A new porcelain water carafe by Aldo Bakker in five colours. This carafe is born with its own traditions. It demands the user to handle it like no ordinary carafe.
Jug, by Aldo Bakker, at Particles, Photography by: Erik and Petra Hesmerg
Daniel Weil’s new clock explores parallels in the way time moves in space and an acrobat moves along a wire.
“Just as gravity is the medium of the acrobat, so it is the medium of ‘Clock for an Acrobat,’” says Daniel Weil. Second in a series to his “Clock for an Architect,” Weil’s latest design revisits themes that have interested him for over 25 years.
The materials are ash and nickel-plated brass and silver. For the movement, Weil sought parallels between the way time moves in circles and in space, and the way an acrobat moves along a wire: both precarious, both precise, both balanced. As the wheel turns on its track, gravity steers the glass bearing to six o’clock. This prompts the user to reset the dial, acting as an active re-arranger of time.
The battery is held in midair by positive and negative power lines that feed the clock’s movement. Appropriately, it is the only part of this gravity-defined clock that defies gravity.
Clock for an Acrobat, by Daniel Weil, Pentagram
Notchless is an adhesive tape dispenser which leaves clean, straight edges without zig-zags on cut tape, simply by tearing it on the edge of a blade in the same easy way as with conventional tape dispensers. Adhesive tape without zigzags has an attractive appearance, and it does not break up when peeled as does tape cut with conventional dispensers. It thus has the advantage of not causing stickiness or dirtiness at the cut edge, increasing the utility of adhesive tape. This patented blade technology cuts adhesive tape with a straight edge in an easy and safe manner.
Notchless Tape Dispenser, by Mamoru Yasukuni, Kikuchi-Yasukuni Architects
The Cronotime clock was designed by Pio Manzù as a promotional item for Fiat, later produced by Ritz-Italora in 1966. It was re-issued by Alessi from Italy. The shape of Cronotime is toric (part of a circular section ring) totalling a 1/6 of circumference. The shape in turn separated into two equal parts which swivel, allowing you to modulate the direction in which the dial is pointing with respect to the support surface. Part of the permanent collection of the Museum of Modern Art (MoMA) in New York.
Cronotime by Pio Manzù
eliumstudio was invited by Duende Studio to reconsider the “vinaigrier” (french for vinegar maker), an accessory that’s common to country kitchens.
Antic biotec blends the wine bottle and the pipette, common to oenologists and scientists, to offer a new “noble tasting ritual, highlighted by the delicacy of the blown glass and porcelain.”
“Vinegar is one of the very first biotechnology applications developed by man using acetic bacteria to change wine into a completely new product.”
“A preciosity of the often ignored vinegar that Nick Toshes was already pointing out in the opening of his mythical Confessions d’un chasseur d’opium (Confessions of an Opium Hunter): ‘Those people who know that the true soul of wine is vinegar, hold the key to the only worthy knowledge concerning wine. The wonderful taste becomes apparent by drinking shots of these mature and rare vinegars labelled da bere: the real thing is a far cry from the industrial crap masked with pretentious epithets.’”
Natura jars are inspired by the world of vases. A collection of jars that not only store but also decorate. Its translucent colors let you see their content, screening them and creating a balanced range of tones. A continuation and extension of the natural collection. This is why we use the cork in the same way, similar formal language and same color code that resembles ancient glass, giving it a vintage flavour. The collection is made of 100% recycled glass and is composed of three jars, in three colours green, amber and red.
Natura Jars, by Héctor Serrano, for La Mediterranea
The Cognac Glass and the smaller Liqueur Glass is a beautiful combination of function and pure pleasure. A simple and practical pivot allows the glass to swirl thus releasing the aromas of the spirits. The concern to quality of cognac resulted in the shape of the glass, which increases the pleasure of deep colour and movement of the liquid.
“I wanted to craft a cognac glass. The perfect gift to the man, who has everything. The inspiration springs from my own perception of when you drink cognac; that is when you have time and in calm surroundings. I wanted the glass to give the user a feeling of a gentleman’s study and at the same time, the sense of calmness you get when you fondle a stone. The stem kept irritating me. I took the consequence and cut it off. That’s how my Cognac Glass was born.”
- Rikke Hagen
Normann Copenhagen Cognac & Liqueur Glasses, Set of Two, by Rikke Hagen
Winner of the IF Design Award, Origo dinnerware collection features bold, modern color combinations allowing for unlimited combinability of the cups, bowls, and plates. Origo is made to combine with other Iittala collections including Teema, classic Scandinavian dinnerware, designed by Kaj Franck in 1952 and Bottna with its strong lines and a botanical-inspired pattern by Anna Danielsson, a well known Swedish textile designer who works with Marimekko of Finland. Durable as it is attractive, Alfredo Häberli designed Origo to stand the test of everyday use over a long period of time.
Iittala Origo Dinnerware, by Alfredo Häberli
Not always known for making simple practical objects, Marcel Wanders designed the Cristal Carafe for the Danish company, Normann Copenhagen. A sculpted, transparent glass carafe, the Cristal Carafe comes complete with five multicolor cups sculpted in rich plastic. The unexpected contrast creates a pleasing dynamic between cold and warm materials, rigid lines and soft shapes, making it as visually striking as it is refreshing. The Carafe is the winner of the Formidable Award, at the Swedish Formex Priset.
A solo show at the Taiwanese government-sponsored National Taiwan Craft Research and Development Institute featuring two collections. ‘thin black lines’ is a collection of furniture formed from ‘still black’, so we wanted to use ‘active black on white’ for the exhibition space. The drawings on the floor flow like river water around the exhibition stands. ‘dancing squares’ is a collection based on the concept of ‘active white’, so we wanted a space that expressed the idea of ‘still black on white’. Our room-sized sketch, affixed to walls and floor, uses a fish-eye lens-like effect as though viewers are seeing it through a tiny water drop.
Exhibition: Thin Black Lines + Dancing Squares, by nendo, at National Taiwan Craft Research and Development Institute (NTCRI), Taiwan