Clip was shown at the Salone Satellite in Milan this year, made entirely of blown glass, we think it will hold the room together.
Clip, (transliteration design collection) by Antigone Acconci & Riccardo Bastiani
at A/R Studio
The Netherlands architect Wiel Arets has designed a gripping corkscrew, salt and pepper mill, made of ceramic and high-grade steel, for the Italian company Alessi.
screw.it salt.it pepper.it, by Wiel Arets, for Alessi
A murrine paperweight in flashed Murano glass, hand-ground, when set on paper it becomes a magnifying glass that enlarges words and pictures.
TV Murrine Paperweight, by Naoto Fukasawa, for B&B Italia
Jasper Morrison, the reigning master of reduced form, has designed a tea service for Rosenthal. The simple elegance of this set, made of porcelain, has now earned a Red Dot and iF design award.
Moon, by Jasper Morrison, for Rosenthal
1. In search of innovation within traditional crafts Botanical Ceramics was born from a research project based on the possibilities of combining traditional crafts with technological and industrial production methods. The series of containers are manufactured using rapid prototyping technology based on the idea of flowerbulbs as a natural vessel.
2. The second vase, Redefining Genetics, is composed of 6000 small rods, which have been built up manually through a 3D computer program.
3. A String of Garlic ceramic Vase using garlic as a starting point.
Botanical Ceramics & Redefining Genetics, by Jo Meesters, for Jo Meesters, Garlic in collaboration with Marije van der Park.
Put an orange into this bowl, and a beautiful contrast results: nature meets technology. Winner of several honours, the bent aluminum forms a three-dimensional object in which shapes and shadows change depending on the light.
Bowl, by Christoph Böninger, for Auerhahn Bestecke
This blocky coffee and tea set from Alessi with its abstracted forms serve up coffee, tea, sugar and cream.
Tea + Coffee Tower, by Wiel Arets, for Alessi
Typecube is a design tool used to facilitate the modular construction of letterforms. Typecube’s six faces each bear a unique formal component which provide the basis of two dimensional and three dimensional typographic systems, encouraging flexibility within uniform structure. By varying the number of type cubes, typographic solutions vary in complexity, and are capable of infinite rearrangement.
Typecube, by Chris Clarke