“NgispeN is a company which seems to want to enjoy itself. If I think about furniture to enjoy I think about those wonderful time wasting moments in life. Those moments when you want to do nothing. Maybe just spin around and let time drift by. Maybe wait for someone to come up and say hello. So I thought of a cone sitting on another cone and where the two cones meet they rotate. Then I realised it looked a bit like the nozzle of a rocket engine so I gave the chair the name Blaster.”
Blaster Chair, by James Irvine, for NgispeN
Röhsska Chair, by Claesson Koivisto Rune, for The Röhsska Museum of Fashion, Design and Decorative Arts
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This switching between up and down creates an original lighting atmosphere, both intimate and close to the floor. The possibility to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the disks that make the lamp seem to float above an invisible surface. The observer can think that one has his feet in the water and looks to the bottom of an imaginary pond.
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
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.”
Sarjaton Tableware, by Harri Koskinen, Aleksi Kuokka, Musuta, Samuji, for Iittala
The chair, composed of a minimalistic rigid polyurethane shell, distinguished by its unmistakable high back. The wood base version transmits warmth and harmony. The version with the ring, encircling the apparently more rigorous metal base, gives the chair its playful character and craftsmanship. The generous proportions of the Luc lounge chair give freedom of motion, but in the same time defines a personal space, intimate that invites you to relax.
Luc Chair, by Lorenz*Kaz, for Rossin
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.
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
Spanish designer Victor Carrasco has created the Maarten chair as a tribute to the late Belgian furniture designer Maarten van Severen. The frame of the piece is forged from oak plywood and decorated by loose horizontally-stitched upholstery is applied to the curved body of the seat. lacquered steel tubes hold it up the sleek furniture piece. sprawling from a center point, the pyramidal structure is able to swivel, giving the user a more flexible and comfortable experience.
Maarten Chair, by Victor Carrasco, for Viccarbe
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.