The Taccia lamp is a remarkable piece of design from 1962 – and it’s still in production today.
It was designed, by the Castiglioni brothers for Flos in 1962 as a functionable/adjustable table lamp for the modern home. The base is a fluted column of aluminium, topped with a clear glass shade with an aluminium reflector, which can be rotated to direct the light.
Achille Castiglioni said of Taccia in a 1970 interview: “We consider it the Mercedes of lamps, a symbol of success: perhaps because it looks like the shaft of a classical column. We certainly weren’t thinking of prestige when we designed it. We just wanted a surface that would stay cool.”
Taccia, $2,300.00 by Achille Castiglioni, for Flos
Under the direction of Walter Gropius, the Bauhaus sought a union of art and technology, with an emphasis on developing prototypes for industrial production. Marianne Brandt, the sole woman enrolled in the school’s metal workshop, designed this silver teapot while still a student. By interrelating a number of pure geometric forms, including the hemisphere, circle, and cylinder, Brandt’s design explores their formal relationship in space. Like other functional Bauhaus items, the teapot was designed to work well in addition to looking good—it is well balanced and easy to pour.
Tea infuser and strainer ca. 1924, Silver and Ebony; H. 7.3 cm, by Marianne Brandt, Sold at Auction $361,000, Sotheby’s
“Sottsass designed the Valentine typewriter (with Perry A. King) for Olivetti in 1969 to be an “anti-machine machine,” for use “anyplace but an office. Undoubtedly one of the great design classics, the Valentine expresses the mood of its time: goodbye to the bulky cast-iron housings of old typewriters, hello to the new mobility of a light, modern, plastic casing made from ABS.
Olivetti Valentine Typewriter (c.1969), by Ettore Sottsass, for Olivetti
In honor of George Nelson’s 100th birthday, Vitra has released a special re-edition (limited to 1,000) of Nelson’s Pretzel Chair he designed in 1952.
Pretzel Chair, by George Nelson, manufatured by Vitra, via: Design Related
Often overlooked and a common sight in every sushi bar and maybe even lurking in the back of your refrigerator, this package design is now included in the permanent collection of the Museum of Modern Art in New York (MoMA). The dispenser is equipped with the essential functions as a soy sauce dispenser such as easy to pour (on two sides!) and a non-drip spout. The company has shipped to date over 250-million units.
Designed in 1961 by Kenji Ekuan. (Japanese, born 1929) and GK Design Group. Kikkoman Soy Sauce Dispenser. Glass and polystyrene plastic, Manufactured by Kikkoman Corporation, Japan.
Kikkoman Soy Sauce Dispenser, by Kenji Ekuan, for GK Design Group
Platter, Tapio Wirkkala, Finland, 1951, laminated birch, teak
19 x 9 7/8 x 1″ (48.3 x 25.1 x 2.5 cm). Manufactured (not in production) by Tapio Wirkkala
Innovation in form, Designed by Sergio Berizzi. (Italian, 1930-1976), Architectural Firm: Architetti Montagni, Berizzi, Butte. Metal and wood.
Phonola Television (model 1718). 1956. Metal and wood, by Sergio Berizzi, for Phonola
An oldie but a goodie.
Fan (model GB1). c. 1908, for Allgemeine Elektricitæts Gesellschaft (A.E.G.), Germany, by Peter Behrens
As a university student, I used to smoke about a pack of these every day — it helped me think. Clearly the best brand of cigarettes ever made, even then it was hard to find in the shops. The logo was created by the industrial designer Raymond Loewy in 1940.
Lucky Strike, by Raymond Loewy, for American Tobacco Company