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
The Trace chair collection has been further improved with the body made of Hirek plastic. Suitable for outdoors, stackable and designed for the contract sector.
Trace, by Shin Azumi, for Desalto
A sculptural piece of furniture, vaguely reminiscent of primordial stone or wooden objects; Monopod stands sturdily, tapering with an elegant curve to a wedge-shaped backrest.
Vitra Monopod, by Jasper Morrison
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
Missing Chairs was born from the idea that the chair never lives alone but is nearly always part of a greater object.
Missing Chairs, by Nobody&co
The What Containers are a complete system to use freestanding or to hang on a wall. The slim structure, made from canaletto walnut or grey oak, combined with the front in smoked glass or soft, sophisticated shades of lacquer. The handles are large elements in wood.
What containers, by Rodolfo Dordoni, for Molteni & C
Ease of travel in the jet age encouraged a growing fusion of cultural influences after World War II. Although Sori Yanagi’s stool was designed and manufactured in Japan, it employs western forms (the stool) and the material (bent plywood). Its calligraphic elegance, however, suggests a distinctly Asian sensibility despite the rarity of such seating furniture in traditional Japanese culture. The stool is made from two curving and inverted L-shaped sections, each forming one leg and half of the seat. A metal rod midway between the legs serves as a stretcher and holds the stool together.
Butterfly Stool, 1956, by Sori Yanagi (Japanese, born 1915); Originally manufactured by Tendo Co. Ltd. Now sold by Vitra.
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