crystals inspired the idea of milling salt and pepper. The conflict between the top and the bottom parts is a physical representation of the internal grinding process. The grind­ers and cellar are made from maple wood and Corian.

Basic wood tools for food preparation including spatula, ladle, skimmer and rice pad­dle (shamoji). They are shaped in a way that makes them a natural extension of the hand.

These objects spring out of simple and ordinary, yet es­sential and vital, actions that tie people together across cultural differences. The objects are designed for everyday situations in Norway — they are Norwegian. How­ever, we have been inspired by Japanese culture — or rather, by our particular understand­ing of Japanese culture. In other words: we have at­tempted to make Norwegian objects that could also be relevant to Japanese living. Our goal is to draw inspiration and knowledge from how our work is experienced in Tokyo.

Dodo, by Petter Skogstad, Ori, by Anderssen & Voll, Wood Tool, by Per Finne, at Food Work, at DesignTide, Tokyo

Revolution Collection by Felicia Ferrone

Strikingly simple in form, the Revolution Collection is handcrafted in the Czech Republic by master glassblowers, and formed from a pure extrusion of hand-blown borosilicate glass. This material provides a high degree of thermal resistance for a range of hot and cold applications, and is oven, microwave, freezer, and dishwasher safe.

When in use, the contents of these pieces appear to float, seeming to defy gravity and visually suspend their contents, be it water, wine, champagne, gelato, or soup. The Revolution Collection is distinctive in its thoughtful form, and innovative in its application of materials and skillful manufacturing. These attributes are fundamental to the design philosophy and approach of fferrone design, along with responsible sourcing of materials and production.

Revolution Collection, Glassware, by Felicia Ferrone

Showtime Vase Limited Edition by Jaime Hayon for BD Barcelona Design

To celebrate its 40th birthday, BD Barcelona Design launches a limited-edition collection of 40 vases hand painted by Jaime Hayon.

In terms of design history of the past 40 years, BD Barcelona Design has been a pioneer in many ways. Well before ‘design-art’ was talked about, this Spanish company had already produced pieces by artists of the calibre of Juan Gris and Salvador Dalí. The very concept has been part of its DNA since day one, continues to be a key element of its identity, and logically forms part of the company’s 40th birthday celebrations. The occasion will be commemorated with an exclusive, numbered collection of 40 vases from the Showtime collection, hand-painted by Jaime Hayon, an internationally acclaimed creator who has triumphantly bridged the worlds of art and design.

Showtime Vase Limited Edition, (limited-edition collection of 40 vases), by Jaime Hayon, for BD Barcelona Design

Satellites Postlerferguson for Papafoxtrot

Designed for Papafoxtrot London, Postlerferguson have selected the 5 most iconic unmanned spacecraft circling the earth and transformed them into Papafoxtrot’s iconic design language. The satellites are made out of maple as well as laser etched stainless steel parts with polished natural wood, matte white and glossy red finish.

Satellites, by Postlerferguson, for Papafoxtrot

Sarjaton Tableware from Iittala

This is Sarjaton. Meaning ‘no series’ in Finnish, it’s a range that redefines the freedom of flexibility. Comprising 26 essential parts that can be used whenever for whatever, Sarjaton gives you the natural tools to create as you like. Touch the embossed relief on the plates and mugs, relax with the soft and muted tones of the colour palette, and embrace the small details.

Alongside the patterns of ‘Letti’ and ‘Metsä’, Musuta also designed the fish for the bottom stamp on each piece from the range. Symbolic of the ancient Finnish saying ‘there’s no point in going fishing further than the sea’ it reinforces Sarjaton’s celebration of simple living and having all we need right here.

Sarjaton is born from the collaboration and concept development of six talented designers from fashion, product, graphic and digital design that share the same vision to interpret Finnish traditions in a modern way. Harri Koskinen designed the soft, round shape of the new ceramic dishes and Aleksi Kuokka gave the shape for the universal drinking glass. As well as the colour scheme, the patterns ‘Letti’ and ‘Metsä’ were hand-drawn by Musuta, whilst the ‘Tikki’ pattern was created by Samuji.

Sarjaton has been strongly influenced and shaped by Finnish traditions, with the concept and design for the range firmly rooted in folklore and artisan rituals.

Embossed patterns based on traditional basket braids, embroidery motifs and the forest that covers half of Finland, deliver a handcrafted feeling that invites you to touch. While modern life has made us crave for an authentic feeling, the Sarjaton collection takes us back to the way things were made before. The real way.

“We hope that Sarjaton lets people discover things they like and find beautiful. We don’t wish to offer ready-made solutions, but stimulate the imagination.”
Musuta

Sarjaton Tableware, by Harri Koskinen, Aleksi Kuokka, Musuta, Samuji, for Iittala

Teluria Candelabra by Note Design Studio for KLONG

An original Tellurion is a mechanical representation of the Earth-Moon-Sun system that reproduces the relative movement of the three bodies. The model visualizes the causes of night and day, solar and lunar eclipses and the phases of the Moon.

The thing that intrigued us with the mechanical contraption and what we wanted to put emphasis on in our candelabra was the beautiful way the light was reflected between the spherical bodies. The five arms of the Telluria candelabra can be rotated into different positions and the twelve orbs will amplify the flames and the surrounding space.

Teluria Candelabra, by Note Design Studio, for KLONG

Themis Mono Mobile by Clara von Zweigbergk

A large 12˝ wide singular dodecahedron, a twelve-sided geometric shape, composed of different colors on each of its surfaces. Due to its sophistication and playfulness, Mono can appeal to both an adult and young audience. The colors ranging from pastels to right fluorescents, from warm to cool hues and to fully realize the marriage of these beautiful, vivid colors, the Mono is spot-printed on wood-free paper with high-quality inks.

Themis Mono Mobile, by Clara von Zweigbergk, for Artecnica

Silent Machine by Eunjae Lee

A tea service set, Silent Machine, is composed by functional products reflecting aesthetic interpretations on function-focused forms. Every single object can be identified when it is utilized as a part of the whole. Mathematically formulated silhouettes and details contribute to creating an image of mechanical regularity rather than being emphasized on their ornamentation.
The passing of time remains machines as industrial artifacts. No longer alive, no longer remarkable but the machine-age machines have stories which make them more beautiful than they were.
Machines are growing into more dynamic and intelligent tools around us, and being supplemented and improved by more recent technological advances, although it seems undeniable that their glorious time has vanished and remains a part of history. The aim of this study was to draw out recast values induced from the passing of time and transitions, and to refigure them under the present sentiment. Non-aesthetic things are re-illuminated and become emotionally connected with us It can be understand as a retrospective and commemorative intention by relocating our perspectives in the middle of the machine age.

Silent Machine, by Eunjae Lee, Exhibition at Formex, Sweden

Exhibition: ECAL: Chez Le Corbusier at Villa Le Lac

One of the world’s most prestigious schools of art has defined a new teaching paradigm by making architecture and industrial design more interdisciplinary, more interconnected. ECAL chez Le Corbusier (ECAL at Le Corbusier’s place) is a magnificent tribute to the great architect on the 125th anniversary of his birth. It is also, and above all, an encounter between a master and some pupils: between Le Corbusier and the students of ECAL (University of Art and Design Lausanne). To imagine, then to produce objects for the Villa “Le Lac” was the project conceived by Elric Petit, head of the bachelor’s degree programme in industrial design at ECAL, and Chris Kabel, professor at ECAL. The project soon outgrew the framework of a classic teaching activity: the potential offered by the site, the inventiveness awakened by this assignment and the quality of the executions naturally led to the idea of an on-site exhibition.

ECAL: Chez Le Corbusier, Villa Le Lac, Switzerland, July 2 – August 29

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