text:
**Candleholder, Valencia**

Jaime Hayon

Crystal glass, sandblasted by hand

H: 23.4cm (9in)

Diam: 10.6cm (4⅛in)

Gaia & Gino, Turkey

_www.gaiagino.com_

Published in 2013 by

Laurence King Publishing Ltd

361–363 City Road, London,

EC1V 1LR, United Kingdom

T +44 (0)20 7841 6900

F + 44 (0)20 7841 6910

enquiries@laurenceking.com

www.laurenceking.com

Text © 2013 Laurence King Publishing Ltd

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without permission from the publisher.

A catalogue record for this book is available from the British Library.

ISBN: 978-1-78067-099-7

Design: Eleanor Ridsdale

Picture research: Fredrika Lökholm

Printed in China

Front cover: Johnny B. Butterfly lighting, Ingo Maurer (see p. 240)

Back cover: Sparkling indoor/outdoor chair, Marcel Wanders (see p. 68)

**Acknowledgements**

I would like to dedicate _The Design Book_ to Laurence King, who has shown me so much support over the years, and to thank the following people for their invaluable help in the making of this book: all the designers featured, especially those who I interviewed and who took the time to give such interesting replies to my questions; Eleanor Ridsdale for her patience and skill in not only organizing over 1000 designs into some kind of order but also in making the pages look good as well; Jodi Simpson, my editor, for her keen eye and expertise and John Jervis for his copy-editing, as well as our production department here at LKP for getting everything into a publishable state. But, once again, above all I would like to thank Fredrika Lökholm, without whose advice, hard work and patience this book would not have been possible. Well, Fredrika, I think it's now time for a mojito, don't you? JH
**CONTENTS**

**INTRODUCTION**

**1. TABLES AND CHAIRS**

**2. SOFAS AND BEDS**

**3. STORAGE**

**4. KITCHENS AND BATHROOMS**

**5. TABLEWARE**

**6. TEXTILES AND SURFACES**

**7. LIGHTING**

**8. ELECTRONICS**

**9. MISCELLANEOUS**

**INDEX**

**CREDITS**
**INTRODUCTION**

Interviewed on the eve of her thought-provoking 2008 exhibition 'Design and the Elastic Mind', Paola Antonelli, Senior Curator of Architecture and Design at the Museum of Modern Art, New York, spoke of the relevance of designers today: 'I believe designers are so important to society because they are like the worms that eat the earth and then digest and expel it as something fertile to make the terrain more fruitful. They are great synthesizers, very curious of all different viewpoints. The best designers enjoy design as an affirmation of life and a way to discover the world. And they render back to the world what they have learned.'1

The show gathered together over 200 objects, projects and concepts that explored the relationship between design and science on every scale from the microscopic to the cosmological, from nanodevices to vehicles, from appliances to interfaces, and from pragmatic solutions for everyday use to provocative ideas meant to influence our future choices. The aim was to focus on the designer's ability to grasp momentous changes in technology and social mores and convert them into products and systems that we as consumers can understand and use.

More than ever before, the significance we give to design in our everyday life is becoming apparent. Designers may not be able to change the world, but they will, as interpreters of innovation, increasingly become the catalyst for that change. Design is a broad-ranging discipline that today is recognized not only in the objects that you will find in the pages that follow but in its ability to build bridges between invention and real life.

The word 'design' has for too long been contaminated by the notion of decoration rather than what it could be: a vehicle for cultural, social and economic development. The strength of the designer is in his or her ability to take many different sources and ideas and amalgamate them into an object, scenario or service that has a clear intention and function. Over recent years, with the advent of design thinking and critical design—the former redefining what it means to be a good designer to include systems and strategies as well as enhanced skills in observation, analysis and communication; the latter using designed artefacts as an embodied critique or commentary on existing values, morals and practices in culture—the designer's intellectual focus is no longer solely on producing tangible things but on applying thought processes to ethical, social, environmental or humanitarian problems. The designer's purpose is to achieve the goals that are assigned to him or her, whether that be in the products that surround us, in technological innovations, in information processing or in a broader sense, sitting on panels to bring their 'elastic minds' to advise on such concerns as health, poverty, aging or long-term unemployment. The designer's role is to use the means available in a way that is relevant, logical, economical, elegant, expressive of us and the current zeitgeist, and most importantly, given the environmental crisis we are suffering, that champions sustainability.

The definition of design is changing. It is much more expansive and fluid than it used to be, and it comes with increased responsibility. For designers involved primarily with the process of producing objects, it is now no longer enough to make something that looks good and functions; they also have to create products that last, have the minimum impact on the environment, appeal to our sentiment and use technology and materials in an ingenious and imaginative way.

At the beginning of the 1970s, the designer Victor Papanek wrote in his rabble-rousing book _Design for the Real World_ : 'There are professions more harmful than industrial design, but only a few.'2 He went on to encourage designers to satisfy real needs rather than 'phony wants' without depleting the world's resources and ignoring their social and moral responsibilities. This directive is as influential now as it was then, if not more so. In an age where the ecological future of our planet is threatened, and in a period of bruising, ongoing global recession, the throwaway age has ended. Although inevitably the design media and the general conversation at Milan's Salone Internazionale del Mobile (the world's barometer of contemporary design) are full of the next new name, style, trend or headline, there is an ever-growing and underlining emphasis on the accountability of designers. They need to consider the whole life cycle of a product—whether it is designed, developed, manufactured shipped and disposed of responsibly—and to create products with longevity that will be handed down from generation to generation. The days of churning out 'stuff' that will find itself in landfill within a few years of appearing on the shelves are well and truly over. In humanitarian terms too there is a marked increase in craftbased objects produced in collaboration with third-world nonprofit organizations that illustrate the duty Western designers are demonstrating in their contributions to developing countries. This caring, sustainable, considered and inclusive approach to design is evidenced again and again throughout this book and emphasized in the telling responses of the designers interviewed on being asked, for example, what they consider to be the main challenges currently facing a designer, what they understand as the definition of 'sustainable design' and whether design can contribute to social change.

The atmosphere of the 2012 Salone (the last before this publication went to print) was subdued, demure and conservative, reflecting the austerity of the times and the realization that consumer demand is for less rather than more. The end users of design products, instead of choosing many objects of a kind, are selecting just one that resonates emotionally and that they will want to keep for a long time. The most talked-about exhibitions were not the ones showcasing jaw-dropping furniture aimed at the luxury market but those that highlighted the need for design to be accessible to and understandable by the person in the street; these exhibitions addressed the growing interest in collaborative design, hacked design (the contemporary concept of appropriation, alteration and transformation), and opensource design (the free-sharing of technological information with its concomitant need for transparency and plurality), and emphasized the processes that lead up to the finished object.

The design agenda for the foreseeable future will be beset by many challenges and complex issues. But with the growing acknowledgement of designers' innate creative attitude, their ability to work in teams, their multidisciplinarian and experimental minds, along with the potential they have, in brain-storming with other disciplines and organizations, to tackle societal problems, this is a period of unparalleled opportunities.

While artists may choose whether to be responsible to and work for other people, designers, by definition, whether designing for our furnished environment or troubleshooting existing production or sustainability problems, must accept the 'primacy of the human scale'. As Paola Antonelli puts it, 'Designers always work from a center of gravity, which is the human being.'3

1. Pierre Alexandre de Looz, 'Curators Voice: Paola Antonelli on Design and the Elastic Mind', _Artinfo_ , April 21, 2008, <http://www.artinfo.com/news/story/27328/curators-voice-paola-antonelli-on-design-and-the-elastic-mind/>.

2. Victor Papanek, _Design for the Real World: Human Ecology and Social Change_ (New York: Pantheon Books, 1971).

3. De Looz, 'Curators Voice: Paola Antonelli on Design and the Elastic Mind'.
**1.**

**TABLES AND CHAIRS**

**Chair, Spun (Coriolis)**

Heatherwick Studio

Steel with black acid finish, or bronzed brass

H: 65cm (25in)

W: 90cm (35in)

Haunch of Venison Gallery, UK

Marzorati Ronchetti, Italy

_www.haunchofvenison.com_

_www.marzoratironchetti.it_

**Night table, Small Ghost Buster**

Philippe Starck

PMMA

H: 40cm (15¾in)

L: 50cm (19in)

D: 33cm (13in)

Kartell SpA, Italy

_www.kartell.it_

**Coffee table, Quark**

Emmanuel Babled

Plexiglass

H: 30cm (11¾in)

W: 102.5cm (40in)

L: 208cm (82in)

Emmanuel Babled Studio,

The Netherlands

_www.babled.net_

**Table, Bonsai Structure**

Anke Weiss

150 bonsai trees, epoxy resin

H: 50cm (19in)

Diam: 80cm (31in)

Studio Anke Weiss,

The Netherlands

_www.ankeweiss.com_

**Writing desk, Pirandello**

Jasper Morrison

Transparent extra-light glass or double-faced extra-light acid-etched glass, tempered and thermo-welded; aluminium

H: 83cm (32in)

L: 80 or 110cm (31 or 43in)

D: 49cm (19¼in)

Glas Italia, Italy

_www.glasitalia.com_

**Table, Oyster I**

Marco Zanuso Jr

Polished stainless steel

H: 72cm (28in)

W: 60cm (23in)

D: 60cm (23in)

Driade, Italy

_www.driade.com_

**Indoor/outdoor stool/side table, Hexagon**

Steven Holl

Lecce stone, okoume wood

H: 42cm (16 ½in)

W: 40 or 44cm (15 ¾ or 17⅜in)

L: 43 or 51cm (16⅞ or 20in)

Horm, Italy

_www.horm.it_

**Table, Silver Crush Table**

Fredrikson Stallard

Glass, steel, aluminium

H: 34cm (13⅜in)

W: 100cm (39in)

L: 130cm (51in)

Fredrikson Stallard, UK

_www.fredriksonstallard.com_

**Wall-hung table/cabinet, Deskbox**

Raw Edges

Steel with epoxy lacquer, solid wood

H: 13cm (5⅛in)

W: 80cm (31in)

D (closed): 44cm (17⅜in)

D (open): 60cm (23in)

Arco, The Netherlands

_www.arco.nl_

**Coffee table with indoor/ outdoor removable top, Oppiacei Papaver**

Diego Grandi with Manolo Bossi

Glazed ceramic

H: 46cm (18⅛in)

Diam (base): 40cm (15¾in)

Diam (plate): 58cm (22in)

Skitsch, Italy

_www.skitsch.it_

**Tables, Blow**

Konstantin Grcic

Handblown Venini glass

H: 41.5 and 51.5cm (16½ and 20in)

L: 50cm (19in)

D: 45cm (17¾in)

Established & Sons, UK

Venini SpA, Italy

_www.establishedandsons.com_

Blow resulted from a collaboration between Italian glass company Venini and British contemporary design brand Established & Sons (see page 184). Konstantin Grcic's design exploits Venini's artisan handblown glass to create a voluptuous organic shape that explores the limits of the technique. The main body of the table is conceived as a free-form bubble, onto which the table top of sheet glass is attached. The fascination of the piece lies in the scale of the blown glass, as well as the combination of translucent Venini colours.

**Table, Zipte Table**

Michael Young Aluminium

H: 73cm (28in)

Diam: 85cm (33in)

Ostbahn, Hong Kong

_www.ostbahn.com_

**Table with folding top, Double Size**

Matali Crasset

Birch marine plywood, scratch-resistant lacquered wood

H: 72cm (28in)

L: 170cm (66in)

Danese Milano, Italy

_www.danesemilano.com_

**Table, Fleur de Novembre**

Fabio Novembre

PMMA, polycarbonate

H: 72cm (28in)

Diam: 120cm (47in)

Kartell SpA, Italy

_www.kartell.it_

**Table, Source**

Xavier Lust

Mirror-polished aluminium

H: 73cm (28in)

Diam: 70cm (27in)

Driade, Italy

_www.driade.com_

**Table, Central**

Ronan and Erwan Bouroullec

Die cast aluminium

H: 72cm (28in)

D: 60cm (23in)

Magis SpA, Italy

_www.magisdesign.com_

**Dressing table, Chandlo**

Doshi Levien

Solid ash, steel, mirror, MDF, plywood

H: 143.5cm (56½in)

W: 165cm (65in)

D: 65cm (25½in)

BD Barcelona Design, Spain

_www.bdbarcelona.com_

**Table, Drain**

Marcel Wanders

Aluminium

H: 75cm (29in)

Diam: 170cm (66in)

Cappellini, Italy

_www.cappellini.it_

**Table, Bac**

Jasper Morrison

Ash wood

H: 72cm (28in)

Diam: 125cm (49in)

Cappellini, Italy

_www.cappellini.it_

**Table, Blow Up**

Xavier Lust

Cristalplant, steel

H: 73cm (28in)

W: 80cm (31in)

L: 210cm (82in)

Skitsch, Italy

_www.skitsch.it_

**Low table, Ponte**

James Irvine

White Carrara marble

H: 35cm (13¾in)

W: 50cm (19in)

L: 150cm (59in)

Marsotto Edizioni, Italy

_www.marsotto-edizioni.com_

**Table, Arctic Rock**

JSPR

Solid mahogany wood finished with Piano Lacquer

H: 75cm (29in)

W: 100cm (39in)

L: 250cm (98in)

JSPR Production, The Netherlands

_www.jspr.eu_

**Coffee tables, Black Sheep**

Emmanuel Babled

Black Marquinia marble

H: 40cm (15¾in)

W (large version): 94cm (37in)

L (large version): 177cm (70in)

Nilufar, Italy

_www.nilufar.com_

**Table, XY**

Karel de Boer

Wood

H: 74cm (29in)

W: 210, 240 or 270cm (82, 94 or 106in)

D: 90cm (35in)

Montis, The Netherlands

_www.montis.nl_

**Indoor/outdoor table, Table B**

Konstantin Grcic

Extruded aluminium, stone

H: 73.5cm (29in)

W: 120cm (47in)

L: 180, 240, 300 or 360cm (70, 94, 118 or 141in)

BD Barcelona Design, Spain

_www.bdbarcelona.com_

**Console, Topkapi**

Konstantin Grcic

White Carrara marble

H: 72cm (28in)

W: 50cm (19in)

L: 200 or 240cm (78 or 94in)

Marsotto srl, Italy

_www.marsotto-edizioni.com_

**Table, Tense**

Piergiorgio and Michele Cazzaniga

Composite tabletop (aluminium, polystyrene) with steel legs, clad in acrylic resin

H: 73 cm (28in)

W: 120cm (47in)

L: 400cm (157in)

MDF Italia, Italy

_www.mdfitalia.it_

**Tables, Rock**

Tom Dixon

Forest Brown Indian Marble

H: 30cm (11¾in)

Diam: 70cm (27in)

Tom Dixon, UK

_www.tomdixon.net_

**Table, Cobogò**

Fernando and Humberto Campana

Terracotta, resin, varnished steel

H: 74cm (29in)

Diam: 137cm (54in)

PlusDesign srl, Italy

_www.plusdesigngallery.com_

**Table and chairs, 100 Table and 100 Chair**

Michael Young

Leather, wood

H (table): 70cm (27in)

W (table): 70cm (27in)

L (table): 128cm (50in)

H (chair): 78cm (30in)

W (chair): 63cm (24in)

D (chair): 58cm (22in)

Trussardi, Italy

_www.trussardi.com_

**Table, Tobi-Ishi**

BarberOsgerby

Baydur®, wood, cement grout

H: 73.5cm (29in)

Diam: 160cm (63in)

B&B Italia, Italy

_www.bebitalia.it_

**Table, Twaya**

Ferruccio Laviani

Solid oak wood

H: 76cm (29in)

L: 270 or 320cm (106 or 126in)

D: 120cm (47in)

Emmemobili, Italy

_www.emmemobili.it_

**Table, Kami**

Claesson Koivisto Rune

Solid bamboo

H: 71cm (28in)

W: 100cm (39in)

L: 240cm (94in)

Discipline srl, Italy

_www.discipline.eu_

**Chair and table, Österlen**

Inga Sempé

Ash wood

H (chair): 83cm (32in)

W (chair): 43.3cm (16⅞in)

D (chair): 49.3cm (19¼in)

H (table): 73cm (28in)

W (table): 70cm (27in)

D (table): 70cm (27in)

Gärsnäs, Sweden

_www.garsnas.se_

**Chair and table, Ami Ami**

Tokujin Yoshioka

Polycarbonate

H (chair): 85cm (33in)

W (chair): 41cm (16⅛in)

D (chair): 50cm (19in)

H (table): 72cm (28in)

W (table): 70cm (27in)

D (table): 70cm (27in)

Kartell SpA, Italy

_www.kartell.it_

**Chair and table, Lancaster Chair and Table**

Michael Young

Cast aluminium, ash wood

H (chair): 77cm (30in)

W (chair): 51cm (20in)

D (chair): 47cm (18½in)

H (table): 72cm (28in)

W (table): 76–122cm (29–48in)

D (table): 124–183cm (49–72in)

Emeco, USA

_www.emeco.net_

**Tables, V-table**

Xavier Lust

Lacquered steel and aluminium

H (table): 73cm (28in)

H (side table): 63cm (24in)

Tacchini, Italy

_www.tacchini.it_

**High table, Crossing**

Patricia Urquiola

Laminated tempered transparent extra-light glass with three-dimensional polychromatic decoration

H: 74cm (29in)

L: 200 or 250cm (78 or 98in)

D: 90cm (35in)

Glas Italia, Italy

_www.glasitalia.com_

**Folding table, Grand Central**

Sigrid Strömgren, Sanna Lindström

Plywood, MDF, textile

H: 46cm (18⅛in)

Diam: 79cm (31in)

Sigrid Strömgren and Sanna Lindström, Sweden

_www.sigridstromgren.se_

_www.sannalindstrom.com_

**Table, Black Forest**

Outofstock

Solid wood, stainless steel

H: 72cm (28in)

W: 72cm (28in)

D: 60cm (23in)

Ligne Roset, France

_www.ligneroset.com_

**Low table, Drawn Table**

Naoto Fukasawa

Transparent glass

H: 36cm (14⅛in)

W: 85cm (33in)

L: 140cm (55in)

Glas Italia, Italy

_www.glasitalia.com_

**Home workstation, Strata**

Karim Rashid

Glass

H: 80cm (31in)

W: 60cm (23in)

L: 120cm (47in)

Tonelli Design, Italy

_www.tonellidesign.it_

**Desk, Graph**

Xavier Lust

Glass, stainless steel

H: 74cm (29in)

L: 220cm (86in)

D: 80cm (31in)

Fiam Italia, Italy

_www.fiamitalia.it_

**Coffee table, Newton**

Dan Sunaga, Staffan Holm

Wood, glass

H: 40cm (15¾in)

Diam: 92cm (36in)

Karl Andersson & Söner, Sweden

_www.karl-andersson.se_

**Desk, Reti Fragili**

Matteo Pastori

Maple wood, cotton strings, cardboard, scratch-resistant lacquered multiplex

H: 72cm (28in)

W: 90cm (35in)

Danese Milano, Italy

_www.danesemilano.com_

**Desk, Pontus**

Russell Pinch

Walnut, oak, painted finish

H: 75.5 + 25.5cm (29 + 10¼in)

W: 180cm (70in)

D: 75cm (29in)

Pinch, UK

_www.pinchdesign.com_

**Table, Stabiles**

Alfredo Häberli

Veneered plywood, solid wood

H: 75cm (29in)

W: 100cm (39in)

L: 235cm (92in)

Alias SpA, Italy

_www.aliasdesign.it_

**Writing desk, Ponti**

Claesson Koivisto Rune

Oak

H: 71cm (28in)

W: 50cm (19in)

L: 140cm (55in)

Arflex, Italy

_www.arflex.com_

**Desk, Treviso**

Matthew Hilton

Oak

H: 86cm (33in)

W: 122cm (48in)

D: 59cm (23in)

Ercol, UK

_www.ercol.com_

**Dining Table, Lily Dining Table**

Leif.designpark

Solid American black walnut, Corian®

H: 75cm (29in)

W: 190cm (74in)

D: 85cm (33in)

De La Espada, Portugal

_www.delaespada.com_

**Table, Aki Table**

Alfredo Häberli

Oak, linoleum

H: 72cm (28in)

W: 120cm (47in)

L: 240cm (94in)

Fredericia Furniture A/S, Denmark

_www.fredericia.com_

**Lightweight portable table, Nomad**

Jorre van Ast

Wood

H. 75cm (29in)

W: 95cm (37in)

L: 190, 210 or 240cm (74, 82 or 94in)

Arco, The Netherlands

_www.arco.nl_

**Table, Peggy**

PearsonLloyd

Ash

H: 72.5cm (28in)

W: 100cm (39in)

L: 200cm (78in)

SCP, UK

_www.scp.co.uk_

**Outdoor table, Railway**

Luca Nichetto

Natural teak, steel, stainless steel, powder coating

H: 74cm (29in)

Diam: 140cm (55in)

De Padova srl, Italy

_www.depadova.it_

**Extendable table, Oyster**

Mario Bellini

Lacquered aluminium, tempered serigraphed glass

H: 73cm (28in)

L (closed): 190cm (74in)

L (open): 250cm (98in)

D: 90cm (35in)

Kartell SpA, Italy

_www.kartell.it_

**Coffee table, Rememberme**

Tobias Juretzek

Jeans, cotton, resin, metal

H: 75cm (29in)

W: 75cm (29in)

D: 75cm (29in)

Casamania, Italy

_www.casamania.it_

**Table, Baguettes**

Ronan and Erwan Bouroullec

Die-cast aluminium

H: 72cm (28in)

L: 205cm (80in)

Magis SpA, Italy

_www.magisdesign.com_

**Table, 360°**

Konstantin Grcic

Aluminium, steel, painted MDF

H: 73–95cm (28–37in)

W: 90cm (35in)

L: 140cm (55in)

Magis SpA, Italy

_www.magisdesign.com_

**Extending table, Vanity**

Stefano Giovannoni

Aluminium, tempered glass

H: 74cm (29in)

W: 90cm (35in)

L: 160–220cm (63–86in)

Magis SpA, Italy

_www.magisdesign.com_

**Table, Bamboo Steel Table**

Nendo

Handwoven stainless steel

H: 70cm (27in)

Diam: 60cm (23in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Table, Palio**

Ludovica and Roberto Palomba

Particle board with a stained ash wengé veneer, leather

H: 74cm (29in)

W: 91cm (35in)

L: 210cm (82in)

Poltrona Frau SpA, Italy

_www.poltronafrau.com_

**Table, Faint**

Patricia Urquiola

Transparent extra-light glass with tempered top

H: 74cm (29in)

W: 90cm (35in)

L: 200 or 230cm (78 or 90in)

Glas Italia, Italy

_www.glasitalia.com_

**Dining table, Babel**

Marcel Wanders

Varnished beech veneer, varnished solid wood

H: 73cm (28in)

W: 90cm (35in)

L: 180cm (70in)

xO, France

_www.xo-design.com_

**Low table, Gallery**

Claesson Koivisto Rune

White Carrara marble

H: 20cm (7⅞in)

W: 100cm (39in)

L: 100cm (39in)

Marsotto Edizioni, Italy

_www.marsotto-edizioni.com_

**Outdoor table and seating, Moma**

Javier Mariscal

Polyethylene

H (table): 45cm (17¾in)

W (table): 100cm (39in)

L (table): 115cm (45in)

Vondom, Spain

_www.vondom.com_

**Side table, Thin Black Table**

Nendo

Glass, steel

H: 51cm (20in)

W: 47cm (18½in)

D: 46cm (18⅛in)

Cappellini, Italy

_www.cappellini.it_

**Coffee table, Rota**

Denis Santachiara

Aluminium

H: 31.2cm (12¼in)

L: 120cm (47in)

D: 80cm (31in)

Diam (wheel): 30cm (11¾in)

Pallucco srl, Italy

_www.pallucco.com_

**Modular table system, Colonnade**

David Chipperfield

White Carrara marble

H: 72cm (28in)

W: 98cm (38in)

L (symmetrical): 150cm (59in)

L (asymmetrical): 116.5cm (46in)

Marsotto srl, Italy

_www.marsotto-edizioni.com_

**Coffee table, Anodized Table**

Max Lamb

Anodized aluminium with steel fixtures and rubber feet

H: 32cm (12⅝in)

W: 64cm (25in)

L: 64cm (25in)

Deadgood, UK

_www.deadgoodltd.co.uk_

**Table, Big Table**

Alain Gilles

Painted steel, wood

H: 74cm (29in)

W: 100cm (39in)

L: 200–320cm (78–126in)

Bonaldo, Italy

_www.bonaldo.it_

**Table, Arc Table**

Foster & Partners

Glass, concrete composite (Ductal)

H: 73cm (28in)

Diam: 140cm (55in)

Molteni&C, Italy

_www.molteni.it_

**Tables, Flash**

Tom Dixon

Mirrored bronze, brass plated steel

H (Flash Rectangle): 50cm (19in)

L (Flash Rectangle): 50cm (19in)

D (Flash Rectangle): 30cm (11¾in)

H (Flash Square): 30cm (11¾in)

L (Flash Square): 80cm (31in)

D (Flash Square): 80cm (31in)

H (Flash Circle): 40cm (15¾in)

Diam (Flash Circle): 60cm (23in)

Tom Dixon, UK

_www.tomdixon.net_

**Transformable table, Shuffle**

Mia Hamborg

Lacquered MDF, solid beech, solid oak

H: 69cm (27in)

Diam: 45cm (17¾in)

& Tradition, Denmark

_www.andtradition.com_

**Side tables, Gillespie**

Samuel Chan

Oak or walnut, glass

H (small): 45cm

Diam (small): 35cm

H (medium): 55cm

Diam (medium): 45cm

H (large): 65cm

Diam (large): 55cm

Channels, UK

_www.channelsdesign.com_

**Side tables, Time Piece**

Jaime Hayon

Bronze

H: 43 or 58cm (16⅞ or 22in)

Diam: 30 or 20cm (11¾ or 7⅞in)

Sé, UK

_www.se-london.com_

**Side table, Birignao**

Ferruccio Laviani

Solid fir wood

H: 52cm (20in)

Diam: 55cm (21in)

Emmemobili, Italy

_www.emmemobili.it_

**Table, Spool**

Missoni Home Studio

Wood with high-gloss finish, viscose thread with resin finish

H: 39cm (15⅜in)

Diam: 80cm (31in)

Missoni Home by T&J Vestor

SpA, Italy

_www.missonihome.com_

**Coffee table, Peggy Leggy**

Richard Hutten

Massive wood, oak stained in white or black

H: 40cm (15¾in)

Diam: 80cm (31in)

David Design, Sweden

_www.daviddesignfurniture.se_

**Pedestal dining table, Gabion**

Benjamin Hubert

Granite ballast, steel, ash

H: 74cm (29in)

Diam: 130cm (51in)

De La Espada, Portugal

_www.delaespada.com_

**Low tables, Marbelous 34 and 50**

Naoto Fukasawa

White Carrara marble

H: 34 and 50cm (13⅜ and 19in)

Diam: 45cm (17¾in)

Marsotto Edizioni, Italy

_www.marsotto-edizioni.com_

**Table, Layer**

Luca Nichetto

Glass, wood

H: 75cm (29in)

Diam: 150cm (59in)

Gallotti & Radice, Italy

_www.gallottiradice.it_

**Coffee table, Float**

Luca Nichetto

Aluminium, stainless steel with mirror finish

H: 31cm (12¼in)

D: 118cm (46in)

La Chance, France

_www.lachance.fr_

**Side table, CT09 Enoki**

Philipp Mainzer

Marble, powder-coated steel

H: 40cm (15¾in)

Diam: 40cm (15¾in)

H: 30cm (11¾in)

Diam: 55cm (21in)

e15 Design and Distributions GmbH, Germany

_www.e15.com_

**Table, Alone in a crowd**

Rolf Sachs

Oak, mild steel, toughened glass, metal clock hands and movement, 511 miniature figures

H: 72cm (28in)

W: 300cm (118in)

D: 120cm (47in)

Rolf Sachs Studio, UK

_www.rolfsachs.com_

**Table, Patchwork Table**

Arik Levy

Steel

H: 35.5cm (14⅛in)

Diam: 110cm (43in)

Established & Sons, UK

_www.establishedandsons.com_

**Table, Udukuri Table**

Jo Nagasaka

Douglas fir coated in resin

H: 73cm (28in)

L: 238cm (94in)

D: 100cm (39in)

Established & Sons, UK

_www.establishedandsons.com_

**Table and chairs, Floating Table**

Ingo Maurer

Tabletop: Ash-faced plywood

Chairs: Solid ash, stain, steel runners, inset castors

H (table top): 73.5cm (29in)

Diam (table top): 130cm (51in)

Established & Sons, UK

_www.establishedandsons.com_

**Table, Briccole Venezia**

Matteo Thun

Reused briccola oak wood

H: 76cm (29in)

W: 70/90cm (27/35in)

L: 290/340cm (114/133in)

Riva 1920, Italy

_www.riva1920.it_

Riva 1920 was founded almost one hundred years ago at Cantu, in the heart of the Italian furniture-manufacturing district of Brianza, and is now being run by the third generation of the Riva family. Starting out as a small craft workshop producing bespoke wooden pieces, today it is internationally recognized, not only for its timeless, high-end and beautifully crafted products but also for its unswerving commitment to green design. The company uses solid wood from sustainable forests and natural finishes to create furniture that suffuses the home with the scent of timber, wax and oils. Riva's philosophy of 'natural living' goes hand in hand with its understanding of the cultural importance of wooden furniture, as well as the emotional quality of the material.

Building on the success of the Kauri collection, which saw 30,000-year-old wood that had been excavated from the ancient swamps of New Zealand turned into tables and chairs that showed traces of the fossilized timber's former life, the Tra le Briccole di Venezia series similarly reinterprets an extraordinary material. So far thirty-four designers have been asked to conceive objects made from the reclaimed chestnut oak trunks that once formed mooring posts in the Venetian lagoon. Each post is at least 10 metres (32 feet) tall and has an average life span of five to ten years. Over time, as the tides rise and fall, the wood is invaded by micro-organisms and provides a home to the sea's flora and fauna. Once eroded, the posts are replaced but, by reusing this deformed but strangely beautiful timber, Riva has breathed new life into a resource that would otherwise have been discarded. The products that resulted from this initiative are a blend of design, art, craft and ecology that comment on the passing of time. Matteo Thun's table is made from sections cut from the full length of the posts. The legs are fixed at an angle, recalling the iconography of the Venice waterfront. A further example from the project can be seen in table mats designed by Philippe Starck (see page 175).

**Table, Rotor**

Piero Lissoni

Wood

H: 74cm (29in)

W: 123cm (48in)

L: 303cm (119in)

Cassina, Italy

_www.cassina.com_

**Piet Hein Eek**

You made your name with your graduation project, the scrap-wood cupboard (right). Could you describe the concept?

The project was inspired by timber that I found in a lumberyard. In Holland we have a rich tradition of recycling wood from demolished buildings, but it had never before been used for domestic design purposes. As a student I found it a beautiful and cheap resource and one I could process in the school workshop. In fact, this is still the way I work. Materials, technique, craftsmanship and availability are the main inspirations for my designs.

How would you say your approach to design has evolved over the years?

In essence nothing has changed. I always work with deep respect for materials and develop the best ways to use them naturally without wasting energy. Any evolution is in terms of perfected craftsmanship and the ability to arrive at better solutions, and in recognizing good ideas.

How do you manage to combine your philosophy with a growing business?

As I work in a pragmatic way, using down-to-earth production processes and as little energy and material as possible, the company has grown naturally. It's necessary to be mindful of labour costs and material resources when producing in Europe. I recognized the importance of the latter long before it was a topic of discussion in the design world.

You maintain that concern for resources and the environment is not a primary motive in your reuse pieces. Do you consider yourself a sustainable designer?

I regard myself as a sustainable person. I don't like the meaningless consumption of energy and materials. But I find the discussion of sustainability flawed, as almost everybody talks about the subject from the perspective of maintaining the way we live and consume. The only solution is to accept that we have to cut back by at least 10–15 per cent. We should be prepared to pay the same amount of money and receive less, which means the economy will survive. We have to accept the truth that things have to change and not be scared.

You have previously said that the combination of the techniques and materials you use results in a logical form. Can you expand on this statement?

The scrap-wood cupboard is based on the idea that longer pieces of scrap wood are difficult to use because they're often damaged or twisted. The solution of making frames in which it's possible to fit even the smallest fragments allowed me to use almost every piece.

The tube furniture (page 97) was inspired by a previous project, the big beam furniture (left). I had a huge amount of beams and at first I didn't know what to do with them, until I suddenly thought I could simply pile them up like a child playing with blocks. It then dawned on me that I could do a similar thing with the pipes that we had left over from the restoration work on our premises.

The aluminium curved, modular cabinet (page 106) is highly developed and seems to be a departure from your usual work. Would you agree?

We are known for our work in scrap wood, but our first aluminium collection was already in production in 1995. The cabinet is as much a part of my way of working as all my other designs. It is a celebration of the quality of the materials we used, it's pragmatic in the way it's constructed and it's beautiful. The project started as a commission for a boutique and the shape was influenced by the need for a curved profile. The solution was to make an aluminium glass cupboard to match the balance of materials, colours and transparency in the shop. The combination of curved (aluminium) and straight (glass) forms lends the design its modern art deco feeling.

Classic Cupboard in Scrapwood (1990)

Chunky Beam Chair No. 1 (2011)

You have said that you want to create a recognizable brand with your work. Was the move to your current premises (right), which combine a workshop with a restaurant, a gallery and a shop, a part of that decision?

When we started in 1993 it was already evident that the designer was becoming more important than the producer (take Philippe Starck, for example). We decided to use my name against everything we did and to produce and distribute ourselves. We like to be in control of the whole process from first idea to communication with the consumer. It was difficult at first, but once you develop a way of working it becomes easier. A product is successful if everything is done well. Not just the aesthetics but also the pricing, the quality, the presentation, the transport. If you have to think about all these things, it's not surprising that you should want to control them. People often ask me what I consider to be my best design. I would now reply it's our own studio. In my final degree thesis I wrote if you want to make good things, or to function well, you should create a stimulating environment. This we have done in Eindhoven. In our previous premises we were a fishbowl but now we are an aquarium.

As a Design Academy Eindhoven alumnus of 1990, you are often described as a conceptual designer. Does this concern you?

It does bother me because I don't feel attached to that school of thought. I believe it's important to consider design in general. Designers should think and act as individuals whilst still being connected to their environment and culture. Dutch conceptual design was successfully promoted and I did benefit from that, but I have a problem with the way it was done. I don't agree with the term 'conceptual design' (with reference to Dutch design). It's more of a mentality. Many of the designers working in this way are not producing good design that will last but are making a statement. What the Dutch did in the 1990s was to show simplicity in a time of wealth and extravagance. After the confusion following the fall of the Twin Towers this same simplicity was embraced again, but for a different reason.

What do you consider to be the main challenges facing a designer today?

That he should not think of himself as a specialist but as a generalist. In the coming decade, designers should take more responsibility for the whole process. At this time there's a huge demand for people who are able to think differently, which is the challenge for all creative people.

Piet Hein Eek's studio, Eindhoven

**Table, Troy Town Table**

Hendzel & Hunt

Discarded roof trusses with stained pieces of reclaimed pallet wood inlays

H: 72cm (28in)

W: 96cm (37in)

L: 299cm (118in)

Hendzel & Hunt, UK

_www.hendzelandhunt.com_

The current trend for handicraft, sustainable design and upcycling is highlighted in the work of young British designers Jan Hendzel and Oscar Hunt, whose Made in Peckham range is constructed entirely from reclaimed and waste materials sourced from the streets and yards of the SE15 district of London. These raw materials are transformed into elegant pieces of bespoke or one-offfurniture, with close attention to detail. All the joints are dovetailed using traditional cabinetmakers' techniques, and without the use of metal fixings of any kind. The Troy Town Table and its benches are built entirely from discarded roof trusses, with stained pieces of recovered pallet wood inlayed into the table top. The joinery is inspired by age-old Japanese woodworking methods.

**Posture kneeling stool and desk, Knelt™**

Tim Spencer

American walnut veneered moulded ply, coloured card writing pad

H (desk): 42cm (16½in)

W (desk): 60cm (23in)

D (desk): 54cm (21in)

H (stool): 15cm (5⅞in)

W (stool): 43.5cm (17⅜in)

D (stool): 23cm (9in)

ubiquity design studio, UK

_www.ubiquitydesignstudio.co.uk_

**Table, Frog Table**

Hella Jongerius

Walnut wood, blue transparent enamel

H: 120cm (47in)

W: 210cm (82in)

D: 105cm (41in)

Galerie kreo, France

_www.galeriekreo.com_

**Stool, Senta**

Fernando Brízio

Agglomerated cork, wood

H: 44.3cm (17⅜in)

Diam: 25.5cm (10¼in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

**Nesting stool, AP**

Shin Azumi

Curved plywood

H: 50cm (19in)

W: 47cm (18½in)

D: 37cm (14⅝in)

Lapalma srl, Italy

_www.lapalma.it_

**Children's furniture, Wonder Box**

Monica Förster

Lacquered MDF, green blackboard

H: 50cm (19in)

H (seat): 30cm (11¾in)

W: 70cm (27in)

D: 35cm (13¾in)

Richard Lampert, Germany

_www.richard-lampert.de_

**Side table/stool/step, Maia**

Matthew Hilton

American black walnut or American white oak

H: 35cm (13¾in)

W: 36cm (14⅛in)

D: 30cm (11¾in)

De La Espada, Portugal

_www.delaespada.com_

**Chair, Gun Metal Chair**

Xavier Lust

Anodized aluminium

H. 78cm (30in)

W: 47cm (18½in)

L: 51cm (20in)

Xavier Lust design studio, Belgium

Carpenters Workshop Gallery, UK

_www.xavierlust.com_

_www.cwgdesign.com_

**Chair, Nara**

Shin Azumi

Solid timber

H: 83.5cm (33in)

W: 49.5cm (19in)

D: 53cm (20in)

Fredericia Furniture A/S, Denmark

_www.fredericia.com_

**Chair, Lox**

PearsonLloyd

Steel, leather

H: 79cm (31in)

H (seat): 46cm (18⅛in)

W: 70cm (27in)

D: 70cm (27in)

Walter Knoll, Germany

_www.walterknoll.de_

**Armchair, Bridge Ora-Gami**

Ora-Ito

Polyurethane

H: 77cm (30in)

W: 66cm (26in)

D: 69cm (27in)

Steiner, France

_www.steiner-paris.com_

**Chair, Cyborg Elegant**

Marcel Wanders

ABS, wicker

H: 84cm (33in)

W: 56cm (22in)

L: 53cm (20in)

Magis SpA, Italy

_www.magisdesign.com_

**Dining and lounge chairs, Kite**

Shin Azumi

Solid beech wood, polyurethane, fabric

H (dining chair): 80cm (31½in)

W (dining chair): 54cm (21in)

L (dining chair): 55cm (21in)

H (lounge chair): 70cm (27in)

W (lounge chair): 67cm (26in)

L (lounge chair): 66cm (26in)

Fornasarig srl, Italy

_www.fornasarig.it_

**Chair, Monster**

Marcel Wanders

Fire retardant synthetic leather

H: 88cm (34in)

W: 62.5cm (24in)

D: 58cm (22in)

Moooi, The Netherlands

_www.moooi.com_

**Chair, Vad Wood**

Luca Nichetto

Natural solid oak, polypropylene, fabric/leather

H: 78cm (30in)

W: 59cm (23in)

D: 60cm (24in)

Casamania, Italy

_www.casamania.it_

**Armchair, Sunshare**

Emmanuel Babled

Carrara marble

H: 82.3cm (32in)

W: 120.6cm (47in)

D: 76cm (29in)

Studio Babled, The Netherlands

_www.babled.net_

**Chair, Felicerosa**

Karim Rashid

Rotomoulded polyethylene, fabric

H: 70cm (27in)

W: 73cm (28in)

L: 85cm (33in)

Felicerossi, Italy

_www.felicerossi.it_

**Chair, Eddy**

PearsonLloyd

Upholstery

H: 75cm (29in)

W: 61cm (24in)

D: 63cm (24in)

Tacchini, Italy

_www.tacchini.it_

**Armchair, 4801**

Joe Colombo

Transparent technopolymer thermoplastic

H: 59cm (23in)

W: 62cm (24in)

D: 64cm (25in)

Kartell SpA, Italy

_www.kartell.it_

**Armchair, Apps**

Richard Hutten

Wood, foam, fabric upholstery

H: 77cm (30in)

W: 90cm (35in)

D: 76cm (29in)

Artifort, The Netherlands

_www.artifort.com_

**Chair, Jumper**

Bertjan Pot

Powder-coated steel, beech ply, foam, felted wool

H: 74.5cm (29in)

L: 73.5cm (29in)

D: 70cm (27in)

Established & Sons, UK

_www.establishedandsons.com_

**Chair, Avalon Chair**

Michael Young

Steel tubing, moulded high-resilience foam

H: 71cm (28in)

W: 78cm (30in)

D: 70cm (27in)

Swedese, Sweden

_www.swedes.se_

**Swivel armchair and ottoman, Grande Papilio**

Naoto Fukasawa

Upholstery

H (armchair): 102cm (40in)

W (armchair): 83cm (32in)

D (armchair): 87cm (34in)

H (ottoman): 42.5cm (16⅞in)

W (ottoman): 70cm (27in)

D (ottoman): 50cm (19in)

B&B Italia SpA, Italy

_www.bebitalia.com_

**Armchair, Tulip**

Marcel Wanders

Upholstered polyurethane

H: 160cm (63in)

Diam: 86.3cm (33in)

Cappellini, Italy

_www.cappellini.it_

**Portable and stackable outdoor seating, Fedro**

Lorenza Bozzoli

Dedon fibre

H: 74cm (29in)

W: 75cm (29½in)

L: 101cm (40in)

Dedon, Germany

_www.dedon.de_

**Armchair, Binta**

Philippe Bestenheider

Steel, polyurethane foam, polypropylene

H: 95cm (37in)

W: 62cm (24in)

D: 62cm (24in)

Moroso SpA, Italy

_www.moroso.it_

**Armchair, Crash**

Konstantin Grcic

Powder-coated tubular steel, foam, upholstery

H: 80cm (31in)

L: 100cm (39in)

D: 72cm (28in)

Established & Sons, UK

_www.establishedandsons.com_

**Rotating chair, Blaster Chair**

James Irvine

Steel frame, foam, sustainable upholstery

H: 80.5cm (31in)

W: 92.7cm (36in)

D: 80.5cm (31in)

NgispeN, The Netherlands

_www.ngispen.nl_

**Armchair, Shadowy**

Tord Boontje Plastic threads

H: 160cm (63in)

W: 105cm (41in)

D: 90cm (35in)

Moroso SpA, Italy

_www.moroso.it_

**Armchair, Book Chair**

Richard Hutten

Books, epoxy resin

H: 80cm (31in)

W: 110cm (43in)

D: 75cm (29in)

Richard Hutten Studio, The Netherlands

_www.richardhutten.com_

**Armchair, Antler**

Nendo

Wool felt, solid olive ash wood

H: 72cm (28in)

W: 64cm (25in)

D: 65cm (26in)

Cappellini, Italy

_www.cappellini.it_

**Outdoor seating, Dala**

Stephen Burks

Powder-coated extruded aluminium mesh, strands of ecological fibre

H: 80cm (31in)

Diam: 96cm (37in)

Dedon, Germany

_www.dedon.de_

**Chair, Bac**

Jasper Morrison

Solid ash wood and plywood

H: 73cm (28in)

W: 52.5cm (21in)

D: 51cm (20in)

Cappellini, Italy

_www.cappellini.it_

**Chair, Vigna**

Martino Gamper

Metal, bi-injection-moulded plastic

H: 84cm (33in)

W: 43cm (16⅞in)

D: 49cm (19¼in)

Magis SpA, Italy

_www.magisdesign.com_

**Armchair, The Secret Clubhouse**

Martin Vallin

Pinewood, feltcovered cushions

H: 153cm (60in)

W: 98cm (38in)

D: 92cm (36in)

Cappellini, Italy

_www.cappellini.it_

**Chair, No. 14 Anniversary Edition**

Michael Thonet

Antiqued walnut, 100% hand-woven Viennese straw

H: 89cm (35in)

W: 41cm (16⅛in)

D: 49cm (19¼in)

Gebrüder Thonet Vienna (trademark of Poltrona Frau SpA), Italy

_www.thonet-vienna.com_

**Chair, 5 O'Clock Chair**

Nika Zupanc

Solid beech, Skai leather

H: 80cm (31in)

W: 49cm (19¼in)

D: 42cm (16½in)

Moooi, The Netherlands

_www.moooi.com_

**Chair, Wolfgang**

Luca Nichetto

Wood

H: 70cm (27in)

W: 49cm (19¼in)

D: 42cm (16½in)

Fornasarig srl, Italy

_www.fornasarig.it_

**Rocking chair, Domestic Tales Scissor Chair**

Kiki van Eijk

Iron, polyurethane, wood and lycra

H: 78cm (30in)

W: 100cm (39in)

D: 61cm (24in)

Skitsch, Italy

_www.skitsch.it_

**Chair, Chair-4a**

Michael Young

Aluminium

H (seat): 44cm (17⅜in)

W: 37cm (14⅝in)

D: 37cm (14⅝in)

Ostbahn, Hong Kong

_www.ostbahn.com_

**Outdoor armchair, Crinoline**

Patricia Urquiola

Polyethylene weave, natural fibre or bronze string

H: 155.5cm (61in)

W: 101cm (40in)

D: 75cm (29in)

B&B Italia SpA, Italy

_www.bebitalia.com_

**Stefan Diez**

Your work has been described as functional, elegantly simple and accurately crafted, and as such could be tagged as belonging to the Germanic school of design. In an increasingly global environment, do you think one can talk of national style characteristics?

That sounds to me like a definition of good design. International companies collaborate with designers from all over the world and, as such, it's difficult to track a national style in a manufacturer's, often globally homogenous, portfolio. I use technology and materials that are accessible around me, which results in my work having a certain locality. This is the thread that runs through all my designs.

Do you think your training as a cabinetmaker has affected the way you work?

Learning things from scratch is not unusual in Germany. The Academy of Arts in Stuttgart demanded a solid training in metal- and woodwork before I could study there. The importance of an education in craft techniques helps a designer understand materials and be able to communicate with producers. We use our hands to form a design through all the stages of development and to learn about the emerging product by making models and prototypes. I can absolutely not imagine working without this kind of knowledge or thinking.

What did you learn from the periods you spent in the studios of Richard Sapper and, later, Konstantin Grcic?

As a student I worked first with Richard Sapper, and then afterwards for two years in Konstantin's studio. Each has influenced the way I think about design. Richard's perspective was towards technical complexity. His work is informed by careful observation and an enormous knowledge of manufacturing and materials. Konstantin is totally honest and conscious about everything he does. His work adds a personal and intellectual aspect to an industrial product. I am grateful to have had such teachers.

Shuttle containers for Rosenthal-Thomas (2006)

Prototype 404 F Chair for THONET (2007)

You primarily collaborate with manufacturers that have their routes in high-tech industrial production, such as THONET, but with the Houdini family you worked with e15 (page 54), which is orientated more towards handcraft. Did your approach alter?

THONET is a good example of how a proprietary manufacturing technique can shape the picture we have of a company. They have twice invented distinct production processes with a design language that has become the DNA of any of their bent-wood or bent-metal products. Working for THONET was, ergo, not so much about designing a chair but rather designing for a process [to manufacture chairs]. This was a crucial discovery for me and has influenced the way I think and work for other clients. With each new project I try to define a relevant field of experimentation, which the studio then explores during design development. Collaborating with a relatively young manufacturer such as e15 therefore produces completely different answers than those generated whilst working for an industrial manufacturer like Wilkhahn (opposite page, right) or the elderly Lady Thonet.

You employ innovative techniques and push the limitations of the materials you use. To what extent does this influence your designs?

With each project we develop an experimental playground with the aim of finding something the client can own afterwards. Considering both materials and production processes helps, especially if we find new applications for both, or an innovative way to combine the two. We are constantly searching for answers with a contemporary, relevant and surprising quality. Once our initial ideas become clearer, we start to fathom the boundaries. For me, the challenge of design is vertical not horizontal.

Kuvert casual bags for Authentics (2006)

Chassis Chair for Wilkhahn (2008)

Can you describe two pivotal projects of your studio?

I can't view my work in this way. Ideally every project opens up a new universe.

You have said that you are reluctant to work with Chinese manufacturers. Why?

European companies with poor ideas but good distribution channels have used China as a way out. They have taken the opportunity to manufacture their products for half the price and so earn double the profit. Others have gone to China in order to diversify their portfolio. The problem is that only a few Chinese manufacturers, offering standard processes to both their old and new clients, are now responsible for many of the objects that surround us. As a designer it's difficult to be innovative in such an environment, which is widely characterized by generic rather than proprietary knowledge. Still, there are some great Chinese manufacturers and I have been lucky to work with some of them during my collaboration with Rosenthal (opposite page, top right) and Authentics (above).

You talk a lot about the effect living in India has had on you and how you would like to collaborate with Indian manufacturers. Can you explain your interest?

Since I was an apprentice, one of my very best friends has been an Indian from Pune. We were taught in the same school and woodworking workshop. I first visited his family in 1994 and from that time onwards have been a big fan of his country. The Cultural Revolution in China extinguished any links that country had with its cultural heritage, whereas India has direct access to thousands of years of culture, which is still alive and forms a strong spiritual foundation in society.

I started working with an Indian manufacturer of household goods and modular kitchens in 2011, and we launched our first product range in May 2012. I know that I will have a lot to learn to fit the expectations of such a different market, but I have an enthusiastic and proud collaborator who is willing to undertake the risk of an experimental approach. Looks like I always find reasons to play it the hard way rather than follow a comfortable guarantee of success.

What do you think a good project for the future would be in terms of sustainability?

One that has a high degree of refinement and sophistication paired with durability and efficiency. The many designers and manufacturers that are aiming to make a living whilst respecting the planet should also follow Dieter Rams's dictum 'less, but better'.

What is the most important role a designer can play?

Our role is often the representation of an idea that has been invented and carried out by many. This being the case, it is necessary for us to keep the spirit of an optimist and be clear about our values and utopias.

**Armchair, Scratch**

Patrick Norguet

Solid ash-wood slats, multi-density polyurethane foam

H: 67.5cm (26in)

W: 69cm (27in)

D: 55cm (21in)

Cappellini, Italy

_www.cappellini.it_

**Easychair, Oscar Bon**

Philippe Starck

Carbon fibre

H: 78cm (30in)

W: 56cm (22in)

D: 65cm (25in)

Driade, Italy

_www.driade.com_

**Chair, Flower Cup Chair**

Leif.designpark

Plywood with oak or walnut veneer, solid American black walnut or American white oak, upholstery

H: 77cm (30in)

W: 53cm (21in)

D: 52cm (20in)

De La Espada, Portugal

_www.delaespada.com_

**Outdoor lounge chair and table, Swa**

Setsu and Shinobu Ito

Oak

H (chair): 71cm (28in)

L (chair): 63cm (24in)

D (chair): 79cm (31in)

H (table): 38cm (15in)

L (table): 63cm (24in)

D (table): 50cm (19in)

Fornasarig, Italy

_www.fornasarig.it_

**Chair, Woodware Lounge Chair**

Max Lamb

Maple, walnut, ash, beech, cherry, tulip, oak

H: 69cm (27in)

W: 74cm (29in)

D: 63cm (24in)

Max Lamb, UK

_www.galleryfumi.com_

**Armchair, Pebble**

Osko & Deichmann

Foam, fabric, steel

H: 75cm (29in)

W: 85cm (33in)

D: 103cm (41in)

Blå Station Sweden

_www.blastation.com_

**Armchair, Maritime**

Benjamin Hubert

Solid oak ply

H: 75.5cm (29in)

W: 53cm (20in)

D: 53cm (20in)

Casamania, Italy

_www.casamania.it_

**Outdoor chair, Impossible Wood**

Doshi Levien

Injection-moulded thermoplastic composite (80% wood fibre, 20% polypropylene)

H: 75cm (29in)

W: 65cm (25in)

D: 53cm (20in)

Moroso SpA, Italy

_www.moroso.it_

**Chair, Comback Chair**

Patricia Urquiola

Batch-dyed technopolymer thermoplastic

H: 90cm (35in)

L: 56cm (22in)

D: 61cm (24in)

Kartell SpA, Italy

_www.kartell.it_

**Swivel chair, Nub**

Patricia Urquiola

Solid beech, chromed steel finished in lacquer

H (small version): 85.5cm (33in)

W (small version): 64cm (25in)

D (small version): 58cm (22in)

H (large version): 89cm (35in)

W (large version): 78.5cm (31in)

D (large version): 61cm (24in)

Andreu World, Spain

_www.andreuworld.com_

**Chair, Branca**

Industrial Facility

Solid wood

H: 82cm (32in)

W: 57cm (22in)

D: 54cm (21in)

Mattiazzi, Italy

_www.mattiazzi.eu_

**Foldable lounge chair, Clip Chair**

Osko & Deichmann

Beech wood

H: 74cm (29in)

W: 80cm (31in)

D: 67cm (26in)

Moooi, The Netherlands

_www.moooi.com_

**Dining chair, Straw Chair**

Osko & Deichmann

Steel tube

H: 84.5cm (33in)

W: 47.5cm (18⅞in)

D: 59.5cm (23in)

Blå Station, Sweden

_www.blastation.com_

**Armchair, Fildefer**

Alessandra Baldereschi

Polyester-coated iron rod

H: 112cm (44in)

L: 78cm (30in)

D: 70cm (27in)

Skitsch, Italy

_www.skitsch.it_

**Chair, Masters**

Philippe Starck with Eugeni Quitllet

Modified batch-dyed polypropylene

H: 84cm (33in)

W: 57cm (22in)

D: 47cm (18½in)

Kartell SpA, Italy

_www.kartell.it_

**Stool, Alodia**

Todd Bracher

Metal tube, steel sheet, plastic

H: 70 or 80cm (27 or 31in)

W: 46cm (18⅛in)

L: 54cm (21in)

Cappellini, Italy

_www.cappellini.it_

**Bench, 10 Unit System**

Shigeru Ban

UPM ProFi wood plastic composite

H: 84cm (33in)

W: 80cm (31in)

D: 44cm (17⅜in)

Artek, Finland

_www.artek.fi_

**Armchair, Moon**

Tokujin Yoshioka

Rotationally moulded 100%-recyclable polyethylene

H: 73cm (28in)

W: 61cm (24in)

D: 62cm (24in)

Moroso SpA, Italy

_www.moroso.it_

**Privacy chair, Pod**

Benjamin Hubert

Sound-dampening PET felt technology

H: 130cm (51in)

W: 103cm (41in)

D: 83cm (32in)

De Vorm, The Netherlands

_www.devorm.nl_

**Chair, Instant Seat**

Matali Crasset

Plywood beech

H: 73.5cm (29in)

W: 45.5cm (18⅛in)

D: 61.5cm (24in)

Moustache, France

_www.moustache.fr_

**Armchair, The Invisibles Light Collection**

Tokujin Yoshioka

Transparent technopolymer thermoplastic

H (seat): 42cm (16½in)

H: 70cm (27in)

W: 60cm (23in)

D: 57cm (22in)

Kartell SpA, Italy

_www.kartell.it_

**Foldable chair, flux® chair**

Tom Schouten and Douwe Jacobs

Polypropylene

H: 84cm (33in)

W: 66cm (26in)

D: 67cm (25⅖in)

Flux Furniture, The Netherlands

_www.fluxfurniture.com_

**Outdoor chairs and table, Sunrise**

Ludovica and Roberto Palomba

Lacquered aluminium

H (chair): 83cm (32in)

W (chair): 46cm (18⅛in)

D (chair): 52cm (20in)

Driade SpA, Italy

_www.driade.com_

**Outdoor rocking chair, 56 h**

Fabio Novembre

Aluminium structure covered with woven plastic

H: 123cm (48in)

W: 112cm (44in)

D: 107cm (42in)

Driade SpA, Italy

_www.driade.com_

**Chair, Phalène**

Marc Sadler

Iron rod

H: 82cm (32in)

W: 52cm (20in)

D: 55cm (21in)

Robots SpA, Italy

_www.robots.it_

**Armchair, Altair**

Daniel Libeskind

Stainless steel

H: 86cm (33in)

W: 80cm (31in)

L: 120cm (47in)

Sawaya & Moroni, Italy

_www.sawayamoroni.com_

**Chair, Z-Chair**

Zaha Hadid

Stainless steel

H: 91cm (35in)

W: 60cm (23in)

L: 95cm (37in)

Sawaya & Moroni, Italy

_www.sawayamoroni.com_

**Chair, The Ghost of a Chair**

Valentina Gonzalez Wohlers

Polyester

H: 95cm (37in)

W: 80–100cm (31–39in)

L: 80–100cm (31–39in)

D: 80–100cm (31–39in)

Valentina Gonzalez Wohlers, UK

_www.valentinagw.com_

**Chair, The Cloud Chair**

Richard Hutten

Polished aluminium, rhodium

H: 85.5cm (33in)

W: 120cm (47in)

D: 90cm (35in)

Richard Hutten Studio bv, The Netherlands

_www.richardhutten.com_

**Chair, The Reverb Chair**

Brodie Neill

Mirror-polished and hand-formed nickel-plated aluminium

H: 74cm (29in)

W: 100cm (39in)

D: 84cm (33in)

The Apartment Gallery, UK

_www.theapartment.uk.com_

**Armchair, Memory**

Tokujin Yoshioka

Cotton-fibre fabric with an aluminium core

H: 83cm (32in)

H (seat): 48cm (18⅞in)

W: 88cm (34in)

D: 75cm (29in)

Moroso SpA, Italy

_www.moroso.it_

**Chair, Tip Ton**

BarberOsgerby

Plastic

H: 78.6cm (31in)

W: 50.9cm (20in)

D: 55.5cm (22in)

Vitra AG, Switzerland

_www.vitra.com_

**Chair, Canteen Utility Chair**

Andre Klauser and Ed Carpenter

Beech plywood, steel tube

H: 80.5cm (31in)

W: 49.5cm (19in)

D: 45.5cm (18⅛in)

Very Good & Proper, UK

_www.verygoodandproper.co.uk_

**Stackable armchair, Monza**

Konstantin Grcic

Ash wood, polypropylene

H: 76cm (29in)

W: 54cm (21in)

D: 49cm (19in)

Plank Collezioni srl, Italy

_www.plank.it_

**Stackable chair, Wogg 50**

Jörg Boner

Plywood

H: 81cm (31in)

W: 52cm (20in)

D: 50cm (19in)

Wogg AG, Switzerland

_www.wogg.ch_

**Nesting folding indoor/ outdoor chair, Piana**

David Chipperfield

100% recyclable polypropylene reinforced with fibreglass

H: 78cm (30in)

W: 46cm (18⅛in)

D: 52cm (20in)

Alessi SpA, Italy

Lamm SpA, Italy

_www.alessi.com_

_www.lamm.it_

**Stackable chair, Peg**

Tom Dixon

Solid birch

H: 78cm (30in)

W: 53cm (20in)

L: 54cm (21in)

Tom Dixon, UK

_www.tomdixon.net_

**Stackable chair, Florinda**

Monica Förster

Solid beech, transparent acrylic varnish, polycarbonate

H: 83cm (32in)

W: 48cm (18⅞in)

D: 51cm (20in)

De Padova srl, Italy

_www.depadova.it_

**Chair with armrest, CH04 HOUDINI**

Stefan Diez

Oak or walnut-veneered plywood, lacquered, upholstery

H (seat): 46cm (18⅛in)

W: 57cm (22in)

D: 40cm (15¾in)

E15, Germany

_www.e15.com_

**Stackable chair, Ahrend 380**

Ineke Hans

Recyclable plastic

H: 81.5cm (32in)

W: 51cm (20in)

D: 51.5cm (20in)

Ahrend, The Netherlands

_www.ahrend.com_

**Chair, EC04 LEO**

Stefan Diez

Walnut-veneered plywood, lacquered

H (seat): 40cm (15¾in)

W: 57cm (22in)

D: 46cm (18⅛in)

E15, Germany

_www.e15.com_

**Chair, Pebble**

Benjamin Hubert

Rotational moulded polyethylene, oak

H: 84cm (33in)

W: 46cm (18⅛in)

D: 40cm (15¾in)

Devorm, The Netherlands

_www.devorm.nl_

**Chair, Jill**

Alfredo Häberli

Plywood

H: 85cm (33in)

W: 49.1cm (19¼in)

D: 51.7cm (20in)

Vitra AG, Switzerland

_www.vitra.com_

**Indoor/outdoor armchair, Waver**

Konstantin Grcic

Tubular steel, fabric

H: 99cm (39in)

W: 78.5cm (31in)

D: 87cm (34in)

Vitra AG, Switzerland

_www.vitra.com_

**Chair, Green**

Javier Mariscal

Recycled polypropylene, wood

H: 79cm (31in)

W: 50cm (19in)

D: 50cm (19in)

Mobles 114, Spain

_www.mobles114.com_

**Barstool, Bentboo**

Chen-hsu Liu

Laminated bamboo

H: 75cm (29in)

W: 38.5cm (15⅜in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Stool, 5°**

Tomás Alonso

Oak, rope

H: 49cm (19¼in)

W: 45cm (17¾in)

D: 25cm (9⅞in)

Nils Holger Moormann GmbH, Germany

_www.moormann.de_

**Stools, Tom and Jerry**

Konstantin Grcic

Solid beech wood, plastic

H: Adjustable

Diam (seat): 34cm (13⅜in)

Magis SpA, Italy

_www.magisdesign.com_

**Stool, Stool**

Aldo Bakker

Wood

H: 35cm (13¾in)

W: 34cm (13⅜in)

D: 33cm (13in)

Particles, The Netherlands

_www.particlesgallery.com_

**Stackable stool, NOM (Nature of Material)**

Bakery Studio

Laser-cut aluminium sheet

H: 44.5cm (17¾in)

W: 37.5cm (15in)

D: 37.5cm (15in)

Cappellini, Italy

_www.cappellini.it_

**Stool, Zen Cap**

Ludovica and Roberto Palomba

Canadian solid-wood red cedar

H: 45cm (17¾in)

Diam: 40cm (15¾in)

Exteta, Italy

_www.exteta.it_

**Chair, 3DWN1UP**

Aldo Bakker

Wood

H: 88cm (34in)

Diam: 42cm (16½in)

Particles Gallery, The Netherlands.

_www.particlesgallery.com_

**Stool, Eden**

Marcel Wanders

Ceramic, shiny finish

H: 46cm (18⅛in)

Diam: 33cm (13in)

xO, France

_www.xo-design.com_

**Barstool, Bambool**

Yu-jui Chou Bamboo

H: 73cm (28in)

W: 45cm (17¾in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

Revolver is a four-legged bar stool that rotates thanks to integrated ball bearings in the lower ring. It was designed to encourage social interaction – the footrest moves with the seat so that the user can swivel through 360 degrees, allowing the whole body to turn at once.

**Rotating barstool, Revolver**

Leon Ransmeier

Steel tubing, punched steel sheet

H: 76.7cm (30in)

Diam: 45cm (17¾in)

Established & Sons, UK

_www.establishedandsons.com_

**Stools, Noughts and Crosses**

Michael Sodeau

Oak, metal

H: 82.5cm (32in)

Diam: 51cm (20in)

Modus, UK

_www.modusfurniture.co.uk_

**Stool, Stool**

Fernando and Humberto Campana

Steel and wood structure covered in ostrich leather

H: 50cm (19in)

Diam: 30cm (11¾in)

Klein Karoo, South Africa

_www.kleinkaroo.com_

**Chair, Stubborn Chair**

Studio Makkink & Bey

Polyester

H: 86cm (33in)

W: 51cm (20in)

D: 56cm (22in)

NgispeN, The Netherlands

_www.ngispen.nl_

**Chair, Medici**

Konstantin Grcic

Wood

H: 79.5cm (31in)

W: 68.5cm (27in)

D: 75cm (29in)

Mattiazzi srl, Italy

_www.mattiazzi.eu_

**Chair, 111 Navy Chair®**

Emeco

65% recycled plastic bottles, 35% glass fibre

H: 86cm (34in)

W: 39cm (15½in)

D: 50cm (19½in)

Emeco, USA

_www.emeco.net_

Design today is being challenged to develop lasting solutions that achieve a balance between 'people, planet and profit'. But, in industries built on and pushing the idea of consumption, this is not always straightforward, as large manufacturing companies have to consider commercial viability and factory demands. New attitudes and approaches need to be set in place to change the way a product is devised and for its lifecycle to be re-evaluated in all areas, including how it is eventually disposed of or recycled. Forward-thinking market leaders are rising to the challenge, including Coca-Cola, which is committed to exploring a sustainable approach for reusing their PET bottles. In 2009 the company set up the rPET merchandise line, which, in collaboration with designers and producers, seeks to motivate people to recycle by showing them how plastic bottles can be upcycled and transformed into high-end design products.

Despite the considerable expense involved in re-engineering a core product, Emeco was excited to be involved in turning something many people throw away into an item that is strong, durable and has a long shelf life. The Navy Chair is an iconic design, created in 1944 for the US Navy. The new 111 Navy Chair is made from at least 111 recycled bottles, in combination with other materials including pigment and glass fibre that make up less than 40 per cent of its composition. In the first year of production, the chair diverted 3.5 million bottles out of landfills. Gregg Buchbinder, chairman and CEO of Emeco, speaks enthusiastically about the project: 'Unlike other companies which use virgin materials and produce stylish designs in trendy colours with the message that you can consume and recycle, we keep consumer waste out of landfills and upcycle it into something that does not need to be recycled for a long time. Our Navy Chair design is over six decades old. You can buy our 111 Navy Chair this year or next year or in ten years to come, it will never go out of style.'

After local collection of used bottles, the PET is processed in Coca-Cola's recycling plant and turned into a proprietary mix before being sent to Emeco's manufacturing plant for moulding in a robotic four-part tool that replicates exactly the sections of the original aluminium chair. Once cooled and set, the new chair is presented to a factory worker who smoothes any imperfections before manually installing its H-brace and feet. This personal touch gives a unique quality to a product in which twenty-first-century recycling technology is married to a handmade aesthetic, producing an object that is both old and new – in more ways than one. The 111 Navy Chair has an expected thirty-year life span, after which it can be recycled to make new chairs.

**Xavier Lust**

You made your name with a new technique for the precision folding and bending of metal, which you call the '(de)formation of surfaces'. Could you explain this technique?

The idea came to me in 1999. Until then I was producing my own designs, primarily welding and folding steel. I worked with many specialist factories and gained a lot of experience in the limitations of the machines being used. (De)formation is a simple technique, and cost-effective as there is no investment in moulds. By distorting the metal through progressive shapes from the flat to the curved, the material is allowed to speak for itself and defines the end result. The process is also economical in the amount of metal it uses, as it's the precision folding that adds strength to the object. The following year I exhibited at SaloneSatellite during the Milan Furniture Fair. It was an important year for me as I was collaborating with MDF Italia, who went on to produce and distribute Le Banc (opposite page, bottom left), which is now a collector's item.

Can you briefly describe two of the pivotal projects of your studio and explain why they have influenced the way you work?

Apart from Le Banc and the PicNik table for Extremis, both of which are key examples of the (de)formation process, an important early piece is the Turner candleholder (below) for Driade. It's ironic that a company specialising in moulding called me. Turner is pivotal because it was a change in direction. Although it is still informed by the material, in this case aluminium, it was designed in 3D on the computer and sent to the client as a CAD model. It's become a classic and is still my bestseller in terms of the number of pieces produced. As far as more recent work is concerned, the Gamete (page 222) and Algue lights for MGX by Materialise have shown me what it is to work with a technique that is boundless. I normally use technological limitations as a guideline, but with stereolithography virtually any form is possible.

Baobab coat stand for MDF Italia (2005/2008)

Turner candleholder for Driade (2003/2004)

You say that all your designs have been inspired by nature. Can you explain what you mean?

Although some of my designs reference nature in an evident way, such as the Gamete light and the Baobab coat stand (above), I'm alluding to another, microscopic level of inspiration. Nothing in nature is without a function and similarly everything in my designs is there for a reason, like Darwin's theory; it's an evolutionary process.

You design both mass-produced products and limited-edition pieces. How important is it to keep a balance between the commercial and experimental?

Design for me is a dialogue between four parameters: function, aesthetics, culture and technology. They form a closed circuit with one linking to the other. When all four are well balanced, I'm satisfied. When you design a limited-edition piece it presents the opportunity of working in a way you couldn't for industrial production, but I think it's possible to be innovative as well as affordable and commercial. To create something that makes sense and is beautiful is the ultimate goal. It's nice to make luxury but it's nicer if you can make it for every terrace.

You maintain that innovation is not the antithesis of tradition. Can you expand on this?

It's impossible to go against tradition because we are all informed by influences from the past. This is the basis of creativity. You can only go further and add to it. When I was a student I was sick of hearing that everything had already been created and it was only possible to be innovative through new technology. Technological advances are fantastic but they are not everything. You can be totally original and make new things without sidestepping tradition. I want the work I'm doing today to be the tradition of tomorrow.

You recently won the Urban Street Furniture Competition for the Brussels region. What attracted you to this commission?

About nine years ago I started to be interested in the idea of designing street furniture. Many of my designs don't get made because they would be too expensive to manufacture, but street furniture is always linked to the cost of production. More importantly the humanist element appealed to me. I wanted to make something as banal as waiting for a bus a pleasurable experience. Every detail counts. I was surprised that I won the competition because it's not my nature to apply political pressure. My work is either the best or it's not. I don't sell myself; my work sells me. There were a lot of practical, as well as health and safety, considerations to take on board and many different bodies to please. It has been a long and difficult process. I had to reply meticulously to the brief, but I like to work within constraints as they offer guidelines, and I'm pleased with the result (right).

Do you think Belgian design has a voice? Is it helpful to talk about national styles?

I'm Belgian and proud of it, but five or six years ago the concept of Belgian design was born and I think it doesn't apply. We are a small country and our power lies in being open to the world. I think the message should be international. I like the idea of an object speaking a universal language; it's the way I work. If you start to talk about an imaginary 'Belgian' style, you reduce the discourse.

Do you believe that designs assists in the creation of a better world?

Yes.

What are your thoughts on sustainable design?

Something has to change. Manufacturers have to produce the object and make it as commercially as possible, and the majority of suppliers just want to sell. They don't care about the rest. I was recently in discussion with one company about the possibility of using a more ecological, vegetable-based plastic alternative to polypropylene, but although they said they could obtain it, it was twelve times more expensive!

What do you consider to be the main challenges facing a designer today?

To consider the planet as much as possible and to create designs that are aesthetic as well as functional but, above all, that make sense. Products should be durable in terms of their wear and tear but also timeless, so they survive the vagaries of fashionable trends.

Le Banc for MDF Italia (2000/2001)

Street furniture for Region Brussels-STIB-MIVB (2012)

**Chair, Zuiderzee Chair**

Richard Hutten

Beech wood

H: 77cm (30in)

W: 43cm (16⅞in)

D: 42cm (16½in)

NgispeN, The Netherlands

_www.ngispen.nl_

**Armchair, Flow**

Jean-Marie Massaud

Oak, polyester, expanded polyurethane

H: 78cm (30in)

L: 60cm (23in)

D: 56cm (22in)

MDF Italia, Italy

_www.mdfitalia.it_

**Chair, PLC Series**

PearsonLloyd

Plywood

H: 73.5cm (29in)

W: 60.2cm (23in)

D: 55.3cm (21in)

Modus, UK

_www.modusfurniture.co.uk_

**Folding armchair, Beverly**

Antonio Citterio

Aluminium alloy, leather/fabric

H: 78cm (30in)

W: 69.5cm (27in)

D: 74cm (29in)

B&B Italia SpA, Italy

_www.bebitalia.com_

**Armchair, M-collection**

Van Eijk & Van der Lubbe

Hand-laminated polyester, glossy finish, upholstery

H: 95cm (37in)

W: 80cm (31in)

D: 79cm (31in)

Lensvelt b.v., The Netherlands

_www.lensvelt.nl_

**Lounge chair, Avus**

Konstantin Grcic

Plastic, polyurethane foam (flame retardant), natural leather

H: 80cm (31in)

W: 73cm (28in)

D: 73cm (28in)

Plank Collezioni srl, Italy

_www.plank.it_

**Indoor/outdoor armchair, Nemo**

Fabio Novembre

Polyethylene

H: 135cm (53in)

W: 90cm (35in)

D: 83cm (32in)

Driade, Italy

_www.driade.com_

**Indoor/outdoor chair, Piña**

Jaime Hayon

Wood, wire, cushion

H: 81cm (31in)

W: 53cm (20in)

D: 53cm (20in)

Magis SpA, Italy

_www.magisdesign.com_

**Dining chair, Bamboo Steel**

Nendo

Steel

H: 82cm (32in)

W: 50cm (19in)

D: 54cm (21in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Lounge chair, Coracle**

Benjamin Hubert

Leather, steel

H: 65cm (25in)

W: 90cm (35in)

D: 90cm (35in)

De La Espada, Portugal

_www.delaespada.com_

**Armchair, Arpa**

Jaime Hayon

Tubular powder-coated steel frame, upholstery

H: 120cm (47in)

W: 75cm (29in)

D: 100 cm (39in)

Sé, UK

_www.se-london.com_

**Seating, Superheroes**

Glimpt

Bent and welded metal, sea grass, thread

H (big stool): 31cm (12¼in)

Diam (big stool): 70cm (27in)

Cappellini, Italy

_www.cappellini.it_

**Armchair, Juliet**

Benjamin Hubert

Solid wood, polyurethane foam, polyester wadding, Pelle Frau® leather

H: 85cm (33in)

W: 101cm (40in)

D: 80cm (31in)

Poltrona Frau, Italy

_www.poltronafrau.com_

**Chair, Wave**

Fernando and Humberto Campana

Bamboo stalk

H: 86cm (33in)

W: 50cm (19in)

D: 84cm (33in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Indoor/outdoor armchair, Pavo Real Outdoor**

Patricia Urquiola

Tubular aluminium, braided plastic, outdoor upholstery

H: 130cm (51in)

W: 110cm (43in)

D: 89cm (35in)

Driade, Italy

_www.driade.com_

**Multifunctional chair, Library Chair**

J. Schotte/groupDesign

FSC birch plywood

H: 90cm (35in)

W: 36.6cm (14⅝in)

D: 48cm (18⅞in)

groupDesign, UK

_www.groupdesign.co.uk_

**Armchair, Grinza**

Fernando and Humberto Campana

Steel, polyurethane, eco-fur

H: 75cm (29in)

W: 106cm (42in)

D: 88cm (34in)

Edra SpA, Italy

_www.edra.com_

**Cantilever chair, A-chair**

Werner Aisslinger with Tina Buyaprasit

Steel tube, metal mesh

H: 79.7cm (31in)

W: 52.8cm (20in)

L'abbate, Italy

_www.lacollection.it_

**Indoor/outdoor chair, Gothic Chair**

Studio Job

Rotational moulded polyethylene

H: 90cm (35in)

W: 44.5cm (17¾in)

D: 46cm (18⅛in)

Moooi, The Netherlands

_www.moooi.com_

**Stackable chair, JO**

Alfredo Häberli

Sandblasted stainless steel, plywood

H: 84cm (33in)

W: 50cm (19in)

D: 57cm (22in)

Lapalma srl, Italy

_www.lapalma.it_

**Easy armchair, Bloom**

Kenneth Cobonpue

Microfibre, resin, steel

H: 87cm (34in)

W: 105cm (41in)

D: 98cm (38in)

Kenneth Cobonpue, Philippines

_www.kennethcobonpue.com_

**Chair, Hide Chair**

Matthew Hilton

Plywood, fabric

H: 68.5cm (27in)

W: 91cm (35in)

D: 100cm (39in)

De La Espada, Portugal

_www.delaespada.com_

**Seating, Second Skin Chair**

Quinze & Milan

Leather, oak wood

H: 84.3cm (33in)

W: 86.6cm (34in)

D: 81.6cm (32in)

Quinze & Milan, Belgium

_www.quinzeandmilan.tv_

**Outdoor chair, Pattern**

Arik Levy

Recyclable steel

H: 85cm (33in)

W: 61cm (24in)

D: 56cm (22in)

Emu Group SpA, Italy

_www.emu.it_

**Indoor/outdoor chair, Sparkling**

Marcel Wanders

Blow-moulded PET

H: 77cm (30in)

W: 42cm (16½in)

D: 49cm (19¼in)

Magis SpA, Italy

_www.magisdesign.com_

By employing the process of blow moulding, Marcel Wanders's Sparkling chair uses a minimum of materials – in this case 100 per cent PET, making it fully recyclable. The technique is common in the production of water bottles, but unusual in the manufacture of furniture. After the legs and seat have been formed, the hollow space inside them is filled with high-pressure air to strengthen the components. The chair is therefore very light, weighing in at only 1 kilogram (just over 2 pounds), reducing its carbon footprint. As the legs are screwed into the seat, the chair can be disassembled for transportation, which adds further to its green credentials.

**Chair, Murano Vanity Chair**

Stefano Giovannoni

Polycarbonate

H: 81cm (31in)

W: 40.5cm (16⅛in)

D: 49cm (19¼in)

Magis SpA, Italy

_www.magisdesign.com_

**Chair, More or Less Chair**

Maarten Baas

Steel, wood

Unique pieces

NgispeN, The Netherlands

_www.ngispen.nl_

**Chair, Osso**

Ronan and Erwan Bouroullec

Solid ash, solid oak

H: 77cm (30in)

W: 44cm (17⅜in)

D: 49cm (19¼in)

Mattiazzi, Italy

_www.mattiazzi.eu_

**Chair, Robo**

Luca Nichetto

Wood, steel

H: 77cm (30in)

W: 57cm (22in)

D: 53cm (20in)

Offecct, Sweden

_www.offecct.se_

**Chair, Chassis**

Stefan Diez

Sheet steel, fabric

H: 78cm (30in)

W: 54cm (21in)

D: 57cm (22in)

Wilkhahn, Germany

_www.wilkhahn.com_

**Chair, 130**

Naoto Fukasawa

Solid wood

H: 84cm (33in)

W: 49cm (19¼n)

D: 56cm (22in)

Thonet GmbH, Germany

_www.thonet.eu_

**Children's chair, Codomo Chair**

Ichiro Iwasaki

Rattan, iron, cotton cushion

H: 54cm (21in)

W: 40.5cm (16⅛in)

D: 42cm (16½in)

Sfera srl, Italy

_www.ricordi-sfera.com_

**Armchair, The Lounger**

Jaime Hayon

Painted tubular steel, varnished walnut plywood, fabric/leather upholstery

H: 99cm (39in)

W: 76cm (29in)

D: 91cm (35in)

BD Barcelona Design, Spain

_www.bdbarcelona.com_

**Armchair, Twenty.two**

Jaime Hayon

Solid wood, upholstery

H: 89cm (35in)

L: 94cm (37in)

D: 72cm (28in)

Ceccotti Collezioni, Italy

_www.ceccotticollezioni.it_

**Chair, Prooff #001 EarChair**

Jurgen Bey, Studio Makkink & Bey

Wood, MDF, foam, fabric, leather

H: 149cm (59in)

W: 129cm (51in)

D: 100cm (39in)

Prooff, The Netherlands

_www.prooff.com_

**Armchair, Husk**

Patricia Urquiola

Moulded plastic, leather/fabric

H: 110cm (43in)

W: 64cm (25in)

D: 60.5cm (24in)

B&B Italia SpA, Italy

_www.bebitalia.com_

**Stool, TWB**

Raw Edges

Natural ash wood

H: 44 or 56cm (17⅜ or 22in)

W: 74cm (29in)

D: 28cm (11in)

Cappellini, Italy

_www.cappellini.it_

**Armchair, Skate Deck Chair**

Amanda and Lance Glover

Repurposed and recycled skateboard decks, CNC-milled clear maple plywood and Fin Color Ply, stainless-steel hardware

H: 79cm (31in)

W: 86cm (34in)

D: 89cm (35in)

Treehouse & Carlson Arts, LLC, USA

_www.treehousedsgn.com_

The father/daughter design team of Lance and Amanda Glover devised the Skate Deck Chair as a means of recycling used skateboard decks. The basic idea was to refine the spontaneity of ad-hoc 2 x 4 and plywood ski, skateboard and snowboard furniture, drawing on the proportions of the classic Adirondack chair, the functional clarity of model airplanes and the ebullient free-forms of mid-century moulded-plywood furniture. The design developed into two slightly different forms: a kit, which allowed the customer's used skate decks to be utilized with a frame made of CNC-milled Fin Color Ply, and a complete version that shipped with clear maple skate decks using a framework of CNC-milled clear maple plywood.

**Chair, Amateur Masters S**

Jerszy Seymour

Polycaprolactone wax

H: 80cm (31in)

W: 45cm (17¾in)

D: 54cm (21in)

NgispeN, The Netherlands

_www.ngispen.nl_

**Chair, 43**

Konstantin Grcic

Hand-crafted bamboo

H: 77cm (30in)

W: 55cm (22in)

L: 54.5cm (21in)

Skitsch, Italy

_www.skitsch.it_

**Chair, Spun (Coriolis)**

Heatherwick Studio

Steel with black acid finish, or bronzed brass

H: 65cm (25in)

W: 90cm (35in)

Haunch of Venison Gallery, UK

Marzorati Ronchetti, Italy

_www.haunchofvenison.com_

_www.marzoratironchetti.it_

Since founding his process-led company in 1994, Thomas Heatherwick has become known worldwide for ambitious and innovative use of both engineering and materials. His studio, where concept development, detailing and fabrication take place, is littered with models and prototypes, many of which are self-financed research and development exercises, such as the Spun chair. Heatherwick had long been interested in the traditional technique of metal spinning (used to make tubular parts by fixing sheet metal to a rotating mandrel, then stretching it until it takes the form of the tool). This process is normally associated with industrial components or small-scale objects, and also with the production of timpani drums. Heatherwick wondered whether it would be possible to use the method to create a chair that was completely rotationally symmetrical, with the same profile for all contact points with the body. The obvious shape was a cone, and tests were carried out to determine the ergonomic form that would allow an optimum balance between comfort and symmetry.

When the design was considered structurally and aesthetically viable, a working prototype was made in aluminium by a family-run metal-spinning workshop, with the seat, back and arms, as well as a stand to hold it up, all completed using just six tools. The project was then developed for limited-edition production in collaboration with the central London art gallery Haunch of Venison, which found a large-scale metal-forming company to produce the collector's piece. The final version, in either steel or brass (a warm metal not commonly used in furniture design), is not immediately apparent as a chair – when upright it looks more like a sculptural object. However, when tilted on its side, it forms a comfortable and functional seat in which the user can rock from side to side, or even turn in a circle. A plastic, mass-manufactured version is also available from Magis, the Italian furniture producer with whom Heatherwick has worked for many years. It is created using rotational moulding, an entirely different process but one that retains the notion of 'spinning'.

**Outdoor rotating chair, Spun**

Thomas Heatherwick

Rotational-moulded polyethylene

H: 78cm (30in)

Diam: 91cm (35in)

Magis SpA, Italy

_www.magisdesign.com_

**Swivel easychair, Oppo**

Stefan Borselius

Steel, wood, moulded polyurethane foam, fabric

H: 73cm (28in)

W: 70cm (27in)

D: 90cm (35in)

Blå Station AB, Sweden

_www.blastation.com_

**Stool, Apple**

Yu-jui Chou

Fibreglass, lacquer

H: 45cm (17¾in)

Diam: 53cm (20in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Armchair, Spook**

Iskos-Berlin

Heat-formed fibre felt in 100% polyester

H: 61cm (24in)

W: 102cm (40in)

D: 93.5cm (37in)

Blå Station AB, Sweden

_www.blastation.com_

**Seating, Blobina**

Karim Rashid

Polyurethane, heat-moulded polystyrene, elastic fabric

H: 43cm (16⅞in)

W: 63cm (24in)

L: 90cm (35in)

Meritalia SpA, Italy

_www.meritalia.it_

**Pearson Lloyd**

Link modular partitioning system for MOVISI (2007)

Where did you meet? What are the drawbacks and advantages of working as a design duo?

We met at the Royal College of Art in London. I graduated from furniture, Tom from product design. Interestingly, whilst undergraduates, we had both been on each other's respective courses and that synergy of background formed the basis of our early communication.

The drawbacks and strengths of a partnership lie in the disagreements. It's very important as a designer to be challenged and to always question one's thinking. As the studio grows we find we increasingly handle projects separately, but there is constant dialogue and review on the projects.

You are increasingly involved in designing for the public realm. How do you think design can contribute to social change?

Design at its best is always about social change. Either it elicits cultural or social change or it helps facilitate it. Design in the public realm is interesting in that the user often interfaces with 'the design' only at critical times. For example, in healthcare the interface is often when the patient is most vulnerable, and as a result the environment and context are uncompromising. Design has become a popular tag attached to many things, but very often it is not design at all but a kind of window dressing – ultimately, dull and uninspiring. We do believe that good design should improve our wellbeing.

Upper Class seat for Virgin Atlantic (2006)

Your work is very pluralist. How do you account for this wide-ranging approach?

The studio was always set up to do varied work and is essentially a place where we continue to learn and be stretched. We strongly believe the approach we undertake is transferable, and it is precisely the fact that we are pluralists that keeps things fresh. In practice this was difficult at times, as clients could be wary of us not having experience in a certain area. However, we now have many successful products under our belt and the wide-ranging portfolio is without doubt an advantage when we discuss the concept of crossfertilization of ideas.

In 2011 the Aram Gallery's 'Then-Now' exhibition gathered together products from the graduation shows of fifteen designers, displaying the student projects alongside recent examples of work the designers were proud of. What point were you making with the pieces you selected?

The 'Then-Now' exhibition was very interesting as an idea. It not only captured a moment in time, in terms of design and certain individuals, but it was also fascinating as virtually all the designers chosen, even at an early age, presented a very clear thread of their DNA. I think we simply put in projects that for a number of reasons interest us now. The Link free-standing partition and room divider (opposite page, top right), the Cobi office chair (right) and the PLC chair were our choices. They perhaps represented investigations into materiality, ergonomic 'idea' and cultural archetype respectively. If we were asked to do the same now, the choices might be different. The studio and our thoughts are always evolving.

Can you describe two of the pivotal projects of your studio and why they have influenced the direction of your practice?

Many of the projects we have completed could be described as pivotal, but probably the two with the biggest impact in terms of market influence as well as design interrogation and process have been the Upper Class seat for Virgin Atlantic (opposite page, bottom) and the PARCS office furniture system for Bene (right). The Upper Class seat was a game changer in the industry in terms of art direction but also performance. PARCS is very different but has also been an industry changer. It positions itself interestingly because unlike most furniture, which is specified after an office interior is designed, architects are actually planning a space from the outset with PARCS in mind.

How would you describe the process you follow in designing and developing a product?

Design process in a studio such as ours is a difficult thing to explain or quantify. We are two partners who discuss our ideas continually with a team of full-time dedicated designers who work very closely with us to achieve our ambitions. It varies from historical influence and intuitive response to detailed analysis, with no idea what design will ultimately take form on the 'blank sheet of paper'. At the other end of the spectrum, we are far more involved in research and brief writing now. The more complex the problem, the clearer you must be that you are indeed asking the right question in the first place.

The definition of sustainable design is difficult and contradictory. What is your understanding of the term?

It's far too difficult to define 'sustainable design' in a sentence or two. Moreover, the sands are always shifting in terms of knowledge. Sustainability should always be the aim. Reducing waste, energy consumption and material use are all components. In our view, chasing fashion with products is high risk as it promotes obsolescence. However, if an object becomes fashionable it can indeed prolong its life expectancy. It seems to us that our value system is most in need of recalibrating. Luckily our products seem to last a long time in the market. Make less, less often and better.

What do you consider to be the catalysts for design's development today?

Sustainability is without doubt a primary factor in product development now. We have saturated markets. Growth as an endgame in itself may not be a sustainable model. Innovation is vital. Seven billion is a lot of people to feed. Just because we can make it does not mean we should.

What is the main challenge facing a designer today?

I think the main challenge facing design now is the desire for speed and cheapness rather than true progress and value.

In the 1960s Ettore Sottsass was quoted as saying, 'For me design is a way of discussing society, politics, eroticism, food and even design. At the end, it is a way of building up a possible figurative utopia or metaphor about life.' How much do you agree with this?

Design has always reflected culture and responded to socioeconomic changes. At its best it can motivate, inspire, question and lead. It's what we do. It's what we are. It's structurally imprinted in and shapes our DNA.

Cobi chair for Steelcase (2008)

PARCS range of office furniture for Bene (2009)
**2.**

**SOFAS AND BEDS**

**Bed, Temple**

Claesson Koivisto Rune

Wood, fabric

H: 191cm (74in)

W: 210cm (82in)

L: 210cm (82in)

Cinova, Italy

_www.cinova.it_

**Modular seating, Xarxa**

Martí Guixé

Wood, linen, jute, cotton, viscose and polyester fabrics

H: 100cm (39in)

H (seat): 45cm (17¾in)

D: 80cm (31in)

Danese srl, Italy

_www.danesemilano.com_

**Modular sofa system, Toot**

Piero Lissoni

Aluminium, fabric upholstery

H: 42cm (16½in)

D: 85 or 100cm (33 or 39in)

Cassina, Italy

_www.cassina.com_

**Sofa, Quilt**

Ronan and Erwan Bouroullec

Metal structure, fibreglass shell, foam and textile

H: 75cm (29in)

H (seat): 30cm (11¾in)

L: 210cm (82in)

D: 120cm (47in)

Established & Sons, UK

_www.establishedandsons.com_

**Indoor/outdoor sofa, Out/In**

Philippe Starck

Polyethylene, anodized aluminium

H: 82cm (32in)

H (seat): 44cm (17⅜in)

W: 202cm (80in)

D: 76cm (29in)

Driade, Italy

_www.driade.com_

**Sofa, Hug 2-seater Sofa**

Leif.designpark

Solid American black walnut or American white oak, fabric upholstery

H: 76cm (29in)

W: 166cm (65in)

D: 77cm (30in)

De La Espada, Portugal

_www.delaespada.com_

**Sofa, Knokke**

Carlo Colombo

Monoblock of multilayer solid wood

H: 73cm (28in)

H (seat): 40cm (15¾in)

L: 215cm (84in)

D: 88cm (34in)

Emmemobili, Italy

_www.emmemobili.it_

**Seating, Love Seat**

Gareth Neal

Green Ash

H: 96cm (37in)

L: 103cm (41in)

D: 48cm (18⅞in)

Gareth Neal Ltd, UK

_www.garethneal.co.uk_

**Seating, Bayekou**

Birsel & Seck

Plastic threads

H: 63cm (24in)

W: 58cm (22in)

L: 135cm (53in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Doodle**

Front

Leather

H: 104cm (41in)

H (seat): 46cm (181⅛in)

W: 180cm (70in)

D: 80cm (31in)

Moroso, Italy

_www.moroso.it_

**Sofa, Favn**

Jaime Hayon

Upholstery, satinpolished aluminium

H: 88cm (34in)

W: 221cm (87in)

D: 93cm (36in)

Fritz Hansen A/S, Denmark

_www.fritzhansen.com_

**Seating, Scuba**

Brodie Neill

Lacquered fibreglass

H: 77cm (30in)

H (seat): 45cm (17¾in)

L: 220cm (86in)

D: 88cm (34in)

Domodinamica, Italy

_www.domodinamica.com_

**Bench, Reii**

Patricia Urquiola

Plastic threads

H: 51cm (20in)

W: 42cm (16½in)

L: 120cm (47in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Sack**

Marc Sadler

Polyurethane, cotton, wood, rope, anti-slip material, polyester

H: 80cm (31in)

W: 125cm (49in)

L: 260cm (102in)

Skitsch, Italy

_www.skitsch.it_

**Outdoor seating, Tropez Collection**

Stefan Diez

Thermo-lacquered aluminium, plastic fabric

Various dimensions

Gandia Blasco, Spain

_www.gandiablasco.com_

**Sofa, Aviator sofa**

Nigel Coates

Wood, polyurethane foam, velvet, silk

H: 98cm (38in)

L: 210cm (82in)

D: 125cm (49in)

Poltronova, Italy

Cristina Grajales Gallery, New York, USA

_www.poltronova.com_

_www.cristinagrajalesinc.com_

**Sofa, Montanara**

Gaetano Pesce

Polyurethane, fabric, steel, wood

H: 110cm (43in)

W: 282cm (111in)

D: 94cm (37in)

Meritalia SpA, Italy

_www.meritalia.it_

**Outdoor chaise longue, Tokyo (Cassina I Maestri Collection)**

Charlotte Perriand

Wood

H: 65cm (25in)

L: 150cm (59in)

D: 55cm (21in)

Cassina, Italy

_www.cassina.com_

**Seating, Concrete Chesterfield Sofa**

Jon Gray

Glass-reinforced concrete

H: 70cm (27in)

W: 80cm (31in)

L: 190cm (74in)

Gray Concrete, UK

_www.grayconcrete.co.uk_

**Bench, Agranda Bench**

Daniel Rose, David Angus, Nicola Rose

Ash, aluminium, stainless steel

H: 48cm (18⅞in)

W: 30cm (11¾in)

L: 120cm (47in), extending to 180cm (70in)

RASKL, UK

_www.raskl.co.uk_

**Sofa, Beetley Sofa**

Jaime Hayon

Powder-coated steel, upholstery

H: 95cm (37in)

W: 220 or 250cm (86 or 98in)

D: 85cm (33in)

Sé, UK

_www.se-london.com_

**Sofa, Paper Cloud**

Tokujin Yoshioka

Injected flame-retardant foam, steel, polypropylene

H: 60cm (23in)

H (seat): 35cm (13¾in)

L: 274cm (108in)

D: 95cm (37in)

Moroso SpA, Italy

_www.moroso.it_

**Seating, Two-Seater Low Settle**

Studioilse

European chestnut, copper

H: 95cm (37in)

W: 121cm (48in)

D: 51.3cm (20in)

De La Espada, Portugal

_www.delaespada.com_

**Seating**

Peter Marigold and Hinoki Kogei

Wood

H: 42cm (16½in)

W: 205cm (80in)

D: 39cm (15⅜in)

Japan Creative, Japan

_www.japancreative.jp_

_www.petermarigold.com_

**Modular sofa system, Smallroom**

Ineke Hans

Cold foam wrapped with flameproof fibre, frame in wood, fixed upholstery in fabric or leather, legs in chrome

Various dimensions

Offecct AB, Sweden

_www.offecct.se_

**Sofa, Ten**

Michael Sodeau

Solid beech, birch plywood, steel, anodized aluminium, fabric

H: 76cm (29in)

H (seat): 39cm (15⅜in)

W: 102cm (40in)

L: 250cm (98in)

Modus, UK

_www.modusfurniture.co.uk_

**Sofa, Munich Sofa**

Sauerbruch Hutton

Solid wood, steel tubing with rubber webbing, polyurethane with polyester fibre, leather

H: 74cm (29in)

H (seat): 40cm (15¾in)

L: 164cm (65in)

D: 81cm (31in)

ClassiCon GmbH, Germany

_www.classicon.com_

**Chaise longue, Remix**

Brodie Neill

Assorted plastics and woods

H: 43cm (16⅞in)

W: 75cm (29in)

L: 200cm (78in)

The Apartment Gallery, UK

_www.theapartment.uk.com_

**Sofa, Notturno a New York (Nighttime in New York)**

Gaetano Pesce

Plywood, beech wood, polyurethane foam, polyester wadding, fabric

H: 124cm (49in)

H (seat): 44cm (17⅜in)

W: 103cm (41in)

L: 333cm (131in)

Cassina, Italy

_www.cassina.com_

All covers are in a special fabric processed to resemble a tapestry; a sophisticated weaving technique is used to produce 14,000 warp and weft stitches, generating extremely high-definition images. Larger yarns are interwoven to achieve the three-dimensional designs.

**Modular sofa system, Bricks**

Robert Bronwasser

Foam, wood, fabric

H (seat): 39, 43 or 47cm (15⅜, 16⅞ or 18½in)

D: 75 or 89cm (29 or 35in)

Palau, The Netherlands

_www.palau.nl_

**Sofa, Onkel**

Simon Legald

Fabric, lacquered wood

H (side): 40cm (15¾in)

L: 235cm (92in)

D: 80cm (31in)

Normann Copenhagen, Denmark

_www.normann-copenhagen.com_

**Sofa/chaise longue/ day bed, Single Sofa**

Maarten Baptist

Wood, foam, textile

H: 76cm (29in)

W: 255cm (100in)

D: 80cm (31in)

Joine/Maarten Baptist, The Netherlands

_www.joine.nl_

**Sofa, Soft Wood Sofa**

Front

Stress-resistant polyurethane foam with differentiated densities, polyester fibre, wood frame

H: 85cm (33in)

H (seat): 44cm (17⅜in)

W: 194cm (76in)

D: 86 (33in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Bubble**

Yu-jui Chou

Bamboo, metal rings, rubber

H: 52cm (20in)

H (seat): 35cm (13¾in)

W: 166cm (65in)

D: 70cm (27in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Modular seating, Bondo D**

Harri Korhonen

Steel, upholstery

H: 76cm (29in)

H (seat): 45cm (17¾in)

W: 140cm (55in)

D: 73cm (28in)

Inno, Finland

_www.inno.fi_

**Outdoor sofa, Rimini**

Fredrikson Stallard

Painted aluminium structure covered with woven plastic

H: 69cm (27in)

H (seat): 40cm (15¾in)

W: 195cm (76in)

D: 68cm (26in)

Driade SpA, Italy

_www.driade.com_

**Outdoor sofa, Borgos**

Terry Dwan

Solid teak, quick-dry foamed cushions with outdoor removable cover

H: 110cm (43in)

H (seat): 45cm (17¾in)

W: 225cm (88in)

D: 95cm (37in)

Driade Spa, Italy

_www.driade.com_

**Chaise longue, Glacier**

Brodie Neill

Glass

H: 65cm (25in)

W: 58cm (22in)

L: 175cm (68in)

Patrick Brillet Fine Art, UK

_www.brodieneill.com_

_www.patrickbrillet.com_

Each example of Brodie Neill's work highlights this young Tasmanian designer's love of sculptural form and his innovative use of materials. Whether creating production pieces, such as the Clover light for Kundalini (page 234) and the Curve bench for Riva 1920 (page 97), or limited editions, such as the Remix chaise (page 84) and Reverb chair (page 51), his fluid lines and strong organic shapes have been refined through the use of advanced digital technology to create objects that are artistic yet technically involved. His designs are inspired by nature and science; the Glacier chaise longue is named for its resemblance to a solid piece of ice. Neill collaborated with the best Czech glass artists to hand-cast the 135 litres of clear glass, which was poured into a mould over 2 metres (7 feet) long. To guard against shattering as it hardened, the glass had to be cooled slowly over an 80-day period, allowing it to anneal and strengthen to certified standards. Once the glass had solidified, the plaster tool was chipped away and the master craftsmen began the laborious and highly skilled process of cutting back and honing the surface to a crystal-clear polish. Suspended bubbles and internal veiling – forever fossilized within the once-molten creation – are the only evidence that the chaise longue was made by hand. The result is pure and elegant, with an ethereal quality that belies its 300 kilogram (661 pound) weight.

**Love seat, Gladis**

Ayala Serfaty

Fabric cover, polyurethane foam

H: 72cm (28in)

W: 112cm (44in)

L: 155cm (61in)

Aqua Creations, Israel

_www.aquagallery.com_

**Sofa, TST Sofa**

Michael Young

Steel frame, foam, sustainable upholstery

H: 69.4cm (27in)

W: 151.8cm (60in)

D: 62cm (24in)

NgispeN, The Netherlands

_www.ngispen.nl_

**Sofa, Foliage**

Patricia Urquiola

Batch-dyed technopolymer thermoplastic, polyurethane foam padding with quilted elastic fabric covering

H: 90cm (35in)

L: 185cm (72in)

D: 90cm (35in)

Kartell SpA, Italy

_www.kartell.it_

**Sofa, Conversation Sofa**

Satyendra Pakhalé

Horse hair, cotton, wool, flax, pine structure, steel springs

H: 80cm (31in)

W: 120cm (47in)

D: 75cm (29in)

Hästens, Sweden

_www.hastens.com_

**Outdoor lounger, O/K**

Rodolfo Dordoni

Plastitex sling mattress, aluminium, thermoplastic

H: 35cm (13¾in)

W: 200cm (78in)

D: 67cm (26in)

Kartell, Italy

_www.kartell.it_

**Sofa, M-collection**

Van Eijk & Van der Lubbe

Hand-laminated polyester, glossy finish, upholstery

H: 95cm (37in)

W: 170cm (66in)

D: 79cm (31in)

Lensvelt b.v., The Netherlands

_www.lensvelt.nl_

**Bench, Plaidbench Collection**

Raw Edges

Wood

H (Plaidbench D): 44cm (17⅜in)

W (Plaidbench D): 75cm (29in)

L (Plaidbench D): 80cm (31in)

Dilmos, Italy

_www.dilmos.it_

**Outdoor sofa, Canisse**

Philippe Nigro

Polyethylene

H: 79cm (31in)

H (seat): 40cm (15¾in)

W: 173cm (68in)

D: 89cm (35in)

Serralunga srl, Italy

_www.serralunga.com_

**Sofa, Leo Leonis**

Dominique Perrault, Gaelle Lauriot Prevost

Laquered wood, fabric

H: 70cm (27in)

H (seat): 38cm (15in)

W: 90cm (35in)

L: 145cm (57in)

Sawaya & Moroni, Italy

_www.sawayamoroni.com_

**Indoor/outdoor chaise longue and chair, BiKnit**

Patricia Urquiola

Wood, steel, knitted polypropylene liner filled with polyethylene and covered with polyester and PVC

H (chaise longue): 92cm (36in)

L (chaise longue): 155cm (61in)

H (chair): 85cm (33in)

L (chair): 102cm (40in)

W: 64cm (25in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Button Down**

Edward van Vliet

Wood, polyurethane foam, polyester fibre, fabric

H: 85cm (33in)

H (seat): 42cm (16½in)

W: 190cm (74in)

D: 92cm (36in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Paddock**

Michele De Lucchi, Davide Angeli

Wood, polyurethane, leather

H: 70cm (27in)

H (seat): 40cm (15¾in)

W: 198cm (78in)

D: 80cm (31in)

Domodinamica srl, Italy

_www.domodinamica.com_

**Sectional sofa, Bounce**

Karim Rashid

Curved clear plastic, wood covered with lasercut foam, elastic fabric upholstery

H: 73cm (28in)

H (seat): 40cm (15¾in)

W (one section): 90cm (35in)

D: 94cm (37in)

Domodinamica srl, Italy

_www.domodinamica.com_

**Sofa, Ploum**

Ronan and Erwan Bouroullec

Fabric, foam, steel structure

H: 76cm (29in)

H (seat): 36cm (14⅛in)

W: 245cm (96in)

D: 126.5cm (50in)

Ligne Roset, France

_www.ligneroset.com_

**Sofa with adjustable** **backrest, Sfatto**

Francesco Binfaré

Ultra-soft padding covered in heavy fabrics

H: 66/88cm (26/34in)

W: 215/240cm (84/94in)

D: 103/115cm (41/45in)

Edra SpA, Italy

_www.edra.com_

**Sofa/bed, Dynamic Life**

Matali Crasset

Polyurethane, polyester, wool

H: 70cm (27in)

W: 200cm (78in)

D (closed): 90cm (35in)

D (open): 200cm (78in)

Campeggi srl, Italy

_www.campeggisrl.it_

**Sofa, Basket**

Ronan and Erwan Bouroullec

Metal, polyurethane foam and fibres, fabric

H: 84cm (33in)

H (seat): 44cm (17⅜in)

W: 190cm (74in)

D: 90cm (35in)

Cappellini, Italy

_www.cappellini.it_

**Bench, T621 Bench**

Jens Risom

Wood, Kvadrat fabric

H: 38.1cm (15in)

W: 137.1 or 182.9cm (54 or 72in)

D: 53.3cm (20in)

Benchmark, UK

_www.benchmarkfurniture.com_

**Sofa, Cape**

Konstantin Grcic

Timber, foam, fabric

H: 68cm (26in)

H (seat): 40cm (15¾in)

L: 200cm (78in)

D: 90cm (35in)

Established & Sons, UK

_www.establishedandsons.com_

**Sofa, Maharam Polder**

Hella Jongerius

Polder sofa covered in new textiles by Maharam

H: 78cm (30in)

W: 293cm (115in)

D: 100cm (39in)

Vitra AG, Switzerland

_www.vitra.com_

**Sofa, Allumette**

Atelier Oï

Polished hardwood, fabric upholstery

H: 73cm (28in)

H (seat): 57cm (22in)

W: 207cm (81in)

D: 67cm (26in)

Röthlisberger Kollektion, Switzerland

_www.roethlisberger.ch_

**Sofa, Cocoon Plan**

Rock Wang

Bamboo

H: 80cm (31in)

W: 90cm (35in)

D: 100cm (39in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Outdoor hanging and standing loungers, Nestrest**

Daniel Pouzet, Fred Frety

Dedon Fiber, aluminium

H: 268cm (106in)

Diam: 200cm (78in)

Dedon GmbH, Germany

_www.dedon.de_

**Sofa, Cipria**

Fernando and Humberto Campana

Metal tube frame, Gellyfoam® and Dacron wadding, ecological faux fur covering

H: 84cm (33in)

H (seat): 40cm (15¾in)

W: 222cm (87in)

D: 128cm (50in)

Edra, Italy

_www.edra.com_

**Sofa, Rive Droite**

Christophe Pillet

Solid American walnut, fabric

H: 80cm (31in)

W: 290cm (114in)

D: 88cm (34in)

Ceccotti Collezioni, Italy

_www.ceccotticollezioni.it_

**Sofa, Metro**

Luca Nichetto

Aluminium, recycled elastic viscose upholstery, wool

H: 40cm (15¾in)

L: 136cm (54in)

D: 85cm (33in)

Emmegi SpA, Italy

_www.emmegiseating.com_

**Bench, Table Bench Chair**

Industrial Facility

Beech, natural waxed oak

H: 82cm (32in)

H (seat): 46cm (18⅛in)

L: 176cm (69in)

D: 54cm (21in)

Established & Sons, UK

_www.establishedandsons.com_

**Sofa, Fergana**

Patricia Urquiola

Solid ash, polyurethane foam, fabric

H: 75cm (29in)

H (seat): 38cm (15in)

W: 200cm (78in)

D: 100cm (39in)

Moroso SpA, Italy

_www.moroso.it_

**Sofa, Royeroid**

Robert Stadler

Upholstered fabric

H: 74cm (29in)

L: 255cm (100in)

W: 148cm (58in)

Carpenters Workshop Gallery, UK and France

_www.cwgdesign.com_

**Bench, Extrusions**

Heatherwick Studio Aluminium

H: 75cm (29in)

L: 185cm (72in)

D: 110cm (43in)

Limited edition production Haunch of Venison Gallery, UK

_www.haunchofvenison.com_

The Extrusions project was the first time British designer Thomas Heatherwick worked with the private, London-based art gallery Haunch of Venison, which helped fund and expand his ongoing personal research into a technique that he had already explored within the limitations of his studio (the second collaboration was the Spun chair; page 72). The original concept dates from Heatherwick's postgraduate days as a student at the Royal College of Art, London, when he was interested in the idea of simplifying the elements of a seat, which normally require numerous parts and involve complex manufacturing and assembly processes, into only one component made from one material: a single piece of aluminium without any fixtures or fittings. His idea was to use the technique of extrusion (an industrial manufacturing process whereby a material is pushed under high pressure through a die of the desired profile shape) to create L-shaped benches consisting of legs, seat and back.

The first experiments proved that his theory was viable, but it took a further eighteen years to locate a factory that had an extruding machine large enough to produce the unprecedented cross-sectional dimensions (the facility that Heatherwick eventually found in Asia usually makes aluminium products for the aerospace industry). From the beginning, Heatherwick saw the potential in the contorted, rough first and last lengths of an extrusion, which result from the abrupt stop-start process and are usually discarded. The seven experimental pieces that form the Extrusions project could have been sliced to create a pristine section, but instead these gnarled ends have been retained for their brutal, sculptural qualities. Although all the benches have been extruded from a single, specially designed die, each is unique, having been manipulated by hand when leaving the machine and then polished to a chrome-like finish. As the world's first extruded single-component furniture, the series pioneers aluminium technology, elevating a banal architectural component normally concealed in curtain walls to collectors' objects of extraordinary beauty.

**Bench, Hopper Bench**

Dirk Wynants

Galvanized steel

H: 74cm (29in)

H (seat): 44cm (17⅜in)

W: 68cm (26in)

L: 240 and 300cm (94 and 118in)

Extremis, Belgium

_www.extremis.be_

**Bench, Tube Bench no. 2**

Piet Hein Eek

Old pipes

H: 90cm (35in)

L: 350cm (138in)

D: 98cm (38in)

Piet Hein Eek, The Netherlands

_www.pietheineek.nl_

**Bench, Offcut**

Tom Dixon

Discarded wood

H: 44cm (17⅜in)

W: 37.5cm (15in)

L: 100cm (39in)

Tom Dixon, UK

_www.tomdixon.net_

**Bench and stool, Ipe**

Luca Nichetto

Panga Panga wood

H: 42.5cm (16⅞in)

L (stool): 45cm (17¾in)

L (bench): 100cm (39in)

D: 33cm (13in)

Mabeo, Botswana

_www.mabeofurniture.com_

**Indoor/outdoor bench seat, Curve**

Brodie Neill

Wood

H: 42cm (16½in)

W: 180cm (70in)

D: 37cm (14⅝in)

Riva 1920, Italy

_www.riva1920.it_

**Mattress/children's armchair, Girella**

Lorenzo Damiani

Polyurethane, lycra

H: 60cm (23in)

Diam: 62cm (24in)

Campeggi srl, Italy

_www.campeggisrl.it_

**Bed, Alcova**

Antonio Citterio

Oak

H: 210 cm (82in)

W: 172, 182, 192 or 212cm (68, 72, 76 or 83in)

L: 212cm (83in)

Maxalto, Italy

_www.maxalto.it_

**Bed, Bluemoon**

Roberto Lazzeroni

Pelle Frau® leather, solid poplar and beech wood, polyurethane foam, polyester, steel

H: 98cm (38in)

W: 139, 189, 209 or 212cm (55, 74, 82 or 83in)

L: 222, 225, 232 or 242cm (87, 88, 91 or 95in)

Poltrona Frau SpA, Italy

_www.poltronafrau.com_

**Bed, IN**

Xavier Lust

High-gloss lacquered aluminium

H: 88cm (34in)

W: 167cm (66in)

L: 216cm (85in)

Xavier Lust design studio, Belgium

_www.xavierlust.com_

**Double bed, Guia**

Carlo Colombo

Iron, heat-formed methacrylate, polyurethane foam, chrome-plated steel, fabric/leather

H: 91cm (35in)

W: 185cm (72in)

L: 230 cm (90in)

Flou, Italy

_www.flou.it_

**Bed, Big Bed**

Paola Navone

Fabric, wood

H: 86.5cm (34in)

W: 243cm (96in)

L: 247cm (97in)

Poliform SpA, Italy

_www.poliform.it_

_www.flou.it_

**Guest room, Chambre d'Ami**

Matali Crasset

Steel, polyurethane

H: 170cm (66in)

Diam: 70cm (27in)

Campeggi srl, Italy

_www.campeggisrl.it_

**Modular children's beds, Bunky**

Marc Newson

Rotational-moulded polyethylene

H: 142cm (56in)

W: 100cm (39in)

L: 190cm (74in)

Magis SpA, Italy

_www.magisdesign.com_

**Bed, Tea Time**

Arik Levy

Chrome

H: 84cm (33in)

H (bed base): 32cm (12⅝in)

W: Various

L: Various

Molteni&C, Italy

_www.molteni.it_

**Bed, Ruché**

Inga Sempé

Beech structure covered with a thick quilted matress

H (head board): 110cm (43in)

H (frame): 42cm (16½in)

W: 178 or 198cm (70 or 78in)

L: 235cm (92in)

Ligne Roset, France

_www.ligneroset.com_

**Bed, Night and Day Bed**

Patricia Urquiola

Fabric, metal

H: 95cm (37in)

H (bed base): 24cm (9½in)

W: 178cm (70in)

L: 227cm (89in)

Molteni&C, Italy

_www.molteni.it_

**Bed, Twine**

Matteo Thun and

Antonio Rodriguez

Solid wood in walnut veneer

H (headboard): 90cm (35in)

H (sommier): 27cm (10⅝in)

W(sommier): 216 or 236cm (85 or 93in)

L (sommier): 201cm (79in)

Horm, Italy

_www.horm.it_

**Bed, Leeon**

Ludovica and Roberto Palomba

Fibreglass and wooden structure with painted aluminium legs, leather or velvet fixed cover

H: 112cm (44in)

W: 222cm (87in)

D: 221cm (87in)

Driade, Italy

_www.driade.com_

**Armchair/beds/pouf, Oops**

Giulio Manzoni

Steel, polyurethane

H: 70cm (27in)

W: 80cm (31in)

L: 90cm (35in)

Campeggi srl, Italy

_www.campeggisrl.it_

**Bed, Petalo**

Luigi Caccia Dominioni

Polished cherry structure with black lacquered edges

H: 105cm (41in)

W: 200–244cm (78–96in)

D: 210cm (82in)

Azucena, Italy

_www.azucena.it_

**Bed with flexible headboard, Lelit**

Paola Navone

Poplar plywood, polyurethane, polyester, Pelle Frau® leather, velvet, varnished aluminium

H: 140cm (55in)

L: 255cm (100in)

W: 231cm (91in)

Poltrona Frau, Italy

_www.poltronafrau.it_

**Bed, Life**

Claesson Koivisto Rune

Ash wood, 100% cotton, plywood

H (frame): 29cm (11⅜in)

H (headboard): 88cm (34in)

W: 129, 149, 169 or 189cm (51, 59, 67 or 74in)

L: 211cm (83in)

Cinova, Italy

_www.cinova.it_

**Bed, Companions Bed**

Studioilse

Chestnut with copper feet

Available in UK/USA/EU sizes Queen and King

De La Espada, Portugal

_www.delaespada.com_

**Bed, Suite Bed**

Autoban

American black walnut or American white oak with veneered plywood headboard lipped in solid oak or walnut, upholstery

Available in UK/USA/EU sizes Queen and King

De La Espada, Portugal

_www.delaespada.com_

**Bed, Suu Bed**

Leif.designpark

American black walnut or American white oak, upholstery

Available in UK/USA/EU sizes Queen and King

De La Espada, Portugal

_www.delaespada.com_

**Bed, Col-letto**

Nuša Jelenec

Soft foam, stretch fabric

W: 100, 120, 152, 160 or 180cm (39, 47, 60, 63, or 70in)

L: 200cm (78in)

Lago SpA, Italy

_www.lago.it_
**3.**

**STORAGE**

**Cabinet, Homage to Mondrian**

Shiro Kuramata

Lacquered wood

H: 116cm (46in)

W: 99cm (39in)

D: 40cm (15¾in)

Cappellini, Italy

_www.cappellini.it_

**Wardrobe, Kalahari Range**

Claesson Koivisto Rune

Wood

H: 190cm (74in)

W: 118cm (46in)

D: 60cm (23in)

Mabeo, Botswana

_www.mabeofurniture.com_

**High rack, Man Made series**

Peter Marigold

Sand-blasted douglas fir, brass fixings

H: 180cm (70in)

W: 45cm (17¾in)

D: 30cm (11¾in)

Peter Marigold, UK

_www.petermarigold.com_

**Cabinet, Aluminium Curved Cabinet**

Piet Hein Eek

Aluminium, glass

H: 100cm (40in)

W: 100cm (40in)

L: 150cm (59in)

Piet Hein Eek,

The Netherlands

_www.pietheineek.nl_

**Bookcase/console table with two chairs, Trick**

Sakura Adachi

Beech plywood

H: 71cm (28in)

W: 45cm (17¾in)

L: 130cm (51in)

Campeggi srl, Italy

_www.campeggisrl.it_

**Bookshelf and table, Portico**

Claesson Koivisto Rune

Oak

H (bookshelf): 81cm (31in)

W (bookshelf): 172cm (68in)

D (bookshelf): 44cm (17⅜in)

H (table): 73cm (28in)

W (table): 90cm (35in)

L (table): 200cm (78in)

Living Divani srl, Italy

_www.livingdivani.it_

**Bookshelf, Virgo**

Xavier Lust

Mirror-polished stainless steel

H: 200cm (78in)

W: 125cm (49in)

D: 31cm (12¼in)

Driade, Italy

_www.driade.com_

**Containers, 360°**

Konstantin Grcic

Glossy ABS, aluminium

H: 72 and 127cm (28 and 50in)

W: 35cm (13¾in)

D: 46cm (18⅛in)

Magis SpA, Italy

_www.magisdesign.com_

**Modular storage system, Inori**

Setsu and Shinobu Ito

Glass

H: 180cm (70in)

W: 240cm (94in)

D: 36.5cm (14⅝in)

Fiam Italia SpA, Italy

_www.fiamitalia.it_

**Modular shelving system with online modular construction program, Vita**

Massimo Mariani with AedasR&D

MD wood fibreboards

L (each square element): 60cm (23in)

D: 22cm (8⅝in)

MDF Italia SpA, Italy

_www.mdfitalia.it_

**Wall-mounted storage units, S-Cube**

Ferruccio Laviani

Veneers, matt lacquering, metal, wood

W: 50 or 80cm (19 or 31in)

L: 50 or 80cm (19 or 31in)

Emmemobili, Italy

_www.emmemobili.it_

**Modular system, Inmotion**

Neuland Industriedesign

Varnished MDF

Various dimensions

MDF Italia SpA, Italy

_www.mdfitalia.it_

**Wall-mounted asymmetrical shelving system, SUM**

Peter Marigold

Solid cherry

H (small shelf): 18.5cm (7¼in)

W (small shelf): 19.5cm (7⅝in)

D (small shelf): 13cm (5⅛in)

H (medium shelf): 25.8cm (10¼in)

W (medium shelf): 28.9cm (11⅜in)

D (medium shelf): 13cm (5⅛in)

H (large shelf): 42.7cm (16⅞in)

W (large shelf): 37.5cm (15in)

D (large shelf): 13cm (5⅛in)

SCP, UK

_www.scp.co.uk_

**Modular shelving system, Transistor**

Barberini & Gunnell

Glass, anodized aluminium

L (minimal element): 30cm (11¾in)

D: 27cm (10⅝in)

Tonelli Design srl, Italy

_www.tonellidesign.it_

**Armoire, Lowry**

Russell Pinch Douglas fir

H: 180cm (70in)

W: 132cm (52in)

D: 56.5cm (22in)

Pinch Design Ltd, UK

_www.pinchdesign.com_

**Storage, Amsterdam Armoire**

Scholten & Baijings

Fibreboard, printed laminate, steel, hand-blown glass

H: 172.5cm (68in)

L: 121.5cm (48in)

D: 60cm (23in)

Established & Sons, UK

_www.establishedandsons.com_

**Modular storage, Collar**

Nendo

Lacquered MDF or laminated chipboard, aluminium, sheet metal

H (one module): 40cm (15 ¾in)

D: 35cm (13 ¾in)

Quodes, The Netherlands

_www.quodes.com_

**Workstation, Pivot Desk**

Raw Edges

Solid oak

H: 74cm (29in)

W: 170cm (66in)

D: 50cm (19in)

Arco, The Netherlands

_www.arco.nl_

**Coffee table and storage, Leigh Coffee**

& Then Design

Solid blocked European oak, laminate

H: 46cm (18⅛in)

L: 137.2cm (54in)

D: 48.2cm (18⅞in)

& Then Design, UK

_www.andthendesign.co.uk_

**Johanna Grawunder**

You started your career working for Ettore Sottsass in 1985 when the Memphis Group was challenging the status quo of twentieth-century design. How do you think this early introduction to design influenced your work?

Sottsass has been the single most significant influence on my work. The cultural values, aesthetic and functional freedoms, and social and political consciousness of that experience inform everything I do at a very deep level. Starting from basic questions such as 'What is design?' to more philosophical problems like 'What is beauty?' Sottsass constantly questioned every premise, every decision, every conviction in a very liberated and un-neurotic way. On each occasion this lead to totally different and unexpected solutions. It is a difficult format to maintain through the years, but it is still my goal, in every situation.

You use a lot of colour and light in your product designs and also dematerialize form by working with transparency. What attracts you to these qualities?

These are the 'magical' qualities of our contemporary landscape. They have no weight or thickness. They are not directly derived from any kind of earthly mining or extraction. Yet they specifically either define or blur our visual and sensorial fields.

I think of colour and light as materials, so I treat them with the same (or sometimes more) respect and deference than I treat steel, acrylic or wood in a project. When I design a light-ceiling (opposite page), or furniture, or an interior, the colours and light are there from the beginning. In the case of transparency, I consider it a state of being of the material (such as crystal, acrylic or metal mesh) as opposed to an absence of materiality.

Percorso Illuminato, Weston offices, Paris (2006)

LED Corner Light for Carpenters Workshop Gallery (2011)

Innovations in materials and technological processes have advanced design over recent years. Which of these excite you the most and has been a driving force in your work?

I am interested in new technologies and materials and translating them into objects, interiors or architecture that do not necessarily exude 'technology' or 'new material'. I am interested in technology to the point that it can enable me to do new things or else old things in a better way, as opposed to using it for the sake of novelty.

For example, in recent years LED technology has allowed me to design things that would not have been possible before (below). Cast acrylic has given me the opportunity to conduct light through slabs of transparent colour (opposite page), an effect no other material can achieve. Chromalusion car paint, by DuPont, gives 3D colour-changing effects that seem to make a stable object sway (above), so that's a good material as well.

You are an architect as well as a designer. Do you find being active in both disciplines influences how you work?

The abstract quality of my work tends to be somewhat universal, scaleless and nondenominational. That said, architectural pretension definitely informs everything I do. In my opinion it is the mother of all design.

You advocate designing built space 'at eye level'. Could you explain this?

I call it 'The Barbie Way'. Little girls play with Barbie dolls and they learn how to move through spaces at eye level, making up the pathways as they go along. In architecture, this sort of point-to-point navigational method can lead to richly complex spatial relationships. Think Marrakech, or Barragan. It is a nonsculptural, though still abstract, way of approaching a problem. In design, this idea might translate more into a 'life is messy' approach. I never set out to design sculpture. I try to design spaces, or functions or light. The sculptural part sometimes happens due to the abstract architectural language. But the process is down there with Barbie.

Light-ceiling, Robert restaurant, Museum of Art and Design, New York (2010)

Why do you think there are so few internationally recognized female product designers?

'R-E-S-P-E-C-T...' or boys' club, take your pick.

You have offices in both America and Italy. How would you sum up the experience of working in both countries?

Generally speaking, in Europe, because of the cultural habits and the institutional structures in place, including the art fairs and design galleries, there are patrons and good design collectors. But design in the USA has traditionally been seen as a service for industry, not an artistic or sociocultural end in itself. Apple, revolutionary and incredible as it is, has helped perpetuate the American idea of what design should be. But thanks to Art Basel, Design Miami and other events that showcase limited-edition design, and also recently thanks to many American museums, which are accumulating fantastic contemporary design collections, the USA is coming around.

Personally, I set up my practice that way for lifestyle reasons more than as a career move (jury is still out on that one). But it is the perfect mix for me of design (Milano) and technology (San Francisco). I produce most of my pieces in Italy, with very professional and advanced artisans, who are still willing to try new things all the time. This is rare anywhere else in the world. Occasionally, I've worked with high-tech engineers here in SF to solve some difficult physics-type problems that have arisen with my pieces. The gallery that represents me now is Carpenters Workshop Gallery in Paris and London, and my 'patrons' and collectors are scattered all over the place.

Do you feel the way we consume design is altering?

I do not think we consume design so much as stuff.

In your opinion which current design trends will prove the most enduring?

Durability: designing things to last through more than one wash and more than one generation. We should be designing heirlooms, pieces that last forever and get handed down from generation to generation. And lightness-of-being: designing towards using the least amount of material possible for any given design requirement. Selecting the proper material to get the desired property, which means using all possible materials, even the 'evil' ones, but in the correct way. The goal should be to extract the least amount of raw materials from the earth.

**Totem with magnetic shelves, Myshelf**

Ronda Design and A+N Design

Steel

H (shelf): 30cm (11¾in)

W (shelf): 30cm (11¾in)

D (totem): 2.8cm (1⅛in)

Ronda Design, Italy

_www.rondadesign.it_

**Storage unit, The Object**

Andreas Roth and Mats Theselius

Corian®, brass, marble, oak, glass

H: 90cm (35in)

W: 100cm (39in)

L: 140cm (55in)

Minus tio, Sweden

_www.minustio.se_

**Cabinet/shelving system, Staircase_P1**

Danny Kuo

Spruce plywood

H: 260cm (102in)

W: 75cm (29in)

D: 55cm (21in)

Danny Kuo, The Netherlands

_www.dannykuo.com_

**Modular shelving system, Tide**

Zaha Hadid

Standard injection-moulded glossy ABS

H (each unit): 45cm (17¾in)

W (each unit): 45cm (17¾in)

D: 25cm (9⅞in)

Magis SpA, Italy

_www.magisdesign.com_

**Bookcase, Melt**

Thomas Sandell

White Carrara marble

H: 90cm (35in)

W: 37cm (14⅝in)

L: 70cm (27in)

Marsotto Edizioni, Italy

_www.marsotto-edizioni.com_

**Series of hanging display cases, Heigh-Ho**

Piero Lissoni

Transparent glass

H: 40, 60 and 130cm (15¾, 23 and 51in)

Glas Italia, Italy

_www.glasitalia.com_

**Coat stand, Peg**

Tom Dixon

Solid birch

H: 180cm (70in)

Diam (max): 73.5cm (29in)

Tom Dixon, UK

_www.tomdixon.net_

**Modular system, Easy Wave**

Bruno Fattorini & Partners

White acrylic solid surface

Various dimensions

MDF Italia SpA, Italy

_www.mdfitalia.it_

**Modular wall-mounted cabinet system, Boxes**

Studio Pastoe

Wood with basic lacquer of veneer

H: Various

W: Various

D: 36cm (14⅛in)

Pastoe, The Netherlands

_www.pastoe.com_

**Chest of drawers, Scrigno**

Fernando and Humberto Campana

Particleboard covered with brilliant laser-cut shards of acrylic (Colorflex)

H: 90cm (35in)

W: 113cm (44in)

D: 56cm (22in)

Edra, Italy

_www.edra.com_

**Chest of drawers, Suitcase Drawers**

Jamesplumb

Antique and vintage suitcases, aged steel, plywood

H: 131.5cm (52in)

W: 71.5cm (28in)

D: 44.5cm (17¾in)

Jamesplumb, UK

_www.jamesplumb.co.uk_

**Coat stand with pocket emptier and tray, To'taime**

Philippe Starck and Eugeni Quitllet

Aluminium

H: 175cm (68in)

W: 48cm (18⅞in)

D: 48cm (18⅞in)

Alias, Italy

_www.aliasdesign.it_

**Modular bookcase, Speed**

Paolo Grasselli

Steel, oak

H: 205cm (80in)

W: 29cm (11⅜in)

L: 275cm (108in)

Felicerossi srl, Italy

_www.felicerossi.it_

**Nest of boxes, Cupboard of Secrets**

Jean-Michel Frank

Natural rye straw marquetry, waxed

H: 52cm (20in)

L: 47cm (18½in)

Hermès (La Maison), France

_www.hermes.com_

**Modular bookshelf, Unit**

Itamar Burstein

Chestnut wood

H (each unit): 19cm (7½in)

W (each unit): 50cm (19in)

D: 28cm (11in)

Environment Furniture, USA

_www.environmentfurniture.com_

**Series of storage furniture, Boxy**

Johanna Grawunder

Coloured mirror

H (vertical version): 29cm (11⅜in)

W (vertical version): 49cm (19¼in)

L (vertical version): 150cm (59in)

Glas Italia, Italy

_www.glasitalia.com_

**Bookcase, Sundial**

Nendo

Veneered lacquered chipboard, PMMA

H: 165cm (65in)

L: 100cm (39in)

D: 35cm (13¾in)

Kartell SpA, Italy

_www.kartell.it_

**Modular bookcase, Loggia**

Jakob Timpe

Lacquered MDF

H (modular elements): 10, 30 and 40cm (3⅞, 11¾ and 15¾in)

W (modular elements): 25, 50 and 75cm (9⅞, 19 and 29in)

D (modular elements): 20 and 33cm (7⅞ and 13in)

Alias, Italy

_www.aliasdesign.it_

**Cupboard, Bookshelf Cupboard**

Front

MDF

H: 210.5cm (82in)

W: 30.5cm (12¼in)

L: 86cm (33in)

Skitsch, Italy

_www.skitsch.it_

**Storage, Satellite**

BarberOsgerby

Lacquered MDF

H: 79cm (31in)

L: 135cm (53in)

D: 55cm (21in)

Quodes, The Netherlands

_www.quodes.com_

**Modular bookcase, Home Kit Large**

Harry Allen

MDF

H: 185cm (72in)

W: 29cm (11⅜in)

L: 178cm (70in)

Skitsch, Italy

_www.skitsch.it_

**Wardrobe cabinet, Homework Cabinet**

Nika Zupanc

Green ultrapas, breech wood, polypropylene, paper, brass

H: 250cm (98in)

W: 75.5cm (29in)

D: 60.6cm (24in)

Nika Zupanc, Slovenia

_www.nikazupanc.com_

**Shelving unit, Redivider**

Peter Marigold

Wood, acrylic/gypsum composite

H: 160cm (63in)

W: 50cm (19in)

D: 30cm (11¾in)

Peter Marigold, UK

_www.petermarigold.com_

**Cupboard, Eco Storage**

Giulio Patrizi

Varnished MDF and OSB

H: 120cm (47in)

W: 120cm (47in)

D: 45cm (17¾in)

Giulio Patrizi, Italy

_www.giuliopatrizi.com_

**Floor vase/umbrella stand, Puddle Big**

Front

Stainless steel

H: 52cm (20in)

W: 38cm (15in)

L: 48cm (18⅞in)

Skitsch, Italy

_www.skitsch.it_

**Storage system, Inverso**

Jens Praet

Marble, particle board

H: 44.1cm (17⅜in)

L: 144cm (57in)

D: 34.8cm (13¾in)

PlusDesign srl, Italy

_www.plusdesigngallery.com_

**Shelf with sliding screens, Folio**

Ronan and Erwan Bouroullec

Real wood oak veneer, steel, felt

H (screen): 170cm (66in)

W (screen): 105cm (41in)

L (top shelf): 180cm (70in)

D (top shelf): 35cm (13¾in)

Established & Sons, UK

_www.establishedandsons.com_

**Bookshelf, Weave**

Chicako Ibaraki

Rubber-painted stainless steel

H: 160cm (63in)

W: 38cm (15in)

D: 38cm (15in)

Casamania, Italy

_www.casamania.it_

**Shelving System**

Naoto Fukasawa

Lacquered birch, painted MDF, zinc, aluminium

H (tall version): 147cm (58in)

H (short version): 78cm (30in)

W (one unit): 86cm (33in)

D: 39.5cm (15¾in)

Artek, Finland

_www.artek.fi_

**Detachable shelf/storage unit, Torno**

Inga Sempé

Agglomerated cork, metal

H (max, bowl): 10.3cm (3⅞in)

Diam (bowl): 14.1cm (5½in)

H (max, tray): 11.1cm (4⅜in)

Diam (tray): 18cm (7⅛in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

**System of cases and cabinets, I Policromi**

Alessandro Mendini

Wood, plastic laminate

H (tall bookcase): 221cm (87in)

W (tall bookcase): 35cm (13¾in)

D (tall bookcase): 42cm (16½in)

H (tall table): 79cm (31in)

W (tall table): 35cm (13¾in)

D (tall table): 42cm (16½in)

H (low bookcase): 79cm (31in)

W (low bookcase): 160cm (63in)

D (low bookcase): 35cm (13¾in)

H (low table): 58cm (22in)

W (low table): 35cm (13¾in)

D (low table): 42cm (16½in)

Domodinamica srl, Italy

_www.domodinamica.com_

**Coat stand, Hanahana**

Setsu and Shinobu Ito

Ash wood veneer, lacquered steel

H: 180cm (70in)

W: 48cm (18⅞in)

D: 48cm (18⅞in)

Swedese Möbler AB, Sweden

_www.swedese.se_

**Cupboard, Black and White**

Front

Particle board, bleached maple

H: 183cm (72in)

W: 110cm (43in)

D: 48cm (18⅞in)

Porro, Italy

_www.porro.com_

**Bookcase with shelves, table and sliding container, Grandi Legni GL 21**

Andrea Branzi

Old reshaped wood, iron, painting reproduction

H: 235cm (92in)

W: 400cm (157in)

D: 35cm (13¾in)

Design Gallery Milano and Nilufar, Italy

_www.nilufar.com_

**Magazine rack, Front Page**

Front

Polycarbonate

H: 34cm (13⅜in)

W: 50cm (19in)

D: 35cm (13¾in)

Kartell SpA, Italy

_www.kartell.it_

**Multifunctional and modular cabinet, Container**

Alain Gilles

Natural elm wood, lacquered MDF

H: 89cm (35in)

W: 229cm (90in)

D: 60cm (23in)

Casamania, Italy

_www.casamania.it_

**Storage units, 11 Boxes**

studio vit

Soaped maple/painted maple, matt and gloss white

H (long box with two drawers): 40cm (15¾in)

W (long box with two drawers): 40cm (15¾in)

D (long box with two drawers): 160cm (63in)

H (open box): 46cm (18⅛in)

W (open box): 135cm (53in)

D (open box): 40cm (15¾in)

H (tall box with hinged door): 140cm (55in)

W (tall box with hinged door): 40cm (15¾in)

D (tall box with hinged door): 40cm (15¾in)

studio vit, UK

_www.studiovit.se_

**Occasional table/night table, White Shell**

Salvatore Indriolo

Cristalplant, composite material based on resins

H: 39cm (15⅜in)

W: 64cm (25in)

D: 57cm (22in)

Zanotta SpA, Italy

_www.zanotta.it_

**Storage, Paesaggi Italiani – Mirror**

Massimo Morozzi/ Fernando and Humberto Campana

Mirrored methacrylate

H: 290.8cm (114in)

W: 339.6cm (133in)

D: 43.8cm (17⅜in)

Edra, Italy

_www.edra.com_

**Storage, Paesaggi Italiani – Straw**

Massimo Morozzi/ Fernando and Humberto Campana

Long strands of raffia

H: 194.8cm (76in)

W: 182cm (72in)

D: 112cm (44in)

Edra, Italy

_www.edra.com_

**Storage, Paesaggi Italiani – Wood**

Massimo Morozzi/ Francesco Binfaré

Solid mahogany wood

H: 194.8cm (76in)

W: 144.3cm (57in)

D: 43.8cm (17⅜in)

Edra, Italy

_www.edra.com_

**Cupboard, Bois de Rose**

Massimo Morozzi

Wood veneer, piano pedals

H: 120cm (47in)

W: 120cm (47in)

D: 48cm (18⅞in)

Edra SpA, Italy

_www.edra.com_

**Barber Osgerby**

What are the drawbacks and advantages of being a design duo, and how do you work together?

We met on the first day of our postgraduate architecture course at the Royal College of Art in London and hit it off straight away. We obviously disagree sometimes but we discuss everything and respect each other's views. Whilst we were still at the RCA we got the odd external commission. We were young and inexperienced and neither of us would have had the confidence to take these projects on individually. We have never worked independently since. We sit on either side of a table and talk about a project and one of us starts to sketch. The other looks at the drawing upside down and sees something that is completely different. It's a back-and-forth process. It's very rarely that you can say that an idea came from one or the other of us because, by the time a project is finished, it's so much a part of both of us.

The designer and educator Bruce Mau wrote in the introduction to your recent monograph that 'Edward and Jay use industry as craft'. Can you explain?

He has recognized the fact that we consider industrial processes, take the best from them and work with them in a slower, craftlike way. Take the Iris Table (opposite page, right), for example: the components had to be machined from solid aluminium and individually anodized, and we hijacked that industrial finishing technique. We found a company that was prepared to stop making hi-fifronts for a couple of weeks and instead produce multicoloured iridescent pieces of aluminium for us. We arrested industry for a moment and reappropriated it as craft.

You talk a lot about 'hidden design' when referring to your work. Please can you explain what you mean by this?

This relates to our 'Ascent' exhibition at the Haunch of Venison in London. We have always been inspired by nautical and aeronautical design and fluid dynamics. Hidden design relates to the undesigned parts of structures that move. There is something about the way outlines are made and volumes are created in a lightweight way: skeletons that are then skinned with metal or fabric. For the exhibition we played with this reference in a series of objects with similar shapes that created a dialogue between solid, empty and translucent.

Would you say there is a BarberOsgerby style?

Our main aim is to make objects that are understandable and that people are comfortable with and want to keep forever. Our work resonates emotionally yet it is quite geometric and simple. That comes from the fact that we don't use elaborate computer programs to design but begin with the sketch.

Can you briefly describe two of the pivotal projects of your studio?

The Loop Table (below left) is the most important single piece that we've ever done, because it captured the moment when we moved from architecture to objects. At the time we were working in the Trellick Tower, Ernö Goldfinger's modernist masterpiece, and the cantilevers and rounded corners in that building influenced us. The Loop Table is the product that introduced us to Cappellini and made our name. That was a pivotal moment.

Loop low table for Isokon Plus (1998)

Planform Array V, 'Ascent' exhibition, Haunch of Venison, London (2011)

The Tip Ton chair (page 52) is another important project for us. It's our first piece for Vitra and was the result of in-depth research into the benefits of a forward tilt function in seating designed for schools. The Tip Ton tilts forward towards a table or desk, where it then remains in place. The movement between two sitting positions increases muscular activity in the stomach and back regions, which increases the flow of oxygen around the body and in turn aids concentration. This movement is unique to a simple, solid plastic chair. The Tip Ton is also light, it stacks, is incredibly durable and 100% recyclable. We've just kitted out our first school and it's working very well.

The Olympic Torch (below) is one of the most visible design briefs in the world. How onerous was the commission?

We entered the competition for the design of the torch as soon as it was announced. The torch is the iconic symbol of the games and will pass on as a legacy. It is also an incredibly complicated piece of industrial design. From over 1,000 entries, our concept was chosen: a three-sided design perforated with 8,000 holes to represent the motto of the games (Faster, Higher, Stronger) and the number of people who will carry it. It is one of those incredible things that you only have the chance to do once in a lifetime. It was very onerous; we had to create something that represented the nation. It's the first opportunity we've had to design an object that everyone recognizes.

How do you balance your conceptual and studio work?

We are always making sketches and saving them. 'Ascent' was essentially the realisation of five years of sketches made on the edges of drawings for other products. Most of what we do feels conceptual to us. A design doesn't start offin a pragmatic way but as a series of discussions and doodles.

You have three companies: BarberOsgerby, Universal Studio, and Map, which cover product design, architecture, and design consultancy respectively. How does one practice affect the other?

We are involved across all three, but at BarberOsgerby we're involved with everything from the concept onwards. The work emanating from Universal Design Studio and Map is far more a collaboration between ourselves and some of the most talented designers and architects in the world. Working across so many different kinds of project and scales, from architecture to microelectronics, fascinates us and keeps our spirit fresh.

When design historians look back at the last twenty years, will they consider it to have been an exciting period?

That's been an incredibly exciting time for design and production. In the 1990s there were only a handful of manufacturing companies making avant-garde furniture. Now you go to Milan and you are bombarded with hundreds of them. China now leads the world in manufacturing. That's changed everything – the speed of production and the need for innovation. There have been some really interesting developments in terms of computer software and technology, such as 3D printing. Also, designers are now making objects that are not functional. That's quite a turning point. Before you either had artists and sculptors or designers, but now there is a middle ground, which we have crossed with the 'Ascent' pieces (opposite page, bottom right). We never thought we would, but in the end it made sense for us.

Olympic Torch for London Organising Committee of the Olympic and Paralympic Games (2012)

Iris Table for Established & Sons LIMITED gallery, London (2008)

**Rotating bookcase, Book Tower**

Samuel Chan

European oak veneer

H (tower I): 150cm (59in)

W (tower I): 45cm (17¾in)

D (tower I): 45cm (17¾in)

H (tower II): 100cm (39in)

W (tower II): 45cm (17¾in)

D (tower II): 45cm (17¾in)

H (tower III): 50cm (19in)

W (tower III): 49cm (19¼in)

D (tower III): 49cm (19¼in)

Linteloo, The Netherlands

_www.linteloo.com_

**Modular storage system, Brace (The Black & Black Collection)**

Nendo

Powder-coated steel

H: 30cm (11¾in)

W: 50cm (19in)

D: 28cm (11in)

K%, Singapore

_www.kpercent.com_

**Modular storage system, Dice**

Stefan Diez

Kvadrat fabrics, painted MDF

Various dimensions

Schönbuch GmbH, Germany

_www.schoenbuch.com_

**Modular shelving unit, Staccato**

Atelier Oï

Natural oak

H: 191.5cm (75in)

W: 22.8 + 20.4cm per element (9 + 7⅞in per element)

D: 42.3cm (16½in)

Röthlisberger Kollektion, Switzerland

_www.roethlisberger.ch_

**Storage container/ seat, cBox**

Gianmarco Blini Steel, upholstery

H: 47.5cm (18⅞in)

W: 45cm (17¾in)

D: 45cm (17¾in)

Dieffebi SpA, Italy

_www.dieffebi.com_

**Bookshelf, Stix**

Benninghoff& Bond

Lacquered MDF, iron

H: 105cm (41in)

W: 35cm (13¾in)

L: 242cm (95in)

Covo srl, Italy

_www.covo.it_

**Storage shelf, Times Square**

Claesson Koivisto Rune

Laquered wood (MDF)

H (small): 89.8cm (35in)

H (large): 195.4cm (76in)

W (small): 81.6cm (32in)

W (large): 183.2cm (72in)

D (small): 29cm (11⅜in)

D (large): 38cm (15in)

David Design, Sweden

_www.daviddesignfurniture.se_

**Modular shelf system, Stacked**

JDS Architects

Painted MDF, wood

Small box: 21.8 x 43.6cm (8⅝ x 17⅜in)

Medium box: 43.6 x 43.6cm (17⅜ x 17⅜in)

Large box: 65.4 x 43.6cm (25 x 17⅜in)

D: 35cm (13¾in)

Muuto, Denmark

_www.muuto.com_

**Cabinet, Summer Trees Commode (Digital Memories Collection)**

Tord Boontje

Bisazza glass mosaic, lacquered wood, steel

H: 101cm (40in)

L: 180cm (70in)

D: 63cm (24in)

Bisazza, Italy

_www.bisazza.com_

**Chest, Altdeutsche Blanket Chest**

Studio Job

Solid pine, hand-painted artwork

H: 78cm (30in)

W: 120cm (47in)

D: 55cm (21in)

Moooi, The Netherlands

_www.moooi.com_

**Children's storage, Flapjack Storage**

Sebastian Bergne

Certified FSC beech plywood with laminate faces and water-based varnish

H: 70cm (27in)

W: 84.5cm (33in)

D: 29cm (11⅜in)

The Collection, France

_www.buysebastianbergne.com_

_www.thecollection.fr_

**Cabinet, Job Cabinet**

Studio Job

Powder-coated metal sheets

H: 180cm (70in)

W: 70cm (27in)

D: 50cm (19in)

Lensvelt b.v., The Netherlands

_www.lensvelt.nl_

**Cabinet, Collect 2011**

Sara Larsson

MDF, solid wood

H: 119cm (47in)

W: 64cm (25in)

D: 30cm (11¾in)

A2 designers AB, Sweden

_www.a2designers.se_

**Bookcase, Forest**

Nendo

White painted conglomerate wooden structure

H: 200cm (78in)

W: 100cm (39in)

D: 40cm (15¾in)

Driade, Italy

_www.driade.com_

**Cabinet, Flip**

Håkan Johansson/Zweed

Laminated black MDF, stained solid birch

H: 87cm (34in)

W: 118cm (46in)

D: 34cm (13⅜in)

Zweed, Sweden

_www.zweed.se_

**Bookshelf, Industry**

Benjamin Hubert

Painted metal, natural and painted pine, metal in Corten finish

H: 186cm (73in)

W: 153cm (60in)

D: 40cm (15¾in)

Casamania, Italy

_www.casamania.it_
**4.**

**KITCHENS AND BATHROOMS**

**Gas hob, P755SG (yellow)**

Marc Newson

Cast-iron panstands, vertical flame burners, silver compontents

W: 75cm (29in)

L: 75cm (29in)

Smeg SpA, Italy

_www.smeg.com_

**Modular kitchen, Tetrix**

Michael Young

Matt coloured glass, glossy tempered glass, grey quartz

H (rectangular module): 36cm (14⅛in)

W (rectangular module): 60cm (23in)

Scavolini SpA, Italy

_www.scavolini.com_

**Cooker hood, Bubble**

Stefano Giovannoni

Technopolymer

H: 59.8cm (23in)

W: 59.8cm (23in)

D: 32cm (12⅝in)

Elica, Italy

_www.elica.com_

**Modular kitchen, Cube**

Claesson Koivisto Rune

Wood

H: 87cm (34in)

D: 64cm (25in)

Grattarola srl, Italy

_www.grattarola.it_

**Kitchen, Aprile**

Piero Lissoni

Wood, Corian®

Various dimensions

Boffi SpA, Italy

_www.boffi.com_

**Modular kitchen, Menu 04**

Paola Navone

Matt Maya silver bilaminate, melamine panel with metal mesh, steel-finish aluminium frame

H (bases): 72cm (28in)

H (unit with storage doors): 183.2cm (72in)

Bontempi Cucine, Italy

_www.bontempi.it_

**Modular kitchen, Menu 05**

Paola Navone

Bilaminate door with ABS border on four sides, vertical wood grain, horizontal tranché finish

H (bases): 72cm (28in)

H (tall units): 204cm (80in)

Bontempi Cucine, Italy

_www.bontempi.it_

**Kitchen, Concrete Kitchen**

Martin Steininger

Concrete

Made to order

steininger.designers, Austria

_www.steininger-designers.at_

**Kitchen, Liquida Frame**

Giovannoni Design

HPL laminate

H: 215cm (84in)

L: 390cm (154in)

D: 94cm (37in)

Veneta Cucine SpA, Italy

_www.venetacucine.com_

**DIY outdoor kitchen project with downloadable assembly instructions, Mobile Outdoor Kitchen**

Nina Tolstrup

Plywood

H: 90cm (35in)

W: 50cm (19in)

L: 100cm (39in)

Studiomama, UK

_www.studiomama.com_

**Kitchen, Pampa**

Alfredo Häberli

Wood, metal

Various dimensions

Schiffini Mobili Cucine SpA, Italy

_www.schiffini.it_

**Kitchen, Eco**

Alessio Bassan

PaperStone®

H: 80cm (31in)

W (max): 360cm (141in)

Key Cucine (brand of di Sbabo Cucine srl), Italy

_www.keysbabo.com_

**Kitchen, Board**

Arosio Design

High-gloss lacquer finish, Corian®

Various dimensions

Snaidero, Italy

_www.snaidero.it_

**Ovens, FP610SG (yellow), FP610SBL (blue), FP610SV (green)**

Marc Newson

Glass, stainless steel

H: 60cm (23in)

W: 60cm (23in)

D: 55cm (21in)

Smeg Sp.A, Italy

_www.smeg.com_

**Gas hobs, P755SG (yellow), P755SBL (blue), P755SV (green)**

Marc Newson

Cast-iron panstands, vertical flame burners, silver compontents

W: 75cm (29in)

L: 75cm (29in)

Smeg SpA, Italy

_www.smeg.com_

**Kitchen, Liquida (Flipper)**

Giovannoni Design

Glossy PET

H: 229cm (90in)

W: 345cm (136in)

D: 104cm (41in)

Veneta Cucine SpA, Italy

_www.venetacucine.com_

**Kitchen system, Bulthaup b3**

Herbert Schultes/Bulthaup design team

Laminate, solid walnut

H: 91cm (35in)

L: 362cm (143in)

D: 65cm (25in)

Bulthaup GmbH & Co KG, Germany

_www.bulthaup.com_

**Kitchen sink, Starck K**

Philippe Starck

Impact-resistant ceramic

W: 90 or 100cm (35 or 39in)

D: 51cm (20in)

Duravit, Germany

_www.duravit.com_

**Free-standing kitchen units, W range**

Jean-Michel Wilmotte

Lacquered sheet metal, screen-printed grey tempered glass

Various dimensions

La Cornue, France

_www.lacornue.com_

**Kitchen, Library Kitchen**

Philippe Starck

Wood veneer, white lacquer, chrome

H: 73 or 93cm (28 or 36in)

W: 93.4cm (36in)

L: 259.8 or 323.8cm (102 or 127in)

Warendorf, Germany

_www.warendorf.eu_

**Modular kitchen, k20**

Norbert Wangen

Corian®

Various dimensions

Boffi SpA, Italy

**Kitchen faucet, Paola and the Kitchen**

Paola Navone

Chromed brass, painted die-cast metal

H: 40.1cm (15¾in)

Diam: 6cm (2⅜in)

Mamoli Robinetteria SpA,

Italy

_www.mamoli.com_

**Kitchen island, DC10**

Vincenzo De Cotiis

Burnished brass

H (top included): 93.5cm (37in)

H (top excluded): 86.5cm (34in)

W: 70.4cm (27in)

L (1): 439.6cm (173in)

L (2): 259.6 (102in)

Rossana RB srl, Italy

_www.rossana.it_

**Pot and pans, Foodwear**

Rodolfo Dordoni

Wonder plus finished stainless steel

H (pot): 11.5cm (4½in)

Diam (pot): 26cm (10¼in)

knIndustrie srl, Italy

_www.knindustrie.it_

**Cookware, Ellie Krieger Cookware**

Scott Henderson

Stainless steel, silicon

H: 10cm (4in)

Diam: 51cm (20in)

Tefal, France

_www.tefal.com_

**Measuring cups, Ellie Krieger Cookware**

Scott Henderson

Polypropylene

W (largest size): 11cm (4⅜in)

L (largest size): 16.5cm (6½in)

Tefal, France

_www.tefal.com_

**Electric kettle, Ettore 11175**

Ettore Sottsass

Plastic, stainless steel, silicone

H: 26cm (10¼in)

W: 25cm (9⅞in)

D: 16.3cm (6¼in)

Bodum, Denmark

_www.bodum.com_

**Kitchen tools, Enjoy spatulas**

Sebastian Bergne

Recycled PET

H: 4cm (1⅝in)

W: 6cm (2⅜in)

L: 30cm (11¾in)

Tefal, France

_www.tefal.com_

_www.buysebastianbergne.com_

**Basket, Wire Basket Round**

Naoto Fukasawa

Steel coated with epoxy resin

H: 6.7cm (2⅝in)

Diam: 20.2cm (7⅞in)

Plus Minus Zero Co., Ltd.,

Japan

_www.plusminuszero.jp_

**Toast stand, Wire Toast Stand**

Naoto Fukasawa

Steel coated with epoxy resin

H: 8.5cm (3⅜in)

W: 15cm (5⅞in)

D: 7.4cm (2⅞in)

Plus Minus Zero Co., Ltd.,

Japan

_www.plusminuszero.jp_

**Water bottle opener, Water=Life**

Arik Levy

Styrene acrylonitrile (SAN)

H: 3cm (1⅛in)

W: 7cm (2¾in)

L: 10cm (3⅞in)

Fratelli Guzzini SpA, Italy

_www.fratelliguzzini.com_

**Chopping board, Chop**

Patrick Jouin

Bamboo wood

H: 6cm (2⅜in)

W: 22cm (8⅝in)

D: 22cm (8⅝in)

Alessi SpA, Italy

_www.alessi.com_

**Bread bin, Loaf**

Established & Sons

Beech plywood

H: 19cm (7½in)

Diam: 35.5cm (14⅛in)

Established & Sons, UK

_www.establishedandsons.com_

**Single-lever basin mixer, Kawa**

Karim Rashid

Chrome-plated brass

H: 14.4cm (5¾in)

L: 18.1cm (7⅛in)

Cisal Rubinetteria, Italy

_www.cisal.it_

**Grater, Pippo**

Liviana Osti Stainless steel

H: 3.5cm (1⅜in)

W: 25cm (9⅞in)

D: 17.5cm (6⅞in)

Paola C., Italy

_www.paolac.com_

**Pan, Boomerang Wok**

Nikolaï Carels

Aluminium, bakelite, stainless steel

H: 12.5cm (4⅞in)

W: 48.7cm (19¼in)

D: 32cm (12⅝in)

Royal VKB, The Netherlands

_www.royalvkb.com_

**Kitchen and serving ware, Seasons**

nownao (Nao Tamura)

Silicone

H (small leaf): 5.2cm (2in)

W (small leaf): 19.2cm (7½in)

L (small leaf): 18.7cm (7¼in)

H (medium leaf): 7.3cm (2⅞in)

W (medium leaf): 31.3cm (12¼in)

L (medium leaf): 21.5cm (8⅝in)

Covo, Italy

_www.covo.it_

**Espresso coffee maker, Moka Alessi**

Alessandro Mendini

Aluminium casting, thermoplastic resin

H: 16.4cm (6½in)

Diam: 9.6cm (3¾in)

Alessi SpA, Italy

_www.alessi.com_

**Trivet, Rainbow Trivet**

Ding3000

Nylon

H: 1.4cm (½in)

L: 18.7cm (7½in)

Normann Copenhagen, Denmark

_www.normann-copenhagen.com_

**Whisk, Beater**

Ding3000

Nylon

H: 28.5cm (11⅜in)

Diam: 2cm (¾in)

Normann Copenhagen, Denmark

_www.normann-copenhagen.com_

**Whisk**

LucidiPevere

Bamboo, plastic

H: 30.7cm (12¼in)

W: 10cm (3⅞in)

Normann Copenhagen, Denmark

_www.normann-copenhagen.com_

**Cookware, Shiba**

Naoto Fukasawa

Metal, wood

H (frying pan): 7.5cm (3in)

Diam (frying pan): 24cm (9½in)

H (saucepans): 12cm (4¾in)

Diam (large saucepan): 18cm (7⅛in)

Diam (small saucepan): 15cm (5⅞in)

Alessi SpA, Italy

_www.alessi.com_

**Grater, Eva Solo XO Grater**

Tools

Stainless steel, PA66 nylon with 10% fibreglass, silicone

H: 18cm (7⅛in)

W: 11.5cm (4½in)

L: 10cm (3⅞in)

Eva Solo, Denmark

_www.evasolo.com_

**Richard Hutten**

You made your name with a series of products called No Sign of Design (below). Could you describe the concept?

This was my graduation project. In 1991, Bořek Šípek was the number-one design star. I couldn't relate to his work at all. It's what I call 'decoration'. I thought up the concept of 'No Sign of Design' as a statement against this style. Today they would be called 'Super Normal'. It was a good idea and still relevant.

You say that design is a thinking process and that form follows concept. Could you expand on this?

For me, form is a by-product and not a goal in itself. The most important part of a design is the idea. I always want to add something new and surprising. A good design has to tell a story and be interesting in some way or another. The form then follows naturally.

You call yourself a cultural designer. What do you mean by this?

I'm an artist and I make art. My medium is not painting, nor is it sculpture; it's design. I want to tell stories and show my vision of the world through my work. That's why I call myself a cultural designer. My aim is not only profit. Obviously it's nice if some of my products are produced hundreds of thousands of times, people make their living from them and consumers can enjoy them. That's what I want. That's why I'm a designer, but it's just a nice side effect.

How do you balance the commercial and the conceptual in your work?

I never compromise on my vision. I concentrate on making good designs, and others produce and sell them. To come up with an idea that adds something to the existing and is context driven is the starting point, not whether it's commercial. I have always worked as a team with my clients. We have the same goal – to make the best product possible. Sometimes one has to push the boundaries of what is achievable in order to innovate. In my experience, the end result has never been far away from my initial idea.

It appears that in your work you disguise high tech in the aesthetics of low tech. Is this a fair assessment?

As a designer I have a lot of knowledge about materials and techniques but I don't want to bother the user with this. For example, the Dumbo mug (opposite page, top) looks cute and makes people smile but it is actually very hard to make. I don't want to say, 'Look how high tech this is.' My aim is to make things that people want to have, enjoy and, most importantly, keep.

In your opinion, what does it mean to be an ecologically responsible designer?

Many products that have Cradle-to-Cradle certification look a bit 'eco', like brown mud. If something is visual pollution, it doesn't matter if you can recycle it or not because no one wants it. Take the Dumbo mug again: it's fairly 'green' because it's made from one material that can be shredded and reused, but it's also sustainable because you can't destroy it. It lasts a long time. I make objects that people want to keep, that increase in value as they get older and will get handed down from one generation to another. That's the highest form of sustainability. I'm art director of Gispen, which was voted the most green company in the Netherlands in 2011. The idea of Cradle-to-Cradle is important to their philosophy, but we go one step further. We follow the rules of green design but make furniture that is sexy and attractive.

What motivated you to sign over the Richard Hutten collection to Gispen in 2008?

Gispen is ninety-five years old and Holland's most well known furniture brand. They started out making domestic products but over the years had moved exclusively to office furniture. When they invited me to be their main designer I advised them to return to their roots and proposed that they take over my collection. I'm happy because I can now fully focus on designing; I don't have to deal with production or distribution. It's a very good collaboration.

No Sign of Design table and chairs (1991)

You are the art director of Gispen and NgispeN, the domestic furniture label. What is it like to be sitting on the other side of the table?

It's exciting to create a vision for a brand. There are so many out there that it's very hard to establish an identity and stand out in the field when you develop a new one, such as NgispeN. I'm commissioning work from people I admire, who are also my friends and whom I've known for a long time. Some I have to 'coach' more than others, but each relationship is different and exciting.

In 2010 your mini book stamp (below) – a postal stamp that is also an eight-page book – went on sale, and in the following year you were awarded the Van Speijk Innovation Award for its design. How did the collaboration with Royal TNT Dutch come about?

I had previously worked with the Royal Dutch Post designing premium gifts for their most important clients and at that time pressed them to allow me to create a stamp, but as I'm not a graphic designer they were reluctant. At one point they invited twenty designers to come up with a celebratory stamp, including one industrial designer – me. I had the idea of making the stamp an actual book, which they loved, and I was commissioned. Then the Dutch post was asked to create a stamp to celebrate the seventy-fifth anniversary of the annual 'Book Week' (boekenweek). Of course they wanted to use my idea for this. The book can be detached from the stamp and the typeface is large enough to read with the naked eye. It has a 500-word text by the author Joost Zwagermans, an ISBN, and, as it also has a colophon, I had the opportunity of adding my name as designer. It was very successful.

Do you consider design can contribute to social change?

We can't change the world, but designers have a big responsibility to contribute to people's lives and make them better. I consider sustainability and durability, but my concern is to add to the quality of life. I take joy from my work and want to give joy to others whilst respecting the planet. I think in a very small way I can make a difference.

Dumbo mug, Richard Hutten Collection available through NgispeN (2001)

Mini book stamp for Royal TNT Dutch (2010)

**Shower/hammam, Ananda**

Doshi Levien

Cabinet and benches: HardLite

Showerwall: HardLite or white Carrara marble

Made to order

Glass Idromassaggio srl, Italy

_www.glassidromassaggio.com_

**Single-lever basin mixer, Gentle**

Matteo Thun and Partner

Polished chrome

H (mixer): 10.5cm (4⅛in)

Diam (hole): 3.5cm (1⅜in)

Dornbracht, Germany

_www.dornbracht.com_

**Bath, Latis Bath with Timber End**

Thomas Coward

American oak, acrylic cast

solid surface

H: 60cm (23in)

W: 75cm (29in)

L: 180cm (70in)

Omvivo, Australia

_www.omvivo.com_

**Washbasin, Le Washbasin (Neorest Series)**

TOTO

Hybrid epoxy resin LED lights

H: 10.9cm (4⅜in)

W: 75.5cm (29in)

D: 45cm (17¾in)

TOTO, Japan

_www.eu.toto.com_

**Bathtub, The Hayon Collection**

Jaime Hayon

White metacrylic bathtub with high-gloss white varnished wooden frame, beech storage lid

H: 51cm (20in)

W: 100cm (39in)

L: 204.5cm (80in)

Bisazza Bagno, Italy

_www.bisazzabagno.com_

**Unit with washbasin, The Hayon Collection**

Jaime Hayon

24kt gold hand-painted ceramic washbasin, stainless-steel magnifying mirror

H (washbasin): 14cm (5½in)

W (washbasin): 65.5cm (26in)

D (washbasin): 47cm (18½in)

Bisazza Bagno, Italy

_www.bisazzabagno.com_

**Unit with washbasins, The Hayon Collection**

Jaime Hayon

High-gloss copper aluminium frame, black Marquina marble top and shelves, mirror, black ceramic washbasin

H (washbasin): 12cm (4¾in)

W (washbasin): 58cm (22in)

D (washbasin): 48cm (18⅞in)

Bisazza Bagno, Italy

_www.bisazzabagno.com_

**Bathtub, Talamo**

Domenico De Palo

Cristalplant

H: 67cm (26in)

W: 100cm (39in)

L: 200cm (78in)

Antonio Lupi Design SpA, Italy

_www.antoniolupi.it_

**Washbasin, Kalla**

Marc Sadler

High-resistance and hygienic elastomer

H: 17cm (6¾in)

W: 80cm (31in)

D: 40cm (15¾in)

Karol srl, Italy

_www.karol.it_

**Washbasin, Vol**

Victor Carrasco

Cristalplant

H: 90cm (35in)

L: 60cm (23in)

D: 40cm (15¾in)

Boffi SpA, Italy

_www.boffi.com_

**Wall-hung WC, Freedom**

Ross Lovegrove

Vitreous China

W: 50cm (19in)

D: 54cm (21in)

VitrA, Turkey

_www.vitra.com.tr_

**Wall-hung washbasin and faucet, Freedom**

Ross Lovegrove

Fine fire clay

W: 79.5cm (31in)

D: 48.5cm (19¼in)

VitrA, Turkey

_www.vitra.com.tr_

**Washlet toilet with remote control, Giovannoni Washlet**

Stefano Giovannoni

Ceramic with a special CeFiONtect glaze

H: 61.6cm (24in)

W: 43.6cm (17⅜in)

D: 54.8cm (21in)

TOTO, Japan

_www.eu.toto.com_

**Bathtub**

Thomas Linssen

American white oak, composite of marble and polyester

H: 84cm (33in)

H (rim): 59cm (23in)

W: 85cm (33in)

L: 190cm (74in)

Studio Thol, The Netherlands

_www.studiothol.nl_

**Free-standing single-lever bath/shower mixer with diverter and shower set, Isystick**

Matteo Thun and Antonio Rodriguez

Painted brass

H (max): 94.5cm (37in)

Diam (base): 8cm (3⅛in)

Zucchetti Rubinetteria SpA, Italy

_www.zucchettidesign.it_

**Mirror cabinet with bathroom accessories and electric socket, Kali**

Doshi Levien

ASA plastic, glass, mirror

H: 58cm (22in)

W (body): 54.5cm (21in)

W (total): 113cm (44in)

D: 18cm (7⅛in)

Authentics GmbH, Germany

_www.authentics.de_

**Bathtub, Vieques**

Patricia Urquiola Steel

H: 60cm (23in)

L: 170cm (66in)

D: 72cm (28in)

Agape, Italy

_www.agapedesign.it_

**Bathtub, Chapel**

Alain Berteau

Dupont Corian®

W: 95cm (37in)

L: 180cm (70in)

Aquamass, Belgium

_www.aquamass.com_

**Bathtub, Navale**

Xavier Lust

Corian®

H: 52cm (20in)

W: 80cm (31in)

L: 180cm (70in)

Aquamass, Belgium

_www.aquamass.com_

**Bathtub, Ofurò**

Matteo Thun and Antonio Rodriguez

Larch wood

H: 60cm (23in)

W: 80cm (31in)

L: 140cm (55in)

Rapsel SpA, Italy

_www.rapsel.it_

**Bathtub, Ottocento (Memory Collection)**

Benedini Associati

Cristalplant

H: 59.5cm (23in)

W: 79cm (31in)

L: 178cm (70in)

Agape srl, Italy

_www.agapedesign.it_

**Bathtub, Amarcord**

Marco Merendi

Copper, lacquered inside

H: 75cm (29in)

W: 68cm (26in)

L: 150cm (59in)

Rapsel SpA, Italy

_www.rapsel.it_

**Bathtub, Morphing Bathroom Collection**

Ludovica and Roberto Palomba

Cristalplant

H: 56cm (22in)

W: 80cm (31in)

L: 180cm (70in)

Kos, Italy

_www.zucchettikos.it_

**Bathtub, Sartoriale Maxi**

Carlo Colombo

Cristalplant

H: 55cm (21in)

W: 140cm (55in)

L: 200cm (78in)

Antoniolupi Design SpA, Italy

_www.antoniolupi.it_

**Bathtub, Paiova Monolith**

Eoos

Acrylic

W: 100cm (39in)

L: 170cm (66in)

Duravit, Germany

_www.duravit.com_

**Wall-mounted electronic basin mixer, Axor Citterio Electronic Basin Mixer**

Antonio Citterio

Solid brass with chrome plating

L: 16cm (6¼in)

Axor – Hansgrohe, Germany

_www.hansgrohe.com_

**Bathroom wastebasket with pedal, Moby**

Babled & Co.

100% recyclable thermoplastic resins

H: 26cm (10¼in)

W: 23cm (9in)

D: 28cm (11in)

Gedy SpA, Italy

_www.gedy.com_

**Washbasin counter, Counter D (The Nendo Collection)**

Nendo

Larch wood with chrome brass digital basin mixer

H: 90cm (35in)

W: 120cm (47in)

D: 60cm (23in)

Bisazza, Italy

_www.bisazza.it_

**Shower-toilet with remote control, SensoWash Starck**

Philippe Starck

Ceramic, acrylic

H (lid closed): 42cm (16½in)

W: 37cm (14⅝in)

D: 62cm (24in)

Duravit, Germany

_www.duravit.com_

Due to legislation in different countries, this product is not available worldwide.

**Washbasin, Roll**

Nendo

Ceramic

Diam: 44cm (17⅜in)

Ceramica Flaminia, Italy

_www.ceramicaflaminia.it_

**Wall-mounted washbasin mixer, Axor Citterio M Three Hole Basin Mixer**

Antonio Citterio

Solid brass with chrome plating

L: 22.6cm (9in)

Axor – Hansgrohe, Germany

_www.hansgrohe-int.com_

**Washbasin, Pool**

Martí Guixé

Lacquered ceramic, stainless steel

H: 45cm (17¾in)

W: 30cm (11¾in)

L: 80cm (31in)

D: 32cm (12⅝in)

Azzurra Sanitari in Ceramica SpA, Italy

_www.azzurraceramica.it_

**Touchless battery-operated washbasin faucet with temperatureadjustment handle, Il Bagno Alessi by Oras**

Stefano Giovannoni

Chrome-plated corrosionresistant material (DZRbrass), 6V battery

H: 14.7cm (5⅞in)

Diam: 6cm (2⅜in)

Oras Group, Finland

_www.oras.com_

**Bathroom sink, Axor Bouroullec**

Ronan and Erwan Bouroullec

Chrome-plated brass, mineral resin, polyester resin, ABS

L: 66.6cm (26in)

W: 48cm (18⅞in)

Axor – Hansgrohe, Germany

_www.hansgrohe-int.com_
**5.**

**TABLEWARE**

**Vase, Simbiosi**

Emmanuel Babled

Handblown Murano glass, Carrara marble

H: 57.5cm (22in)

L: 42.5cm (16⅞in)

D: 39.5cm (15¾in)

Venini SpA, Italy

_www.venini.com_

**Vases and bowls, Eye**

Sebastian Bergne

Iznik quartz ceramics, Swarovski elements

H (large vase): 35cm (13¾in)

Diam (large vase): 38cm (15in)

Gaia & Gino, Turkey

_www.gaiagino.com_

**Tray, Marble 4420**

Monica Förster and Björn Kusoffsky

Laminated textile

Diam: 49cm (19¼in)

Svenskt Tenn, Sweden

_www.svenskttenn.se_

**Vase, Blueware vase**

Glithero

Earthenware ceramics, glazed inside, cyanotype

H: 42cm (16½in)

Diam: 23cm (9in)

Glithero, UK

_www.studioglithero.com_

Glithero's Blueware collection of vases pays homage to the Dutch heritage of van Gameren, bringing to mind the iconic colouring of Delftware. Weeds taken from the streets of London are pressed, dried and delicately composed on the surface of a vase, which is then exposed to UV light as it rotates on a spit. This causes it to change colour, whilst leaving a crisp white silhouette of the plants once they have been removed. The vase is then dipped into a special acid to produce a deep Prussian blue that contrasts starkly with the ghostly image of the plants.

**Vase, Blow Away Vase**

Front

Royal Blue Delft porcelain

H: 30.5cm (12¼in)

Moooi, The Netherlands

_www.moooi.com_

**Bowls, Unexpanded Polystyrene Vessels**

Mark Vaarwerk

Unexpanded polystyrene

H: 3cm (1⅛in)

Diam (large green): 16cm (6¼in)

Diam (medium white): 14cm (5½in)

Diam (small black): 12cm (4¾in)

Mark Vaarwerk, Australia

_www.vaarwerk.com_

Mark Vaarwerk works with a variety of discarded plastics, and his most recent pieces derive from unexpanded polystyrene containers. He researched the chemical properties of different plastics to understand how and why they behave as they do and the many ways they can be manipulated. For these bowls Mark created a template to trace the desired shape onto the polystyrene. Three segments were then placed in an airtight container, which was slowly filled with acetone vapor. The acetone acts as a solvent, softening the plastic and gradually deflating the polystyrene beads, reducing the material to around half or one-third of its original size; as it shrinks it gets more dense and pliable. The segments were then bonded together using a glue-like paste made by dissolving scraps of the unexpanded polystyrene in acetone before being shaped on a plaster dome into a vessel. After the solvent has evaporated and the vessel has hardened, the final stage is to apply a coating. The green and black bowls were spray-painted, but the white version was hand-painted using a glaze made from the keys from a computer keyboard – the ABS plastic was dissolved, again in acetone, and applied with a brush. Vaarwerk's experimentation knows no limits. He has gone so far as to create a glaze from cigarette butts, which are actually a plastic – cellulose acetate. This he uses to colour smaller polystyrene shapes to create brooches.

**Basket, Peneira Collection**

Fernando and Humberto Campana

18/10 stainless-steel mesh, natural fibre

H: 12.5cm (4⅞in)

Diam: 35cm (13¾in)

Alessi SpA, Italy

_www.alessi.com_

**Vessel consisting of three individual containers, Stacking Vessel**

Pia Wüstenberg

Ceramic, studio glass, wood

H: 50cm (19in)

Diam: 23cm (9in)

Utopia and Utility, UK and Finland

_www.utopiaandutility.eu_

**Collection of jars/vases, Natura Jars**

Héctor Serrano

100% recycled glass, cork

H (tallest vase): 32.1cm (12⅝in)

Diam (tallest vase): 13.4cm (5⅜in)

La Mediterranea, Spain

_www.lamediterranea.com_

**Vase, Cubist Vase (Absinthe)**

Constantin and Laurene Boym

Crystal

H: 26cm (10¼in)

W: 15cm (5⅞in)

D: 10cm (3⅞in)

Boym Partners Inc., USA

_www.boym.com_

**Vases, containers and low cupboard, Truciolari Collection**

Lorenzo Damiani

Chipboard panels

Various dimensions

Lorenzo Damiani, Italy

_www.lorenzodamiani.net_

**Fruit bowl, Gills Bowl**

Bettina Nissen

Laser-cut steel

H: 7cm (2¾in)

W: 30cm (11¾in)

D: 30cm (11¾in)

Bettina Nissen Design, UK

_www.bettinanissen.com_

**Fruit holder centrepiece, TIP**

Asif Khan

Sterling silver 925/1000

H: 7.2cm (2⅞in)

W: 6cm (2⅜in)

L: 60cm (23in)

Sawaya & Moroni SpA, Italy

_www.sawayamoroni.com_

**Bowls, Metrobowl New York and Amsterdam**

Frederik Roijé

Cast aluminium

H (New York): 5cm (2in)

W (New York): 23cm (9in)

L (New York): 90cm (35in)

H (Amsterdam): 8cm (3⅛in)

W (Amsterdam): 35cm (13¾in)

L (Amsterdam): 48cm (18⅞in)

Frederik Roijé, The Netherlands

_www.roije.com_

**Vase, Cardboard Vase**

Paolo Ulian

Borosilicate glass

H: 35cm (13¾in)

Diam: 20cm (7⅞in)

Skitsch, Italy

_www.skitsch.it_

**Vase, Othilie**

Kari Håkonsen

Blown glass

H: 50cm (19in)

Diam: 20cm (7⅞in)

Kari Håkonsen/Klart glass, Norway

_www.klartglass.no_

**Plate installation, Supermodel**

Phoebe Richardson and Paul Bishop

Fine English bone china

Diam: 25, 20 and 15cm (10, 8 and 6in)

The New English, UK

_www.thenewenglish.co.uk_

**Mug, teacup with saucer and coffee cup with saucer, Paper Porcelain**

Scholten & Baijings

Porcelain

H (mug): 10cm (3⅞in)

Diam (mug): 7cm (2¾in)

Hay, Denmark

_www.hay.dk_

**Coffee cup with saucer, Vela**

Luca Nichetto

Ceramic

H (cup): 6.5cm (2⅝in)

W (saucer): 10cm (3⅞in)

Bosa Ceramiche, Italy

_www.bosatrade.com_

**Table set, Dressed**

Marcel Wanders

Porcelain, glass, metal

Diam (mug): 8cm (3⅛in)

Alessi SpA, Italy

_www.alessi.com_

**Table set, Lilli Primavera**

Licia Martelli

Hand made ceramic

Diam (plate): 26cm (10¼in)

Licia Martelli-Ceramiche

Libere!, Italy

_www.liciamartelli.com_

**Teacup and saucer, Mosaic**

Jasper Conran

Fine bone china

H (teacup): 5.5cm (2¼in)

W (teacup): 13cm (5⅛in)

L (teacup): 11cm (4⅜in)

H (saucer): 2cm (¾in)

Diam (saucer): 16cm (6¼in)

Wedgwood, UK

www.wedgwood.co.uk

**Teapot and cups, Metae**

Marre Moerel

Earthenware ceramic

H (teapot): 14cm (5½in)

W (teapot): 10cm (4in)

L (teapot): 13cm (5in)

H (cup): 6.5cm (2½in)

Diam (cup): 8.5cm (3⅓in)

Marre Moerel Design Studio, Spain

_www.marremoerel.com_

**Set of plates, Flying City Tableware**

Carsten Höller

Porcelain

Diam: 16, 21 and 25cm (6¼, 8¼ and 9⅞in)

Porzellan Manufaktur

Nymphenburg, Germany

_www.nymphenburg.com_

**Plate, Black Widow**

Insideout

Fine English bone china

Diam: 25.4cm (10in)

The New English, UK

_www.thenewenglish.co.uk_

_www.colette.fr_

**Table set, Haphazard Harmony**

Maarten Baas

Ivory porcelain

H (teapot): 18.5cm (7¼in)

Diam (large plate): 30cm (11¾in)

Skitsch, Italy

_www.skitsch.it_

Reflect brings life back to orphaned antique saucers, meticulously selected from dealers across Britain. The bone china teacups are hand-painted with platinum, giving them a highly reflective surface. The mirrored cups reflect the patterned saucers, uniting them as a perfect pair.

**Teacup and saucer, Reflect**

Richard Brendon

Bone china, platinum gilding

H: 8.5cm (3¼in)

W: 15cm (5⅞in)

D: 15cm (5⅞in)

Richard Brendon, UK

_www.richardbrendon.com_

**Table setting, Table-Palette**

Kiki van Eijk

Glassware: Royal

Leerdam Crystal

Silverware: Koninklijke van Kempen & Begeer

Textiles: Audax Textile

Museum Tilburg

Studio Kiki van Eijk, The Netherlands

_www.kikiworld.nl_ (ceramics)

_www.textielmuseum.nl_ (tablecloth)

_www.leerdamkristal.nl_ (glassware)

_www.royalvkb.com_ (cutlery)

**Tableware, Delfts Blauw**

Douwe Egberts in collaboration with Piet Hein Eek

Ceramics

Various dimensions

Piet Hein Eek, The Netherlands

_www.pietheineek.nl_

**Tableware, Re-purposed Ceramics**

Piet Hein Eek

Ceramics

Various dimensions

Piet Hein Eek, The Netherlands

_www.pietheineek.nl_

**Cups, M-Set**

Van Eijk & Van der Lubbe

Porcelain with transfer

H (cup): 6cm (2⅜in)

W (cup): 9cm (3½in)

Diam (dish): 14cm (5½in)

Usuals, The Netherlands

_www.usuals.nl_

**Ceramic collection, Moulding Tradition**

Studio Formafantasma

Ceramic, cotton, glass

H (flask): 18cm (7⅛in)

W (flask): 12cm (4¾in)

D (flask): 8cm (3⅛in)

Studio Formafantasma, The Netherlands

Gallery Libby Sellers, UK

_www.formafantasma.com_

_www.libbysellers.com_

**Carafe and vases, Collection Vindobona**

Claesson Koivisto Rune

Silver and gold-plated silver 940/1000, glass

H (silver top 'Tulips'): 10cm (3⅞in)

H (silver top 'Poppies'): 5.5cm (2¼in)

H (silver top 'Lily'): 18.5cm (7¼in)

H (tumbler): 7cm (2¾in)

Diam (glass protection ring 'Crown'): 7.4cm (2⅞in)

Wiener Silber Manufactur and J. & L. Lobmeyr, Austria

_www.wienersilbermanufactur.com_

_www.lobmeyr.at_

**Vase, Butterfly**

Bořek Šípek

Glas crystal

H: 42cm (16½in)

Diam: 26cm (10¼in)

Šípek Team, Czech Republic

_www.boreksipek.cz_

**Drinking glass, Ice**

Ichiro Iwasaki

Glass

H (short): 6.6cm (2⅝in)

H (tall): 11cm (4⅜in)

Diam (short): 8.3cm (3¼in)

Diam (tall): 7.6cm (3in)

Sfera srl, Italy

_www.ricordi-sfera.com_

**Decanter, United Crystal Woods**

Marcel Wanders

Blown crystal

H: 29.5cm (11¾in)

Baccarat, France

_www.baccarat.com_

**Bordeaux wine glass, United Crystal Woods**

Marcel Wanders

Blown crystal

H: 22.9cm (9in)

Baccarat, France

_www.baccarat.com_

**Vase and votive holder, United Crystal Woods**

Marcel Wanders

Cut and engraved crystal

H: 25.5cm (10¼in)

W: 6.8cm (2⅝in)

L: 30.8cm (12¼in)

Baccarat, France

_www.baccarat.com_

**Vase, United Crystal Woods**

Marcel Wanders

Blown and cut crystal, solid brass

H: 55cm (21in)

Diam: 19.5cm (7⅝in)

Baccarat, France

_www.baccarat.com_

**Candlestick, United Crystal Woods**

Marcel Wanders

Cut crystal

H: 12.6cm (4⅞in)

W: 6.8cm (2⅝in)

L: 12.8cm (5⅛in)

Baccarat, France

_www.baccarat.com_

**Plate, Christmas Edition 2010**

Maria Volokhova

Porcelain, inglaze decals, overglaze decals

H: 2cm (¾in)

W: 19cm (7½in)

L: 27.5cm (11in)

Maria Volokhova, Germany

_www.volokhova.com_

**Vase, Pebble**

Kate Hume

Mouth-blown glass

H: 19cm (7½in)

W: 20cm (7⅞in)

L: 26cm (10¼in)

When Objects Work, Belgium

_www.whenobjectswork.com_

**Bowl, Reversed Volumes**

mischer'traxler studio

Ceramic plaster

H: 3–7cm (1⅛–2¾in)

Diam: 10–21cm (3⅞–8¼in)

mischer'traxler studio, Austria

_www.mischertraxler.com_

_www.foodmarketo.com_

**Centrepiece, Silver Ray**

Karim Rashid

Silver

H: 4.8cm (1⅞in)

Diam: 51cm (20in)

Christofle, France

_www.christofle.com_

**Tea caddy, Chazutsu**

Kaikado

Copper, brass, tin

Left to right:

H (brass double-decker): 13.6cm (5⅜in)

Diam (brass double-decker): 7.8cm (3⅛in)

H (copper double-decker): 9.5cm (3¾in)

Diam (copper double-decker): 6.5cm (2⅝in)

H (tin double-decker): 13.6cm (5⅜in)

Diam (tin double-decker): 7.8cm (3⅛in)

H (brass stackable): 5.5cm (2¼in)

Diam (brass stackable): 7.8cm (3⅛in)

H (copper stackable): 5.5cm (2¼in)

Diam (copper stackable): 7.8cm (3⅛in)

H (tin stackable): 5.5cm (2¼in)

Diam (tin stackable): 7.8cm (3⅛in)

Kaikado, Japan

_www.kaikado.jp_

**Bowl, Timeline**

Luca Nichetto

Polished brass

H: 4.8cm (1⅞in)

Diam: 8.5cm (3⅜in)

Skultuna 1607, Sweden

_www.skultuna.com_

**Vase, Bloom**

Meirav Barzilay

Coated tin

H: 27cm (10⅝in)

Diam: 17cm (6¾in)

Meirav Barzilay design studio, Israel

_www.meiravbarzilay.com_

**Carafes, Fortune**

Mark Braun

Glass

H: 23cm (9in)

Diam: 10cm (3⅞in)

J. & L. Lobmeyr, Austria

_www.lobmeyr.at_

**Drinking glasses, Trinkservice No 282**

Ted Muehling

Lead-free crystal, hand cut and hand polished

H: 15.3, 9.8, 10.3 and 16.3cm (6⅛, 3⅞, 4⅛ and 6½in)

Diam: 8.2, 7.5, 8.5 and 5.2cm (3¼, 3, 3⅜ and 2in)

Lobmeyr, Austria

_www.lobmeyr.at_

**Glass collection, Base Collection**

Olgoj Chorchoj

Glass

Various dimensions

Bohemia Machine Glass, Czech Republic

_www.bomma.cz_

**Glass collection, Collection 2011**

Frantisek Vizner

Glass

Various dimensions

Bohemia Machine Glass, Czech Republic

_www.bomma.cz_

**Series of crystal tumblers, Quarz**

Max Lamb

Lead-free crystal, hand cut and hand polished

H (small): 5.5cm (2¼in)

H (medium): 8.7cm (3½in)

H (large): 14cm (5½in) Diam: 6cm (2⅜in)

Lobmeyr, Austria

_www.lobmeyr.at_

**Wine glass, Orrefors by Karl Lagerfeld**

Karl Lagerfeld

Glass

H: 19.6cm (7⅝in)

Diam: 8.1cm (3⅛in)

Orrefors, Sweden

_www.orrefors.se_

**Platter, Oyster Platter**

Heather Gillespie

Blown glass cut and engraved using traditional techniques

H: 20cm (7⅞in)

W: 25cm (9⅞in)

L: 52cm (20in)

D: 18cm (7⅛in)

Gillespie Glass, UK

_www.gillespieglass.co.uk_

**Vessel, Large Oak Vessel**

Gareth Neal

Oak

H: 45cm (17¾in)

W: 20cm (7⅞in)

D: 20cm (7⅞in)

Gareth Neal Ltd, UK

_www.garethneal.co.uk_

**Carafe, Jug**

Aldo Bakker

Porcelain

H: 27cm (10⅝in)

W: 20cm (7⅞in)

D: 13cm (5⅛in)

Particles Gallery, The Netherlands

_www.particlesgallery.com_

**Vase, Coiled**

BCXSY + Lobolile Ximba (L) and Princess Ngonephi Ngcobo (M) from the Siyazama Project

Glass beads, textile, recycled PET bottle

H (large vase): 30cm (11¾in)

Diam (large vase): 24cm (9½in)

Editions in Craft, Sweden

_www.editionsincraft.com_

**Vase, Monoliti**

Andrea Branzi

Bronze

H: 23.5cm (9½in)

W: 17cm (6¾in)

L: 35cm (13¾in)

Galleria Clio Calvi Rudy

Volpi, Italy

_www.cliocalvirudyvolpi.it_

**Salt and pepper shakers, Par**

Nendo

Agglomerated cork, glass

H: 8.8cm (3½in)

Diam: 4.1cm (1⅝in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

**Candleholder, Woodwork Collection**

Aldo Cibic

Wood

Various dimensions

Paola C., Italy

_www.paolac.com_

**Bowl centrepiece, Furo**

Fernando Brízio

Agglomerated cork, pencils

H: 28.6cm (11⅜in)

Diam: 25.5cm (10¼in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

**Set of tabletop containers, Bakelite Borgo**

Julia Lohmann

Bakelite

H: 16.5cm (6½in)

L: 40cm (15¾in)

D: 25cm (9⅞in)

PlusDesign srl, Italy

_www.plusdesigngallery.com_

**Storage box, Butte Tuna**

Scholten & Baijings

European oak veneer with printed illustration, coloured veneer, beech bent wood, clear matt lacquer

H: 16cm (6¼in)

Diam: 22cm (8⅝in)

Established & Sons, UK

_www.establishedandsons.com_

**Collection of vases and glasses, Variations**

Patricia Urquiola

Crystal glass

Various dimensions

Baccarat, France

_www.baccarat.com_

**Vases, Vasi nei vasi**

Michele De Lucchi with Alberto Nason

Borosilicate glass

H: 73.5cm (29in)

Diam: 27cm (10⅝in)

Produzione Privata, Architetto

Michele De Lucchi srl, Italy

_www.produzioneprivata.it_

**Vase and bowls, Vessel**

Hanna Krüger

Mouth-blown glass

H (vase): 35cm (13¾in)

Diam (vase): 20cm (7⅞in)

H (bowls): 20cm (7⅞in)

Diam (blue bowl): 30cm (11¾in)

Diam (clear bowl): 25cm (9⅞in)

Rosenthal GmbH, Germany

_www.rosenthal.de_

**Carafe, Belly**

Aldo Cibic

Borosilicate

H: 26cm (10¼in)

Diam: 19cm (7½in)

Paola C. srl, Italy

_www.paolac.com_

**Carafe, Water**

Pieke Bergmans

Handblown glass

Unique pieces

Pieke Bergmans, The Netherlands

_www.piekebergmans.com_

**Bowl, Herb**

Ludovica and Roberto Palomba

Murano glass

Diam: 55cm (21in)

When Objects Work, Italy

_www.whenobjectswork.com_

**Carafe, Foxy**

Aldo Cibic

Borosilicate

H: 25cm (9⅞in)

Diam: 11cm (4⅜in)

Paola C. srl, Italy

_www.paolac.com_

**Vase, Airvase (Gradation and Cube)**

Torafu Architects

Cut and shaped paper

Various dimensions

Ligne Roset, France

_www.ligne-roset.com_

**Vase, Story Vase**

Front in collaboration with members of the Siyazama Project: Lobolile Ximba (blue), Kishwepi Sitole (red) and Beauty Ndlovu (black)

Traditional Czech glass beads, glass

H: 35cm (13¾in)

Diam: 23cm (9in)

Editions in Craft, South Africa/Sweden

_www.editionsincraft.com_

Designers are renowned for fusing seemingly diverse references, concepts and materials in order to realize individual and innovative projects. The advent of the designer/maker, or the designer working closely with the artisan, could be viewed as just another expression of this versatility, driven both by a need to express a personal identity and the possibility of bypassing mass production in response to a society tired of constant neutrality. However, the motivation to not only 'do good design but also do some good' is apparent in the many initiatives that aim to preserve traditional crafts and empower communities by encouraging collaboration with artists and designers, aspiring to produce something morally superior to the made-for-profit products with which we fill our homes.

In response to geopolitical change and environmental concern, there is a growing market for the designer product with a conscience, evidenced by the popularity of modest, nonprofit design schemes such as Balance (page 197), Coopa-Roca (page 269) and the FlipFlop Project (page 266), which seek to put tools in place for people in societies struggling for survival. Network organizations such as Stockholm-based Editions in Craft (EiC) merge traditional techniques and modern practice, employing local labour while developing marketing strategies that establish contacts between small-scale producers and market-related distributors. These organizations exist not to 'modernize' craft into marketable products customized for a Western market but to establish cross-cultural models of viable design by joining forces and exchanging expertise, ideas and techniques.

The Story Vases collection is a collaboration between the South African Siyazama Project and Swedish design studio Front. The Siyazama Project was founded in 1999 to educate a group of traditional doll makers on the concerns and taboos surrounding the HIV/AIDs epidemic, while also promoting better understanding of beadwork as visual metaphoric expression and of design as a means to spread information. Today it consists of a collective of native Zulu women who sell their wares to the tourist market as their only source of income. Front, which is known for its conceptual approach to design, material and narrative, was introduced to five members of the project by EiC.

Working with beads is an important part of Zulu tradition and historically has been used to tell stories. In the past, patterns and colours that symbolized feelings and ideas were woven for lovers and friends. The Story Vases record conversations about the pasts, hopes and dreams of the Zulu women, who spelled out portions of their lives in beads that were then threaded on wire and wrapped around a wooden mould. When the beads were set, the mould was removed and the void filled by a skilled glass blower. Because the finished pieces are transparent, the glass acts as a lens, distorting, magnifying and adding emphasis to every letter. Each vase is unique and significant, but together they document the daily existence of women in rural, post-apartheid South Africa. The beauty of the project lies in the fact that, although the collection was organized to advance a social good, the end result demonstrates that nonprofit design need not always be 'rough around the edges', but can be compelling, contemporary and beautiful in its own right.

**Fruit bowl, Dende Fruit Bowl**

Humberto and Fernando Campana

Flexible resin, piacava

H: 20cm (7⅞in)

Diam: 40cm (15¾in)

Corsi Design Factory, Italy

_www.corsidesignfactory.it_

**Vase, Clear Special Vase**

Gaetano Pesce

Flexible resin

H: 37cm (14⅝in)

Diam: 28cm (11in)

Fish Design, Italy

_www.corsidesignfactory.it_

**Vase, Industrial Intervention – Crystal Glass**

Folkform

Hand- and machine-cut crystal glass

H: 35–40cm (13¾–15¾in) W: 18cm (7⅛in)

D: 18cm (7⅛in)

Folkform, Sweden

_www.folkform.se_

**Vases, Matelasse'**

Patricia Urquiola

Transparent or batch-dyed polycarbonate

H: 24 or 40cm (9½ or 15¾in)

D: 30cm (11¾in)

Kartell SpA, Italy

_www.kartell.it_

**Vases and bowls, Thom series**

Sebastian Menschhorn

Lead-free crystal

H: 21.5, 29.5 and 9.5cm (8⅝, 11¾ and 3¾in)

Diam: 16.3, 11.5 and 26.5cm (6½, 4½ and 10⅝in)

Lobmeyr, Austria

_www.lobmeyr.at_

**Bowl, Fruit Bowl**

Shigeru Ban

Epoxy

Diam: 45cm (17¾in)

When Objects Work, Belgium

_www.whenobjectswork.com_

**Teaspoon, Forest Spoon**

Nendo

Stainless steel

W: 3.7cm (1½in)

L: 18cm (7⅛in)

Kobayashi industry, Japan

_www.luckywood.jp_

**Storage containers, Potto**

Established & Sons

Japanese Tokoname ceramic, rubber, wood

H (sugar bowl): 8.5cm (3⅜in)

Diam (sugar bowl): 10.5cm (4⅛in)

H (small pot): 10cm (3⅞in)

Diam (small pot): 12.5cm (4⅞in)

H (large pot): 12cm (4¾in)

Diam (large pot): 14.5cm (5¾in)

Established & Sons, UK

_www.establishedandsons.com_

**Plate and bowls, Blossom**

Bodo Sperlein

Bone China

W (deep plate): 22cm (8⅝in)

W (desert/soup bowl): 16cm (6¼in)

W (white bowl): 11cm (4⅜in)

Nikko, Japan

_www.nikko-bodosperlein.com_

**Citrus basket, Hellraiser**

Karim Rashid

Steel coloured with epoxy resin

H: 19.2cm (7½in)

W: 23.8cm (9½in)

L: 25cm (9⅞in)

Alessi SpA, Italy

_www.alessi.com_

**Vase cover, La Stanza dell Scirocco**

Mario Trimarchi

Stainless steel, epoxy resin

H: 35.5cm (14⅛in)

W: 19cm (7½in)

D: 17.8cm (7⅛in)

Alessi SpA, Italy

_www.alessi.com_

Sarah K and Liane Rossler of Sydney-based design collective Supercyclers launched a series of products in an exhibition entitled 'The Other Hemisphere' during the 2011 Salone Internazionale del Mobile, Milan, to showcase how ordinary waste can be upcycled into objects of beauty. Supercyclers' philosophy is that recycling is a universal concern that can be approached creatively by everyone. By explaining the processes behind the products they make, they aim to inspire others to attempt their own versions. The Plastic Fantastic range of delicate, translucent bowls, cups and vases was made by gently heating cut-up plastic bags over objects that had the form K and Rossler wished to emulate. All that was necessary for this process was a heat gun and protective clothing to guard against the heat source and the low-grade toxic fumes.

**Vessels, bowls and cups, Plastic Fantastic Ware**

Supercyclers

Used plastic bags

H: 8–10cm (3⅛–3⅞in)

Diam: 6–12cm (2⅜–4¾in)

Plastic Fantastic, Australia

_www.supercyclers.com_

**Bottles and vases, Lunare, Singolare, Solitario and Notturno**

Rosaria Rattin

Clay, hand-painted with natural colours

Left to right:

H (Lunare): 89cm (35in)

W (Lunare): 32cm (12⅝in)

H (Singolare): 36cm (14⅛in)

W (Singolare): 45cm (17¾in)

H (Solitario): 85cm (33in)

W (Solitario): 18cm (7⅛in)

H (Notturno): 78cm (30in)

W (Notturno): 30cm (11¾in)

Kose srl, Italy

_www.kosemilano.com_

**Collection of vases and bowls, Tribe**

Arik Levy

Ceramic

H (tallest vase): 58cm (22in)

Diam (tallest vase): 19cm (7½in)

Bitossi Ceramiche, Italy

_www.bitossiceramiche.it_

**Vase, Weight**

ECAL/Decha Archjananun

Concrete, steel

H: 23cm (9in)

W: 10cm (3⅞in)

L: 13cm (5⅛in)

Specimen Editions, France

_www.specimen-editions.fr_

**Plates and bowls, Fundamentals of Makkum**

Atelier NL

Earthenware

H (large bowl): 9cm (3½in)

Diam (large bowl): 22cm (8⅝in)

Koninklijke Tichelaar Makkum, The Netherlands

_www.tichelaar.nl_

**Centrepiece, Maru**

Shigeru Ban

Cardboard

Diam (each piece): 37cm (14⅝in)

When Objects Work, Belgium

_www.whenobjectswork.com_

**Vase, Wood Vase**

Paul Loebach

Maple wood

H: 25.4cm (10in)

W: 15.2cm (6in)

D: 15.2cm (6in)

Paul Loebach, USA

_www.paulloebach.com_

**Cup, Zen Cup**

Pu Tai

Porcelain, silicone

H: 18cm (7⅛in)

Diam: 7.6cm (3in)

Think If Design Co., Ltd, Taiwan

_www.think-if.com_

**Teapot, Teapot with Wooden Saucer**

Front

Ceramic

H: 19cm (7½in)

Diam: 15.2cm (5⅞in)

Höganäs Keramik, Sweden

_www.hoganaskeramik.se_

**Vase, The Devar**

Hendzel & Hunt

Reclaimed pallet board

H: 33cm (13in)

W: 21cm (8¼in)

Hendzel + Hunt, UK

_www.hendzelandhunt.com_

**Bowl, ZZ66A – 546**

Ettore Sottsass

Ceramic

H: 20cm (7⅞in)

Diam: 25cm (9⅞in)

Bitossi Ceramiche, Italy

_www.bitossiceramiche.it_

**Table mat, Slice of Briccole Slice of Venezia**

Philippe Starck

Reused briccola oak wood

H: 2.5cm (1in)

L: 24cm (9½in)

D: 24cm (9½in)

Riva Industria Mobili, Italy

_www.riva1920.it_

**Vase, Plastic Ceramic Vase**

Pili Wu

Eggshell porcelain

H: 32cm (12⅝in)

Diam: 28cm (11in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Vase, IKEA plus 365+**

Pili Wu

Glass

H: 23cm (9in)

Diam: 9cm (3½in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Cup, Moon Rabbit**

Hsiao-ying Lin

Black clay

H: 8.5cm (3⅜in)

W: 13.5cm (5⅜in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Bowls, Lace Bowls**

Ching-ting Hsu Porcelain

H: 15cm (5⅞in)

Diam: 15cm (5⅞in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Cup, World Cup (Croaking Frog)**

Idee Liu

Bamboo

H: 24cm (9½in)

Diam: 9cm (3½in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

In Taiwanese, _Yii_ means 'change and transformation'. The word is made up of three characters, the first representing the central idea in Eastern philosophy: the rotation of the sun and the moon, yin and yang – the alternating and fixed laws of nature. The second depicts exquisite craft, while the third stands for ideas and creativity. It is apt, therefore, that Gijs Bakker, jewellery designer and co-founder of the Dutch collective Droog Design, chose Yii as the name for the brand he created in 2009 in collaboration with the National Taiwan Craft Research Institute (NTCRI) and the Taiwan Design Center (TDC). Since the first collection was exhibited at the Milan Triennale during the 2010 Salone Internazionale del Mobile, Bakker's vision of merging traditional craft with contemporary design in surprising ways has been received with enthusiasm by the international design media. It was a well-timed launch, coinciding with the design world's rediscovery of the value of the artisan's hand as well as the importance of the authentic and local to consumers, who are beginning to reject homogenous, global design and are increasingly demanding individuality, emotion and sensuality in the products they buy.

Bakker was first introduced to the NTCRI in 2006 when he was invited to develop a line of products for the gift shop of the National Palace Museum in Taipei with some young Taiwanese designers. His idea was to steer clear of tacky souvenirs and research ways of translating historical artefacts into contemporary objects that demonstrated traditional methods such as lacquering, carving and engraving but were also useful and had relevance in the modern world. Such was his success that three years later his expertise was sought to develop the Yii label as a means of stimulating Taiwan's foundering craft tradition. He was given the portfolios of thirty professional designers by the TDC, from which he selected fifteen. The NTCRI then chose twenty craftsmen from their enormous database, each skilled in a particular process and in working with different materials. The designers were free to choose the craft they wanted to use.

Initially, the collaboration between the professionals, the designers and Bakker was not easy. Hierarchy is extremely important in the East, and there is less of an emphasis in schools on 'thinking outside the box' – this runs contrary to Bakker's attitude towards design, which he conceives as a mentality based on individual vision in all aspects of life. Added to which, modern design colleges in Taiwan offer students an education based on an international language, with a focus on Europe and North America. The youngsters with whom he was working knew almost nothing about their native craft culture, and their design language lacked a personal identity. The coaching period, consisting of workshops and long and exhaustive Skype meetings, was intense. 'It was a continuing discussion: What are you making? What does it bring/add? What is its meaning in a global context? All those questions are always put in relation to their own identity. I discovered that the awareness of their own identity wasn't very strong and had to be encouraged,' says Bakker. 'In the final results the answers to these questions come to life.'

Bakker maintains that any similarity between Yii and Droog Design products is unintentional, but the influence of Dutch Conceptualism, subversion and in some cases even dry Dutch humour can be detected. Although the aesthetics and techniques used by Yii designers are Asian, it is in the narratives behind each of the works that this Dutch influence becomes apparent. Idee Liu's World Cups, for instance, are personal interpretations of the iconic Starbuck's logo (opposite page, bottom), while the bamboo seat of Rock Wang's Cocoon Plan sofa (page 94) will eventually disappear under silk, spun around it by silk worms. Wang's Brick Plan vase (below) nods to the Dutch, who introduced bricks to Taiwan in the seventeenth century.

Yii's first collection used only Taiwanese designers, as Bakker wanted to distance his project from what he refers to as the almost colonial way that Western designers travel to Asia to have their ideas realized by its cheap labour. However, his second outing, showcased again at the Milan Triennale and entitled 'Street Life', celebrates the fact that the brand is now strong enough to bring international designers into the fold. Along with a raft of native designers, Fernando and Humberto Campana (see page 65) and Nendo (see page 64), among others, were asked to express the culture of Taiwan through its everyday life. Recognizable elements of daily street rituals were interpreted as design objects and refined with skilled craft techniques. On the occasion of the 2011 exhibition, Bakker stated: 'The first collection was more closely linked to craftsmanship and consisted mostly, perhaps, in pieces of art, but this year it is design-led. The designers felt freer and arrived with their own ideas.'

Yii is now closed. They have moved some of their pieces to their follow-up platform, the HAN Gallery in Taipei, for production. Run by the original team behind the Yii project and still under the creative direction of Bakker, the HAN Gallery will focus on both production pieces and exclusive artworks, giving 'Made in Taiwan' a new, authentic and deep meaning. For further examples from both collections, see Yu-jui Chou's Bubble sofa (page 86) and Bambool and Apple stools (pages 57 and 73), Tong Ho's Lantern lamp (page 268), and Chen-hsu Liu's Bentboo stool (page 56).

**Vase, Brick Plan**

Rock Wang

Bricks, concrete

H (tall): 45cm (17¾in)

Diam (tall): 16cm (6¼in)

H (short): 35cm (13¾in)

Diam (short): 20cm (7⅞in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Flatware, Paris**

Tamar Ben David

Stainless steel

H (dining fork): 1.8cm (¾in)

W (dining fork): 2.4cm (1in)

L (dining fork): 19.5cm (7⅝in)

Serafino Zani, Italy

_www.serafinozani.it_

**Cutlery, Zlin**

Future Systems

Thermoplastic resin

L: 17cm (6¾in)

Alessi SpA, Italy

_www.alessi.com_

**Cutlery set, Dressed**

Marcel Wanders

18/10 stainless steel

L (knife): 21cm (8¼in)

Alessi SpA, Italy

_www.alessi.com_

**Cutlery re-edition, Cutlery No 135 (designed in 1902)**

Josef Hoffmann

Silver 940/1000

L (spoon): 20.3cm (7⅞in)

L (fork): 21.4cm (8¼in)

L (knife): 23.2cm (9in)

L (pastry fork): 17.8cm (7⅛in)

L (teaspoon): 16.5cm (6½in)

Wiener Silber Manufactur, Austria

_www.wienersilbermanufactur.com_

**Cutlery collection, Zermatt**

Patrick Jouin iD

Steel

L (knife): 23cm (9in)

W (knife): 2cm (¾in)

Puiforcat, France

_www.puiforcat.com_

**Coffee spoons, Il Caffe Spoons**

Left to right: Mirriam Mirri, David Chipperfield, Wiel Arets, Sanaa, Tom Kovak

18/10 stainless steel

Various dimensions

Alessi SpA, Italy

_www.alessi.com_

**Cutlery Collection**

Skitsch Studio

Stainless steel, special colour treatment

L (spoon and fork): 21cm (8¼in)

L (knife): 24cm (9½in)

L (teaspoon): 14.5cm (5¾in)

Skitsch, Italy

_www.skitsch.it_

**Cutlery, Dorotea**

Monica Förster

Stainless steel

L (table fork): 20.4cm (7⅞in)

L (table spoon): 19.8cm (7⅞in)

L (table knife): 21.9cm (8⅝in)

L (coffee spoon): 15cm (5⅞in)

Gense, Sweden

_www.gense.eu_

**Luca Nichetto**

Research and development is something you take very seriously. What do you consider the most exciting research trends at the moment?

There are no trends in research, only needs. The most important one now is the functionality of objects both before and after their use: correct production, shipment and what happens to them once they are no longer required – as well as the need for enjoyment, of course.

You have offices in Venice and Stockholm. How would you describe the differences between Scandinavian and Italian manufacturers?

Probably Italian manufacturers are more enthusiastic and love challenges more than Swedish ones. The Swedish system is much more organized than the Italian. My private life has led me to have a stronger understanding of Scandinavia, especially Sweden, where there is a long tradition of design. A company's size and the supply network are similar to Italy, but there is a different and more developed sense of service. The emotional and instinctive element of a product is less present in Scandinavian design to allow for a greater attention to function and the quality of an object. My goal at the moment is to understand whether the truth could lie somewhere in the middle.

Your grandfather was a master glassblower on the Venetian island of Murano. Does this have an effect on how you view the relationship between craft and design?

Yes, of course. I like to learn from craftsmen and I like to put craft knowledge in my research for industrial production. This way of working is thanks to my grandfather's teaching. In the manufacture of glass you have only a second to determine whether it's worked and the object is good, otherwise it can turn out quite differently. This means that the relationship between the designer and the glass master must be really tight-knit. This is a great way to interact and a good paradigm to take into other disciplines and contexts.

You maintain you have found the perfect balance in your work, producing three types of products every year: one commercial, one for self-advertisement and one for your own personal pleasure. Do you approach each category in the same way?

The approach is basically the same, but the results are different. For the first type of product, I try to put more emphasis on the client's needs. For the second, the research for materials and production technologies is more important. Also, smaller companies may not have large distribution networks, but they can give you a strong visibility. As for the third, it's down to instinct. If I like the client and the idea being proposed, it offers the opportunity to experiment without the restrictions that apply to the first two categories.

How would you describe the evolution of your work?

I think it's quite simple: when you do something, you learn something. Evolution for me is when I use what I've learned and one project develops from another. The last one will teach me something new, and this is without end until I stop working.

How would you describe the way you work, the process you follow in designing and developing a product?

There's no unique way to create a product. There are, however, some basic steps that I always use when I receive a brief: research into that specific typology of product, making sketches and scale models, then creating a 3D computer model to check proportions and functionality. This stage is like a game of ping-pong and defines the process of making an object. I love to go to my clients with solutions rather than questions. But every project is different and sometimes these steps change.

You have often voiced the need for a more critical approach in the design media. Why do you consider this important?

It's quite simple. Not everything is good and it's important that the design media is honest about this. In magazines or blogs, or whatever, I only ever read positive comments about objects. No one says, 'In my opinion this product is not good.' Brands and designers are not gods: they can even fail... The responsibility of the media is important, and criticism, if it's honest, is constructive for everyone!

You have been quoted as saying that 'designers need to create a total concept, with a social context'. What exactly do you mean by this?

I think that designers should care about areas of everyday life that are not normally considered designed. For example, in 2011 I worked for a company that produces high-quality prosciutto. I created its brand identity and a collection of utensils (below). I was asked to design a knife and an apron, but instead I dreamed up a whole new vision for them. Prosciutto is not thought of as designed, but it can become part of the designed world and in the process be made more contemporary.

You have said that the Robo chair for Offecct (page 69) is not just a product but an educational tool, and you have used it as an example to teach your Italian clients about sustainable design. Could you elaborate on this?

The Robo project considers not only the final user. It's a total concept that takes care of the correct production methods and using good materials in a good way, as well as considering the cost of transport, both ecologically and financially speaking. The chair is shipped in a small box; this means less stock and haulage costs, and also less pollution. It takes into account use. Robo is a very strong chair and whoever buys it knows that it will last for a long time. Finally, this project bears in mind the chair's afterlife. Robo can be almost totally disassembled for disposal and recycling. In Italy there is no consciousness of where a product will end up after it's obsolete. QUALITY=TIME=LESS GARBAGE.

What do you consider to be the catalysts for design's development today?

We have different kinds of urgency in this particular moment. The most important are the threat to the environment and the current economic crisis. I think design should try to find answers to both of these problems by creating objects that are durable and sustainable. It's not easy, but we should start from this point.

Range of utensils designed for Prosciutteria King (2011)

**Vase, Metropolitan**

Harry Allen

Optical glass

H: 26cm (10¼in)

W: 7.5cm (3in)

L: 12.5cm (4⅞in)

Gaia & Gino, Turkey

_www.gaiagino.com_

**Centrepiece, Matrix**

Constantin Boym

Optical glass

H: 5.2cm (2in)

W: 25cm (9⅞in)

L: 25cm (9⅞in)

Gaia & Gino, Turkey

_www.gaiagino.com_

**Double-wall bowl, Nice**

Terence Conran

18/10 stainless steel

H: 9.5cm (3¾in)

Diam: 20cm (7⅞in)

Alessi SpA, Italy

_www.alessi.com_

**Carafe and bowl, Alfredo**

Alfredo Häberli

Carafe: Glass

Bowl: Stainless steel

H (carafe): 32cm (12⅝in)

W (carafe): 9.5cm (3¾in)

H (bowl): 8.7cm (3⅜in)

Diam (bowl): 28cm (11in)

Georg Jensen A/S, Denmark

_www.georgjensen.com_

**Vases, RGB Vases (P242)**

Oscar Diaz

Glass

H: 52.6cm (20in)

Diam: 32.5cm (13in)

Oscar Diaz, UK

_www.oscar-diaz.net_

**Vase, Lanterne Marine London**

BarberOsgerby

Glass, metal

H: 60cm (23in)

Diam: 34cm (13⅜in)

Venini SpA, Italy

_www.venini.com_

**Oil bottle, Kink Bottle**

Deb Jones/Jam Factory

Glass, steel

H: 33cm (13in)

Diam (base): 9cm (3½in)

Matilda Ltd, UK

_www.matilda-design.com_

Venini, the largest and most successful glass furnace in Venice, celebrated its ninetieth anniversary at the 2011 Salone Internazionale del Mobile in Milan with an exhibition at the Palazzo Bagetti Valsecchi that demonstrated why the brand has become synonymous with Italian glass design for nearly a century. Against the rich setting of Renaissance paintings, ceramics, armour, sculptures and woodwork, the latest collection of pop lamps and objets d'art by the likes of Studio Job (see page 241), Fernando and Humberto Campana (see page 237), Emmanuel Babled (opposite), Edward van Vliet (see page 244) and Luca Nichetto (see page 244) shone like jewels alongside work by Alessandro Mendini, Ettore Sottsass and Vittorio Zecchin from the company's historic archive.

Paolo Venini established his eponymous firm on the small island of Murano in the Venetian lagoon in 1921. A large glass industry had existed there for centuries, but the sculptural pieces and banal objects that were being produced had become commercial and predictable. Venini was a lawyer by profession but had been born into a family of glassmakers. Having invested in an established factory with antique glass dealer Giacomo Cappellin, his visionary creative direction was liberated a couple of years later when the partnership dissolved. His idea was to adopt the French fashion houses' policy of working with avant-garde painters, architects and artists. Many of those he invited to collaborate with Venini were unschooled in the art of glass, and he encouraged them to experiment with new design concepts and techniques, whilst also ensuring that they took inspiration from the expertise of the island's artisans. In so doing, he revolutionized the way glass was created, marketed and sold. In the years that followed, each decade became associated with a different world-famous name, from architect Carlo Scarpa in the 1930s and illustrator and caricaturist Fulvio Bianconi in the 1940s to Postmodernist Alessandro Mendini in the 1980s and, in the twenty-first century, the idiosyncratic work of the Campanas and the exquisite pieces of glass artist Emmanuel Babled. Today Venini is headed by entrepreneur Giancarlo Chimento, along with Gabriella Berti and Giuliano and Guglielmo Tabacchi, all of Italian Luxury Industries, who have extended the tradition by working not only with individual designers but also with another producer.

In 2010, the British brand Established & Sons united existing designers from its stable, including Ronan and Erwan Bouroullec (see page 252), with newcomers Konstantin Grcic (see page 12) and Michael Eden (below left) in a collaboration that combined a focus on producing innovative contemporary design with the mastery of Venini's glass manufacturing. The result, rather than being a collection of design-art pieces, was a series of functional, everyday objects that showcased Venini's vast colour palettes and world-famous techniques alongside Established & Sons' eye for modern yet sophisticated designs and elegant forms.

Michael Eden took his inspiration for the Audrey vase from Renato Giuseppe Bertelli's ultramodern 1933 reinterpretation of the portrait bust, _Continuous Profile – Head of Mussolini_. Each example is individually handblown, using both freeblowing and mould-blowing techniques – in the former, the shape is controlled by the skill of the blower, while the latter is used when more complex shapes are required. The contrast between the inside and outside forms allowed Eden to juxtapose strong and subtle colours as well as plain glass and cane or filigree decoration. These choices resulted in subtle movement and illusion – the image of the head appears to float in the space between the glass elements.

**Vase, Audrey**

Michael Eden

Handblown Venini glass, marble

H: 36.5cm (14⅛in)

Diam: 37cm (14⅝in)

Established & Sons, UK

Venini SpA, Italy

_www.establishedandsons.com_

**Vase, Murana**

Fabio Novembre

Handblown Murano glass

H: 38cm (15in)

Diam: 22cm (8⅝in)

Venini, Italy

_www.venini.it_

**Vase, Seaform**

Emmanuel Babled

Handblown Murano glass

H: 41.5cm (16½in)

W: 18cm (7⅛in)

Studio Babled, The Netherlands

_www.babled.net_

**Vase, Simbiosi**

Emmanuel Babled

Handblown Murano glass, black Belgian marble

H: 52cm (20in)

W: 41cm (16⅛in)

Venini, Italy

_www.venini.it_

**Vase, Simbiosi**

Emmanuel Babled

Handblown Murano glass, Carrara marble

H: 57.5cm (22in)

L: 42.5cm (16⅞in)

D: 39.5cm (15¾in)

Venini SpA, Italy

_www.venini.com_

**Vase, Osmosi**

Emmanuel Babled

Handblown Murano glass, Carrara marble

H: 55cm (21in)

W: 28cm (11in)

D: 28cm (11in)

Studio Babled, The Netherlands

_www.babled.net_
**6.**

**TEXTILES AND SURFACES**

**Rug, Dahlia**

Claydies

100% wool

Diam: 100, 130 and 200cm (39, 51 and 78in)

Normann Copenhagen, Denmark

_www.normann-copenhagen.com_

**Hand-knotted rug, Breeze**

Emmanuel Babled

Wool

W: 190 or 200cm (74 or 78in)

L: 240 or 300cm (94 or 118in)

I+I, Italy

_www.i-and-i.it_

**Hand-knotted carpet, Shell**

Paolo Giordano

Wool, viscose

W: 170 or 200cm (66 or 78in)

L: 240 or 300cm (94 or 118in)

I+I, Italy

_www.i-and-i.it_

**Carpet, Leaf**

Setsu and Shinobu Ito

Wool, viscose

W: 170cm (66in)

L: 240cm (94in)

I+I, Italy

_www.i-and-i.it_

**Handwoven carpet, Wavelength**

Paolo Giordano and Sangeeta Sen Davis

Cotton

W: 170 or 200cm (66 or 78in)

L: 240 or 300cm (94 or 118in)

I+I, Italy

_www.i-and-i.it_

**Hand-knotted carpet, City Grid**

Emmanuel Babled

Wool, viscose

W: 170 or 200cm (66 or 78in)

L: 240 or 300cm (94 or 118in)

I+I, Italy

_www.i-and-i.it_

**Carpet, Nani**

Atelier Blink

80% wool, 20% polyamide

W: 150cm (59in)

L: 200cm (78in)

Atelier Blink, Belgium

_www.atelierblink.com_

**Rug, Capitone**

Jaime Hayon

Hand-knotted and hand-carved wool

W: 183cm (72in)

L: 274cm (108in)

The Rug Company, UK

_www.therugcompany.info_

**Hand-knotted carpet, Reflection**

Paolo Giordano

Wool, viscose

W: 170 or 200cm (66 or 78in)

L: 240 or 300cm (94 or 118in)

I+I, Italy

_www.i-and-i.it_

**Carpet, Lion**

Aldo Bakker with Duijf Brecht

Wool, canvas, bamboo silk

W: 200cm (78in)

L: 350cm (138in)

Nodus, Italy

_www.nodusrug.it_

**Hand-knotted carpet, Respun Silk**

I+I

Recycled silk

Made to order, widths up to 400cm (157in)

I+I, Italy

_www.i-and-i.it_

**Hand-knotted runner, Playing with Tradition**

Richard Hutten

Wool, viscose

W: 80cm (31in)

L: 220cm (86in)

I+I, Italy

_www.i-and-i.it_

**Persian rug using ancient kilim technique, Losanges**

Ronan and Erwan Bouroullec

100% hand-spun Afghan wool

W: 290, 230 or 165cm (114, 90 or 65in)

L: 410, 300 or 245cm (161, 118 or 96in)

Nanimarquina, Spain

_www.nanimarquina.com_

**Pouffes, Frank, Ernest and Henry**

Donna Wilson

Knitted wool

Diam (Frank): 80cm (31in)

Diam (Ernest): 60cm (23in)

Diam (Henry): 40cm (15¾in)

SCP, UK

_www.scp.co.uk_

**Hand-knotted rug, Textured Daisy**

Tania Johnson

Tibetan wool and Chinese silk, hand-knotted in Nepal

Made to order, bespoke sizes

Tania Johnson Design, UK and USA

_www.taniajohnsondesign.com_

**Carpet, Colour**

Scholten & Baijings

100% New Zealand wool

W: 170cm (66in)

L: 240cm (94in)

Hay, Denmark

_www.hay.dk_

**Pouffes and rugs, Mangas**

Patricia Urquiola

100% virgin wool

H (large pouffe): 43cm (16⅞in)

W (large pouffe): 80cm (31in)

L (large pouffe): 136cm (54in)

Gandia Blasco SA, Spain

_www.gan-rugs.com_

**Self-adhesive wall tiles, Flock**

Monika Piatkowski

100% wool felt

H: 26cm (10¼in)

W: 19cm (7½in)

D: 0.3cm (⅛in)

Hive, UK

_www.hivespace.com_

**Metal rug/tapestry, Yachiyo**

Philippe Malouin

Galvanized steel, nickel

H: 1cm (⅜in)

W: 150cm (59in)

Philippe Malouin Studio, UK

_www.philippemalouin.com_

**Hand-knotted rug, Blur**

Tania Johnson

Tibetan wool and Chinese silk, hand-knotted in Nepal

Made to order, bespoke sizes

Tania Johnson Design, UK and USA

_www.taniajohnsondesign.com_

**Rug, Tube**

Tom Dixon

Hand-knotted Tibetan wool

W: 183cm (72in)

L: 274cm (108in)

The Rug Company, UK

_www.therugcompany.info_

**Rug, Step**

Tom Dixon

Hand-knotted Tibetan wool

W: 183cm (72in)

L: 274cm (108in)

The Rug Company, UK

_www.therugcompany.info_

**Rug, Do-Lo-Rez**

Ron Arad

100% wool

W: 184cm (72in)

L: 276cm (109in)

Nanimarquina, Spain

_www.nanimarquina.com_

**Carpet, Baroccabilly**

Nigel Coates

Wool

W: 160cm (63in)

L: 260cm (102in)

Nigel Coates Ltd, UK

_www.nigelcoates.com_

**Textile (upholstery), Elements**

Studio Tord Boontje Wool

W: 140cm (55in)

Kvadrat, Denmark

_www.kvadrat.dk_

**Hand-tufted carpet, Rose Lace Carpet**

Kiki van Eijk

100% New Zealand wool

W: 170cm (66in)

L: 240cm (94in)

Skitsch, Italy

_www.skitsch.it_

**Wallpaper, Portraits**

Giovanni Pagani

Vinyl wallpaper

H: 300cm (118in)

W: 47cm (18½in)

Wall&Decò, Italy

_www.wallanddeco.com_

**Wallpaper, Skulls**

Giovanni Pagani

Vinyl wallpaper

H: 300cm (118in)

W: 47cm (18½in)

Wall&Decò, Italy

_www.wallanddeco.com_

**Laminates, Fishbone and Paesemio (Parade Collection)**

Giulio Iacchetti

Plastic laminates with digital printing

Abet Laminati, Italy

_www.abet-laminati.it_

**Rug, Ros(a)e**

Paola Lenti and m-ar

New Zealand wool

Made to order

Paola Lenti srl, Italy

_www.paolalenti.com_

**Carpet, CELL+LED**

Erik Mantel and Yvonne Laurysen

100% pure new wool felt

7.2W Power LED

H: 0.8cm (⅜in)

Lama Concept, The Netherlands

_www.lamaconcept.nl_

**Carpet, Panton Carpet Grande 1965**

Verner Panton

100% New Zealand wool

Diam: 220cm (86in)

Verpan, Denmark

_www.verpan.com_

**Rug, Round Diamond**

Emma Elizabeth

100% New Zealand wool, viscose

Diam: 250cm (98in)

Emma Elizabeth Designs, Australia

Designer Rugs, Australia

_www.emmaelizabethdesigns.com_

_www.designerrugs.com.au_

**Rug, Origin part II: Balance**

BCXSY

100% sheep wool

Various dimensions

Sidreh, Israel

_www.lakiya.org_

_www.bcxsy.com_

Balance is the second collection in the ongoing Origin project by Eindhoven-based design partnership BCXSY. Origin researches crafts from a wide variety of backgrounds and disciplines – the first series included Join, a trio of modern screens in hinoki cypress wood inspired by the ancient Japanese art of Tategu carpentry (page 305). Balance consists of seven rugs created in collaboration with Lakiya Negev Weaving, a collective of female artisans, and Sidreh, a nonprofit organization focusing on representing, empowering and improving the socioeconomic situation of Bedouin women living in Israel's Negev Desert. Each piece is woven on native ground looms from local wool that has been dyed by hand. Dutch-Israeli Boaz Cohen and Sayaka Yamamoto, a jewellery designer from Tokyo, are partners in life and founded their concept-led practice in 2007, and have since gained media attention for their thought-provoking explorations and translations of traditional techniques. Following a visit to the Negev, they reflected: 'Throughout our time in these villages, we were continually overwhelmed by the positive attitudes of the women we encountered. We became increasingly inspired by the choice they have made to focus on their optimistic progress, rather than their more obvious hardships. Balance is our response to this optimism, that in the midst of adversity and misfortune there is a lasting element of proportion and beauty.' Working within the confines of the Bedouin weaving practice, which allows only long, narrow strips of material to be produced, the designers have cut and repositioned the textiles into nontraditional and innovative silhouettes, suitable for use within a contemporary interior. In so doing, they have found a modern context for an ancient native craft.

**Outdoor carpet, Loop**

Michaela Schleypen

Polypropylene with latex backing

W: 200cm (78in)

L: 300cm (118in)

Dedon GmbH, Germany

_www.dedon.de_

**Rug, Patine Brown**

Brad Davis and Janis Provisor

100% silk, hand-knotted

L: 270 or 400cm (106 or 157in)

W: 220 or 300cm (87 or 118in)

Hermès (La Maison), France

_www.hermes.com_

**Rug, Perished Persian**

Studio Job

100% wool

W: 250cm (98in)

L: 350cm (138in)

Nodus, Italy

_www.nodusrug.it_

**Printed rug, Dag &Natt**

Petra Lundblad-Fridén

100% wool woven on a linen warp

L: 300 and 240cm (118 and 94in)

W: 195 and 160cm (76 and 63in)

Kasthall, Sweden

_www.kasthall.se_

**Furnishing fabric, SO'H**

Henri d'Origny

50% horsehair, 50% cotton

W: 70cm (27in)

Hermès (La Maison), France

_www.hermes.com_

**Rug, Volcano**

Klaus Haapaniemi and Mia Wallenius

100% pure New Zealand wool

Diam: 240cm (94in)

Established & Sons, UK

_www.establishedandsons.com_

**Rug, Giverny 40, 25**

Perrine Vigneron

100% pure new wool

H (Giverny 40): 4cm (1⅝in)

H (Giverny 25): 2.5cm (1in)

W: 450cm (177in)

L: Various (unlimited)

Danskina rugs from Kvadrat, The Netherlands/Denmark

_www.danskina.com_

**Carpet, Fata Morgana TJ One**

Marcel Wanders

Printed nylon threads

L: 300cm (118in)

W: 200cm (78in)

Moooi, The Netherlands

_www.moooi.com_

**Rug, Reborn**

Rapee Leelasiri

Sisal, fabric

Diam: 80–300cm (31–118in)

All Art Craft Co., Ltd., Thailand

_www.rapeeleela.com_

**Carpet, Firmship Carpet**

Studio Job

Printed nylon threads

Diam: 350cm (138in)

Moooi, The Netherlands

_www.moooi.com_

**Rug, Moroccan Garden**

Michaela Schleypen

100% viscose on cotton canvas weave (handmade)

H: 0.8cm (⅜in)

L: 250cm (98in)

W: 200cm (78in)

Floor to Heaven, Germany

_www.floortoheaven.com_

**Rug, Woodheart Pure Shine**

Michaela Schleypen

100% viscose on cotton canvas weave (handmade)

H: 0.8cm (⅜in)

Diam: 200cm (78in)

Floor to Heaven, Germany

_www.floortoheaven.com_

**Rug, Circus**

Fernando and Humberto Campana

Hemp and rag dolls

Diam: 200cm (78in)

Nodus, Italy

_www.nodusrug.it_

**Carpet, Fata Morgana TJ Two**

Marcel Wanders

Printed nylon threads

Diam: 350cm (138in)

Moooi, The Netherlands

_www.moooi.com_

**Hand-knotted rug, Barbed Wire**

Studio Job

Silk, wool

Diam: 220cm (86in)

Nodus, Italy

_www.nodusrug.it_

**Carpet, Rooster**

Fernando and Humberto Campana

100% wool

W: 122cm (48in)

L: 188cm (74in)

Nodus, Italy

_www.nodusrug.it_

**Carpet, Flowers from Canevas Collection**

Charlotte Lancelot

100% wool

W: 170cm (66in)

L: 240cm (94in)

Gandia Blasco, Spain

_www.gandiablasco.com_

**Carpet, Carpet Reloaded**

Golran Development Team

Vintage carpets

L: 349cm (137in)

W: 258cm (102in)

Carpet Reloaded by Golran, Italy

_www.carpetreloaded.com_

_www.golran.com_

**Three-dimensional textile art, Puzzle**

Penelope Jordan

Felt

L: 145cm (57in)

W: 85cm (33in)

Penelope Jordan Textile Art, UK

_www.penelopejordan.com_

**Carpet, Emerald**

Jan Kath and Dimo Feldmann

Tibetan highland wool, 1st choice Chinese silk

H: 0.9cm (⅜in)

W: 250cm (98in)

L: 300cm (118in)

Jan Kath Design GmbH, Germany

_www.jan-kath.com_

**Rug, Industrial Pure**

Miinu

Pure new wool

Unique pieces (similar pieces will be available in similar sizes, but each is unique)

Miinu, Germany

_www.miinu.de_

**Area rug, SG Suave**

kymo Design Department

100% polyester with 100% cotton backing

L: 60cm (23in)

W: 60cm (23in)

kymo, Germany

_www.kymo.de_

**Area rug, Fabric (Flat) Superdots**

Eva Langhans

88% polyester, 12% polyurethane

L: 60cm (23in)

W: 60cm (23in)

kymo, Germany

_www.kymo.de_

**Hand-knotted carpet, Popclassic Polka Dots**

Paolo Giordano

Wool

L: 275cm (108in)

W: 165cm (65in)

I+I, Italy

_www.i-and-i.it_

**Rug, Trenzas**

Gandia Blasco

100% new wool

W: 170 or 200cm (66 or 78in)

L: 240 or 300cm (94 or 118in)

Gandia Blasco SA, Spain

_www.gan-rugs.com_

**Rug, Extended**

Martí Guixé

100% wool

L: 300 (118in)

W: 200 (78in)

Nanimarquina, Spain

_www.nanimarquina.com_

**Upholstery fabric, Highfield 2**

Alfredo Häberli

Trevira CS

Made to order

Kvadrat, Denmark

_www.kvadrat.dk_

**Rug, Eros**

Sofie Lachaert and Luc d'Hanis

100% banana silk

L: 350cm (138in)

W: 250cm (98in)

Nodus, Italy

_www.nodusrug.it_

**Rug, Sao Paulo**

Fernando and Humberto Campana

100% wool

L: 300cm (118in)

W: 289cm (114in)

Nodus, Italy

_www.nodusrug.it_

**Rug, Parquet Rug**

Ora-Ito

Wool

L: 70, 120 and 240cm (27, 47 and 94in)

W: 90,100 and 170cm (35, 39 and 66in)

Stepevi, Turkey

_www.stepevi.com_

**Jaquard-woven upholstery fabric, Draped Delusion**

Ulrika Hägglöf

100% wool

W: 149cm (59in)

Ulrika Hägglöf, Sweden

_www.ulrikahagglof.se_

Draped Delusion formed part of a master's degree project by Swedish textile designer Ulrika Hägglöf at the Kontstfack University College of Arts, Crafts and Design in Stockholm, and has since been exhibited both in Sweden and the UK to much acclaim. Now available made to order, the trompe l'oeil fabric creates a dialogue between the two-dimensional and the three-dimensional in a hanging that challenges our perception of surface patterning and depth. Hägglöf started by photographing folded textiles, then manipulated the images in Adobe Photoshop by reducing the scale of the greys to create a graphic and repeatable pattern. She then adjusted the weave structures to achieve a gradation in colour from light to dark. The information was fed into an industrial Jacquard loom, which allowed Hägglöf to control each thread individually to achieve her desired effect.

**Furnishing fabric,** **Bibliothèque**

Hugo Gryckar

100% cotton

W: 140cm (55in)

Hermès (La Maison), France

_www.hermes.com_

**Furnishing fabric, Finish**

Jean-Louis Clerc

100% cotton

W: 140cm (55in)

Hermès (La Maison), France

_www.hermes.com_

**Fabric, Mumbai (The Tracery Collection)**

Robert A.M. Stern

53% cotton, 37% nylon, 10% post-consumer recycled polyester

W: 137cm (54in)

CF Stinson, USA

_www.cfstinson.com_

**Fabric, Seville (The Tracery Collection)**

Robert A.M. Stern

38% post-industrial recycled polyester, 33% polyester, 29% post-consumer recycled polyester

W: 137cm (54in)

CF Stinson, USA

_www.cfstinson.com_

**Fabric, Algiers (The Tracery Collection)**

Robert A.M. Stern

77% post-consumer recycled polyester, 23% solution-dyed nylon

W: 137cm (54in)

CF Stinson, USA

_www.cfstinson.com_

**Textile, 100 Years**

Studio Tord Boontje

Trevira CS

W: 145cm (57in)

Kvadrat, Denmark

_www.kvadrat.dk_

**Curtain fabric, Dentelle**

Creation Baumann

21% viscose 29% polyester

W: 145cm (57in)

Creation Baumann, Switzerland

_www.creationbaumann.com_

**Flooring system, Profile Hex**

Marcel Wanders

Liquid resin, hand-cast polymer

Senso, The Netherlands

_www.sensovloeren.nl_

**Flooring system, Delicate Round**

Marcel Wanders

Liquid resin, hand-cast polymer

Senso, The Netherlands

_www.sensovloeren.nl_

**Wallpaper, Stone Angel Wallpaper**

Young & Battaglia

Fabric-backed paper

W: 50cm (19in)

L: 250cm (98in)

Mineheart, UK

_www.mineheart.com_

**Wall and floor tiles, Azulej**

Patricia Urquiola

Glazed porcelain stoneware

W: 20cm (7⅞in)

L: 20cm (7⅞in)

Ceramiche Mutina srl, Italy

_www.mutina.it_

**Wallpaper, Knitted Room**

Chae Young Kim

Digitally printed nonwoven wallpaper

H: 1000cm (393in)

W: 46.5cm (18½in)

Tapeten Agentur, Germany

_www.chaeyoungkim.com_

Chae Young Kim's work explores the boundaries between digital and analogue by applying two-dimensional vector graphics to everyday objects, from textiles to ceramics. The Knitted Room prints blur reality, illusion, art and design. Despite the appearance of having been photographed or hand-drawn, the delicate and intricate patterns of the wallpapers were created by a computer graphic technique using scripts and numbers, with the detail added by manipulating carefully drawn vector lines one by one. The result has a tactile quality that imitates the warmth of knitted material.

**Jaime Hayon**

Would you say that your early involvement in the world of skateboard and graffiti cultures has had a direct influence on the work you do today?

Skateboarding was very important to me as it introduced me to creativity. It's about finding your own language and developing a personal style. In that sense, there is a very strong parallel to design. The graphic element also captured my interest.

You trained as a designer but have been quoted as saying you are an artist at heart. To what extent is this true?

I tend to reject labels. I consider myself a creator. Creativity is my driving force, and this can have results that tend towards either art or design. I don't think about it when I'm working. I just develop an idea until it comes to life. The fact is I do things that are functional, and sometimes not functional. I like the opportunity to work on both.

Would you say your work has evolved over the years?

The evolution is very clear. Although there is a common trait from the start of my career to my most recent work, I feel there is a growing tendency towards the essential quality of shape. I've become more 'minimal', appreciating that substance doesn't come from more, but from better. As one faces fresh challenges and learns about different subjects and materials, the work gradually transforms as these new disciplines merge with other themes. I find the learning curve is dynamic and interactive.

Is there a particular commission or collaboration from which you've learned the most?

That's tough to answer as all new projects face different challenges. Working in product design, on art installations and interiors, it is very interesting for me to see how experimentation in each area crosses over and affects the others. When I consider the work I've done over the past years, it's like watching an unfolding story of small obsessions taking different shapes and translating into various languages.

'Mediterranean Digital Baroque' exhibition, David Gill Galleries, London (2003)

'Mon Cirque' travelling exhibition (ongoing)

You often collaborate with craftsmen and involve yourself in production processes. How important is it for you to be hands-on?

Each day I feel more strongly that being in contact with how things are made is essential to my work. Collaborating with artisans, understanding and being involved in the crafting process, is indispensable. I like to get my hands dirty whenever I can. I believe in learning by doing.

What is it that attracts you to a commission?

Several things can attract me to a commission. The first is personal empathy. I need to work with people I like, or else the process would be very tedious. It also has to be a challenge, a project on which I can make a very real contribution and that will allow me to grow. It needs to make me dream. This is a personal element, a gut feeling. I need to be enthusiastic; otherwise, I would prefer not to engage.

You have described your style as 'Mediterranean Digital Baroque'. What do you mean by this?

'Mediterranean Digital Baroque' was the title of my first installation in 2003. The phrase has obviously stuck, as it has become a definition of my style for almost ten years now. Although it was a great name for an exhibition, it doesn't identify my work. I don't think I will ever come up with a definition, but if I had to describe my style I would say that it is organic with a passion for shapes that are feminine and sophisticated. It values long-lasting materials and also pays homage to the past, but in a contemporary way. There is passion, humor and a very personal language. I love quality and challenge and the conservation of a craft tradition in an iPhonic speed era.

In your monograph you write that you use experimentation and artistic research as a platform to create commercially viable products. Can you expand on this?

My creative process relies on an interaction between experimentation, artistic research and a more industrial approach. There are many examples of this. For example, if you consider the Hayon Collection for Bisazza Bagno (page 143), you can see that the cacti I designed for the 'Mediterranean Digital Baroque' installation (opposite page, top right) inspired the shapes that I used. Similarly, the idea for the legs of the Tudor Chair for Established & Sons were based on those of a baseball table I created for the International Biennial Interieur, Kortrijk, 2008 (above). I use experimentation to give initial form to concepts and these often influence the commercial pieces I create for brands.

21st International Biennial Interieur, Kortrijk, Belgium (2008)

In 2010 you took over the Directorship of Madrid's Istituto Europeo di Design's Master of European Design Labs programme. What message do you want to convey to your students?

I wanted to become involved in teaching as I felt it would be a mutually beneficial experience for both my students and me. There is much to be said for the traditional approach to teaching industrial design, but for the main part it is focused on technical aspects and neglects the importance of creativity and the development of a personal language. In directing the Masters, it is my intention to bring attention to what I feel matters most and will become a valuable tool for a designer. We run workshops by great designers from all over Europe and try to create a window where the students can see and appreciate what is happening in design today (not only in the past). We aim to bring them closer to the manufacturing experience by collaborating with outstanding craftsmen in the production of their pieces. This gives an understanding of the entire process from the initial idea to the development of a prototype. I think all these things matter tremendously and it's the best aid we can offer to future designers.

You have said that it's a very interesting moment for design. Why?

It's a very interesting moment for most things. We live in a time of hybrids, when everything influences everything else. Communication has created new channels for interaction and this is visible in art and design as well as in life itself. It's a very dynamic time with stimuli coming from all directions. Learning to take them in without losing a personal voice is quite tricky. Younger generations need to think about the conservation of techniques and quality whilst challenging the existing possibilities. With passion and patience there is much to do!

**Coating, Piega**

Jacopo Cecchi

Fibre-reinforced ceramiccoated solution for indoor use

H: 60cm (23in)

W: 60cm (23in)

D: 4cm (1⅝in)

3D SURFACE srl, Italy

_www.3dsurface.it_

**Coating, Caos**

Jacopo Cecchi

Fibre-reinforced ceramiccoated solution for indoor and outdoor use

H: 42cm (16½in)

W: 60cm (23in)

D: 6.5cm (2½in)

3D SURFACE srl, Italy

_www.3dsurface.it_

**Decorative tiles, Karma, Kink and Ubiquity (Karim for ALLOY Collection)**

Karim Rashid

Brushed stainless steel

Left to right:

L (Karma): 6cm (2⅜in)

D (Karma): 4cm (1⅝in)

L (Kink): 5cm (2in)

D (Kink): 5cm (2in)

L (Ubiquity): 5cm (2in)

D (Ubiquity): 4cm (1⅝in)

W (all): 0.16cm (⅛in)

ALLOY, Australia

_www.alloydesign.com.au_

**Interior and exterior cladding, Spring Blossom**

Graphic Relief in collaboration with Timorous Beasties

Glass-reinforced concrete and steel-reinforced concrete

Made to order up to 200 x 120cm (78 x 47in)

Graphic Relief Ltd, UK

_www.graphicrelief.co.uk_

Eric Barrett made a name for himself with Concrete Blonde, a company that he founded in 2001 with the aim of creating contemporary design using concrete. Recognizing its adaptability and potential, Barrett created the Textural-Walled-Paper collection of cast panels embossed with traditional wallpaper prints, demonstrating the hidden beauty of the industrial material. Ten years later he joined forces with inventor Mark Dale to form Graphic Relief Ltd. Together they have developed a new technique for digitally printing onto concrete sheets. Two-dimensional artwork is reinterpreted and manipulated in Adobe Photoshop to form files of three-dimensional textures and graphic effects. This information is used to make moulds into which the concrete is poured, achieving a wide range of surface designs, including photo-quality images. The panels are cast in sizes up to 2 by 1.2 metres (6 feet 7 inches by 3 feet 11 inches), suitable for building facades and exterior and interior cladding, as well as floor and wall tiles. The process is currently being developed for use with a variety of materials.

**Glass textile room divider**

Andrea Hegedűs

Tulle, spangle, cotton

W: 300cm (118in)

L: 340cm (133in)

Rakosy Glass, Hungary

_www.glasstextle.eu_

_www.hegedusandrea.hu_

Andrea Hegedűs's panels combine artistic design, handicraft and industrial technology. The plate-glass-laminated textile panels can be produced at any size and used in a variety of ways, from outdoor–indoor partitions, sliding doors, room dividers, shower walls and bar counters to stand-alone sculptures. The glass serves to conserve and fix the textile within, but it also sharpens and enlarges its appearance, giving a dynamic effect to Hegedűs's designs. She uses different materials and motifs as well as surface techniques including embroidery and cutouts. The panels can be adjusted according to customers' preferences, resulting in translucent, light-filtering versions and dense, opaque ones.

**Wall covering/tiles, Cuscini (Soft Marble Collection)**

Ron Gilad

Marble

W (module): 30cm (11¾in)

L (module): 30cm (11¾in)

Salvatori, Italy

_www.salvatori.it_

**Textile, Point**

Paul Smith

97% rayon, 3% nylon

W: 135cm (53in)

Maharam, USA

_www.maharam.com_

**Fabric, Visiona**

Nya Nordiska Design Team

60% polyester, 40% metal fibre

W: 300cm

Nya Nordiska Textiles GmbH, Germany

_www.nya.com_

**Wall covering, From Object to Space Collection**

Atelier Oï

Vinyl on cotton backing

W: 100cm (39in)

Vescom, The Netherlands

_www.vescom.com_

**Digitally printed wall installation, Hand Tinted Rose**

Paul Smith

48% cellulose, 35% latex, 17% nylon

Scalable and repeatable

Maharam, USA

_www.maharam.com_

**Fabric, Allium (Botanic Collection)**

Lori Weitzner

Digitally printed semi-sheer airy linen mix

W: 135cm (53in)

Sahco, Germany

_www.sahco.com_

**Wallpaper, Forest Muses**

Marcel Wanders

Expanded nonwoven flock

L (roll): 1000cm (393in)

Graham & Brown, UK

_www.grahambrown.com_

**Wallpaper, Key Muses**

Marcel Wanders

Expanded nonwoven flock

L (roll): 1000cm (393in)

Graham & Brown, UK

_www.grahambrown.com_

**Wallpaper, Rose Beds**

Marcel Wanders

Expanded nonwoven flock

L (roll): 1000cm (393in)

Graham & Brown, UK

_www.grahambrown.com_

**Wall and floor tiles, Tex**

Raw Edges

Mixture of clays as an extruded and glazed porcelain stoneware

W: 11.5cm (4½in)

L: 20cm (7⅞in)

Ceramiche Mutina srl, Italy

_www.mutina.it_

**Mosaic pattern, Hearts & Robots Black**

Bisazza Design Studio

Bisazza glass and gold mosaic with Swarovski crystals

Bisazza, Italy

_www.bisazza.com_

**Acoustic panels, Layer**

Arik Levy

Fabric, upholstery with technical foam soundproofing

H (panel 90): 90cm (35in)

W (panel 90): 90cm (35in)

H (panel 130): 75cm (29in)

W (panel 130): 130cm (51in)

H (panel 180): 60cm (23in)

W (panel 180): 180cm (70in)

D: 3cm (1⅛in)

Viccarbe, Spain

_www.viccarbe.com_

**Wall and floor tiles, Terraviva**

Massimilano Adami

Grès Porcelain stoneware

H: 60cm (23in)

W: 60cm (23in)

Refin, Italy

_www.refin.it_

Despite being the largest economy in South East Asia, Indonesia is dogged by unemployment, and around 30 million people live below the poverty line. Agriculture has for centuries been the country's largest industry. Cocomosaic's aim is to create eco-friendly products whilst improving the grassroots economy by supporting local communities. Their tiles are made from coconut-shell chips, a natural, abundant and fully sustainable national resource, only a small percentage of which had previously been exploited commercially in the production of charcoal. Each member of the highly skilled workforce hand-assembles the coconut-chip tiles, of which they make around 250 square metres (2,700 square feet) per month. This eco-friendly business provides employment for forty individuals, including disabled people, whom Cocomosaic actively seeks to include on its team. The company has also set up tree-planting programmes to further its environmental and ethical commitment.

**Tiles, Cocomosaic tiles**

Cocomosaic

Coconut shell

L: 42cm (16½in)

W: 42cm (16½in)

Cocomosaic, Indonesia

_www.cocomosaic.com_
**7.**

**LIGHTING**

**Pendant lamp, Spinning Light**

Benjamin Hubert

Spun aluminium

Max 60W 12V E27 low energy

H: 34cm (13⅜in)

Diam: 40cm (15¾in)

& Tradition, Denmark

_www.andtradition.com_

**LED Light, Dropled**

Simon Brünner

Aluminium, chrome LED

H (glass ball): 5 or 10cm (2 or 3⅞in)

neuesLicht, Germany

_www.neuesLicht.de_

**Floor lamp, Emperor**

Neri & Hu

Bamboo rattan, aluminium, glass, Zamac, steel

Max 60W G9 halogen

H: 180cm (70in)

Diam: 53cm (20in)

Moooi, The Netherlands

_www.moooi.com_

**Lamp, Mask**

Stefano Giovannoni

3D pressed-oak veneer, chrome LED

H: 75cm (29in)

W: 32.5cm (13in)

D: 19cm (7½in)

Moooi, The Netherlands

_www.moooi.com_

**Table lamp, Lolita**

Nika Zupanc

Injection-moulded ABS, polyurethane

Max 25W E14, type B (Europe)

Max 40W E12, type B (USA)

H: 78cm (30in)

Diam: 37cm (14⅝in)

Moooi, The Netherlands

_www.moooi.com_

**Lighting object, Explosion**

Camo Lin

Bamboo, glass tube, cast aluminium, plastic

Cold Cathode Light Kit

H: 56cm (22in)

L: 66cm (26in)

D: 50cm (19in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Lamp with clamp, Sempé w103c**

Inga Sempé

Hand-spun aluminium, steel, cast iron

1.8W LED

H: 48cm (18⅞in)

Diam: 28cm (11in)

Wästberg, Sweden

_www.wastberg.com_

**Task lamp, W101**

Claesson Koivisto Rune

DuraPulp, cast-iron base

1–5W LED

H: 50cm (19⅝in)

W: 11cm (4⅜in)

D: 39cm (15⅜in)

Wästberg, Sweden

_www.wastberg.com_

In a statement issued to coincide with the launch of the W101 lamp by Swedish lighting brand Wästberg during the 2010 Milan Salone Internazionale del Mobile, its designers, Claesson Koivisto Rune, declared, 'We dare anyone to manufacture a more ecological electric lamp.' In the face of the growing environmental crisis, designers are increasingly developing products that minimize the use of nonrenewable resources and have fewer negative effects on the environment, applying advanced technology to responsible production. The W101 is CKR's second collaboration with Södra, a Swedish forestry company that harvests sustainable wood. In its search for new markets, this forward-looking enterprise developed DuraPulp, a mix of wood pulp and polylactide (PLA), a thermoplastic made from corn or sugarcane that is fully biodegradable, as pliable as plastic and incredibly strong. Depending on the geometry of the part, a sheet of DuraPulp that is just 1.8 centimetres (¾ inch) thick can support a person's weight. CKR's first experiment with the material was the prize-winning children's chair Parupu.

Following this success, CKR approached Marcus Wästberg, who was at first sceptical about mixing paper and electrical wiring. However, by suggesting the use of custom-designed, low-voltage, state-of-the-art warm-white LEDs, the designers managed to overcome his misgivings. The result of the collaboration is an elegant task light with a sculptural, origamilike shape that helps to ensure rigidity. Four thin, uninsulated copper wires are laid between the layers of DuraPulp, and a heavy supply base makes the lamp stable and houses the power source for the lights. Built for easy disassembly once these technical elements are removed, the rest of the lamp can be safely thrown onto the compost heap.

**Table lamp, Binic**

Ionna Vautrin

Polycarbonate, ABS

12W fluorescent

H: 20cm (7⅞in)

W: 14cm (5½in)

D: 14cm (5½in)

Foscarini srl, Italy

_www.foscarini.com_

**Pendant lamp, Coroa**

Emmanuel Babled

Lacquered metal, double-face mirror PMMA or opaque white

16 x max 25W E14

Diam: 90cm (35in)

Oluce srl, Italy

_www.oluce.com_

**Table lamp, Gamete**

Xavier Lust

Polyamide

Max 40W 210–230V G9 halogen

H: 34.7cm (13¾in)

W: 26.3cm (10¼in)

D: 14.6cm (5⅞in)

MGX by Materialise, Belgium

_www.mgxbymaterialise.com_

**Adjustable table lamp, Lutz**

Lutz Pankow

Metal

Max 8W LED

H (max): 60cm (23in)

W (max): 90cm (35in)

Oluce srl, Italy

_www.oluce.com_

**Wall lamp, Cadmo Parete**

Karim Rashid

Injection-moulded thermoplastic, optic aluminium

CFL

H: 54cm (21in)

Diam: 13cm (5⅛in)

Artemide SpA, Italy

_www.artemide.com_

**Pendant lamp, Can Can**

Marcel Wanders

Injection-moulded PMMA, polycarbonate

Max 105W E27 HSGSA/Max 30W E27 CFL FBT

H: 36cm (14⅛in)

Diam: 34.7cm (13¾in)

Flos SpA, Italy

_www.flos.com_

**Ceiling/wall lamp, Veli Prisma**

Adriano Rachele

Lentiflex

2 x 15W E27 FBT

H: 20cm (7⅞in)

Diam: 53cm (20in)

Slamp SpA, Italy

_www.slamp.com_

**Adjustable table lamp, Puk**

Siw Matzen

Metal

Max 75W E27

H: 71.5cm (28in)

Diam: 22cm (8⅝in)

Anta Leuchten GmbH, Germany

_www.anta.de_

**Floor lamp, Vader**

Luca Nichetto

Ceramic

E27 low-energy dimmable

H: 48.8cm (19¼in)

W: 50.6cm (20in)

D: 34cm (13⅜in)

David Design, Sweden

_www.daviddesignfurniture.se_

**Floor lamp, Doride Terra**

Karim Rashid

Aluminium, painted steel, polycarbonate

CFL

H (max): 221cm (87in)

L (max): 111cm (44in)

Diam: 36cm (14⅛in)

Artemide SpA, Italy

_www.artemide.com_

**Pendant lamp, Cosmic Leaf**

Ross Lovegrove

Chromed steel, transparent methacrylate

Low-voltage halogen/ metal halide

H: 192cm (76in)

Diam: 22cm (8⅝in)

Artemide SpA, Italy

_www.artemide.com_

**Table lamp, Light-Air**

Eugeni Quitllet

Transparent or batchcoloured polycarbonate

LED

H: 32cm (12⅝in)

W: 17cm (6¾in)

D: 17cm (6¾in)

Kartell, Italy

_www.kartell.it_

**Task lamp, Looksoflat**

Stefan Geisbauer

Aluminium

2 x 13W LED

H: 45–72cm (17¾–28in)

L: 60–85cm (23–33in)

W (base): 23cm (9in)

Ingo Maurer GmbH, Germany

_www.ingo-maurer.com_

**Energy-saving desk lamp, Kelvin LED Green Mode**

Antonio Citterio with Toan Nguyen

Aluminium

30 x 4W TOP LED (2700K, 324 lm, CRI 80)

H: 43.5cm (17⅜in)

W (base): 16cm (6¼in)

L: 58.1cm (22in)

Flos SpA, Italy

_www.flos.com_

**Wall/ceiling lamp, Droplet**

Ross Lovegrove

Painted aluminium

Halogen with mains voltage/metal halide

H: 34cm (13⅜in)

Diam: 60cm (23in)

Artemide SpA, Italy

_www.artemide.com_

**Floor lamp, Genesy**

Zaha Hadid

Polyurethane

LED

H: 195cm (76in)

L: 122cm (48in)

Artemide SpA, Italy

_www.artemide.com_

**Desk lamp, Flo**

Foster & Partners

Aluminium, steel

6W LED (3000°K/475 lumen)

H: 43cm (16⅞in)

W: 39cm (15⅜in)

Diam (base): 19cm (7½in)

Lumina Italia, Italy

_www.lumina.it_

**Pendant lamp, Fin**

Tom Dixon

Aluminium

6 x 1W LED

H: 12.7cm (5½in)

Diam: 13.4cm (5⅜in)

Tom Dixon, UK

_www.tomdixon.net_

**Lighting, Tear Drop**

Tokujin Yoshioka

Glass, aluminium

Max 40W G9 halogen

H: 13.8cm (5½in)

Diam: 14.5cm (5¾in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Assemblage of wall light sconces, Conchs 3**

Ronan and Erwan Bouroullec

Lacquered fibreglass

Low energy

H: 35cm (13¾in)

W: 17.5cm (6⅞in)

D: 15.5cm (6⅛in)

Galerie kreo, France

_www.galeriekreo.com_

**Pendant lamp, Lianas 15+**

Ronan and Erwan Bouroullec

Resin, leather

Low energy

H (small model): 15cm (5⅞in)

Diam (small model): 16.5cm (6½in)

H (large model): 21cm (8¼in)

Diam (large model): 26cm (10¼in)

Galerie kreo, France

_www.galeriekreo.com_

**Pendant lamp, Bulb**

Tom Dixon

Glass, chrome

11W E27 dimmable (Europe) 11W

E26 dimmable (USA)

H: 17.7cm (7⅛in)

L: 22cm (8⅝in)

Tom Dixon, UK

_www.tomdixon.net_

Bulb is an energy-efficient, oversized light bulb designed in reaction to the phasing out of the incandescent bulb and to the unattractive aesthetic of most CFL replacements. This quick-start bulb is unique to Tom Dixon, and its standard thread means that it can be used with almost any light fitting. It can be hung separately or combined as part of one of three new chandelier frames.

**Pendant lamp, Step (Fat and Tall)**

Tom Dixon

Solid copper

Max 28W E27 halogen

H (Fat): 17.4cm (6⅞in)

Diam (Fat): 40cm (15¾in)

H (Tall): 31.2cm (12¼in)

Diam (Tall): 20cm (7⅞in)

Tom Dixon, UK

_www.tomdixon.net_

**Lamp, Brave New World Lamp**

Freshwest

Oak, cast iron

Max 20W E27 CFL spot

H: 180cm (70in)

W: 70cm (27in)

Moooi, The Netherlands

_www.moooi.com_

**Lamp, Taj**

Ferruccio Laviani

Transparent or batchcoloured polycarbonate

LED

H: 57cm (22in)

W: 15cm (5⅞in)

D: 61cm (24in)

Kartell, Italy

_www.kartell.it_

**Series of pendant lamps, Void**

Tom Dixon

Solid metal (brass, copper and stainless steel)

Max 33W G9 halogen clear (Europe)

Max 25W G9 halogen frosted (USA)

H: 15.5cm (6⅛in)

Diam: 30cm (11¾in)

Tom Dixon, UK

_www.tomdixon.net_

**Pendant lamp, Morgana**

Stefano Papi Polycarbonate

75W G9 HSGST/C/UB

H: 58cm (22in)

Diam: 45cm (17¾in)

Slamp SpA, Italy

_www.slamp.com_

**Pendant lamp, Andromeda**

Ross Lovegrove

Steel with painted finish, hard polyurethane foam, mirror

8 x 1.1W LED

H: 27cm (10⅝in)

W: 80cm (31in)

D: 46cm (18⅛in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Table lamp, Candy Light**

Jaime Hayon

Copper-coloured ceramic, luminous red crystal dimmer-switch button, crystal lampshade

2 x 40W G9 halogen (max electric power of lamps 80W)

H: 51cm (20in)

Diam: 23cm (9in)

Baccarat, France

_www.baccarat.fr_

**Chandelier, Old Lampshade-Lamp**

Piet Hein Eek

Old lampshades

62 x 15W clear

H: 300cm (118in)

Diam: 200cm (78in)

Piet Hein Eek, The Netherlands

_www.pietheineek.nl_

**Pendant lamp, Etch**

Tom Dixon

Digitally etched brass sheets

Can be used with any standard fitting

H: 27.5cm (11in)

Diam: 30cm (11¾in)

Tom Dixon, UK

_www.tomdixon.net_

**Table lamp with 360º rotating shade, Golconda**

Luca Nichetto

Sprayed aluminium, plastic diffuser

Max 100W 110/120V or 220/240V E27

H: 63cm (24in)

Diam: 45cm (17¾in)

Established & Sons, UK

_www.establishedandsons.com_

**Lamp, Pinha**

Raw Edges

Cork lampshell, Dupont Tyvek® lampshade

Cold light bulb

H: 11cm (4⅜in)

Diam: 13cm (5⅛in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

Cork is one of Portugal's most important resources – it sustains about 800,000 hectares (2 million acres) of forest in the south of the country alone and is exported all over the world. Its largest producer, Amorim, has joined forces with ExperimentaDesign, Lisbon's design biennial, to form Materia, a brand established to highlight the design potential of this flexible, sustainable material. Cork – the outer bark of the cork oak tree – is the perfect environmentally friendly, renewable substance. It can be harvested from the same tree for about two hundred years with minimal impact on the ecosystem. It is elastic, compressible, impermeable to liquids and gases, resistant yet lightweight and buoyant. Despite these qualifications, however, the extent of its potential is often overlooked both from a technical aspect and in terms of aesthetics. The Materia project, spearheaded by the co-founder of ExperimentaDesign, Guta Moura Goedes, invited ten top Portuguese and international designers – project coordinator Filipe Alarcão (see page 299), Fernando Brizio (see page 167), Miguel Vieira Baptista, Daniel Caramelo, Studio Pedrita and Marco Sousa Santos, all from Portugal, along with Inga Sempé (see page 118), Nendo (see page 167), BIG-GAME and Raw Edges (above) – to interpret the material in their own distinct ways, taking advantage of its physical and mechanical characteristics whilst playing with its visual and sensory qualities. 'Cork is enjoying a renaissance,' says Amorim's chairman, Antonio Amorim. 'There is a new understanding of its potential for many applications and recognition of the added value it brings to the products in which it is used.'

The Pinha lamp by Raw Edges uses the low thermal conductivity of cork to its advantage by including a threetiered cork surround, or 'lampshell', for the light source. This can be handled in perfect safety, and a printed-paper shade, selected from among different patterns and drawings, can be attached with ease. The direction and range of the light can be adjusted by pinning the shade at different places on the surround, thereby altering the mood and ambience in a room.

**Desk light, Heavy**

Benjamin Hubert

Cast concrete, wood

Max. 40W G9 halogen

H: 46cm (18⅛in)

W: 20cm (7⅞in)

D: 30cm (11¾in)

Decode, UK

_www.decodelondon.com_

**Pendant lamp, Float**

Benjamin Hubert

Cork

60W

H: 20, 30 or 40cm (7⅞, 11¾ or 15¾in)

Diam: 25, 40 or 60cm (9⅞, 15¾, 23in)

Benjamin Hubert Studio, UK

_www.benjaminhubert.co.uk_

**Pendant lamp, Swell**

Paul Cocksedge

Pyrex glass, aluminium

Max 35W 12V GY6.35 HSG H

(max): 150cm (59in)

Diam: 14cm (5½in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Table lamp, Pipe**

Luca Nichetto

Sand blasted pyrex® glass, polycarbonate, powder-coated aluminium, powder-coated steel

Max 100W 220/240V E27

H (small version): 37.5cm (15in)

Diam (small version): 11.5cm (4½in)

H (large version): 43.5cm (17⅜in)

Diam (large version): 17cm (6¾in)

Established & Sons, UK

_www.establishedandsons.com_

**Task light, Crane**

Benjamin Hubert

Industrial steel, aluminium

LED

H: 60cm (23in)

W: 50cm (19in)

Örsjö Belysning AB, Sweden

_www.orsjo.com_

**Task light, Edge**

Amanda Levete

Stainless steel

OLED

H: 28.5cm (11⅜in)

L: 50cm (19in)

D: 37cm (14⅝in)

Established & Sons, UK

_www.establishedandsons.com_

**Lighting, ToFU**

Tokujin Yoshioka

Methacrylate (PMMA), aluminium

10W 12V G4 halogen

H: 29.5cm (11¾in)

W: 36.5cm (14⅝in)

D: 7.6cm (3in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Pendant lamp, Spinning Light**

Benjamin Hubert

Spun aluminium

Max 60W 12V E27

low energy

H: 34cm (13⅜in)

Diam: 40cm (15¾in)

& Tradition, Denmark

_www.andtradition.com_

**Table/floor lamp, Monja**

Marre Moerel

Earthenware ceramics

Max 14W (=75W) E27 energy-saving fluorescent, warm white

H: 68cm (27in)

W: 5.5cm (2½in)

L: 14.5cm (5½in)

Marre Moerel Design Studio, Spain

_www.marremoerel.com_

**Floor lamp, Wood Lamp**

Fernando and Humberto Campana

Wood, metal

220/240V

H: 177cm (70in)

Diam: 75cm (29in)

Skitsch, Italy

_www.skitsch.it_

**Pendant lamp, Plass**

Luca Nichetto

Polycarbonate

6 x 60W + 1 x 100W halogen

H (max): 500cm (196in)

Diam: 75cm (29in)

Foscarini srl, Italy

_www.foscarini.com_

**Floor lamp, Mayuhana II**

Toyo Ito

Fibreglass, aluminium

Max 20W E27 FBA

H: 226.5cm (89in)

W: 43cm (16⅞in)

D: 205cm (80in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Pendant lamp, Dew**

Emmanuel Babled

Glass diffuser, die-cast aluminium

4W Power LED

Diam: 11cm (4⅜in)

Kundalini srl, Italy

_www.kundalini.it_

**Pendant lamp, Silly-Kon**

Ingo Maurer and Team

Silicone, plastic, metal

Max 75W 230/125V E27 energy-saving halogen

W: 15cm (5⅞in)

L: 200cm (78in)

Ingo Maurer GmbH, Germany

_www.ingo-maurer.com_

**Pendant lamp, Clover**

Brodie Neill

Moulded polyurethane, aluminium

2 x max 205W B15D

H: 25cm (9⅞in)

Diam: 70cm (27in)

Kundalini srl, Italy

_www.kundalini.it_

**Table lamp, Unmetro**

Marco Merendi

Metal

3W 220/240V LED, 24VDC power supply

Diam (base): 20cm (7⅞in)

Davide Groppi, Italy

_www.davidegroppi.com_

**Light, Amplify**

fuseproject

Paper shade, crystal

LED

H (second lamp from left): 65cm (25in)

W (second lamp from left): 40cm (15¾in)

Swarovski, Austria

_www.swarovski.com_

For nearly a decade now, Swarovski, the iconic purveyor of crystals, has been showcasing its expertise in a series of annual exhibitions held alongside the Salone Internazionale del Mobile in Milan. In these shows, called the Crystal Palace, designers such as Ron Arad, Tokujin Yoshioka, Gaetano Pesce, Paul Cocksedge and Ross Lovegrove have displayed spectacular one-offchandeliers as part of, according to Swarovski, 'a revolutionary project that has aimed to create signature interpretations of light and design using the emotive medium of cut crystal'.

Amplify is fuseproject's Yves Béhar's fourth collaboration with Swarovski in a Crystal Palace installation. His past works were large-scale lighting sculptures, but this time his aim was to bring the notion of accessibility and sustainability to crystal lighting. He says: 'It is a pursuit in our work to try and achieve the maximum effect with the minimum amount of materials and energy: we want to create consciously and conscientiously, and yet there is a need for beauty. So the challenge is to rethink how to achieve the magical effect of many crystals on a chandelier. Can we amplify a single crystal and create an entire chandelier?' His winning formula is '1 crystal + 1 low-energy LED light + a faceted paper shade = AMPLIFY'. For the show, Behar and his fuseproject team designed a variety of different crystalline-shaped lamps, each crafted to maximize the refractions caused by a single light source hitting one gemstone and then being duplicated on the inner surfaces of a recycled-paper shade. The effect emulates the beautiful reflections and rainbow colour bursts of crystals. Each of the lantern shapes is now in production from Swarovski.

**Pendant lamp, Vertigo**

Constance Guisset

Polyurethane, fibreglass

15–20W (=75–100W) 220–240V E27 energy saver

H: 17cm (6¾in)

Diam: 200cm (78in)

Petite Friture, France

_www.petitefriture.com_

**Floor lamp (reintroduction), Van Severen w111**

Maarten Van Severen

Aluminium

LED

H: 122cm (48in)

L: 60cm (23in)

Wästberg, Sweden

_www.wastberg.com_

**Pendant and table lamps, Vapeur**

Inga Sempé

Lacquered metal, Tyvek®

23W energy saver

H (suspension lamp): 52cm (20in)

L (suspension lamp): 55cm (21in)

W (suspension lamp): 40cm (15¾in)

H (small table lamp): 63cm (24in)

L (small table lamp): 54cm (21in)

W (small table lamp): 35cm (13¾in)

H (large table lamp): 85cm (33in)

L (large table lamp): 71cm (28in)

W (large table lamp): 52cm (20in)

Moustache, France

_www.moustache.fr_

**Table lamp, Lantern Table**

Stephen Burks

Glass, brass

75W Edison

H: 49cm (19in)

Diam: 39cm (15⅜in)

MatterMade, USA

_www.mattermatters.com_

**Wall lamp, Flap**

Marco Zito

Lacquered aluminium

2 x 18W or 1 x 40W fluorescent

H (Flap 1): 46cm (18⅛in)

L (Flap 1): 58cm (22in)

H (Flap 2): 28cm (11in)

L (Flap 2): 66cm (26in)

H (Flap 3): 17cm (6¾in)

L (Flap 3): 82cm (32in)

D: 10cm (3⅞in)

Foscarini srl, Italy

_www.foscarini.com_

**Chandelier, Esperança**

Fernando and Humberto Campana

Glass, metal

3 x max 40W G9 halogen

H: 100cm (39in)

Diam: 60cm (23in)

Venini SpA, Italy

_www.venini.com_

**Pendant lamp, Fireworks**

Xavier Lust

Chromed steel, opaline blown glass

Up to 13 x max 20W 12V G4 halogen

H: 135cm (53in)

W: 180cm (70in)

D: 115cm (45in)

Driade, Italy

_www.driade.com_

**Table lamp, 4 x 4 is 34 (Four times four is thirty-four)**

Ingo Maurer and Team

Stainless steel, acrylic glass, glass

OLED, LED

H: 90cm (35in)

W: 60cm (23in)

L: 60cm (23in)

Ingo Maurer GmbH, Germany

_www.ingo-maurer.com_

**Pendant lamp, Etch Light Web**

Tom Dixon

Copper-anodized aluminium with digital photo-acid etching

Halogen or LED

Diam: 65cm (25in)

Tom Dixon, UK

_www.tomdixon.net_

**Task light, Anglepoise TypeC**

Kenneth Grange

Glass, anodized aluminium, stainless steel

LED

H: 54cm (21in)

Diam (base): 17.8cm (7⅛in)

Anglepoise, UK

_www.anglepoise.com_

**Table and floor lamps, 96 Molecules**

Ofir Zucker and Albi Serfaty in collaboration with origami artist Ilan Garibi

Paper, untreated mahogany

LED

H (table lamp): 21cm (8¼in)

Diam (table lamp): 30cm (11¾in)

H (floor lamp): 89cm (35in)

Diam (floor lamp): 35cm (13¾in)

Aqua Creations, Israel

_www.aquagallery.com_

**Lamps, Raft (Cats) and Raft (Dogs)**

Stuart Haygarth

Found ceramic figurines, spun aluminium dish, Corian® base

4 x low energy, warm white

H: 127cm (50in)

Diam (base): 86cm (33in)

Stuart Haygarth, UK

_www.stuarthaygarth.com_

**Table lamp with adjustable arms and head, Grifo**

Ross Lovegrove

Painted die-cast aluminium, painted extruded aluminium

13W LED

H: 54.3cm (21in)

W: 59.7cm (23in)

Artemide SpA, Italy

_www.artemide.com_

**Ceiling lamp, Cosmic Rotation riflessa**

Ross Lovegrove

Aluminium, injection-moulded opal methacrylate

2 x 87W G24q-5 TC-DEL Fluo

H: 29cm (11⅜in)

Diam: 76cm (29in)

Artemide SpA, Italy

_www.artemide.com_

**Table lamp, Halo**

Karim Rashid

Metal, silicone rubber

LED 8W

H: 53cm (20in)

W: 35cm (13¾in)

Diam (base): 16cm (6¼in)

Artemide SpA, Italy

_www.artemide.com_

**Table lamp with adjustable arms and head, Lotek**

Javier Mariscal

Painted steel, painted aluminium, anodized aluminium

13W LED

H: 62cm (24in)

W: 62cm (24in)

W (base): 18cm (7⅛in)

Artemide SpA, Italy

_www.artemide.com_

**Pendant lamp, Twiggy Lamp**

Tomoko Azumi

Steel, paper

25W E17

H: 30cm (11¾in)

Diam: 12cm (4¾in)

Maxray, Japan

Sfera srl, Italy

_www.ricordi-sfera.com_

**Pendant lamps, Bloom**

Ferruccio Laviani

Transparent polycarbonate, batch-dyed technopolymer thermoplastic

9 x 33W 220–240V G9 halogen

H (large version): 35cm (13¾in)

D (large version): 53cm (20in)

H (small version): 19cm (7½in)

D (small version): 28cm (11in)

Kartell SpA, Italy

_www.kartell.it_

**Lighting, Johnny B. Butterfly**

Ingo Maurer and Team

Hand-made insect models

Bulb with white Teflon shade

H: 25cm (9⅞in)

Ingo Maurer GmbH, Germany

_www.ingo-maurer.com_

**Ceiling lamp (single or multiple modules), Nearco**

Karim Rashid

Rotationally moulded polyethylene

Max 100W G53 QR-LP111 halogen/70W G8.5 HIR-CE111 metal halide

H: (single element): 66cm (26in)

Artemide SpA, Italy

_www.artemide.com_

**Floor/table lamp, Amanita**

Fernando and Humberto Campana

Rattan

2 x max 20W 220–230V

H: 60cm (23in)

Diam: 50cm (19in)

Alessi SpA, Italy

_www.alessi.com_

**Table light, Behive**

Werner Aisslinger

ABS, polycarbonate

150W E27 halogen/20W E27 fluorescent/150W E26 medium type T10 shielded frosted halogen/23W E26 medium fluorescent

H: 40cm (15¾in)

Diam: 39.5cm (15¾in)

Foscarini srl, Italy

_www.foscarini.com_

**Lamp, A Piece of Forest**

Modern Times

DuraPulp (composite of PLA and selected wood pulp) by Södra

LED

H: 200cm (78in)

W: 90cm (35in)

D: 7cm (2¾in)

Modern Times, Sweden

_www.modern-times.se_

**Floor lamp sculpture, Vase Lamp**

Studio Job

Handblown glass, metal

18W G9 halogen

H: 119 (47in)

Diam: 30 (11¾in)

Venini SpA, Italy

_www.venini.com_

**Benjamin Hubert**

How did your career start?

I started my career after university when I began to work for large industrial design consultancies such as DCA and Seymourpowell, etc. I worked for these companies for around four years across consumer electronics and medical and transport design as well as interiors, collaborating with multinational brands. Once I began to design for myself, I filled my evenings and weekends creating prototypes and concepts. Eventually the studio output was in such high demand that the decision to quit the day job was not difficult.

You have produced an amazing body of work in a short period of time. How do you account for your early professional and media recognition?

I work really hard and instil this ethos into the studio. The work is our passion, so we live and breathe it. We also try and talk to the right people and make engaging products that can be marketed through our core message of 'simplicity, materiality and process'.

What steps are you taking to build on this success?

We are now becoming more selective with our partners and look for experts in production technology or service, whether it's the brand or the factory. In that way we can really start to push innovation and research with very capable collaborators. The projects are therefore also becoming a little longer and in-depth. Right now we are working on some interesting new processes that give benefits such as greater strength to weight ratio, sustainability, interactivity, etc.

You say that the inspiration behind your work is led by process and materials, rather than form or even function.

Yes this is the way we like to work. We do a lot of research into new materials and constructions sometimes before we find an application for them. It frees us to really analyse the properties and push things as far as we can and then find the appropriate product. However, we do also believe in great functionality and usability, and often these considerations go hand in hand with the materials research. In our working process, form follows. It has an appropriateness and simplicity that lets the materials and function speak for themselves.

A good example of this is the Maritime chair (page 45), for which we found an interesting construction technique normally used in the shipbuilding industry, where a series of ribs increases the strength of a thin material. I applied this logic to the chair and allowed the construction to also become the design language.

You often use raw and tactile materials. How do you seek to elevate their design credentials away from craft?

We like to play with the consumer's perception of quality, application and context. Some of the materials we use are very normal but employed in very precise specifications.

For example, concrete is ubiquitous but generally used in architecture. By creating a process of casting it with a thin section and using it as a lighting product (as in the Heavy desk light, page 230), people's ideas of the value and beauty of the material are challenged. Another example is Loom (opposite page), where we used a 3D woven nylon normally used in the bedding industry. Through our research into lighting we discovered it has great diffusion qualities. Or take the pressed felt used in the automotive industry. By creating large shells with acoustic benefits in the Pod chair (page 48), we again challenged its expected application.

Loom pendant lamp for Zero (2011)

You maintain that creating a narrative saves design from being stereotypical or formulaic.

We try to tell a story with our work: A story of materials, inspiration and the semantics of function. We believe this will create designs that people can relate to and that have a lasting value – products that have been designed for the right reasons.

You frequently collaborate with skilled artisans. What have you learned from the experience?

Working with an expert in a material or process gives you the ability to gain a true understanding of its properties. Being armed with this knowledge allows us to push things forward and challenge the conventions.

The definition of sustainable design is difficult and contradictory. What is your understanding of the term?

Sustainability is a formula. You need to have the elements in balance to have a truly sustainable product. For example, it's important that an object has longevity, that it does not respond to trends, but that it is also made with quality and functionality so that it will last and generations will be able to use it. It's also important to consider a product's carbon footprint, the impact of the materials used and the production process, as well as how it is transported around the world. But if it does not have the values of longevity then all the other credentials are in vain.

What do you consider to be the catalysts for design's development today?

The catalysts are the benefits. Can we improve functionality? Can we make products stronger and with less material? Can we reduce a product's carbon footprint? There are many valuable benefits that should be considered when introducing new products to the world, which the designer should always keep as the main focus of a project. In essence, the quality of the question should be the catalyst.

When design historians look back over the first decade of the present century, will they consider it to have been an exciting period?

Yes, with all the new technology, societal change, globalization, etc., it's a very stimulating period in which we live. And the role of the designer is becoming ever more important because of it.

**Modular table lamp, Abyss**

Osko & Deichmann

Injection-moulded opal polycarbonate

High-voltage LED strip

Diam: 110cm (43in)

Kundalini, Italy

_www.kundalini.it_

**Light sculpture, Argo**

Luca Nichetto

Handblown glass, metal

1.5W LED

H: 38.5cm (15⅜in)

Diam: 40cm (15¾in)

Venini SpA, Italy

_www.venini.com_

**Ceiling lamp, Galata**

Edward van Vliet

Handblown glass, metal

20W E27

H: 72cm (28in)

Diam: 30cm (11¾in)

Venini SpA, Italy

_www.venini.com_

**Table lamp, Satelight/Altaïr**

Emmanuel Babled

Plexiglas

LED

H: 38.5cm (15⅜in)

W: 26.5cm (10⅝in)

L: 65cm (25in)

Emmanuel Babled Studio, The Netherlands

_www.babled.net_

**Pendant lamp, Rorrim**

Ross Lovegrove

Italian handblown glass

24W E27 Osram Circline/ 25W E27 Philips Circular

H: 27cm (10⅝in)

Diam: 45cm (17¾in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Pendant lamps, Calabash**

Komplot Design

Aluminium with chrome lacquer Max 25W E27 (small)

Max 40W E27 (medium)

Max 100W E27 (large)

H (small): 21cm (8 in)

Diam (small): 15.8cm (6¼in)

H (medium): 30.5cm (12¼in)

Diam (medium): 22.4cm (8⅝in)

H (large): 48.5cm (19¼in)

Diam (large): 34cm (13⅜in)

Lightyears A/S, Denmark

_www.lightyears.dk_

**Table lamp with tray, Piani**

Ronan and Erwan Bouroullec

Plastic

14 x 5W TOP LED (2700K, 336 lm, CRI 90)

H: 20cm (7⅞in)

L: 26.4cm (10¼in)

D: 18.3cm (7¼in)

Flos SpA, Italy

_www.flos.com_

**Extendable pendant lamp, Micro Telescopic**

Jean Nouvel

Aluminium

13W Power LED

3-element lamp:

H (min): 94cm (37in)

H (max): 155cm (61in)

Diam (min) 4cm (1⅝in)

Diam (max): 6cm (2⅜in)

4-element lamp:

H (min): 109cm (43in)

H (max): 220cm (86in)

Diam (min): 4cm (1⅝in)

Diam (max): 6cm (2⅜in)

Pallucco srl, Italy

_www.pallucco.com_

**Wall lamp, Tivu**

Jozeph Forakis

Polycarbonate

2 x 18W fluorescent/1 x 20W halogen

H (large version): 23cm (9in)

L (large version): 40.5cm (16⅛in)

D (large version): 8cm (3⅛in)

H (small version): 13cm (5⅛in)

D (small version): 6cm (2⅜in)

Foscarini srl, Italy

_www.foscarini.com_

**Pendant lamp, Pilke 36**

Tuukka Halonen

Birch plywood

Max 40W energy saver

H: 38cm (15in)

Diam: 36cm (14⅛in)

Showroom Finland Oy, Finland

_www.showroomfinland.fi_

**Floor lamp, Tress Stilo**

Marc Sadler

Compound material on lacquered glass fibre base

100W 220/240V halogen/ 75W 120V halogen

H: 185cm (72in)

Diam: 15cm (5⅞in)

Foscarini srl, Italy

_www.foscarini.com_

**Light shades, Koura and Kina (Grow Range)**

David Trubridge

Bamboo plywood, nylon push-in clips

LED or CFL recommended

H (Koura): 96, 160, 200 or 240cm (37, 63, 78 or 94in)

Diam (Koura): 55, 95, 110 or 140cm (21, 37, 43 or 55in)

H (Kina): 37, 42 or 70cm (14⅝, 16½, 27in)

Diam (Kina): 80, 100 or 160cm (31, 39 or 63in)

David Trubridge Ltd, New Zealand

_www.davidtrubridge.com_

**Table lamp, Filmografica**

Martí Guixé

Metal

LED

H (max): 60cm (23in)

Diam: 26cm (10¼in)

Danese Milano, Italy

_www.danesemilano.com_

**Pendant lamp, Fly-Fly**

Ludovica and Roberto Palomba

Polycarbonate

300W halogen

H: 24cm (9½in)

L: 80cm (31in)

D: 66cm (26in)

Foscarini srl, Italy

_www.foscarini.com_

Many have mourned the slow death of the incandescent light bulb since its manufacture began to be phased out in 2009 by the European Union for environmental reasons. The CFLs being pushed on consumers today may use 80 per cent less energy and last eight times as long as their conventional predecessors, but the light they shed simply doesn't compare, casting a ghoulish pale over our lives, while their gas-filled tubes are awkward in appearance. Facing the inevitable but recognizing the drawbacks, today's lighting designers are looking at ways to make the dreaded more palatable. The Plumen 001 bulb, designed by Samuel Wilkinson for British product-design company Hulger, is one such innovative concept and earned the accolade of Brit Insurance Design of the Year in 2011. At the prize-giving, Stephen Bayley, chair of the jury, enthused, 'The Plumen light bulb is a good example of the ordinary thing done extraordinarily well, bringing a small measure of delight to an everyday object.'

Interviewed for _Architonic_ online magazine, Wilkinson says, 'Low-energy lighting had a bad reputation as being something that you were forced to use, rather than through pure desire. The standard incandescent bulb has a simple beauty, but the standard CFLs appear as if designed by an engineer, lacking the "soul" of the original. So there was a clear opportunity to really add value.' In collaboration with Hulger, Wilkinson examined the usual CFL manufacturing processes in order to radically change the shape of the bulb and create a warmer, more yellow glow. He wanted an aesthetic that at first appeared random but, when viewed from different angles, took on a more rational and recognizable form. The Plumen is both poetic and seductive, and its fluorescent tubes were designed to echo and pay homage to its antecedent.

Wilkinson subsequently worked with the recently founded British design brand Decode to create the Vessel collection, a series of three handblown glass shades that are cut on individual slants to focus on the different faces of the Plumen. Illuminated, the glass tint mutes the light without hiding the shape of the bulb, producing an unexpected irregular reflection that appears holographic.

**Pendant/table light, Vessel Series 01-03**

Samuel Wilkinson

Mouthblown glass

Plumen 001 bulb E27/ES

H: 42cm (16½in)

Diam: 24cm (9½in)

Decode, UK

_www.decodelondon.com_

**Energy-saving light bulb, Plumen 001**

Hulger/Samuel Wilkinson

Glass, plastic, electronics, phosphor, gases

H: 19.2cm (7½in)

W: 10cm (3⅞in)

D: 10cm (3⅞in)

Hulger, UK

_www.hulger.com_

**Series of energy-saving light bulbs, AlessiLux**

Giovanni Alessi Anghini and Gabriele Chiave (Abatjour and Flame)

Frederic Gooris (Paraffina, Polaris, Tam Tam, U2Mi2, Vienna)

5.5 or 7.5W LED

Left to right: Abatjour, Flame, Paraffina, Polaris, Tam Tam, U2Mi2, Vienna

H (Abatjour): 12.4cm (4⅞in)

D (Abatjour): 7.4cm (2⅞in)

H (Flame): 11.3cm (4⅜in)

D (Flame): 7.5cm (3in)

H (Paraffina): 12.2cm (4¾in)

D (Paraffina): 6.3cm (2½in)

H (Polaris): 11.4cm (4½in)

D (Polaris): 7.5cm (3in)

H (Tam Tam): 13cm (5⅛in)

D (Tam Tam): 6.3cm (2½in)

H (U2Mi2): 13.3cm (5⅜in)

D (U2Mi2): 7.2cm (2⅞in)

H (Vienna): 11.9cm (4¾in)

D (Vienna): 7cm (2¾in)

Alessi SpA, Italy

Foreverlamp Europe BV, The Netherlands

_www.alessi.com_

_www.foreverlamp.eu_

Alessi is known worldwide for its designer kitchen utensils, but sees its future turning towards more innovative and experimental products. The AlessiLux range is the latest in the company's exploration of different fields of production that its CEO, Alberto Alessi, sees as 'Alessi-able'. A group of young designers (Giovanni Alessi Anghini, Gabriele Chiave and Frederic Gooris) was asked to create lamp/bulb hybrids to celebrate the advantages of using LEDs over incandescent light bulbs. LED technology significantly reduces carbon dioxide emissions thanks to its low energy consumption, but, as well as its green credentials, it also offers extraordinary design possibilities. LEDs enable the creation of small, vibration-free light sources that generate little heat and can safely be touched. Alberto Alessi sums up the results of the project: 'The topic brought us towards a kind of evaporation of the boundaries between light bulbs and lamps in a most natural way; actually, some of the projects are probably closer to a real lamp than to a simple bulb. I think that the new operation with Foreverlamp [the producers and distributors of AlessiLux] is going to blaze a trail for a revolutionary story in the world of lighting: it's as if hiding those boring, anonymous and often truly ugly light bulbs will no longer be necessary.'

**Pendant light, Filament Lamp**

Scott, Rich & Victoria Glass

CCFL

H: 42cm (16½in)

Diam: 15.5cm (6⅛in)

Northern Lighting, Norway

_www.northernlighting.no_

**Pendant lamp, Slingerlamp**

Richard Hutten

Laser-cut steel

Energy saver

H: 35cm (13¾in)

Diam: 59cm (23in)

NgispeN, The Netherlands

_www.ngispen.com_

**12-light chandelier, Marie Coquine**

Philippe Starck

Crystal, umbrella with chestnut wood handle, white pleated taffeta

Zénith lampshades

12 x max 40W E14 CEI/ E12 UL, JETRO incandescent

H: 110cm (43in)

Diam: 140cm (55in)

Baccarat, France

_www.baccarat.fr_

**Floor lamp, Yumi**

Shigeru Ban

Composite material coated with carbon fibre, lacquered metal

18W LED

H: 210cm (82in)

L (arch from base to LED board): 230cm (90in)

Diam (base): 50cm (19in)

FontanaArte SpA, Italy

_www.fontanaarte.it_

**16-light chandelier, Ellipse**

Arik Levy

Frosted crystal, polished stainless steel wiring, white pleated taffeta Zenith lampshades

16 x max 40W E14 CEI/ E12 UL, JETRO incandescent 2 x max 25W G9 halogen

H: 98cm (38in)

Diam: 81 to 117cm (31 to 46in)

Baccarat, France

_www.baccarat.fr_

**Lamp, Metropolis**

Lladró

Porcelain

G9 halogen

H: 35cm (13¾in)

W: 15cm (5⅞in)

D: 15cm (5⅞in)

Lladró, Spain

_www.lladro.com_

**LED tea lights, Ambiance Accessories LED Tea Lights**

Philips Design

Glass

LED

H: 6.2cm (2½in)

Diam: 6cm (2⅜in)

Philips, The Netherlands

_www.philips.com_

**Lamp, The Clown Lamp**

Jaime Hayon

Porcelain

100W E27

H: 60cm (23in)

Diam: 35cm (13¾in)

Lladró, Spain

_www.lladro.com_

**Double-sided lamp, Sfera**

Michele De Lucchi

Crystal, brushed nickel-plated brass

Max 40W G9 halogen

H: 53cm (20in)

Diam: 30cm (11¾in)

Baccarat, France

_www.baccarat.fr_

**Pendant lamp, Bossa 26w**

Fernando Prado

Aluminium

26W TC-TEL GX24q-3

H: 45cm (17¾in)

Diam: 75cm (29in)

Lumini, Brazil

_www.lumini.com.br_

Fernando Prado, head designer for São Paulo–based lighting manufacturer Lumini, believes in creating an element of surprise in his work. Rather than opting for expensive technical solutions, he employs simple mechanical elements that invite users to interact with his lamps to alter ambience. This hand-crafted aluminium pendant light, Bossa, was created in response to Prado's recognizing the difficulty of designing lights for use over glass-topped dining tables, which require a light source that does not glare uncomfortably. His solution has a reflector in front of the compact fluorescent bulb that can be moved up and down by gently pulling the lampshade. As the reflector moves, the light effect changes from downlighting to uplighting, adjusting the atmosphere in the room in an ingeniously effortless way.

**Lamp, Lighthouse**

Ronan and Erwan Bouroullec

Venini Murano glass, marble, aluminium

Halogen

H: 70cm (27in)

D: 37cm (14⅝in)

Established & Sons, UK Venini SpA, Italy

_www.establishedandsons.com_

**Pendant lamp, Goccia Prisma**

Stefano Papi

Lentiflex

24W E27 FBG

H: 43cm (16⅞in)

Diam: 30cm (11¾in)

Slamp SpA, Italy

_www.slamp.com_

**Modular lighting, Halo**

Martin Azú a

Methacrylate, lacquer

13W 24V LED strip

Various sizes depending on layout of modules

Vibia, Spain

_www.vibia.es_

**Indoor/outdoor wall art/ lighting, Origami**

Ramón Esteve

Polycarbonate, lacquer

17.2W 24V LED strip

Various sizes depending on layout of modules

Vibia, Spain

_www.vibia.es_

**Pendant lamp, Rhythm**

Arik Levy

Polycarbonate, lacquer

3.2W 24V LED strip

Various sizes depending on layout of modules

Vibia, Spain

_www.vibia.es_

**Nendo**

You maintain that the starting point in all your work is isolating and shaping the small, happy moments hidden in everyday life and forming them into a design that's easy to understand subliminally. Can you describe exactly what you mean?

We see our job as being able to give people small '!' moments, where '!' indicates a change in their emotions: joy, anger, grief, pleasure... We want to reconstitute everyday experiences by collecting and reshaping them into objects or spaces that can be easily understood. We would like the people who have encountered Nendo's designs to feel these small moments instinctively. Two recent interior projects illustrate what I mean. The Puma House (below), a showroom in Tokyo for sneaker brand Puma, features timber stairs that wrap around the space's concrete columns to form display shelves. They are not there to be climbed but form a compositional element that gives the space a special character but were inspired by my observation of people going up and down stairs at a train station. I thought, 'That's neat.' Similarly, the Indulgi boutique (opposite page) is full of fake doors that act to break up sight lines in a long narrow space in Kyoto. They have an organizational function, but we also recognized that walls create an over-strong sense of pressure so we just decided to add fake ones to those already existing to give the interior a surreal atmosphere.

Would you say that growing up in Toronto and studying architecture at Waseda University in Tokyo has had a direct effect on either the Nendo aesthetic or the way you work?

I moved to Japan after spending ten years of my childhood in Canada. It was inspirational for me to see and experience normal, everyday life in Japan. I think I still look on Japan in the same way as a foreigner, and that could be the origin of my way of thinking when I design. Studying architecture gave me the opportunity of learning how to reason in a logical way.

You often mention that Tokyo is an inspiration to you. In which way?

In many ways Japan is still a very traditional society, but there are a few areas, and design is one of them, where a forward-looking impulse is very strong. I tend to get most of my ideas when I'm in Tokyo. After all, it's the place where I've spent the major part of my life so far. One thing I love about the city is the noise. I feel comfortable with it when I'm designing and it helps to inspire me.

Giulio Cappellini has said of your work, 'I see a spirit of lightness. That's the pure spirit of Japan.' How much do you agree with this statement?

There is no denying the fact, even though I'm not really conscious of it.

You are both an architect and a product designer. Does the way you work change depending on the project you are undertaking?

No, not really, as the concept and the story are always the most important elements for me. The way I work and the process I follow in every product and space I design is basically the same.

You have been quoted as saying that you don't consider sustainability when designing a product, but that this consideration should come afterwards. Can you explain what you mean by this?

When I design I don't usually put an emphasis on sustainability or the idea of eco-consciousness, as I believe that those factors should be regarded as conditions set by the client in the same way as the schedule or the budget.

You are incredibly prolific. How do you maintain this level of output? How would you describe the way you work, the process you follow in designing and developing a product, and the relationship you have with your design team?

All my life I've been thinking of design – 24 hours a day and 365 days a year. There are about thirty people in my office working in product, graphic or interior design [architecture] teams, as well as staffthat take care of the everyday running of the office. Once I have the initial thought or concept for a new design, based on my development of a narrative for that project, I share my ideas with my chief directors and then they direct the members of the design team. The process is one of repetition and trial and error.

The Puma House showroom, Tokyo (2011)

Do you think there has been an evolution in your work from the first projects to the present day?

Every day and every moment is a new challenge and an evolution for me.

What do you consider to be the designer's role today?

I think that designers fulfil various roles in society today, but we believe that our responsibility is to give people those small '!' moments that I think make our days so interesting and rich. We want the people who have experienced our designs to feel these intuitively. That's Nendo's job.

Ettore Sottsass was quoted in the 1960s as saying, 'For me design is a way of discussing society, politics, eroticism, food and even design. At the end, it is a way of building up a possible figurative utopia or metaphor about life.' Do you agree with this?

Yes, I would agree with that statement. There are so many ways to describe design and Sottsass's notion might be one of them.

Indulgi boutique, Kyoto (2011)

**Pendant lamp, Bubble**

Missoni Home Studio

Curved steel rod, fabric

Mains-connected light source

H: 48cm (18⅞in)

Diam: 60cm (23in)

H: 72cm (28in)

Diam: 90cm (35in)

Missoni Home by T&J Vestor SpA, Italy

_www.missonihome.com_

**Pendant lamp, Pin-Up**

Richard Hutten

Powder-coated stainless steel

E27

H: 20, 25, 30 or 35cm (7⅞, 9⅞, 11¾ or 13¾in)

Diam: 40, 50, 60 or 70cm (15¾, 19, 23 or 27in)

Brand Van Egmond B.V., The Netherlands

_www.brandvanegmond.com_

**Adjustable floor lamp, Position Floor Lamp**

Rooms

Solid maple wood

20W E27 CFL spot

H: 155cm (61in)

W: 140cm (55in)

D: 42cm (16½in)

Moooi, The Netherlands

_www.moooi.com_

**Pendant lamp, Falling Water**

Tobias Grau

Anodized aluminium

14W LED

Diam: 8cm (3⅛in)

Tobias Grau GmbH, Germany

_www.tobias-grau.com_

**Table lamp, Ikea PS Svarva**

Front

Cotton, solid beech, steel

11W E27

H: 70cm (27in)

Diam: 43cm (16⅞in)

Ikea, Sweden

_www.ikea.com_

**Wall lamp, Applique à volet pivotant (re-edition)**

Charlotte Perriand

White metal, epoxy-coated aluminium

48W R7S halogen

H: 16.5cm (6½in)

W: 12.5cm (4⅞in)

D: 7cm (2¾in)

Nemo (Divisione luci di Cassina SpA), Italy

_www.nemo.cassina.it_

**Table lamp, My Chrysalis**

Angus Hutcheson

Silk cocoon, stainless steel

E27 low energy

H: 70cm (27in)

W: 32cm (12⅝in)

D: 32cm (12⅝in)

Ango, Thailand

_www.angoworld.com_

**Wall lamp, Mysterio**

Diesel

Plastic polymer, glass

G9 halogen

Diam: 30cm (11¾in)

Foscarini srl, Italy

_www.foscarini.com_

_<http://diesel.foscarini.com>_

**Pendant lamp, Maki**

Nendo

Lacquered aluminium

4W GU10 LED/35W halogen

H: 30cm (11¾in)

Diam: 9cm (3½in)

Foscarini srl, Italy

_www.foscarini.com_

**Floor lamp, Veliero**

Tadao Ando

Handblown Murano glass

LED

H: 160cm (63in)

W: 47cm (18½in)

Venini, Italy

_www.venini.it_

**Pendant lamp, Troag**

Luca Nichetto

Wood

24W/54W/80W fluorescent

L (small): 125cm (49in)

L (medium): 185cm (72in)

L (large): 215cm (84in)

Foscarini srl, Italy

_www.foscarini.com_

**Table lamp, Double T-Future**

Ingo Maurer and Team

Aluminium, steel

OLED, LED

H: 80cm (31in)

W: 30cm (11¾in)

L: 70cm (27in)

Ingo Maurer GmbH, Germany

_www.ingo-maurer.com_

**System of dimmable pendant lamps, Sempé w103s6p**

Inga Sempé

Steel, cast iron, aluminium

1–6W LED (per shade)

H: 24.3cm (9½in)

W: 139.7cm (55in)

L: 147.2cm (58in)

Wästberg, Sweden

_www.wastberg.com_

**Lamp, Lampalumina**

Ronan and Erwan Bouroullec

Alumina ceramic

LED

H: 80cm (31in)

L: 20cm (7⅞in)

Bitossi by Flavia srl, Italy

_www.bitossiceramiche.it_

**Table and floor lamps, Pipe**

Diesel

Wire frame with fabric cover

Table lamp: 1 x fluorescent

Floor lamps: 2 x E27 halogen

H (table lamp): 52cm (20in)

Diam (table lamp): 50cm (19in)

H (floor lamp, medium): 148cm (58in)

Diam (floor lamp, medium): 73cm (28in)

H (floor lamp, large): 187cm (74in)

Diam (floor lamp, large): 58cm (22in)

Foscarini srl, Italy

_www.foscarini.comdiesel.foscarini.com_

**Desk lamp, Led Biolite**

Makio Hasuike

Extruded aluminium, resin

LED

H (max): 54cm (21in)

W: 16cm (6¼in)

D (max): 50cm (19in)

Yamagiwa, Japan

_www.yamagiwa-lighting.com_

**Pendant lamp, Regatta**

Thomas Malmberg

Sail cloth

23W 230V E27 low energy

Diam: 50 or 70 cm (19 or 27in)

Thomas Malmberg Design, Sweden

_www.thomasmalmberg.com_

**Table lamp, Denq**

Toshiyuki Kita

Opaline opaque blown glass, lacquered metal

Max 150W E27

H: 42cm (16½in)

Diam: 30cm (11¾in)

Oluce srl, Italy

_www.oluce.com_

**Pendant lamp, Moony**

Massimiliano Fuksas

Glass

LED strip

H: 7cm (2¾in)

L: 60cm (23in)

D: 36cm (14⅛in)

La Murrina SpA, Italy

_www.lamurrina.com_

**Indoor/outdoor lamp/seat, Pill-Low**

Francesco Rota

White polyethylene with cover in outdoor washable fabric

Max 25W E27 fluorescent

H: 32cm (12⅝in)

Diam: 57cm (22in)

Oluce srl, Italy

_www.oluce.com_

**Indoor/outdoor wall lamp, Ecran In & Out**

Inga Sempé

Polycarbonate

8W LED, warm white

D: 14.5cm (5¾in)

Diam: 18.5cm (7¼in)

Luceplan SpA, Italy

_www.luceplan.com_

**Modular pendant lamp, Honeycomb**

Habits Studio

Polycarbonate

3 x 8W LED, warm white

3 x 30W 12V halogen

H (module): 8cm (3⅛in)

Luceplan SpA, Italy

_www.luceplan.com_

**Floor and table lamp, Beth**

Carlo Colombo

Aluminium, satined antiglare glass lens, metal

Table lamp: Max 100W E27

Floor lamp: Max 150W E27

H (table lamp): 75cm (29in)

H (floor lamp): 120cm (47in)

Diam: 17cm (6¾in)

Oluce srl, Italy

_www.oluce.com_

**Floor lamp, Hope**

Francisco Gomez Paz and Paolo Rizzatto

Polished stainless steel, transparent polycarbonate

105W E27 energy saver/ max 250W halogen

H: 184cm (72in)

Diam: 51cm (20in)

Luceplan SpA, Italy

_www.luceplan.com_

**Ceiling lamp, Heracleum**

Bertjan Pot

Metal wire, polycarbonate lenses

LED

H: 65cm (25in)

Diam: 98cm (38in)

Moooi, The Netherlands

_www.moooi.com_

**Pendant lamp, Faretto Double**

Nigel Coates

Cristalflex, polycarbonate

2 x 75W E27 HSGST/C/UB

H: 31cm (12¼in)

W: 72cm (28in)

D: 39cm (15⅜in)

Slamp SpA, Italy

_www.slamp.com_

**Ceiling lamp, LED Net Circle Soffitto**

Michele De Lucchi and

Alberto Nason

Aluminium, methacrylate

17 x LED (39W total)

Diam: 65cm (25in)

Artemide SpA, Italy

_www.artemide.com_

**Pendant lamp, Gio'**

Angeletti Ruzza Design

Aluminium, polycarbonate

LED

H (max): 250cm (98in)

Diam: 48cm (18⅞in)

Nemo (Divisione luci di

Cassina SpA), Italy

_www.nemo.cassina.it_

**Pendant lamp, Raimond**

Raimond Puts (realisation by Ox-ID)

Stainless steel, PMMA

LED

Diam (small): 43cm (16⅞in)

Diam (medium): 61cm (24in)

Diam (large): 89cm (35in)

Moooi, The Netherlands

_www.moooi.com_

Jake Dyson grew up in a household where design ruled – his father is Sir James Dyson, inventor of the bagless vacuum cleaner and the high-speed hand-dryer, as well as the Dyson Air Multiplier fan and the Dyson Hot fan heater (page 277). At the age of 17, Jake made his first foray into mechanics when he went to work for his father, helping him in the production of prototypes. Jake maintains that this introduction to the mill and lathe educated him on the limits of engineering. After studying industrial design at Central Saint Martins College of Art and Design in London, he founded his eponymous company in 2004 and went on to gain recognition in his own right with the now iconic Motorlight Floor and Wall lights. 'My taste is quite minimalist, which is why lighting is so important to me. If you don't have a lot of things, you need to use light to create the atmosphere in a room. I think lights themselves should be interesting to look at. I hate what I call "morphous" design, where a shape is imposed on something for no reason. The visual should be worked out around the mechanics of an object, rather than trying to cover them up.'

By investigating current developments in thermalmanagement systems and bringing the heat-pipe technology used in satellites and processor chips to LED lighting, Dyson has created a desk light that marries the latest know-how with sleek aesthetics, while also addressing environmental issues. A copper pipe conducts heat away from the light source, ensuring greater longevity (over 160,000 hours of continual use) and brightness from the high-intensity LEDs, which, at only 8 watts, are five times more energy efficient than a comparable halogen bulb. The CSYS requires no replacement bulbs; in addition, it contains no mercury, making it suitable for landfill disposal. Inspired by construction cranes, the lamp is adjustable on three axes and challenges the status quo of mechanical movement in existing lighting. Dyson concludes, 'We believe that the CSYS will change people's minds about LED lighting.'

**LED task light, CSYS**

Jake Dyson

Machined aluminium, copper, polycarbonate

8.8W LED

H: 65.3cm (25in)

W: 52.7cm (20in)

D: 17.7cm (7⅛in)

Jake Dyson Products, UK

_www.jakedyson.com_

Jake Dyson grew up in a household where design ruled – his father is Sir James Dyson, inventor of the bagless vacuum cleaner and the high-speed hand-dryer, as well as the Dyson Air Multiplier fan and the Dyson Hot fan heater (page 277). At the age of 17, Jake made his first foray into mechanics when he went to work for his father, helping him in the production of prototypes. Jake maintains that this introduction to the mill and lathe educated him on the limits of engineering. After studying industrial design at Central Saint Martins College of Art and Design in London, he founded his eponymous company in 2004 and went on to gain recognition in his own right with the now iconic Motorlight Floor and Wall lights. 'My taste is quite minimalist, which is why lighting is so important to me. If you don't have a lot of things, you need to use light to create the atmosphere in a room. I think lights themselves should be interesting to look at. I hate what I call "morphous" design, where a shape is imposed on something for no reason. The visual should be worked out around the mechanics of an object, rather than trying to cover them up.'

By investigating current developments in thermalmanagement systems and bringing the heat-pipe technology used in satellites and processor chips to LED lighting, Dyson has created a desk light that marries the latest know-how with sleek aesthetics, while also addressing environmental issues. A copper pipe conducts heat away from the light source, ensuring greater longevity (over 160,000 hours of continual use) and brightness from the high-intensity LEDs, which, at only 8 watts, are five times more energy efficient than a comparable halogen bulb. The CSYS requires no replacement bulbs; in addition, it contains no mercury, making it suitable for landfill disposal. Inspired by construction cranes, the lamp is adjustable on three axes and challenges the status quo of mechanical movement in existing lighting. Dyson concludes, 'We believe that the CSYS will change people's minds about LED lighting.'

**Table lamp, Ferea**

Emmanuel Babled

Satin blown glass

100W incandescent

H: 49cm (19¼in)

W: 45cm (17¾in)

Vistosi, Italy

_www.vistosi.it_

**Suspension fixture for spot lighting, Mini Mini Led**

Habits Studio

Aluminium extrusion

5W LED spot

H: 66.4cm (26in)

Diam: 2.5cm (1in)

Luceplan SpA, Italy

_www.luceplan.com_

**OLED panels, Lumiblade**

Philips Lumiblade

Small molecule organic materials, glass plates

OLED

L (square): 7cm (2¾in)

W (square): 7cm (2¾in)

Diam (circle): 7cm (2¾in)

L (triangle): 8.5cm (3⅜in)

W (triangle): 5cm (2in)

L (rectangle): 13cm (5⅛in)

W (rectangle): 5cm (2in)

Philips Lumiblade, Germany

_www.lumiblade.com_

**Modular lighting system, Synapse**

Francisco Gomez Paz

Polycarbonate

3 x 0.4W RGB LED, changing colour

Diam (module): 34cm (13⅜in)

Luceplan SpA, Italy

_www.luceplan.com_

**Wall-mounted/pendant lamp, Up & Away**

Outofstock

Stainless steel with powder-coated finishing, active glass technology from Quantum Glass™

LEDinGlass

H: 2cm (¾in)

W: 60 or 91cm (23 or 35in)

L: 51 or 80cm (20 or 31in)

Saazs, France

_www.saazs.com_

**Wall/ceiling lamp, Balance**

Pio and Tito Toso

Blown glass

2 x 100W incandescent/ energy saver

W: 40cm (15¾in)

L: 40cm (15¾in)

D: 17cm (6¾in)

Vistosi, Italy

_www.vistosi.it_

**Desk lamp, Otto Watt**

Alberto Meda and Paolo Rizzatto

Aluminium

8W LED, tuneable white

W (base): 18.5cm (7¼in)

D (base): 18.5cm (7¼in)

L (arms): 48.5 + 45.5cm (19¼ +18⅛in)

Luceplan SpA, Italy

_www.luceplan.com_

**Table lamp, Bot**

Gregorio Spini

Blown glass

3 x 100W incandescent/energy saver

H: 35cm or 17cm (13¾ or 6¾in)

Diam: 35cm or 16cm (13¾ or 6¼in)

Vistosi, Italy

_www.vistosi.it_

**Series of pendant lamps, Ray**

Claesson Koivisto Rune

Steel with cord fabrics

LED

H (yellow): 8.9cm (3½in)

Diam (yellow): 16.7cm (6¾in)

NgispeN, The Netherlands

_www.ngispen.com_

**Pendant lamp, Space Time**

Karim Rashid

Painted polythene

Max 20W E27

H: 42.5cm (16⅞in)

Diam: 55cm (21in)

Zero Lighting, Sweden

_www.zero.se_

**Pendant lamp, 0.5 KG Lamp**

Diederik Schneemann

Recycled flip-flops

Energy saver

H: 26.5cm (10⅝in)

Diam: 22cm (8⅝in)

Studioschneemann, The Netherlands

_www.studioschneemann.com_

In one of the more inspiring examples of reuse in recent years, young Dutch designer Diederik Schneemann worked with the Kenya-based environmental initiative UniquEco to add his range of playful products to the FlipFlop Project. The story has its origins in 1997, when local women on the islands of the Lamu Archipelago, situated offthe northeast coast of Kenya, started to collect the flip-flops that contaminated their beaches, turning them into jewellery and toys. In 2005, environmental scientists Julie Church and Tahreni Bwaanali saw the potential of developing a local industry whilst also protecting the area's ecosystem, and the FlipFlop Project emerged.

The Lamu Archipelago lies at the confluence of two major ocean currents and is an important conservation area where protected mangrove stands, sea-grass beds and coral reefs support a wide variety of marine life, including sea turtles. Because of these currents, thousands of flip-flops are deposited on Lamu's shores from the world's beaches, threatening both the turtles' nesting sites and, because of the eyesore they cause, the tourism on which the islands depend. The Project resolves the problem in a sustainable way: it offers fair living wages to local women to collect the discarded sandals. Once gathered, the flip-flops are sent to Nairobi, where UniquEco's twenty full-time staff sand them back to their original bright colours, melt them down and transform them into a range of craft artefacts and gifts.

To build global awareness, Church and Bwaanali have sought media exposure and commissioned elaborate art pieces. The collaboration with Schneemann is their entrée into the international contemporary design world. His series consists of a range of colourful and idiosyncratic objects, including a tulip vase on wheels, a vase with a drawer in the front and a lamp with a power outlet in the base. At the time of the collection's debut at the 2011 Milan Salone Internazionale del Mobile, the press release read: 'They are discoloured, worn, torn, patched up and eventually tossed away or lost. After a long trip through Asia or Africa they end up in sewers and in the ocean. Then they are washed up on the shores of Eastern Africa. There they are found, collected, and eventually reclaimed. Turned into a collection of sustainable design objects in which the eventful travel tales of worn flip-flops is captured and translated.'

**Pendant lamp, Roofer**

Benjamin Hubert

Flexible silicon polymer tiles, steel frame

Various dimensions

3 x CFL

Fabbian, Italy

_www.fabbian.com_

**Flexible ceiling lamp, Greta**

Whats What

Textile pleats

Low energy

H: 55cm (21in)

Svenskt Tenn, Sweden

_www.svenskttenn.se_

**Pendant lamp, Carmen**

Héctor Serrano

Polished painted metal, steel, satin methacrylate

3 x 70W halogen energy saver/ 3 x 20W E27 fluorescent

H: 33cm (13in)

Diam: 51cm (20in)

FontanaArte SpA, Italy

_www.fontanaarte.it_

**Pendant lamp, Grand Trianon**

Paula Arntzen

White Tyvek®, steel

Max 60W

H: 71cm (28in)

Diam: 59cm (23in)

Artecnica, USA

_www.artecnica.com_

**Desk light with integral dock for iPod, iPhone or iPad, D'E-Light**

Philippe Starck

Chrome-plated aluminium, extruded aluminium, chrome-plated zamak

LED

H: 31.7cm (12⅝in)

W (top): 21.6cm (8⅝in)

W (bottom): 12cm (4¾in)

Flos, Italy

_www.flos.it_

**Table lamp, Trash Me**

Victor Vetterlein Paper pulp

Max 40W E27/

7W low energy

H: 52.4cm (20in)

W: 16.5cm (6½in)

L: 25.4cm (9⅞in)

& Tradition, Denmark

_www.andtradition.com_

**Mobile rechargeable lamp, Lantern**

Tong Ho

Ceramic, bamboo, plastic

LED

H: 45cm (17¾in)

Diam: 20cm (7⅞in)

Yii, Taiwan

HAN Gallery, Taiwan

_www.yiidesign.com_

_www.han-gallery.com_

**Pendant lamp, Cristal de Luz (Light Crystal)**

TT Leal

Plastic globe, brushed aluminium finish, crochet cotton cover

Diam: 50 or 38cm (19 or 15in)

COOPA-ROCA, Rocinha

Craftwork Cooperative, Brazil

_www.coopa-roca.org.br_

The Coopa-Roca (Rocinha Seamstress and Craftwork Cooperative Ltd) brand presented its first collection, a small range of fashion items, accessories and light shades, at the Salone Internazionale del Mobile in 2011, heralding a new phase in the collective's development. The initiative had originated in the early 1980s to help the women of the Rio de Janeiro's Rocinha favela – possibly the largest in South America – to earn an income and hence contribute to their family budget whilst working from home. It was founded by Maria Teresa Leal, a sociologist and arts educator who turned her attention to the children of Rio's urban slums, setting up free Saturday craft classes. It wasn't long before she recognized the skill of the mothers who attended the sessions and worked alongside their offspring, encouraging them by demonstrating traditional Brazilian handwork techniques such as patchwork, crochet and fuxico (a form of embroidery that uses scrap fabric gathered at the centre to form flowers). A cooperative was formed to organize the women and train them to improve and standardize their work, which at first they sold in local markets. Today the group numbers over one hundred artisans, and over the years has established links and collaborated with international fashion houses, retailers, designers and installation artists, including Cacharel, Paul Smith, Agent Provocateur, Lacoste, C&A, Tord Boontje and Ernesto Neto.

**Pendant lamp, Beads (Octo and Penta)**

Winnie Lui

Spun stainless steel

20W E27 CFL/max 100W clear incandescent

H (Octo): 41cm (16⅛in)

Diam (Octo): 77cm (30in)

H (Penta): 48cm (18⅞in)

Diam (Penta): 54cm (21in)

Innermost Ltd, UK

_www.innermost.net_

**Pendant lamp, Cage**

Diesel

Blown glass, lacquered metal

20W E27 CFL/50W E27 energy-saving halogen

H: 76cm (29in)

Diam: 46cm (18⅛in)

Foscarini, Italy

_www.foscarini.com_

**Pendant lamp, Wonderlamp**

Studio Job and

Pieke Bergmans

Bronze fusion, glass bulbs LED

H: 230cm (90in)

Diam: 50cm (19in)

Dilmos, Italy

_www.dilmos.it_

**Pendant lamp, Le Soleil**

Vicente Garcia Jimenez

Polycarbonate

3 x 60W G9 halogen energy saver/1 x 75W GU10 halogen

H: 43cm (16⅞in)

Diam: 62cm (24in)

Foscarini, Italy

_www.foscarini.com_

**Occasional light, Work Lamp**

Form Us With Love

Steel, chrome/gold plating, rubber

Opal oversized halogen

H: 21cm (8¼in)

Diam: 15cm (5⅞in)

Design House Stockholm, Sweden

_www.designhousestockholm.com_

**Table lamp, Elix**

Emmanuel Babled

Handblown Murano glass

40W G9 halogen

H (large): 43cm (16⅞in)

Diam (large): 30cm (11¾in)

H (small): 30cm (11¾in)

Diam (small): 38cm (15in)

Venini, Italy

_www.venini.it_

**Desk lamp, Chipperfield w102**

David Chipperfield Brass

1–4W LED

H: 42.4cm (16½in)

W: 11cm (4⅜in)

L: 33.7cm (13⅜in)

Wästberg, Sweden

_www.wastberg.com_

**Pendant lamps, Valentine and Baby Valentine**

Marcel Wanders

Crystal-clear blown glass with lacquered shade

Max 105W E27 eco halogen, type A (Valentine)

H (Valentine): 29.5cm (11¾in)

Diam (Valentine): 35.5cm (14⅛in)

Moooi, The Netherlands

_www.moooi.com_

**Floor lamp, Foglie**

Matali Crasset

Injection-moulded opaline polycarbonate

30W 220V E27 CFL

H: 182cm (72in)

Diam: 68cm (26in)

Pallucco, Italy

_www.pallucco.com_

**Indoor/outdoor pendant lamp, Wind**

Jordi Vilardell

Fibreglass, acrylic

40W 230V 2GX13 T5C fluorescent tube

H: 48cm (18⅞in)

Diam: 60cm (23in)

Vibia, Spain

_www.vibia.es_
**8.**

**ELECTRONICS**

**Bladeless fan heater, Dyson Hot™ (AM04)**

James Dyson

ABS

H: 57.9cm (22in)

W: 15.2cm (5⅞in)

D: 10cm (3⅞in)

Dyson, UK

_www.dyson.co.uk/fans_

The motto of Younicos, a Berlin-based renewable-energy company, is 'Let the fossils rest in peace'. The Yill Mobile Energy Storage Unit is the first in a range of environmentally sustainable products designed by Werner Aisslinger to demonstrate how green energy can be integrated into modern buildings. The cordless energy-storage unit takes the form of a wheel about the size of a bass drum, sleek and modern in appearance. It is primarily intended for use in office environments and, through its rechargeable lithium titanium battery, can provide all the energy necessary to power a workstation for two–three days. Yill can supply 300 watts of electricity and store 1 kilowatt hour of energy. The unit is recharged by plugging into a normal socket drawing power from the national grid, or into a charging station that derives energy from renewable sources.

**Mobile energy-storage unit, Yill**

Werner Aisslinger

Silicon PU, aluminium, ABS

H: 52.6cm (20in), plus handle that can be extended up to 40cm (15¾in)

W: 28.3cm (11in)

L: 52.6cm (20in)

Younicos, Germany

_www.younicos.com_

**Mobile hard drive, CLS**

Sylvain Willenz

Injection-moulded plastics

H: 1.35cm (½in)

W: 7.95cm (3⅛in)

L: 10.98cm (4⅜in)

Freecom, Germany

_www.freecom.com_

**Power station, Power Station Universal USB Solar**

Philips Design

Plastic

H: 32.3cm (12⅝in)

W: 13.3cm (5⅛in)

L: 18.5cm (7¼in)

Philips, The Netherlands

_www.philips.com_

**Speakers, Zikmu Parrot**

Philippe Starck

ABS and PMMA resins

H: 74cm (29in)

W (bottom): 29cm (11⅜in)

L (bottom): 32cm (12½in)

Parrot, France

_www.parrot.com_

**Wall shelf with integrated sound system and iPod dock, Hohrizontal 51**

Bernd Brockhoff

MDF

H: 5.1cm (2in)

W: 100cm (39in)

D: 30cm (11¾in)

Finite Elemente GmbH, Germany

_www.finite-elemente.de_

**Universal remote, Peel**

fuseproject

Nylon, IR translucent polycarbonate

H: 9cm (3½in)

Circumference: 23cm (9in)

Peel, USA

_www.peel.com_

Peel combines a free app for searching TV listings with a fun and friendly piece of hardware called the Peel Fruit that relays the signal from your iPhone to your TV (an Android version was in development at the time of writing). The product itself has been designed to be displayed and celebrated, and revolutionizes the aesthetics of TV equipment – available as a stylized orange, apple or pear, the peripheral keeps its cuttingedge technology hidden within its slightly angled base. Peel aims to change the way we watch and discover content on TV. Rather than surfing the hundreds of channels now available, with this intuitive and handy product system, users can click on a movie or programme, search by name, or consult their viewing habits, which have been learned by the system, thus 'peeling back' the tedious layers of a channel guide.

**Bluetooth audio speaker, Jambox**

fuseproject

Silicone rubber, steel grate

H: 5.7cm (2¼in)

L:15cm (6in)

D: 3.8cm (1½in)

Jawbone, USA

_www.jawbone.com_

**Computer speakers, Sound2 Speakers**

Neil Poulton

ABS

W: 14cm (5½in)

L: 20cm (7⅞in)

LaCie, with technology by Cabasse, France

_www.lacie.fr_

_www.neilpoulton.com_

**Wireless optical computer mouse with USB receiver, Oppopet**

Nendo

Plastic, silicone

H: 3.8cm (1½in)

W: 6cm (2⅜in)

D: 8.8cm (3½in)

Elecom, Japan

_www.elecom.co.jp/global/_

**Energy monitor, Wattcher**

Marcel Wanders

PE, TPE, electronics

H: 3cm (1⅛in)

W: 7cm (2¾in)

L: 15cm (5⅞in)

Wattcher bv, The Netherlands

_www.wattcher.com_

Marcel Wanders designed Wattcher to be the 'ticking heart of the home'. He says, 'The design is very clean and has urgency in pointing out your energy consumption. Wattcher is more than just a product; it is a strategy that stimulates awareness.' The device plugs into a standard socket and displays electrical expenditure, encouraging users to reduce their usage. As well as indicating the total number of units consumed, the display glows brighter depending on the acceleration of energy use. A year after its launch, there were over 12,000 Wattcher users, and market research indicated a reduction in their energy waste of up to 15 per cent.

**Computer mouse, Rinkak**

Nendo

Plastic

H: 3.7cm (1½in)

W: 6cm (2⅜in)

D: 10cm (3⅞in)

Elecom, Japan

_www.elecom.co.jp/global/_

Such is the innovation of Sir James Dyson's designs that 'doing a Dyson' has become synonymous with the reinvention of everyday objects. His convention-defying appliances, such as the cyclonic bagless vacuum cleaner and the water-scraping high-speed Airblade hand dryer, owe their success not only to years of research and development (the Airblade, for example, went through over 5,000 failures and hundreds of prototypes before it was ratified), but also to careful consideration of the problems associated with domestic devices and how their designs can be improved. The Air Multiplier fan, launched in 2010, and the Hot fan heater, which followed a year later, are based on variations of the same patented technology that generates the fast flow of air to cool or warm a room without moving parts.

Neither looks anything like a typical fan or heater (essentially they are large loops sitting on top of sturdy cylinders without a blade or grille in sight), and both resulted from Dyson's disappointment with their predecessors. In the case of the Air Multiplier, he noted that fan design had not altered since the 1880s when they were first invented, explaining, 'Their spinning blades chop up the airflow, causing annoying buffeting. They're hard to clean. And children always want to poke their fingers through the bars. So we've developed a new type of fan that doesn't use blades.' The impetus behind his new heater was similar: 'The thing that I have always remembered about conventional heaters is that you switch them on and you get this terrible smell of burnt dust... In terms of health and safety, they shouldn't be used at all. And fan heaters are such feeble blowers that they don't heat the air in the room, they only heat you fairly locally.'

The Air Multiplier works by sucking in air at the base and pushing it out at speed through a thin gap in the fan's ring. The expelled air moves over an airfoil-shaped ramp (similar in shape to the wing of an aeroplane), and surrounding air is drawn into this airflow. In all, 405 litres (107 gallons) of air are driven out every second. The Dyson Hot runs on the same principle of air propulsion but, unlike normal heaters, it does not pass over hot electrical coils but over twenty ceramic stones set to heat a room from anywhere from 1 to 37 degrees centigrade (33 to 99 degrees Fahrenheit). The advantages are numerous. There is no longer an acrid smell and, as none of the exposed parts get warm, it is impossible to burn yourself. In addition, the force at which the air is expelled means that heat flows to all corners of a room. It took twentytwo engineers, including experts in thermodynamics and fluid mechanics, more than three years to develop the technology.

Criticism has been levelled at the high price tag on both products. Justifying the initial outlay a consumer will have to make, Dyson responds, 'In hard times people want something that will last, rather than something cheap that they will have to throw away after a short time. We're appealing to somebody who wants to keep the product and have it provide pleasure over the years.'

**Bladeless fan heater, Dyson Hot™ (AM04)**

James Dyson

ABS

H: 57.9cm (22in)

W: 15.2cm (5⅞in)

D: 10cm (3⅞in)

Dyson, UK

_www.dyson.co.uk/fans_

**Bladeless desk fan, Dyson Air Multiplier™ (AM01)**

James Dyson

ABS

H: 49.6cm (19in)

W: 30.5cm (12in)

D: 15.2cm (5⅞in)

Dyson, UK

_www.dyson.co.uk/fans_

Steve Jobs, the visionary co-founder of Apple who revolutionized personal computing and changed forever the way we experience music, film and mobile communication, died on 5 October 2011, aged 56, after an eight-year battle with pancreatic cancer. If there is anything positive to be taken from his passing, it is the many discussions that have since taken place across the media underlining the role of design in our culture and its value to business. Famously quoted as saying that Apple sat 'at the intersection of the liberal arts and technology', Jobs's lasting legacy is to have made great design mainstream and affordable. In an interview with _Fortune_ magazine in 2000, he was insistent on the importance of design: 'In most people's vocabularies, design means veneer. It's interior decorating. It's the fabric of the curtains and the sofa. But to me, nothing can be further from the meaning of design. Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers of the product.'

Apple Computers was founded in 1976 when the 21-year-old Jobs and his teenage friend Steve Wozniak recognized that computing was becoming personal. No longer relevant only in solving scientific and business problems, it could also be used for social and economic exchange. Apple I was launched from Jobs's parent's garage, followed quickly by the more successful and sophisticated Apple II, a lifestyle product with a sleek plastic chassis designed for use in the home environment. At a time when computers were identified by serial numbers, choosing a fruit as a name announced the unconventionality of the brand. The insides of the Apple II were the result of the self-taught engineering genius of Wozniak, but its styling and ease of use were the first signs of Jobs's instincts for the future. By 1980, when the company became public, the partners were millionaires. The following year, Wozniak was involved in a serious accident and it was Jobs who went on to shape Apple's destiny through the pioneering but ultimately unsuccessful Lisa computer and the Macintosh, the first commercially successful small computer with a graphical user interface and mouse.

Jobs was an inspiring but autocratic and high-maintenance co-worker, likened by his CEO John Sculley to Leon Trotsky and attracting complaints from his employees about his 'management by walking about frightening people' methods. Coupled with sluggish sales, this attitude resulted in Jobs being stripped of all power by his board in 1985, and his subsequent resignation. It was twelve years before he returned. During the interregnum he set up NeXT Computer and bought what became Pixar from George Lucas. Although NeXT failed as a business enterprise and Pixar seemed set to go in the same direction, Jobs still looked on this period of his career as one of his most creative. His ability to define the technological future saw him contracted by Disney to produce a number of computer-animated feature films including _Toy Story_ , which went on to be the top-grossing movie of 1995 and was nominated for three Academy Awards.

This success helped him persuade Apple to buy NeXT and re-employ him, and in 1997 he rejoined a company that had been struggling without his expertise. With an advertisement campaign entitled 'Think Different' and his belief that survival meant innovation, Jobs oversaw the creation of one groundbreaking digital device after another, starting with the striking, colourful, all-in-one iMac designed by Jonathan Ive, followed by the iPod, iTunes digital-music software, the iPhone and the iPad. Each transformed not only product categories, such as music players and mobile phones, but also entire industries, from music to mobile communications. In 2011, Apple's market capitalization passed that of ExxonMobil, making it the world's most valuable company.

At the time of Jobs's untimely death, the English actor, director, author, TV presenter, self-confessed gadget freak and lover of all things Mac Stephen Fry wrote on his website:

What was Steve Jobs? He wasn't a brilliant and innovative electronics engineer like his partner and fellow Apple founder Steve Wozniak. Nor was he an acute businessman and aggressively talented opportunist like Bill Gates. He wasn't a designer of original genius like Jonathan Ive, whose achievements were so integral to Apple's success from 1997 onwards. He wasn't a software engineer, a mathematician, a nerd, a financier, an artist or an inventor... The quality I especially revered in him was his refusal to show contempt for his customers by fobbing them off with something that was 'good enough'. Whether it was the packaging, the cabling, the use of screen space, the human interfaces, the colours, the flow, the feel, the graphical or textural features, everything had to be improved upon and improved upon until it was, to use the favourite phrase of the early Mac pioneers, 'insanely great'.1

Fry's tribute was only one of many that flooded in from legions of Apple users, media companies and leaders of the technology industry, including the founders of socialnetworking sites Twitter and Facebook. Even the President of the United States, Barack Obama, paid his respects: 'Steve was among the greatest of American inventors – brave enough to think differently, bold enough to believe he could change the world and talented enough to do it ... The world has lost a visionary. And there may be no greater tribute to Steve's success than the fact that much of the world learned of his passing on a device he invented.'2 However, it is a simple and poignant message from Twitter user Matt Galligan that best sums up the unique role Jobs played in redefining the digital age: 'R.I.P. Steve Jobs. You touched an ugly world of technology and made it beautiful.'3

**Laptop computer, MacBook Air**

Apple

Aluminium

W: (13in)

Apple, USA

_www.apple.com_

**Tablet computer, iPad2**

Apple

Aluminium, glass, plastics

W: 24.6cm (9⅞in)

D: 0.9cm (⅜in)

Apple, USA

_www.apple.com_

In 2011, major electronic companies tried to take on the Apple iPad, as evidenced by the number of competitive tablets on offer during that year's Consumer Electronics Show in Las Vegas. Apple started selling the original iPad in April 2010, and introduced the updated iPad 2 twelve months later. The device is already Apple's biggest source of revenue after the iPhone, with 9.25 million units sold in the quarter that ended 25 June 2011 alone. Samsung's Galaxy Tab 10.1 has fallen foul of Apple's lawyers for having allegedly infringed technology patents, resulting in temporary injunctions on its sale, while the other main challengers, the Motorola Xoom and the Blackberry Playbook, are either priced higher than the iPad or come with carrier contracts, or both. Furthermore, none of the competitors has the combination of content and cachet that Apple does, nor do they have the variety of music, video and apps of the iTunes Store. Android tablets are set to stay but need to develop before they can seriously challenge Apple's 80 per cent share of the market.

**Interchangeable-lens digital camera, NEX-5**

Noriaki Takagi

Die-cast magnesium, aluminium

H: 5.88cm (2⅜in)

W: 11.08cm (4⅜in)

D: 3.82cm (1½in)

Sony Corporation, Japan

_www.sony.co.jp_

**Interchangeable-lens digital camera, K-01**

Pentax and Marc Newson

Machined aluminium, natural rubber, aluminium alloy

H: 7.9cm (3⅛in)

W: 12.1cm (4¾in)

D: 5.9cm (2⅜in)

Pentax, Japan

_www.pentax.com_

**Digital still camera, DSC-TX55**

Kenzo Nakajima, Noriaki Takagi, Mitsuo Okumura, Masahiro Takahashi, Manabu Fujiki, Chiya Watanabe, Yui Yamaoka

Aluminium

H: 5.44cm (2⅛in)

W: 9.29cm (3⅝in)

D: 1.32cm (½in)

Sony Corporation, Japan

_www.sony.co.jp_

The Lytro completely redefines what we expect from a camera. 'Camera 1.0 was film. Camera 2.0 was digital; 3.0 is a light-field camera that opens all these new possibilities for your picture taking,' says Ren Ng, who worked on the technology of this innovative device at Stanford University before founding Lytro, originally called Refocus Imaging, in 2006. A two-tone elongated box with an LCD touchscreen display at one end and a lens at the other, the Lytro not only looks completely different to conventional cameras but it also handles focus differently as well. In light-field photography, instead of a lens focusing a subject so that it is sharp on the image sensor, the light from all directions falls on each part of the sensor and the camera records and maps the information three-dimensionally. Once the picture is stored, the image can be manipulated on the 3.7 centimetre (1½ inch) LCD display or on a computer, allowing users to choose what they want to bring into definition. Because the camera captures depth information, the photograph can be viewed in three dimensions on a 3DTV. Ng says, 'It's got an instant shutter. You press the button... bang! It takes the picture right away. We have that unique feature: shoot first, focus later. The camera doesn't have to physically focus while you take the shot.'

**Light-field camera, Lytro Light Field Camera**

Lytro

Anodized aluminium, silicone rubber

H: 4.1cm (1⅝in)

W: 4.1cm (1⅝in)

L: 11.2cm (4⅜in)

Lytro, USA

_www.lytro.com_

The Lytro completely redefines what we expect from a camera. 'Camera 1.0 was film. Camera 2.0 was digital; 3.0 is a light-field camera that opens all these new possibilities for your picture taking,' says Ren Ng, who worked on the technology of this innovative device at Stanford University before founding Lytro, originally called Refocus Imaging, in 2006. A two-tone elongated box with an LCD touchscreen display at one end and a lens at the other, the Lytro not only looks completely different to conventional cameras but it also handles focus differently as well. In light-field photography, instead of a lens focusing a subject so that it is sharp on the image sensor, the light from all directions falls on each part of the sensor and the camera records and maps the information three-dimensionally. Once the picture is stored, the image can be manipulated on the 3.7 centimetre (1½ inch) LCD display or on a computer, allowing users to choose what they want to bring into definition. Because the camera captures depth information, the photograph can be viewed in three dimensions on a 3DTV. Ng says, 'It's got an instant shutter. You press the button... bang! It takes the picture right away. We have that unique feature: shoot first, focus later. The camera doesn't have to physically focus while you take the shot.'

**3D mobile HD camera, Bloggie MHS-FS3**

Kenzo Nakajima

Aluminium, plastic (ABS)

H: 10.8cm (4⅜in)

W: 5.5cm (2⅛in)

D: 1.73cm (¾in)

Sony Corporation, Japan

_www.sony.co.jp_

The Sony Bloggie MHS-FS3 offers a feature that only a handful of other pocket camcorders share: it has two lenses on the back, so you can record 3D video and capture 3D stills simultaneously. Swapping between 3D and 2D is quick and easy, although it cannot be done while filming. The 3D footage can be viewed on the camera itself. The camcorder has a USB dongle on the side that allows it to be connected directly to a computer without a cable.

**Digital camera, X-Pro1**

Jun Sato (design manager)

Die-cast aluminium

H: 8.18cm (3¼in)

W: 13.95cm (5½in)

D: 4.25cm (1⅝in)

Fujifilm, Japan

_www.fujifilm.com_

**Digital camera, MV800 16.1 Megapixel MultiView Compact Digital Camera**

Samsung Electronics

Black magnesium, aluminium, glass

H: 5.1cm (2in)

W: 9.2cm (3⅝in)

D: 1.8cm (¾in)

Samsung Electronics, Korea

_www.samsung.com_

The Samsung MultiView MV800 is a response to customer demands for maximum flexibility and ease of use in a camera. The compact, ultra-slender body boasts a 7.6-centimetre-wide (3-inch-wide) flip-out touchscreen, ensuring that even the most challenging shot can be achieved, whether the user is behind or in front of the lens.

**LED 3D TV, LX9500**

LG Electronics

Metal

W: 140cm (55in)

D: 2.2cm (⅞in)

LG Electronics, Inc., Korea

_www.lg.com_

The LX 9500 LED TV was the first 3D HDTV released by LG Electronics and, at the time of going to print, boasted the highest specifications amongst all brands of LED TV. At 22.3 millimetres (⅞in) in depth, it is ultra-slim and looks elegant whether switched on or off. The 3D effect is powered by Active Shutter spectacles that alternate which eye is able to see the picture at any given moment. They last up to 40 hours between charges.

**Full-HD LCD TV with E-LED backlight, Loewe Individual 40 Compose 3D**

Loewe

Chrome

H: 118.8cm (47in)

W: 113.3cm (45in)

D: 6cm (2⅜in)

Loewe AG, Germany

_www.loewe-int.de_

**LCD TV, Cinema 21:9 LCD TV**

Philips Design

Metal

H: 58cm (22in)

W: 124.2cm (49in)

Philips, The Netherlands

_www.philips.com_

**HD TV, Reference 52**

Loewe

Aluminium

H: 120.1cm (47in)

W: 129.5cm (51in)

D: 6cm (2⅜in)

Loewe AG, Germany

_www.loewe-int.de_

**3D 3-chip full-HD video projector for home theatre, LUMIS 3D-S**

Giorgio Revoldini

Polycarbonate, stainless steel, die-cast aluminium

H: 21cm (8¼in)

W: 45.8cm (18⅛in)

D: 45.5cm (18⅛in)

SIM2 Multimedia SpA, Italy

_www.sim2.com_

**LED TV, LED 8000 Series Smart TV**

Samsung Electronics America

Ultra-clear panel, metal frame, LED

H (with TV stand): 79cm (31in)

W (with TV stand): 123cm (48½in)

D (with TV stand): 24cm (9½in)

Samsung Electronics, Korea

_www.samsung.com_

**LED TV, Econova**

Philips Design

Recycled aluminium

H: 65.3cm (25in)

W: 108.1cm (43in)

Philips, The Netherlands

_www.philips.com_

By completely rethinking every aspect of manufacture, assembly, use and recycling, Philips has created the most environmentally conscious high-performance TV to date. The winner of a prestigious iF Award in 2011, the Econova is a landmark in ecological design: extremely light, making maximum use of recycled aluminium and employing the absolute minimum of plastic. The remote control has an aluminium body with a solar-charging panel, which means that the batteries will never need to be replaced.

**Mobile phone, X-Ray**

Tokujin Yoshioka

Reinforced polycarbonate

H: 11cm (4⅜in)

W: 4.9cm (2in)

D: 1.57cm (⅝in)

KDDI Corporation/ Fujitsu Toshiba Mobile Communications Limited, Japan

_www.iida.jp_

**Smartphone, Lumia 800**

Anton Fahlgren

Polycarbonate, hardened glass, metal

H: 11.65cm (4¾in)

W: 6.12cm (2⅜in)

D: 1.21cm (½in)

Nokia, Finland

_www.nokia.com_

Over recent years, the consumer preference for Nokia – one-time leader in the mobile-phone market – has declined worldwide, with only one in five people in the UK now opting for the brand. Nokia CEO Stephen Elop has himself likened the stricken company to a burning oil rig, ignited by its lack of innovation amidst the competitive smartphone industry. All this is set to change with the Lumia 800. Launched in November 2011, this sturdy yet elegant handset, made from a single piece of polycarbonate, was immediately acclaimed. The slightly convex screen dominates the design, and its crisp and legible display works differently from those of its competitors, with tiles that show live information about e-mails received and a daily diary. Flicking the screen to the left brings the user deeper into the menu with easy and intuitive controls. Rather than use the Android operating system, Nokia has opted to collaborate with Microsoft and has provided a wealth of apps, which means that the Lumia 800 offers a real alternative to Apple's and Google's smartphones.

**Cordless phone, DP01**

Jasper Morrison

ABS

H: 15.5cm (6⅛in)

W: 4.8cm (1⅞in)

D: 2cm (¾in)

Punkt, Switzerland

_www.punktgroup.com_

**Smartphone, Galaxy S II**

Samsung Telecommunications America

Plastic, metal

W: 6.6cm (2⅝in)

L: 12.6cm (4⅞in)

D: 0.9cm (⅜in)

Samsung Telecommunications, Korea

_www.samsung.com_

**Smartphone, Nexus S**

Samsung Telecommunications America

Plastic, metal

W: 6.3cm (2½n)

L: 12 cm (5in)

D:1cm (⅜in)

Samsung Telecommunications, Korea

_www.samsung.com_

**Mobile phone, Æ+Y Mobile Phone**

Yves Bé har

Stainless steel

H: 11.4cm (4½in)

W: 4.98cm (2in)

Æsir, Denmark

_www.aesir-copenhagen.com_

**Smartphone, Xperia™ arc S**

Sony Ericsson

Plastic

W: 6.3cm (2½in)

L: 12.5cm (4⅞in)

D: 0.87cm (⅜in)

Sony Ericsson, Japan

_www.sonyericsson.com_

**Smartphone, HTC EVO 3D**

HTC

Plastic, glass

W: 6.54cm (2½in)

L: 12.61cm (4⅞in)

D: 1.13cm (⅜in)

HTC, Taiwan

_www.htc.com_

**Sound system, SoundBar Home Theater with Ambisound**

Philips Design

Metal

H: 15.7cm (6¼in)

W: 95.5cm (37in)

D: 9cm (3½in)

Philips, The Netherlands

_www.philips.com_

The Philips SoundBar Home Theater with Ambisound addresses the problem of how to achieve surround sound without the clutter of multiple speakers and cables. The device, which is designed to sit below the TV screen, is slim in both height and depth, elegant and gently curved to optimize the virtual surround sound from the angled Ambisound speakers. The front display provides a minimum of information so as not to distract from what is being viewed above.

**Tablet computer, BlackBerry PlayBook**

BlackBerry

Glass, rubbery plastic

H: 13cm (5⅛in)

W: 19.3cm (7⅝in)

D: 1cm (⅜in)

BlackBerry, Canada

_www.blackberry.com_

**Laptop computer, VAIO C series**

Soichi Tanaka

Acrylic

H: 2.79cm (1⅛in)

W: 34.1cm (13⅜in)

D: 23.52cm (9½in)

Sony Corporation, Japan

_www.sony.co.jp_

**Convertible laptop computer, Inspiron Duo**

Dell

Plastic

W (screen): 26cm (10in)

Dell, USA

_www.dell.com_

The Dell Inspiron Duo's display is held by two joints, one on each side of the bezel. When pressure is applied to the screen, it flips backwards and turns a full 180 degrees, snapping into position the other way round. When the lid is shut, the laptop is transformed into a tablet.

**Laptop computer, VAIO F series**

Yuki Kubota

Plastic resin (PC + ABS)

H: 3.31cm (1¼in)

W: 39.85cm (15¾in)

D: 27.15cm (10⅝in)

Sony Corporation, Japan

_www.sony.co.jp_

The VAIO F series does not just play back precreated 3D content but also transforms 2D video into 3D. The transmitters that connect to the active-shutter 3D glasses are embedded in the lid, making the laptop itself heavy. However, the primary feature of the device is the ability to watch any movie or video footage in the round; portability is not its chief selling point.

**Laptop computer, Series 9**

Samsung

Duralumin

W: 33cm (13in)

D: 23cm (9in)

Samsung, Korea

_www.samsung.com_

**In-ear headphones, Miles Davis Tribute**

Monster, Inc.

Metal, plastic, rubber

Monster, Inc., USA

_www.monstercable.com_

**Laptop computer, Mini 210-3002sa**

HP

Plastic, glass

H (closed): 3.2cm (1¼in)

W: 26.8cm (10⅝in)

D: 19.1cm (7½in)

Hewlett-Packard Company,

USA

_www.hp.com_

**Switch, Vitrum Home Control**

Marco Piva

Glass, LED

H: 9.5cm (3¾in)

W: 9.5cm (3¾in)

D: 0.8cm (⅜in)

Think Simple SpA, Italy

_www.vitrum.com_

'We have brought magic to the simple everyday gesture of switching a light on and off,' says Alberto Vuan, business entrepreneur and founder of Think Simple, whose brainchild Vitrum sets new standards in home-automation products. He continues, 'The traditional light switch has remained unchanged for the last one hundred years. With Vitrum, we have radically improved on this, using innovative materials to create an intelligent switch with eye-catching styling.' The product was designed in collaboration with Italian industrial designer and architect Marco Piva, whose focus on research and development in technologies, forms and materials has resulted in a range of internationally recognized buildings and objects that combine clean, elegant lines with formal elegance. A simple rotary movement on Vitrum's large, circular, touch-sensitive control area is enough to alter the level of lighting in a room or to control the temperature inside the home. In addition, integrated wireless technology enables Vitrum to interface with remote handsets, tablet computers, laptops and smartphones. The design combines an electronic section with a glass decor front panel that can easily be customized and is simple and intuitive to use. The product uses completely recyclable materials and is energy efficient. Vitrum switches lights on at 65 per cent power; only when a second touch is applied does it increase to 100 per cent.

The GS-TD1 is the first camcorder on the consumer market that offers 3D video recording in full high definition. Using two camera lenses and two imaging sensors – one for each lens – it captures 3D images in the same way that human eyes work.

**3D full-HD camcorder, GS-TD1**

Akihiko Miyamori (senior manager), Shuji Tanifuji (senior designer)

Polycarbonate resin, magnesium and magnesium alloy die-castings

H: 6.4cm (2½in)

W: 10.2cm (3⅞in)

L: 18.6cm (7¼in)

JVC, Japan

_www.jvc.net_

**Digital recording binoculars, DEV-5K**

Naofumi Yoneda

Plastic resin (ABS), plastic elastomer, rubber

H: 8.8cm (3½in)

W: 15.5cm (6⅛in)

D: 21.9cm (8⅝in)

Sony Corporation, Japan

_www.sony.co.jp_

The DEV-5K (pictured here) and DEV-3 digital binoculars double as high-definition 3D video cameras. Unlike traditional binoculars, each eyepiece features an independent electronic viewfinder offering clear stereoscopic images. In recording mode they can capture exactly what is seen through the viewfinders either in 2D format or as 3D footage for playback on compatible TVs.

**Digital audio system, BeoSound 5 Encore**

Anders Hermansen

Anodized aluminium, pressure die-cast aluminium, coated glass

H: 19cm (7½in)

W: 31cm (12¼in)

D: 7cm (2¾in)

Bang & Olufsen, Denmark

_www.bang-olufsen.com_

**Professional A3+ photo printer, PIXMA Pro 1**

Canon

Metal chassis with plastic panels

H: 23.9cm (9½in)

W: 69.5cm (27in)

D: 46.2cm (18⅛in)

Canon, Japan

_www.canon.com_

**Bluetooth mono headset, Jabra Stone2**

Johan Birger

Polycarbonate/ABS, polycarbonate, thermoplastic elastomer

H: 5.8cm (2¼in)

W: 5cm (2in)

D: 2.5cm (1in)

Jabra, Denmark

_www.jabra.com_

**Bluetooth mono headset, Nokia J**

Jose M. Perez

Stainless steel, moulded plastic, silicon rubber

W: 1.3cm (½in)

L: 4.8cm (1⅞in)

D: 0.6cm (¼in)

Nokia, Finland

_www.nokia.com_

1. Stephen Fry, 'Steve Jobs', <http://www.stephenfry.com/2011/10/06/steve-jobs/>.

2. The White House Blog, 'President Obama on the Passing of Steve Jobs: "He Changed the Way Each of Us Sees the World"', <http://www.whitehouse.gov/blog/2011/10/05/president-obama-passing-steve-jobs-he-changed-way-eachus-sees-world>.

3. Matt Galligan, Twitter feed (@mg), October 5, 2001, <https://twitter.com/mg/status/121733036600598528>.
**9.**

**MISCELLANEOUS**

**Watering can, Diva**

Eero Aarnio

Thermoplastic resin

H: 31cm (12¼in)

W: 28cm (11in)

D: 10.8cm (4⅜in)

Alessi SpA, Italy

_www.alessi.com_

**Sunshade, Ecran**

Xavier Lust

Aluminium, marine fabric

H (base): 170–200cm (66–78in)

W (shade): 122cm (48in)

L (shade): 152cm (60in)

Borella Design, Italy

_www.borelladesign.com_

**Bicycle, Bamboo**

Ross Lovegrove

Aluminium, bamboo

Diam (tyres): 66cm (26in)

Biomega Philosophy APS, Denmark

_www.biomega.dk_

**Radiator, Trame**

Stefano Giovannoni

Steel

W: 51.5cm (20in)

Tubes radiatori, Italy

_www.tubesradiatori.com_

**Outdoor fire feature, Overscale Flames**

Jean-Marie Massaud

Ceramic

H (tall version): 100cm (39in)

W (tall version): 36cm (14⅛in)

D (tall version): 19cm (7½in)

H (short version): 40cm (15¾in)

W (short version): 88cm (34in)

D (short version): 23cm (9in)

B&B Italia SpA, Italy

_www.bebitalia.com_

**Screen, Paper Screen**

Studio Job

Wood, paper, cardboard

H: 180cm (70in)

L (max): 175cm (68in)

Moooi, The Netherlands

_www.moooi.com_

**Air purifier, Plain AIR**

Patrick Norguet Plastic

D: 20cm (7⅞in)

Diam: 46cm (18⅛in)

TLV, France

_www.tlv.fr_

**Mirror, Dawn/Dusk**

Minale-Maeda

Concrete, dichroic glass

H: 102cm (40in)

W: 77cm (30in)

D: 12cm (4¾in)

Droog, The Netherlands

_www.droog.com_

**Parasol, Nenufar**

Yonoh

Lacquered aluminium, Batyline fabrics

H: 180 or 220cm (70 or 86in)

Diam: 98, 148 or 178cm (38, 58 or 70in)

Samoa, Spain

_www.samoadesign.com_

**Javier Mariscal**

You are the modern-day Renaissance man working on everything from identities, graphics and illustration to product, interior and exhibition design, and sculpture; and now with _Chico & Rita_ (opposite page) you also have an Oscar-nominated animated feature-length film to your name. How do you account for your multidisciplinarianism?

It comes naturally. I can't remember having worked any other way. I was always interested in investigating new languages and new media. A few months ago I was given an iPad, and I haven't stopped drawing with my finger. It is now my notebook.

You studied philosophy and then graphic design at university and see yourself as an image-maker for different media and disciplines, rather than a designer or architect as such. Do you think this background and attitude allows your work to be spontaneous and emotional in a way that maybe it would not had you received a more formal training?

I identify a lot with emotion, freshness and spontaneity. I get very passionate when I work, and I hope to transmit this feeling to others. On the other hand, today, finally, almost all projects include different disciplines from their inception. It's not unusual. It's the norm.

Cobi, mascot of the 1992 Barcelona Olympic Games

The 2009 retrospective of your work at the London Design Museum was entitled 'Drawing Life'. How important is draughtsmanship to you?

Drawings, sketches and notes are the basic tools I use to construct my language. They are my alphabet and my syntax. It's a lot easier for me to express myself with drawings than it is with words. It's much more than a working method; it's my way of understanding the world and explaining it to others.

What was the intent of the exhibition and how much were you involved in the concept?

I believe that an exhibition has to provide the keys that best explain your work, as well as being a way for you to review it, to see it from another perspective and to question it. I get involved body and soul in all my exhibitions. I enjoy it and suffer from it at the same time. But I always need the support of the members of my team, who bring things that I alone would be unable to provide. They bring order, synthesis, the development of concepts and, above all, a different angle from my own that always surprises me.

There is a lot of humour in your work, some of which has an almost childlike quality. What attracts you to such playfulness?

I think that to survive in this world humour, joy and irony are indispensable. We're lost if we don't know how to laugh at ourselves and to learn to enjoy simple things.

Cobi (the 1992 Barcelona Olympics mascot; opposite page) was the most profitable mascot for the International Olympic Committee in the history of the games and is still popular today. What do you think accounts for his success?

We devised a symbol capable of capitalizing on all the energy and enthusiasm that the Olympics created for Barcelona. Cobi was also the host character that represented a new, happy Barcelona to the world, a democratic and creative city that within a few years became one of the references for modernity in Europe. The success consisted of associating these values with the character and then allowing it to have a life of its own.

Can you briefly describe what you consider to be the pivotal projects of your studio?

It would be very hard for me to be objective in my selection. However, when it comes to projects created by friends, it's very clear to see where they went wrong, or which piece is the best work they've done. The relationship I have with my projects is very personal and intimate. They mix with my life, which is why it's hard for me to answer this question. There are pieces, of course, that have meant a lot to me and to the studio, but there have also been people with whom I've collaborated who have been very important, encounters that changed my life, or times of crisis in which everything was turned upside down.

_Chico & Rita_, Fernando Trueba and Javier Mariscal (2010)

How would you describe the way you work within your studio?

I think that during the twenty years of the life of the studio I've been able to transmit a language and way of doing things to the team that we've together converted into a multidisciplinary methodology. We created a very particular dynamic that makes us evolve, and allows us to take on a variety of projects with a lot of freedom, but in a highly efficient way too.

Most designers and manufacturers today believe emotionally and intellectually in sustainability. What are your thoughts?

To be morally involved in the survival of our planet is so obvious that it should not be a demand on one product, one designer or one political party. In the twenty-first century, after all the atrocities that have taken place, the consensus should be universal.

In the 1960s Ettore Sottsass was quoted as saying, 'For me design is a way of discussing society, politics, eroticism, food and even design. At the end, it is a way of building up a possible figurative utopia or metaphor about life.' How much do you agree with this?

Like Ettore Sottsass, anyone dedicating him- or herself to creative work should be self-questioning. Not only designers.

**Mirror, Aviator mirror**

Nigel Coates

Mirror, wood, laser-cut polished steel

H: 75cm (29in)

L: 105cm (41in)

D: 6cm (2⅜in)

Poltronova, Italy

Cristina Grajales Gallery, New York, USA

_www.poltronova.com_

_www.cristinagrajalesinc.com_

**Wall clock, Sundial**

Front

Painted metal

Diam: 55cm (21in)

Porro, Italy

_www.porro.com_

**Crank-powered radio, LA81H Safe Radio**

Pierre Garner and Elise Berthier

Bamboo, PLA

H: 9.5cm (3¾in)

W: 4.6cm (1¾in)

L: 14cm (5½in)

Lexon, France

_www.lexon-design.com_

**Divider, Zen Screen**

Ludovica and Roberto Palomba

Canadian solid-wood red cedar

H: 180cm (70in)

W: 6cm (2⅜in)

L: 270cm (106in)

Exteta, Italy

_www.exteta.it_

**Swivelling luminous double-sided mirror, Perseus**

Xavier Lust

Stainless steel, Planilum active glass technology from Quantum Glass™

H: 189cm (74in)

W: 84cm (33in)

Saazs, France

_www.saazs.com_

Perseus, On/Offand Lightstamp were three of the objects on show in 'Material Matters', an exhibition staged during the 2011 Milan Salone Internazionale del Mobile to showcase the innovative properties of interactive glass, which can be used as a source of light and heat and produce alternately opaque and transparent surfaces. Quantum Glass has patented six technologies – Planilum, Electrochrome, Thermovit Elegance, E-Glas, LEDinGlass and Priva-Lite – of which Planilum was the first. A collaboration between Saazs (a French laboratory for the design and dissemination of pioneering furniture and concepts founded by Tomas Erel in 2007) and the R&D department of the Saint-Gobain Group, Planilum is the first ever light-emitting glass panel and was six years in development. Though only 20 millimetres (¾in) thick, it is a complex four-layered glass containing a rare gas and serigraphed phosphors. It is environmentally certified and, with a power consumption of only 100 watts, has exceptional durability and a lifetime equating to twenty years' normal usage. The light does not radiate from a distinct light source but is distributed over the entire surface of the material on both sides, creating a soft, emotional and nondazzling effect. With a temperature close to that of the human body, it can be safely touched and no filter or protection is required. Planilum was so successful when it was first launched in Milan in 2008 that Erel was encouraged to carry out a broader study, which three years later resulted in 'Material Matters'.

Tomas Erel and Xavier Lust have both incorporated Planilum into their designs, Erel in his lacquered composite screen Timestamp and Xavier Lust in his luminous, softly curved Perseus mirror. Daniel Rybakken, long fascinated by the atmospheric effects of colour and light, used Priva-Lite in his On/Off, a hybrid object that, when approached, reveals a tri-fold mirror floating at the heart of a coloured box. Priva-Lite, a laminated glass with a liquid-crystal film, allows immediate switching between transparency and translucency, creating a magical effect. A further example of Quantum Glass's inventions, LEDinGlass, can be seen in the series of playful lights Up & Away by design collective Outofstock (page 265).

**Mirror/light box, On/Off**

Daniel Rybakken

Priva-Lite active glass technology from Quantum Glass™

H: 70cm (27in)

W: 104cm (41in)

D: 20cm (7⅞in)

Saazs, France

_www.saazs.com_

**Screen, Lightstamp**

Tomas Erel

Lacquered aluminium composite, Planilum active glass technology from Quantum Glass™

H: 162cm (64in)

W: 174cm (68in)

D: 3cm (1⅛in)

Saazs, France

_www.saazs.com_

**Mirrors, IX Mirrors**

Ron Gilad

Wood, mirror

H: 200cm (78in)

W: 90cm (35in)

Dilmos, Italy

_www.dilmos.it_

**Mirror, IX Mirrors**

Ron Gilad

Wood, mirror

H: 140cm (55in)

W: 354cm (139in)

D: 24cm (9½in)

Dilmos, Italy

_www.dilmos.it_

**My Moon My Mirror**

Successful Living from Diesel with Moroso

Print on mirrored surface

Diam: 100cm (39in)

Moroso, Italy

_www.moroso.it_

**Bookends, Eco**

Ross Lovegrove

White Carrara marble

H: 25cm (9⅞in)

W: 10cm (3⅞in)

L: 23cm (9in)

Marsotto Edizioni, Italy

_www.marsotto-edizioni.com_

**Partition, Entre-Deux**

Konstantin Grcic

Anodized aluminium

H: 90cm (35in)

W: 90 + 90cm (35 + 35in)

D (max): 90cm (35in)

Azucena, Italy

_www.azucena.it_

**Radiator, Therme Radiator**

Karim Rashid

Printed single steel plate

H: 182cm (72in)

W: 54cm (21in)

Caleido, Italy

_www.caleido.bs.it_

**Watering can, t.e. 092 (The Copper Collection)**

Aldo Bakker

Copper

H: 20cm (7⅞in)

W: 23cm (9in)

D: 1.6cm (⅝in)

Thomas Eyck, The Netherlands

_www.thomaseyck.com_

**Ice bucket, Gelo**

Filipe Alarcão

Agglomerated cork, recyclable plastic

H: 31.5cm (12⅝in)

Diam: 30cm (11¾in)

Amorim Cork Composites, S.A, Portugal

_www.corkcomposites.amorim.com_

**Mirror, Mon Beau**

Michael Koenig

Brilliant chromed steel, mirror

H (from): 85cm (33in)

W (from): 41cm (16⅛in)

Ligne Roset, France

_www.ligneroset.com_

**Screen, Brick Screen**

Eileen Gray

Nickel, polished solid bronze, lacquered high-grade MDF

H: 187cm (74in)

W: 115cm (45in)

D: 24cm (9½in)

ClassiCon GmbH, Germany

_www.classicon.com_

**Plant table, Green Trays (O** 2 **asis)**

Claesson Koivisto Rune

Lacquered metal

H: 25cm (9⅞in)

Diam (small): 80cm (31in)

Diam (medium): 97cm (38in)

Diam (large): 119cm (47in)

Offecct, Sweden

_www.offecct.se_

**Plant box/stool/table, Green Pedestals (O** 2 **asis)**

Front

Lacquered metal

H (stool/table): 43–45cm (16⅞–17¾in)

Diam (stool/table): 50cm (19in)

H (box): 62–72cm (24–28in)

W (box): 25cm (9⅞in)

D (box): 80–120cm (31–47in)

Offecct, Sweden

_www.offecct.se_

**Mobile fire place, Kaasa**

Ilka Suppanen

Steel, glass

H: 25.5cm (10¼in)

Diam: 39.5cm (15¾in)

Iittala, Finland

_www.iittala.com_

**Large indoor/outdoor pots, Flow**

Zaha Hadid

Lacquered polyethylene

H (large version): 200cm (78in)

W (large version): 146cm (57in)

H (small version): 120cm (47in)

W (small version): 117cm (46in)

Serralunga srl, Italy

_www.serralunga.com_

**Plant table, Green Pads (O** 2 **asis)**

Luca Nichetto

Casted recycled aluminium

H: 37cm (14⅝in)

Diam: 78cm (30in)

Offecct, Sweden

_www.offecct.se_

Modern media coverage brings death directly into the living room, but many of us shudder at the idea of our own mortality. And although the coffin may be the mother of all architecture, few designers give it a second thought. Death and the process of dying are largely institutionalized in developed societies – as the West grows progressively more preoccupied with youth, health and vitality, little room remains for the suggestion that each of us has but a short time on earth. The bereaved pay strangers to transport, sanitize, clothe and dispose of their dead. Traditionally, funerals, funerary buildings and artefacts were cathartic for families. Death was a fact of life, and the dead were tended to personally. The laying out of the body, an act of love as well as duty, was a way of coming to terms with loss. Today's rational and technology-obsessed society dreads the unknown. A morbid fear of addressing death has made the subject taboo. We have no desire to view the dead or to be reminded of what awaits us. Memorialization has become a branch of catalogue retailing, with coffins, urns and headstones generic and oldfashioned in shape and style.

It is not often, therefore, that you see contemporary designers turning their expertise to coffins and funerary urns. Scandinavian Timothy Jacob Jensen's contemporary Diamant collection was created to celebrate the centenary of Danish funerary manufacturer Tommerup Kister. The coffin breaks with our usual understanding of the typology whilst still being classic in appeal. He says, 'We've done a lot of research and I have seen other attempts to modernize the coffin, but I think they've gone too far. It's important to keep the coffin DNA, to keep it familiar.' Jensen took the diamond as his source of inspiration, which he describes as a 'poetic symbol of the perpetual, pure and exalted'. The highest point of the coffin is in line with the heart of the deceased, and its top surface is designed to allow a single flower to be placed there. With the facets catching light and shadow, this is the only adornment the coffin needs. Constructed from Nordic birch plywood, the Diamant series breaks from the traditional preference for valuable hardwood and is sustainable – Jensen's inspiring design was conceived with the living as much as the dead in mind. 'What we wanted to achieve was a coffin that gives a dignified farewell to the dead person so that the ones who are left behind can be at peace, a design that is respectful and aesthetic.'

**Coffin, Diamant 32 Model**

Timothy Jacob Jensen

Nordic birch plywood, eco-friendly lacquer

H: 70cm (27in)

W: 71cm (28in)

L: 215cm (84in)

Tommerup Kister ApS, Denmark

Jacob Jensen Design ApS, Denmark

_www.tommerupkister.com_

_www.jacobjensendesign.com_

**Urn, Diamant**

Timothy Jacob Jensen

Nordic birch plywood, eco-friendly lacquer

H: 30cm (11¾in)

W: 19cm (7½in)

Tommerup Kister ApS, Denmark

Jacob Jensen Design ApS, Denmark

_www.tommerupkister.com_

_www.jacobjensendesign.com_

**Wall mirror, Miraggio**

Fernando and Humberto Campana

Mirror, acrylic frame laser-cut and bound by series of nylon strips, aluminium

H: 187cm (74in)

W: 107cm (42in)

D: 6cm (2⅜in)

Edra, Italy

_www.edra.com_

**Children's stool/bench/wagon/scooter, Stool**

Frederic Collette

Massive oak wood from certified European sustainable forests

H: 22cm (8⅝in)

W: 35cm (13¾in)

D: 20cm (7⅞in)

Collect Furniture, Denmark

_www.collectfurniture.com_

**Children's house, Villa Julia**

Javier Mariscal

Cardboard

H: 135cm (53in)

W: 120cm (47in)

L: 165cm (65in)

Magis SpA, Italy

_www.magisdesign.com_

**Speaker, Change the Record**

Paul Cocksedge

12-inch records

H: 19cm (7½in)

Diam: 30cm (11¾in)

Paul Cocksedge Studio, UK

_www.paulcocksedgestudio.com_

This is not the first time that Paul Cocksedge has found a use for all those unwanted vinyl records gathering dust in the attic. Back in 2006 he made them into fruit bowls by heating, moulding and fusing two together. Now he has revisited the concept, adding that element of genius for which he has become known. Looking for a way to magnify the sound from miniaturized, inadequate smartphone speakers, he applied heat to old records until they softened and then formed them into the perfect 'horn' shape. No electricity or power is needed for amplification – the phone is simply placed inside.

**Alarm clock, AC01 Alarm Clock**

Jasper Morrison

ABS

H: 10.7cm (4⅜in)

W: 9cm (3½in)

D: 3.4cm (1⅜in)

Punkt, Switzerland

_www.punktgroup.com_

_www.jaspermorrison.com/shop/_

**Screen, Xraydio 3 Natura Morta**

Diesel

Glass with printed photographic image

H: 176cm (69in)

D: 61cm (24in)

Moroso SpA, Italy

_www.moroso.it_

_diesel.foscarini.com_

**Vacuum cleaner, DC26**

James Dyson

ABS

H: 26.6cm (10⅝in)

W: 21cm (8¼in)

L: 32.5cm (13in)

Dyson, UK

_www.dyson.co.uk_

**Screen, Origin part I: Join**

BCXSY

Hinoki (Japanese cypress)

H: 160cm (63in)

W: 170cm (66in)

D: 2cm (¾in)

BCXSY, The Netherlands

_www.bcxsy.com_

**Laundry furniture, Laundry Room Collection**

Terry Dwan

Cedar wood

Made to order

Riva 1920, Italy

_www.riva1920.it_

**Screen walls, Boge**

Anderssen & Voll

Biri Tapet straw textile made from oats and cotton, solid steam-bent ash wood, brass capping

H: 168 and 140cm (66 and 55in)

W: 100 and 140cm (39 and 55in)

Biri Tapet AS, Norway

_www.biritapet.no_

**Bicycle, Local**

Yves Béhar, Josh Morenstein, Nick Cronan, Noah Murphy-Reinhertz and Jeremy Sycip

Steel

H (handlebars to ground): 107cm (42in)

L (back tyre to front of basket): 183cm (72in)

Sycip, USA

_www.sycip.com_

**Room divider/sound absorbent, Button**

Mia Cullin

PP/viscose felt laminated with wool felt

H (single module): 36cm (14⅛in)

W (single module): 36cm (14⅛in)

Assemble modules to create a unit of any size

Mia Cullin, Sweden

_www.miacullin.com_

**Camera tripod, Tiltpod**

Mike Strasser and Clint Slone of Think2Build

Plastic, metal

H: 1cm (⅜in)

W: 3.8cm (1½in)

L: 5.1cm (2in)

Gomite, USA

_www.gomite.com_

The Tiltpod was designed to avoid the time-consuming effort of screwing a tripod into the base of a camera and potentially missing the shot of the century. By using simple but powerful magnets to attach the base to a pivot permanently screwed into the camera's tripod socket, vital seconds are gained. The base's underside is covered in a material created to grip just about any surface, from the rough rocks to smooth car bonnets.

**Dumbbells/candlesticks, Light &Heavy**

Tove Thambert

Cast iron

H (Light): 19.2cm (7½in)

H (Medium): 25cm (9⅞in)

H (Heavy): 28.2cm (11in)

Diam (bottom): 10.9cm (4⅜in)

Tove Thambert, Sweden

_www.tovethambert.com_

**Compact photo/video light, 40 LED Photo/Video Slim Lighting Panel**

Hama

Battery-operated LED lamp, plastic, aluminium

H: 5cm (2in)

W: 8cm (3⅛in)

D: 2cm (¾in)

Hama GmbH & Co KG, Germany

_www.hama.de_

The Hama LED light panel offers a valuable alternative to a heavy cinematographic lamp when something more than a flash is needed to take the perfect picture. The compact, battery-operated LED lamp is approximately the size of a cigarette packet, and its 20 millimetre (¾ inch) depth is sufficient to hold forty dimmable daylight LEDs. It is attached to a swan neck that can be bent in all directions and is connected to the camera via the flash shoe. Users can make the light softer with a diffuser or add warmer tones with an orange filter.

**Fireplace (gas or wood), Scenario**

Emo Design

Painted steel, glass ceramic

H: 75cm (29in)

L: 205cm (80in)

D: 10cm (3⅞in)

MCZ, Italy

_www.mcz.it_

**Stove, Toba**

MCZ

Steel, cast iron, ceramic/ soapstone, Alutec

H: 111cm (44in)

W: 52.3cm (21in)

D: 51.2cm (20in)

MCZ, Italy

_www.mcz.it_

**Mirror on stand, Iconic**

Dan Yeffet and Lucie Koldova

White Carrara marble, mirror

H: 185cm (72in)

W: 38cm (15in)

L: 75cm (29in)

La Chance, France

_www.lachance.fr_

**Desktop accessories, Matt Collection**

Sylvain Willenz

Plastic

H (Oval): 6.5cm (2⅝in)

W (Oval): 30cm (11¾in)

D (Oval): 12cm (4¾in)

Objekten, Belgium

_www.objekten.com_

**Pencil case and key holder (paperweight when flipped), Swell**

Luca Nichetto

Concrete Petite Friture, France

H (pencil case): 2cm (¾in)

W (pencil case): 5cm (2in)

L (pencil case): 19cm (7½in)

H (key holder): 2.5cm (1in)

W (key holder): 17cm (6¾in)

L (key holder): 17cm (6¾in)

_www.petitefriture.com_

**Pen, Pentagon Fountain Pen**

Industrial Facility

Precious resin, 18K gold nib, ionized plated clip

H: 15cm (5⅞in) Diam: 1.8cm (¾in)

Elephant & Coral, Singapore

_www.retailfacility.co.uk_

**Rechargeable 2-in-1 stick/handheld vacuum cleaner, Daily Duo**

Philips Design

Recycled aluminium

H: 111cm (44in)

W: 21cm (8¼in)

L: 25cm (9⅞in)

Philips, The Netherlands

_www.philips.com_

**Paperweight collection, Puzzle**

Nendo

Glass with Swarovski elements

H: 10cm (3⅞in)

W: 10cm (3⅞in)

D: 10cm (3⅞in)

Gaia & Gino, Turkey

_www.gaiagino.com_

**Biofireplace, Bubble**

Serge Atallach

Fibreglass polyester laminate, white gloss, stainless steel

H (base): 36cm (14⅛in)

H (total): 61cm (24in)

Diam: 92.5cm (36in)

Planika, Poland

_www.planikafires.com_

**Watch, Jak**

Karim Rashid

Polyurethane

Diam: 4.7cm (1⅞in)

Alessi SpA, Italy

_www.alessi.com_

**Watch, Issey Miyake Vue**

Yves Béhar, Josh Morenstein, Bret Recor and Gabe Lamb

Steel, aluminium, crystal

Diam: 4cm (1⅝in)

Issey Miyake, Japan

_www.isseymiyake.com_

**Vibration alarm watch, An Alarm**

Industrial Facility

Stainless steel with ionized plating

H: 3cm (1⅛in)

W: 3cm (1⅛in)

D: 1.1cm (⅜in)

Idea Japan, Japan

_www.retailfacility.co.uk_

**Hybrid solar watch, Sol**

Shin Azumi

Polyurethane, stainless steel, watch circuits with solar cell

L: 24.4cm (9½in)

W: 3.9cm (1⅝in)

D: 1cm (⅜in)

Idea International Co., Ltd., Japan

_www.idea-in.com_

**Watch, Hacker Watch**

Michael Young

Stainless steel, mineral glass, PU plastic

D (case): 0.9cm (⅜in)

Diam (case): 4.2cm (1⅝in)

o.d.m., Hong Kong

_www.odm-design.com_

**Watch, Iconograph**

Werner Aisslinger

Soft touch silicone, chrome

L (total length of watch): 24.5cm (9⅞in)

W (watch band): 2cm (¾in)

Diam (display): 4.5cm (1¾in)

Lorenz, Italy

_www.lorenz.it_

**Watch, r5.5 XXL Chronograph**

Jasper Morrison

Platinum, matt high-tech ceramic finish, brushed platinum dial

H (case): 4.9cm (2in)

W (case): 4.1cm (1⅝in)

Rado Watch Co. Ltd., Switzerland

_www.rado.com_

**Watch, O**

Tokujin Yoshioka

Stainless steel, plastic

W: 3.3cm (1⅜in)

D: 1.21cm (½in)

Issey Miyake/Seiko Instruments Inc., Japan

_www.isseymiyake-watch.com_

**Paper knife, Uselen**

Giulio Iacchetti

Stainless steel

L: 23cm (9in)

Alessi SpA, Italy

_www.alessi.com_

**Dual-power desktop calculator, LC69H Safe Calculator**

Pierre Garner and Elise Berthier

Bamboo, PLA

W: 8.6cm (3⅜in)

L: 15cm (5⅞in)

D: 1.05cm (⅜in)

Lexon, France

_www.lexon-design.com_

**Solar pocket light, LL99H Safe Pocket Light**

Pierre Garner and Elise Berthier

Bamboo, PLA, LED

W: 3.4cm (1⅜in)

L: 10cm (3⅞in)

D: 0.8cm (⅜in)

Lexon, France

_www.lexon-design.com_

**Bicycle, Cityspeed Bike**

Michael Young

Aluminium

H: 95cm (37in)

W: 65cm (25in)

L: 170cm (66in)

Giant, Taiwan

_www.giant-bicycles.com_

**Camera case, Case for Leica D-Lux 5**

Paul Smith

Leather

W: 8cm (3⅛in)

L: 13cm (5⅛in)

D: 6cm (2⅜in)

Paul Smith, UK

_www.paulsmith.co.uk_

_www.leica-storemayfair.co.uk_

**Folding knife, Il Canif**

Pierre Charpin

18/10 stainless steel, AISI 420 steel

L: 19cm (7½in)

Alessi SpA, Italy

_www.alessi.com_

**Furnishing accessory, Zen Apple**

Ludovica and Roberto Palomba

Solid wood red cedar from Canada

H: 34cm (13⅜in)

Diam: 54cm (21in)

Exteta, Italy

_www.exteta.it_

**Mirror, Brush Mirror**

Ron Gilad

Mirrored-polished steel

L: 195cm (76in)

Established & Sons, UK

_www.establishedandsons.com_
**INDEX**

Page numbers in **bold** refer to extended captions or interviews

A+N Design

Myshelf totem with magnetic shelves

Aarnio, Eero

Diva watering can

Adachi, Sakura

Trick bookcase/console with table with two chairs

Adami, Massimilano

Terraviva wall and floor tiles

AedasR&D

Vita modular shelving system

Aisslinger, Werner

A-chair cantilever chair

Behive table light

Iconograph watch

Yill mobile energy-storage unit ****

Alarcão, Filipe

Gelo ice bucket

Allen, Harry

Home Kit Large modular bookcase

Metropolitan vase

Alonso, Tomás

5° stool

Anderson & Voll

Boge screen walls

Ando, Tadao

Veliero floor lamp

& Then Design

Leigh Coffee coffee table and storage

Angeletti Ruzza Design

Gio' pendant lamp

Angeli, Davide

Paddock sofa

Anghini, Giovanni Alessi

AlessiLux series of energy-saving light bulbs ****

Angus, David

Agranda Bench

Apple

iPad2 tablet computer ****

MacBook Air laptop computer ****

Arad, Ron

Do-Lo-Rez rug

Archjananun, Decha

Weight vase

Arets, Wiel

Il Caffe Spoons

Arntzen, Paula

Grand Trianon pendant lamp

Arosio Design

Board kitchen

Atallach, Serge

Bubble biofireplace

Atelier Blink

Nani carpet

Atelier NL

Fundamentals of Makkum plates and bowls

Atelier Oï

Allumette sofa

From Object to Space Collection wall covering

Staccato modular shelving unit

Autoban

Suite Bed

Azúa, Martin

Halo modular lighting

Azumi, Shin

AP nesting stool

Kite dining and lounge chairs

Nara chair

Sol hybrid solar watch

Azumi, Tomoko

Twiggy Lamp

Baas, Maarten

Haphazard Harmony table set

More or Less Chair

Babled & Co.

Moby bathroom wastebasket with lid

Babled, Emmanuel

Black Sheep coffee tables

Breeze hand-knotted rug

City Grid hand-knotted carpet

Coroa pendant lamp

Dew pemdant lamp

Elix table lamp

Ferea table lamp

Osmosi vase ****

Quark coffee table

Satelight/Altaïr table lamp

Seaform vase ****

Simbiosi vase , ****

Sunshare armchair

Bakery Studio

NOM (Nature of Material) stackable stool

Bakker, Aldo

Jug carafe

Lion carpet

Stool stool

t.e. 092 watering can (The Copper Collection)

3DWN1UP chair

Baldereschi, Alessandra

Fildefer armchair

Ban, Shigeru

Fruit Bowl

Maru centrepiece

10 Unit System bench

Yumi floor lamp

Baptist, Maarten

Single Sofa sofa/chaise longue/day bed

Barberini & Gunnell

Transistor modular shelving system

BarberOsgerby **–**

Iris Table

Lanterne Marine London vase

Loop low table

Olympic Torch

Planform Array V

Satellite storage

Tip Ton chair

Tobi-Ishi table

Barzilay, Meirav

Bloom

Bassan, Alessio

Eco kitchen

BCXSY

Coiled vase

Origin part I: Join screen

Origin part II: Balance rug ****

Béhar, Yves

Æ+Y Mobile Phone

Issey Miyake Vue watch

Local bicycle

Bellini, Mario

Oyster extendable table

Ben David, Tamar

Paris flatware

Benedini Associati

Ottocento bathtub (Memory Collection)

Benninghoff & Bond

Stix bookshelf

Bergmans, Pieke

Water carafe

Wonderlamp pendant lamp

Bergne, Sebastian

Enjoy kitchen tools

Eye vases and bowls

Flapjack Storage children's storage

Berteau, Alain

Chapel bathtub

Berthier, Elise

LA81H Safe Radio

LC69H Safe Calculator

LL99H Safe Pocket Light

Bestenheider, Philippe

Binta armchair

Bey, Jurgen

Prooff #001 EarChair

Binfaré, Francesco

Paesaggi Italiani – Wood storage

Sfatto sofa with adjustable backrest

Birger, Johan

Jabra Stone2 Bluetooth mono headset

Birsel & Seck

Bayekou seating

Bisazza Design Studio

Hearts & Robots Black mosaic pattern

Bishop, Paul

Supermodel plate installation

Blackberry

Blackberry PlayBook tablet computer

Blasco, Gandia

Trenzas rug

Blini, Gianmarco

cBox storage container/seat

Boner, Jörg

Wogg 50 stackable chair

Boontje, Tord

Shadowy armchair

Summer Trees Commode (Digital Memories Collection)

Borselius, Stefan

Oppo swivel easychair

Bouroullec, Ronan and Erwan

Axor Bouroullec bathroom sink

Baguettes table

Basket sofa

Central table

Conchs 3 wall light sconces

Folio shelf with sliding screens

Lampalumina lamp

Lianas 15+ pendant lamp

Lighthouse lamp

Losanges Persian rug

Osso chair

Piani table lamp

Ploum sofa

Quilt sofa

Bossi, Manolo

Oppiacei Papaver coffee table

Boym, Constantin

Matrix centrepiece

Boym, Constantin and Laurene

Cubist Vase (Absinthe)

Bozzoli, Lorenza

Fedro outdoor seating

Brancher, Todd

Alodia stool

Branzi, Andrea

Grand Legini GL 21 bookcase with shelves, table and sliding container

Monoliti vase

Braun, Mark

Fortune carafes

Brecht, Duijf

Lion carpet

Brendon, Richard

Reflect teacup and saucer ****

Brízio, Fernando

Furo bowl centrepiece

Senta stool

Brockhoff, Bernd

Hohrizontal 51 wall shelf with integrated sound system and iPod dock

Bronwasser, Robert

Bricks modular sofa system

Brünner, Simon

Dropled LED light

Bulthaup design team

Bulthaup b3 kitchen system

Burks, Stephen

Dala outdoor seating

Lantern Table table lamp

Burstein, Itamar

Unit modular bookshelf

Buyaprasit, Tina

A-chair cantilever chair

Campana, Fernando and Humberto

Amanita floor/table lamp

Cipria sofa

Circus rug

Cobogò table

Dende Fruit Bowl

Esperança chandelier

Grinza armchair

Miraggio wall mirror

Paesaggi Italiani – Mirror storage

Paesaggi Italiani – Straw storage

Peneira Collection basket

Rooster carpet

Sao Paulo rug

Scrigno chest of drawers

Stool stool

Wave chair

Wood Lamp floor lamp

Canon

PIXMA Pro 1 photo printer

Carels, Nikolaï

Boomerang Wok pan

Carpenter, Ed

Canteen Utility Chair

Carrasco, Victor

Vol washbasin

Cazzaniga, Piergiorgio and Michele

Tense table

Cecchi, Jacopo

Caos coating

Piega coating

Chan, Samuel

Book Tower rotating bookcase

Gillespie side tables

Tense table

Charpin, Pierre

Il Canif folding knife

Chiave, Gabriele

AlessiLux series of energy-saving light bulbs ****

Chipperfield, David

Chipperfield w102 desk lamp

Colonnade modular table system

Il Caffe Spoons

Piana nesting folding indoor/outdoor chair

Chorchoj, Olgoj

Base Collection glass collection

Chou, Yu-jui

Apple stool

Bambool barstool

Bubble sofa

Cibic, Aldo

Belly carafe

Foxy carafe

Woodwork Collection candleholder

Citterio, Antonio

Alcova bed

Axor Citterio Electronic Basin Mixer

Axor Citterio M Three Hole Basin Mixer

Beverly folding armchair

Kelvin LED Green Mode desk lamp

Claesson Koivisto Rune

CollectionVindobona carafe and vases

Cube modular kitchen

Gallery low table

Green Trays (O2asis) plant table

Kalahari Range wardrobe

Kami table

Life bed

Ponti writing desk

Portico bookshelf and table

Ray series of pendant lamps

Temple bed

Times Square storage shelf

W101 task lamp ****

Claydies

Dahlia rug

Clerc, Jean-Louis

Finish furnishing fabric

Coates, Nigel

Aviator mirror

Aviator sofa

Baroccabilly carpet

Faretto Double pendant lamp

Cobonpue, Kenneth

Bloom easy armchair

Cocksedge, Paul

Change the Record speaker ****

Swell pendant lamp

Cocomosaic

Cocomosaic tiles ****

Collette, Frederic

Stool children's stool/bench/wagon/scooter

Colombo, Carlo

Beth floor and table lamp

Guia double bed

Knokke sofa

Sartoriale Maxi bathtub

Colombo, Joe

4801 armchair

Conran, Jasper

Mosaic teacup and saucer

Conran, Terence

Nice double-wall bowl

Coward, Thomas

Latis Bath with Timber End

Cullin, Mia

Button room divider/sound absorbent

Crasset, Matali

Chambre d'Ami guest room

Double Size table

Dynamic Life sofa/bed

Fogile floor lamp

Instant Seat chair

Creation Baumann

Dentelle curtain fabric

Cronan, Nick

Local bicycle

Damiani, Lorenzo

Girella mattress/children's armchair

Truciolari Collection vases, containers and low cupboard

Davis, Brad

Patine Brown rug

Davis, Sangeeta Sen

Wavelength handwoven carpet

de Boer, Karel

XY table

De Cotiis, Vincenzo

DC10 kitchen island

Dell

Inspiron Duo convertible laptop computer ****

De Lucchi, Michele

LED Net Circle Soffitto ceiling lamp

Paddock sofa

Sfera double-sided lamp

Vasi nei vasi vases

De Palo, Domenico

Talamo bathtub

d'Hanis, Luc

Eros rug

Diaz, Oscar

RGB Vases (P242)

Diesel

Cage pendant lamp

Mysterio wall lamp

Pipe table and floor lamps

Xraydio 3 Natura Morta screen

Diez, Stefan **–**

CH04 HOUDINI chair with armrest

Chassis Chair ,

Dice modular storage system

EC04 LEO chair

Kuvert casual bag

Prototype 404F Chair

Shuttle containers

Tropez Collection outdoor seating

Ding3000

Beater whisk

Rainbow Trivet

Dixon, Tom

Bulb pendant lamp ****

Etch Light Web pendant lamp

Etch pendant lamp

Fin pendant lamp

Flash tables

Offcut bench

Peg coat stand

Peg stackable chair

Rock tables

Step rug

Step (Fat and Tall) pendant lamps

Tube rug

Void series of pendant lamps

Dominioni, Luigi Caccia

Petalo bed

Dordoni, Rodolfo

Foodware pots and pans

O/K outdoor lounger

d'Origny, Henri

SO'H furnishing fabric

Doshi Levien

Ananda shower/hammam

Chandlo dressing table

Impossible Wood outdoor chair

Kali mirror cabinet

Douwe Egberts

Delfts Blauw tableware

Dwan, Terry

Borgos outdoor sofa

Laundry Room Collection furniture

Dyson, Jake

CSYS LED task light

Dyson, James

DC26 vacuum cleaner

Dyson Air Multiplier™ (AM01) bladeless desk fan ****

Dyson Hot™ (AM04) bladeless fan heater , ****

Eek, Piet Hein **–**

Aluminium Curved Cabinet

Chunky Beam Chair No. 1

Classic Cupboard in Scrapwood

Delfts Blauw tableware

Old Lampshade-Lamp chandelier

Re-purposed Ceramics tableware

Tube Bench no.

ECAL

Weight vase

Eden, Michael

Audrey vase ****

Elizabeth, Emma

Round Diamond rug

Emeco

111 Navy Chair® ****

Emo Design

Scenario fireplace

Eoos

Paiova Monolith bathtub

Erel, Tomas

Lightstamp screen ****

Established & Sons

Loaf bread bin

Potto storage containers

Esteve, Ramón

Origami wall art/lighting

Fahlgren, Anton

Lumia 800 smartphone ****

Fattorini, Bruno, & Partners

Easy Wave modular system

Feldmann, Dimo

Emerald carpet

Folkform

Industrial Intervention – Crystal Glass vase

Forakis, Jozeph

Tivu wall lamp

Form Us With Love

Work Lamp occasional light

Förster, Monica

Dorotea cutlery

Florinda stackable chair

Marble 4420 tray

Wonder Box children's furniture

Foster & Partners

Arc Table

Flo desk lamp

Frank, Jean-Michel

Cupboard of Secrets nest of boxes

Fredrikson Stallard

Rimini outdoor sofa

Silver Crush Table

Freshwest

Brave New World Lamp

Frety, Fred

Nestrest outdoor loungers

Front

Black and White cupboard

Blow Away Vase

Bookshelf Cupboard

Doodle sofa

Front Page magazine rack

Green Pedestals (O2asis) plant box/stool/table

Ikea PS Svarva table lamp

Puddle Big floor vase/umbrella stand

Soft Wood Sofa

Story Vase ****

Sundial wall clock

Teapot with Wooden Saucer

Fujiki, Manabu

DSC-TX55 digital camera

Fukasawa, Naoto

130 chair

Drawn Table

Grande Papilio armchair and ottoman

Marbelous 34 and 50 low tables

Shelving system

Shiba cookware

Wire Basket Round

Wire Toast Stand

Fuksas, Massimiliano

Moony pendant lamp

fuseproject

Amplify light ****

Jambox bluetooth audio speaker

Peel universal remote ****

Future Systems

Zlin cutlery

Gamper, Martino

Vigna chair

Garner, Pierre

LA81H Safe Radio

LC69H Safe Calculator

LL99H Safe Pocket Light

Geisbauer, Stefan

Looksoflat task lamp

Gilad, Ron

Brush Mirror

Cuscini wall covering/tiles (Soft Marble Collection)

IX Mirrors

Gilles, Alain

Big Table

Container cabinet

Gillespie, Heather

Oyster Platter

Giordano, Paolo

Popclassic Polka Dots hand-knotted carpet

Reflection hand-knotted carpet

Shell hand-knotted rug

Wavelength handwoven carpet

Giovannoni Design

Liquida Frame kitchen

Liquida (Flipper) kitchen

Giovannoni, Stefano

Bubble cooker head

Il Bagno Alessi by Oras faucet

Giovannoni Washlet toilet

Mask lamp

Murano Vanity Chair

Trame radiator

Vanity extending table

Glimpt

Superheroes seating

Glithero

Blueware vase ****

Glover, Amanda and Lance

Skate Deck Chair ****

Golran Development Team

Carpet Reloaded

Gooris, Frederic

AlessiLux series of energy-saving light bulbs ****

Grandi, Diego

Oppiacei Papaver coffee table

Grange, Kenneth

Anglepoise TypeC task light

Graphic Relief

Spring Blossom cladding ****

Grasselli, Paolo

Speed modular bookcase

Grau, Tobias

Falling Water pendant lamp

Grawunder, Johanna **–**

Boxy series of storage furniture

LED Corner Light

Light-ceiling

Percorso Illuminato

Gray, Eileen

Brick Screen

Gray, Jon

Concrete Chesterfield Sofa

Grcic, Konstantin

Avus lounge chair

Blow tables

Cape sofa

Crash armchair

Entre-Deux partition

43 chair

Medici chair

Monza stackable armchair

360° containers

360° table

Table B table

Tom and Jerry stools

Topkapi console

Waver indoor/outdoor armchair

groupDesign

Library Chair multifunctional chair

Gryckar, Hugo

Bibliothèque furnishing fabric

Guisset, Constance

Vertigo pendant lamp

Guixé, Martí

Extended rug

Filmografica table lamp

Pool washbasin

Xarxa modular seating

Haapaniemi, Klaus

Volcano rug

Häberli, Alfredo

Aki Table

Alfredo bowl and carafe

Highfield 2 upholstery fabric

Jill chair

JO stackable chair

Pampa kitchen

Stabiles table

Habits Studio

Honeycomb modular pendant lamp

Mini Mini Led suspension fixture for spot lighting

Hadid, Zaha

Flow large indoor/outdoor pots

Genesy floor lamp

Tide modular shelving system

Z-Chair

Hägglöf, Ulrika

Draped Delusion upholstery fabric ****

Håkonsen, Kari

Othilie vase

Halonen, Tuuka

Pilke 36 pendant lamp

Hama

40 LED Photo/Video Slim Lighting Panel ****

Hamborg, Mia

Shuffle transformable table

Hans, Ineke

Ahrend 380 stackable chair

Smallroom modular sofa system

Hasuike, Makio

Led Biolite desk lamp

Haygarth, Stuart

Raft(Cats) and Raft

(Dogs) lamps

Hayon, Jaime **–**

21st International Biennial Interieur

Arpa Chair

Beetley Sofa

Candy Light table lamp

Capitone rug

The Clown Lamp

Favn sofa

The Hayon Collection bathtub

The Hayon Collection unit with washbasin

The Hayon Collection unit with washbasins

Lounger armchair

'Mediterranean Digital Baroque' exhibition

'Mon Cirque' travelling exhibition

Piña indoor/outdoor chair

Time Piece side tables

Twenty.two armchair

Valencia candleholder

Heatherwick Studio

Extrusions bench ****

Spun (Coriolis) chair , ****

Heatherwick, Thomas

Spun outdoor rotating chair

Hegedűs, Andrea

Glass textile room divider ****

Henderson, Scott

Ellie Krieger Cookware

Ellie Krieger Cookware measuring cups

Hendzel & Hunt

The Devar vase

Troy Town Table ****

Hermansen, Anders

BeoSound 5 Encore digital audio system

Hilton, Matthew

Hide Chair

Maia side table/stool/step

Treviso desk

Ho, Tong

Lantern mobile rechargeable lamp

Hoffmann, Josef

Cutlery No

Holl, Steven

Hexagon stool/table

Höller, Carsten

Flying City Tableware set of plates

Holm, Staffan

Newton coffee table

HP

Mini 210-3002sa laptop computer

Hsu, Ching-ting

Lace Bowls ****

HTC

HTC EVO 3D smartphone

Hubert, Benjamin **–**

Coracle lounge chair

Crane task light

Float pendant lamp

Gabion pedestal dining table

Heavy desk light

Industry bookshelf

Juliet armchair

Loom pendant lamp

Maritime armchair

Pebble chair

Pod privacy chair

Roofer pendant lamp

Spinning Light pendant lamp ,

Hulger

Plumen 1 energy-saving light bulb ****

Hume, Kate

Pebble vase

Hutcheson, Angus

My Chrysalis table lamp

Hutten, Richard **–**

Apps armchair

Book Chair

Cloud Chair

Dumbo mug

Mini book stamp

No Sign of Design table and chairs

Peggy Leggy coffee table

Pin-Up pendant lamp

Playing with Tradition hand-knotted runner

Slingerlamp pendant lamp

Zuiderzee Chair

I+I

Respun Silk hand-knotted carpet

Iacchetti, Giulio

Fishbone and Paesemio laminates (Parade Collection)

Uselen paper knife

Ibaraki, Chicako

Weave bookshelf

Indriolo, Salvatore

White Shell occasional table/night table

Industrial Facility

An Alarm vibration alarm watch

Branca chair

Pentagon fountain pen

Table Bench Chair

Insideout

Black Widow plate

Irvine, James

Blaster Chair

Ponte low table

Iskos-Berlin

Spook armchair

Ito, Setsu and Shinobu

Hanahana coat stand

Inori modular storage system

Leaf carpet

Swa outdoor lounge chair and table

Ito, Toyo

Mayuhana II floor lamp

Iwasaki, Ichiro

Codomo Chair children's chair

Ice drinking glass

Jacobs, Douwe

flux® foldable chair

Jamesplumb

Suitcase Drawers chest of drawers

Jam Factory

Kink Bottle oil bottle

JDS Architects

Stacked modular shelf system

Jelenec, Nuša

Col-letto bed

Jensen, Timothy Jacob

Diamant 32 Model coffin ****

Diamant urn ****

Jimenez, Vicente Garcia

Le Soleil pendant lamp

Johansson, Håkan

Flip cabinet

Johnson, Tania

Blur hand-knotted rug

Textured Daisy hand-knotted rug

Jones, Deb

Kink Bottle oil bottle

Jongerius, Hella

Frog Table

Maharam Polder sofa

Jordan, Penelope

Puzzle three-dimensional textile art

Jouin, Patrick

Chop chopping board

Zermatt cutlery collection

JSPR

Arctic Rock table

Juretzek, Tobias

Rememberme coffee table

Kaikado

Chazutsu tea caddy

Kath, Jan

Emerald Carpet

Khan, Asif

TIP fruit holder centerpiece

Kim, Chae Young

Knitted Room wallpaper ****

Kita, Toshiyuki

Denq table lamp

Klauser, Andre

Canteen Utility Chair

Koenig, Michael

Mon Beau mirror

Kogei, Hinoki

Seating

Koldova, Lucie

Iconic mirror on stand

Komplot Design

Calabash pendant lamps

Korhonen, Harri

Bondo D modular seating

Krüger, Hanna

Vessel vase and bowls

Kubota, Yuki

VAIO F series laptop computer ****

Kuo, Danny

Staircase_P1 cabinet/shelving system

Kuramata, Shiro

Homage to Mondrian cabinet

Kusoffsky, Björn

Marble 4420 tray

kymo Design Department

SG Suave area rug

Lachaert, Sofie

Eros rug

Lagerfeld, Karl

Orrefors by Karl Lagerfeld wine glass

Lamb, Gabe

Issey Miyake Vue watch

Lamb, Max

Anodized Table coffee table

Quarz series of crystal tumblers

Woodware Lounge Chair

Lancelot, Charlotte

Flowers From Canevas Collection carpet

Langhans, Eva

Fabric (Flat) Superdots area rug

Larsson, Sara

Collect 2011 cabinet

Laurysen, Yvonne

CELL+LED carpet

Laviani, Ferruccio

Birignao side table

Bloom pendant lamps

S-Cube wall-mounted storage units

Taj lamp

Twaya table

Lazzeroni, Roberto

Blumoon bed

Leal, TT

Cristal de Luz (Light Crystal) pendant lamp ****

Leelasiri, Rapee

Reborn rug

Legald, Simon

Onkel sofa

Leif.designpark

Flower Cup Chair

Hug 2-seater Sofa

Lily Dining Table

Suu Bed

Lenti, Paola

Ros(a)e rug

Levete, Amanda

Edge task light

Levy, Arik

Ellipse 16-light chandelier

Layer acoustic panels

Patchwork Table

Pattern outdoor chair

Rhythm pendant lamp

Tea Time bed

Tribe collection of vases and bowls

Water=Life water bottle opener

LG Electronics

LX9500 LED 3D TV ****

Libeskind, Daniel

Altair armchair

Lin, Camo

Explosion lighting object

Lin, Hsiao-ying

Moon Rabbit cup ****

Lindström, Sanna

Grand Central folding table

Linssen, Thomas

Bathtub

Lissoni, Piero

Aprile kitchen

Heigh-Ho series of hanging display cases

Rotor table

Toot modular sofa system

Liu, Chen-hsu

Bentboo barstool

Liu, Idee

World Cup (Croaking Frog) cup ****

Lladró

Metropolis lamp

Loebach, Paul

Wood Vase

Loewe

Loewe Individual

Compose 3D LCD TV

Reference 52 HD TV

Lohmann, Julia

Bakelite Borgo set of tabletop containers

Lovegrove, Ross

Andromeda pendant lamp

Bamboo bicycle

Cosmic Leaf pendant lamp

Cosmic Rotation riflessa ceiling lamp

Droplet wall/ceiling lamp

Eco bookends

Freedom wall-hung

washbasin and faucet

Freedom wall-hung WC

Grifo table lamp

Rorrim pendant lamp

LucidiPevere

Whisk

Lui, Winnie

Beads (Octo and Penta) pendant lamps

Lundblad-Fridén, Petra

Dag&Natt printed rug

Lust, Xavier **–**

Baobab coat stand

Blow Up table

Ecran sunshade

Fireworks pendant lamp

Gamete table lamp

Graph desk

Gun Metal Chair

IN bed

Le Banc

Navale bathtub

Perseus mirror

Source table

Street furniture

Turner candleholder

Virgo bookshelf

V-table

Lytro

Lytro Light Field Camera ****

Mainzer, Philipp

CT09 Enoki side table

Malmberg, Thomas

Regatta pendant lamp

Malouin, Philippe

Yachiyo metal rug/tapestry

Mantel, Erik

CELL+LED carpet

Manzoni, Giulio

Oops armchair/bed/poufs

m-ar

Ros(a)e rug

Mariani, Massimo

Vita modular shelving system

Marigold, Peter

Man Made series high rack

Redivider shelving unit

Seating

SUM wall-mounted asymmetrical shelving system

Mariscal, Javier **–**

Chico & Rita

Cobi mascot

Green chair

Lotek table lamp

Moma outdoor table and seating

Villa Julia children's house

Martelli, Licia

Lilli Primavera table set

Massaud, Jean-Marie

Flow armchair

Overscale Flames outdoor fire feature

Matzen, Siw

Puk adjustable table lamp

Maurer, Ingo

Double T-Future table lamp

Floating Table table and chairs

4 x 4 is 34 table lamp

Johnny B. Butterfly lighting

Silly-Kon pendant lamp

Meda, Alberto

Otto Watt desk lamp

Mendini, Alessandro

I Policromi system of cases and cabinets

Moka Alessi espresso coffee maker

Menschhorn, Sebastian

Thom series vases and bowls

Merendi, Marco

Amarcord bathtub

Unmetro table lamp

Miinu

Industrial Pure rug

Minale-Maeda

Dawn/Dusk mirror

Mirri, Mirriam

Il Caffe Spoons

mischer'traxler studio

Reversed Volumes bowl

Missoni Home Studio

Bubble pendant lamp

Spool table

Miyamori, Akihiko

GS-TD1 3D full-HD camcorder ****

Modern Times

A Piece of Forest lamp

Moerel, Marre

Metae teapot and cups

Monja table/floor lamp

Monster Inc.

Miles Davis Tribute in-ear headphones

Morenstein, Josh

Issey Miyake Vue watch

Local bicycle

Moroso

My Moon My Mirror

Morozzi, Massimo

Bois de Rose cupboard

Paesaggi Italiani – Mirror storage

Paesaggi Italiani – Straw storage

Paesaggi Italiani – Wood storage

Morrison, Jasper

AC01 Alarm Clock

Bac chair

Bac table

DP01 cordless phone

Pirandello writing desk

r5.5 XXL Chronograph watch

Muehling, Ted

Trinkservice No 282 drinking glasses

Murphy-Reinhertz, Noah

Local bicycle

Nagasaka, Jo

Udukuri Table

Nakajima, Kenzo

Bloggie MHS-FS3 3D mobile HD camera ****

DSC-TX55 digital camera

naonao (Nao Tamura)

Seasons kitchen and serving ware

Nason, Alberto

LED Net Circle Soffitto ceiling lamp

Vasi nei vasi vases

Navone, Paola

Big Bed

Lelit bed with flexible headboard

Menu 4 modular kitchen

Menu 5 modular kitchen

Paola and the Kitchen faucet

Neal, Gareth

Large Oak Vessel

Love Seat seating

Neill, Brodie

Clover pendant lamp

Curve indoor/outdoor bench seat

Glacier chaise longue ****

Remix chaise longue

Reverb Chair

Scuba seating

Nendo **–**

Antler armchair

Bamboo Steel dining chair

Bamboo Steel Table

Brace modular storage system (The Black& Black Collection)

Collar modular storage

Counter D washbasin counter (The Nendo Collection)

Forest bookcase

Forest Spoon teaspoon

Indulgi boutique

Maki pendant lamp

Oppopet wireless optical computer mouse

Par salt and pepper shakers

The Puma House showroom

Puzzle paperweight collection

Rinkak computer mouse

Roll washbasin

Sundial bookcase

Thin Black Table

Neri & Hu

Emperor floor lamp

Neuland Industriedesign

Inmotion modular system

Newson, Marc

Bunky modular children's bed

FP610SG (yellow), FP610SBL (blue), FP610SV (green) ovens

K-01 digital camera

P7555G (yellow), P7555BL (blue), P7555V (green) gas hobs

Nguyen, Toan

Kelvin LED Green Mode desk lamp

Nichetto, Luca **–**

Argo light sculpture

Ipe bench and stool

Float coffee table

Golconda table lamp

Green Pads (O2asis) plant table

Layer table

Metro sofa

Pipe table lamp

Plass pendant lamp

Prosciutteria King, range of utensils for

Railway outdoor table

Robo chair

Swell pencil case and key holder

Timeline bowl

Troag pendant lamp

Vada floor lamp

Vad Wood chair

Vela coffee cup with saucer

Wolfgang chair

Nigro, Philippe

Canisse outdoor sofa

Nissen, Bettina

Gills Bowl fruit bowl

Norguet, Patrick

Plain AIR air purifier

Scratch armchair

Nouvel, Jean

Micro Telescopic pendant lamp

Novembre, Fabio

56 h outdoor rocking chair

Fleur de Novembre table

Murana vase ****

Nemo indoor/outdoor armchair

Nya Nordiska Design Team

Visiona fabric

Okumura, Mitsuo

DSC-TX55 digital camera

Ora-Ito

Bridge Ora-Gami armchair

Parquet Rug

Osko & Deichmann

Abyss modular table lamp

Clip Chair foldable lounge chair

Pebble armchair

Straw Chair dining chair

Osti, Liviana

Pippo grater

Outofstock

Black Forest table

Up & Away wall-mounted/pendant lamp

Pagani, Giovanni

Portraits wallpaper

Skulls wallpaper

Pakhalé, Satyendra

Conversation Sofa

Palomba, Ludovica and Roberto

Fly-Fly pendant lamp

Herb bowl

Leeon bed

Morphing Bathroom Collection bathtub

Palio table

Sunrise outdoor chairs and table

Zen Apple furnishing accessory

Zen Cap stool

Zen Screen divider

Pankow, Lutz

Lutz adjustable table lamp

Panton, Verner

Panton Carpet Grande 1965

Papi, Stefano

Goccia Prisma pendant lamp

Morgana pendant lamp

Pastori, Matteo

Reti Fragili desk

Patrizi, Giulio

Eco Storage cupboard

Paz, Francisco Gomez

Hope floor lamp

Synapse modular lighting system

PearsonLloyd **–**

Cobi chair

Eddy chair

Link modular partitioning system

Lox chair

PARCS range of office furniture

Peggy table

PLC Series chair

Upper Class seat

Pentax

K-01 digital camera

Perez, Jose M.

Nokia J Bluetooth mono headset

Perrault, Dominique

Leo Leonis sofa

Perriand, Charlotte

Applique à violet pivotant wall lamp

Tokyo outdoor chaise longue (Cassina I Maestri Collection)

Pesce, Gaetano

Clear Special Vase

Montanara sofa

Notturno a New York (Nighttime in New York) sofa ****

Philips Design

Ambiance Accessories

LED Tea Lights

Cinema 21:9 LCD TV

Daily Duo vacuum cleaner

Econova LED TV ****

Power Station Universal USB Solar power station

SoundBar Home Theatre with Ambisound sound system ****

Philips Lumiblade

Lumiblade OLED panels

Piatkowski, Monika

Flock self-adhesive wall tiles

Pillet, Christophe

Rive Droit sofa

Pinch, Russell

Lowry armoire

Pontus desk

Piva, Marco

Vitrum Home Control switch ****

Pot, Bertjan

Heracleum ceiling lamp

Jumper chair

Poulton, Neil

Sound2 Speakers computer speakers

Pouzet, Daniel

Nestrest loungers

Prado, Fernando

Bossa 26w pendant lamp ****

Praet, Jens

Inverso storage system

Prevost, Gaelle Lauriot

Leo Leonis sofa

Provisor, Janis

Patine Brown rug

Puts, Raimond

Raimond pendant lamp

Quinze & Milan

Second Skin Chair seating

Quitllet, Eugeni

Light-Air table lamp

Masters chair

To'taime coat stand

Rachele, Adriano

Veli Prisma ceiling/wall lamp

Ransmeier, Leon

Revolver rotating barstool ****

Rashid, Karim

Blobina seating

Bounce sectional sofa

Cadmo Parete wall lamp

Doride Terra floor lamp

Felicerosa chair

Halo table lamp

Hellraiser citrus basket

Jak watch

Karma, Kink and Ubiquity decorative tiles (Karim for ALLOY Collection)

Silver Ray centerpiece

Space Time pendant lamp

Strata home workstation

Therme Radiator

Rattin, Rosaria

Lunare, Singolare, Solitario and Notturno bottles and vases

Raw Edges

Deskbox table/cabinet

Pinha lamp ****

Pivot Desk workstation

Plaidbench Collection bench

Tex wall and floor tiles

TWB stool

Recor, Bret

Issey Miyake Vue watch

Revoldini, Giorgio

LUMIS 3D-S 3D full-HD video projector

Richardson, Phoebe

Supermodel plate installation

Risom, Jens

T621 Bench

Rizzatto, Paolo

Hope floor lamp

Otto Watt desk lamp

Rodriguez, Antonio

Isystick bath/shower mixer

Orfurò bathtub

Twine bed

Roijé, Frederik

Metrobowl New York and Amsterdam bowls

Ronda Design

Myshelf totem with magnetic shelves

Rooms

Position Floor Lamp

Rose, Daniel

Agranda Bench

Rose, Nicola

Agranda Bench

Rota, Francesco

Pill-Low lamp/seat

Roth, Andreas

The Object storage unit

Rybakken, Daniel

On/Off mirror/light box ****

Sachs, Rolf

Alone in a Crowd table

Sadler, Marc

Kalla washbasin

Phalène chair

Sack sofa

Tress Stilo floor lamp

Samsung

Series 9 laptop computer

Samsung Electronics

LED 8000 Series Smart TV

MV800 MultiView digital camera ****

Samsung Telecommunications America

Galaxy S II smartphone

Nexus S smartphone

Sandell, Thomas

Melt bookcase

Santachiara, Denis

Rota coffee table

Sato, Jun

X-Pro1 digital camera

Sauerbruch Hutton

Munich Sofa

Schleypen, Michaela

Loop outdoor carpet

Moroccan Garden rug

Woodheart Pure Shine rug

Schneemann, Diederick

0.5 KG Lamp pendant lamp ****

Scholten & Baijings

Amsterdam Armoire

Butte Tuna storage box

Colour carpet

Paper Porcelain mug, teacup with saucer and coffee cup with saucer

Schotte, J.

Library Chair multifunctional chair

Schouten, Tom

flux® foldable chair

Schultes, Herbert

Bulthaup b3 kitchen system

Scott, Rich & Victoria

Filament Lamp

Sempé, Inga

Ecran In & Out wall lamp

Österlen chair and table

Torno detachable shelf/storage unit

Ruché bed

Sempé w103c lamp

Sempé w103s6p pendant lamps

Vapeur pendant and table lamps

Serfaty, Albi

96 Molecules table and floor lamps

Serfaty, Ayala

Gladis love seat

Serrano, Héctor

Carmen pendant lamp

Natura Jars collection of jars/vases

Seymour, Jerszy

Amateur Masters S chair

Šípek, Bořek

Butterfly vase

Siyazama Project

Coiled vase

Story Vase ****

Skitsch Studio

Cutlery Collection

Slone, Clint

Tiltpod camera tripod ****

Smith, Paul

Case for Leica D-Lux

Hand Tinted Rose wall installation

Point textile

Sodeau, Michael

Noughts and Crosses stools

Ten sofa

Sony Ericsson

Xperia™ arc S smartphone

Sottsass, Ettore

Ettore 11175 electric kettle

ZZ66A – 546 bowl

Spencer, Tim

Knelt posture kneeling stool and desk

Sperlein, Bodo

Blossom plate and bowls

Spini, Gregorio

Bot table lamp

Stadler, Robert

Royeroid sofa

Starck, Philippe

D'E-Light desk light with integral dock for iPod, iPhone or iPad

Library Kitchen

Marie Coquine 12-light chandelier

Masters chair

Oscar Bon easychair

Out/In indoor/outdoor sofa

SensoWash Starck shower-toilet with remote control

Slice ofBriccole Slice of Venezia table mat

Small Ghost Buster night table

Starck K kitchen sink

To'taime coat stand with pocket emptier and tray

Zikmu Parrot speakers

Steininger, Martin

Concrete Kitchen

Stern, Robert A.M.

Algiers fabric (The Tracery Collection)

Mumbai fabric (The Tracery Collection)

Seville fabric (The Tracery Collection)

Strasser, Mike

Tiltpod camera tripod ****

Strömgren, Sigrid

Grand Central folding table

Studio Formafantasma

Moulding Tradition ceramic collection

Studioilse

Companions Bed

Two-Seater Low Settle

Studio Job

Altdeutsche Blanket

Chest

Barbed Wire hand-knotted rug

Firmship Carpet

Gothic Chair

Job Cabinet

Paper Screen

Perished Persian rug

Vase Lamp floor lamp sculpture

Wonderlamp pendant lamp

Studio Makkink & Bey

Prooff #001 EarChair

Stubborn Chair

Studio Pastoe

Boxes modular wall-mounted cabinet system

Studio Tord Boontje

100 Years textile

Elements textile (upholstery)

studio vit

11 Boxes

Successful Living from Diesel

My Moon My Mirror

Sunaga, Dan

Newton coffee table

Supercyclers

Plastic Fantastic Ware vessels, bowls and cups ****

Suppanen, Ilka

Kaasa mobile fire place

Sycip, Jeremy

Local bicycle

Tai, Pu

Zen Cup

Takagi, Noriaki

DSC-TX55 digital camera

NEX-5 digital camera

Takahashi, Masahiro

DSC-TX55 digital camera

Tanaka, Soichi

VAIO C series laptop computer

Tanifuji, Shuji

GS-TD1 3D full-HD camcorder ****

Thambert, Tove

Light&Heavy dumbbells/candlesticks

Theselius, Mats

The Object storage unit

Thonet, Michael

No. 114 Anniversary Edition chair

Thun, Matteo

Briccole Venezia table ****

Gentle single-lever basin mixer

Isystick bath/shower mixer

Orfurò bathtub

Twine bed

Timorous Beasties

Spring Blossom cladding ****

Timpe, Jakob

Loggia modular bookcase

Tolstrup, Nina

Mobile Outdoor Kitchen

Tools

Eva Solo XO Grater

Torafu Architects

Airvase (Gradation and Cube)

Toso, Pio and Tito

Balance wall/ceiling lamp

TOTO

Le Washbasin (Neorest Series)

Trimarchi, Mario

La Stanza dell Scirocco vase cover

Trubridge, David

Koura and Kina light shades (Grow Range)

Ullian, Paolo

Cardboard Vase

Urquiola, Patricia

Azulej wall and floor tiles

BiKnit indoor/outdoor chaise longue and chair

Comback Chair

Crinoline outdoor armchair

Crossing high table

Faint table

Fergana sofa

Foliage sofa

Husk armchair

Mangus pouffes and rungs

Matelasse' vases

Night and Day Bed

Nub swivel chair

Pavo Real Outdoor indoor/outdoor armchair

Reii bench

Variations collection of vases and glasses

Vieques bathtub

Vaarwerk, Mark

Unexpanded Polystyrene Vessels ****

Vallin, Martin

The Secret Clubhouse armchair

van Ast, Jorre

Nomad lightweight portable table

Van Eijk & Van der Lubbe

M-collection armchair

M-collection sofa

M-Set cups

van Eijk, Kiki

Domestic Tales Scissor

Chair rocking chair

Rose Lace Carpet

Table-Palette table setting

Van Severen, Maarten

Van Severen w111 floor lamp

van Vliet, Edward

Button Down sofa

Galata ceiling lamp

Vautrin, Ionna

Binic table lamp

Vetterlein, Victor

Trash Me table lamp

Vigneron, Perrine

Giverny ,  rugs

Vilardell, Jordi

Wind pendant lamp

Vizner, Frantisek

Collection 2011 glass collection

Volokhova, Maria

Christmas Edition 2010 plate

Wallenius, Mia

Volcano rug

Wanders, Marcel

Babel dining table

Can Can pendant lamp

Cyborg Elegant chair

Delicate Round flooring system

Drain table

Dressed cutlery set

Dressed table set

Eden stool

Fata Morgana TJ One carpet

Fata Morgana TJ Two carpet

Forest Muses wallpaper

Key Muses wallpaper

Monster chair

Profile Hex flooring system

Rose Beds wallpaper

Sparkling indoor/outdoor chair ****

Tulip armchair

United Crystal Woods bordeaux wine glass

United Crystal Woods candlestick

United Crystal Woods decanter

United Crystal Woods vase

United Crystal Woods vase and votive holder

Valentine and Baby Valentine pendant lamps

Wattcher energy monitor ****

Wang, Rock

Brick Plan vase ****

Cocoon Plan sofa

Wangen, Norbert

k20 modular kitchen

Watanabe, Chiya

DSC-TX55 digital camera

Weiss, Anke

Bonsai Structure table

Weitzner, Lori

Allium fabric (Botanic Collection)

Whats What

Greta flexible ceiling lap

Wilkinson, Samuel

Plumen 001 energy-saving light bulb ****

Vessel Series 01–03 pendant/table light ****

Willenz, Sylvain

CLS mobile hard drive

Matt Collection desktop accessories

Wilmotte, Jean-Michel

W range free-standing kitchen units

Wilson, Donna

Frank, Ernest and Henry pouffes

Wohlers, Valentina Gonzalez

The Ghost of a Chair

Wu, Pili

IKEA plus 365+ vase ****

Plastic Ceramic Vase ****

Wüstenberg, Pia

Stacking Vessel

Wynants, Dirk

Hopper Bench

Yamaoka, Yui

DSC-TX55 digital camera

Yeffet, Dan

Iconic mirror on stand

Yoneda, Naofumi

DEV-3 digital recording binoculars ****

Yonoh

Nenufar parasol

Yoshioka, Tokujin

Ami Ami chair and table

Invisibles Light Collection armchair

Memory armchair

Moon armchair

O watch

Paper Cloud sofa

Tear Drop lighting

ToFU lighting

X-Ray mobile phone

Young & Battaglia

Stone Angel Wallpaper

Young, Michael

Avalon Chair

Chair 4-a

Cityspeed Bike

Hacker Watch

Lancaster Chair and Table

100 Table and 100 Chair

Tetrix modular kitchen

TST Sofa

Zipte Table

Zanuso, Marco, Jr

Oyster I table

Zito, Marco

Flap wall lamp

Zucker, Ofir

96 Molecules table and floor lamps

Zupanc, Nika

5 O'Clock Chair

Homework Cabinet wardrobe cabinet

Lolita table lamp

Zweed

Flip cabinet

**PICTURE CREDITS**

t=top, c=centre, b=bottom, l=left, r=right

9, 72t (Spun [Coriolis]): Cristiano Corte/Marzorati Ronchetti; 10tr (Quark): Carlo Lavatori; 12tl (Blow): Peter Guenzel; 13tr (Central): © Studio Bouroullec; 14cl (Ponte): Miro Zagnoli; 18b (Grand Central): Martin Eek; 21br (Peggy): Courtesy of SCP; 22cl (Baguettes): © Studio Bouroullec; 24t (Gallery): Miro Zagnoli; 24br (Rota): Marco Vagnetti; 27cl (Marbelous 34 and 50): Miro Zagnoli; 30tl, 30tr, 30bl, 32: PietHeinEek, photos by Nob Ruijgrok; 32b (Frog Table): © Fabrice Gousset, Courtesy Galerie Kreo; 33t (Senta): Luis Silva Campos; 33cl (Wonder Box): Courtesy of Richard Lampert GmbH & Co. KG; 34tl (Gun Metal Chair): Alexandre van Battel; 37tl (Jumper), 38br (Crash): Peter Guenzel; 40br (5 O'Clock Chair): Nicole Marnati, courtesy of Moooi b.v.; 42tl, 43tr: © Robert Fischer; 42tr, b: © Ingmar Kurth; 47t (Clip Chair): Courtesy of Moooi b.v.; 48c (Moon): Alessandro Paderni; 52t (Tip Ton): Marc Eggiman © Vitra; 54t (CH04 HOUDINI): Ingmar Kurth, Martin Url; 54cl (EC04 LEO): Ingmar Kurth, Martin Url; 55t (Jill), 55bl (Waver): Marc Eggiman © Vitra; 56cl (Stool, Particles gallery): Erik and Petra Hesmerg; 56cr (5°): © Nils Holger Moormann GmbH; 57tl (3DWN1UP): Erik and Petra Hesmerg; 58bl (Stool, Klein Karoo): Marcos Cimardi; 60tl: Luc Praet; 60tr, 61br: Courtesy Xavier Lust; 60b: © Lode Saïdane; 61bl: Alain Charlot; 63cl (M-Collection): Frans Strous; 63cr (Avus): Matteo Imbriani © Plank Collezioni srl; 66c (Gothic Chair): Nicole Marnati, courtesy of Moooi b.v.; 66b (A-chair): © Studio Aisslinger; 70bl (Prooff #001 EarChair): Roel van Tour, Pim Top and Mathijs Labadie; 73b (Blobina): Meritalia SpA; 74–5: Courtesy PearsonLloyd; 78b (Quilt): © Paul Tahon and Ronan & Erwan Bouroullec; 82tl (Montanara): Meritalia SpA; 83c (Paper Cloud): Alessandro Paderni; 85b (Single Sofa): JOINE/Maarten Baptist; 86tl (Soft Wood Sofa): Alessandro Paderni; 87b (Gladis): Courtesy of Aqua Creations; 89t (M-Collection): Frans Strous; 92t (Dynamic Life): Ezio Prandini, courtesy of Campeggi srl; 95cl (Table Bench Chair): Peter Guenzel; 95cr (Fergana): Alessandro Paderni; 95b (Royeroid): Courtesy of Carpenters Workshop Gallery; 96 (Extrusions): Peter Mallet; 98t (Girella): Courtesy of Campeggi srl; 99b (Chambre d'Ami): Courtesy of Campeggi srl; 101b (Oops): Courtesy ofCampeggi srl; 106b (Trick): Courtesy of Campeggi srl; 108cr (SUM): Courtesy of SCP; 109tl (Lowry): James Merrell; 109tr (Amsterdam Armoire): Peter Guenzel; 110tl: Lutz Sternstein; 110tr: Courtesy Galerie Italienne; 110b: Courtesy Carpenters Workshop Gallery; 111: Photo by Robert Leslie; 112c (The Object): Emil Larsson; 113tl (Melt): Miro Zagnoli; 114bl (Suitcase Drawers): Gisela Torres; 115tl (Cupboard of Secrets): Courtesy of Hermès (La Maison); 118tr (Weave): Satoshi Asakawa; 118c (Torno): Luis Silva Campos; 118bl (Shelving System): Jouko Lehtola; 120cl (11 Boxes): Annabel Elston; 122tl: Peter Mallet; 122bl, 122br, 123bl, 123br: Courtesy BarberOsgerby; 126t (Summer Trees): Paolo Veclani; 126b (Job Cabinet): Robert Kot photographer; 129 (P755SG [yellow]), 133t (FP610SG [yellow], FP610SBL [blue], FP610SV [green]), 133b (P755SG [yellow], P755SBL [blue], P755SV [green]): Smeg SpA; 134tr (Liquida [Flipper]): Tom Vack; 140t: Richard Hutten Studio, photo by Arie Kievit; 140b, 141t, 141b: Richard Hutten Studio; 149br (Axor Bouroullec): © Paul Tahon and Ronan & Erwan Bouroullec; 152br (Blow Away Vase): Courtesy of Moooi b.v.;

154tl (Cubist Vase [Absinthe]): Davies + Starr; 155br (Othilie): Siri Møller; 156t (Paper Porcelain): © Scholten & Baijings; 158c (Table-Palette): Frank Tielemans; 159tr (M-Set): Frank Tielemans; 159b (Moulding Tradition): Luisa Zanzani – courtesy Gallery Libby Sellers; 160tl (Collection Vindobona): © Fotostudio Elwoods; 162b (Reversed Volumes): mischer'traxler; 164tl (Fortune): Lobmeyr/Klaus Fritsch; 165b (Oyster Platter): Tas Kyprianou; 166tr (Jug): Erik and Petra Hesmerg; 166c (Coiled): Hironori Tsukue; 167tl (Par), 167c (Furo): Luis Silva Campos; 168tr (Vessel): © Minu Lee; 170 (Story Vase): © Anna Lönnestan; 171t (Dende), 171cl (Clear Special Vase): Italo Perna-Polifemo Fotografia; 171cr (Industrial Intervention – Crystal glass): Emma Nilsson; 178bl (Zermatt): © Patrick Burban; 178br (Cutlery No 135): © Fotostudio Elwoods; 180: Photo by Markus Moström; 181: Massimo Gardone_Azimut; 184bl (Audrey): Peter Guenzel; 185tl (Seaform): Carlo Lavatori; 188tl (Breeze): Paolo Giordano; 191t (Frank, Ernest and Henry): Courtesy of SCP; 198tr (Patine Brown), 199tl (SO'H): Courtesy of Hermès (La Maison); 199bl (Fata Morgana TJ One), 200tl (Firmship Carpet), 201br (Fata Morgana TJ Two): Nicole Marnati, courtesy of Moooi b.v.; 206bl (Bibliothèque), 206br (Finish): Courtesy of Hermès (La Maison); 208tl (Delicate Round): Marcel Wanders; 208tr (Profile Hex): Senso; 210tl, 210b, 211: Nienke Klunder; 210tr: Hayonstudio; 214tl (Glass textile room divider): Zsolt Bézsenyi; 216tl (Hearts & Robots Black): Paolo Veclani; 220tc (Emperor): Maarten van Houten © Moooi; 220cl (Lolita): Courtesy of Moooi b.v.; 226cl (Conchs 3): © Fabrice Gousset, Courtesy Galerie Kreo; 226b (Lianas 15+): © Paul Tahon and Ronan & Erwan Bouroullec, Courtesy Galerie Kreo; 227bl (Brave New World Lamp): Courtesy of Moooi b.v.; 230t (Pinha): Luis Silva Campos; 231b (Pipe), 232c (Edge): Peter Guenzel; 235b (Amplify): Courtesy of Fuseproject; 237c (Fireworks): Lode Saidane; 238cr (96 Molecules): Courtesy of Aqua Creations; 242: D. Vintiner; 243: Courtesy Benjamin Hubert; 244br (Satelight/ Altaïr): Carlo Lavatori; 246tr (Micro Telescopic): Marco Vagnetti; 248b (Plumen 001): Andrew Penketh; 252b (Lighthouse): © Peter Guenzel; 254t: Oki Sato; 254b, 255: Daici Ano; 256c (Position Floor Lamp): Nicole Marnati, courtesy of Moooi b.v.; 259b (Lampalumina): © Studio Bouroullec; 260tr (Regatta): Roland Nilsson; 262t (Heracleum): Nicole Marnati, courtesy of Moooi b.v.; 263tr (Raimond): Courtesy of Moooi b.v.; 264br (Lumiblade): © Philips; 267t (Roofer): Giulio Favotto; 274cr (CLS): © Julien Renault; 275tr (Zikmu Parrot): Frédéric Simon; 276tl (Sound2 Speakers): Nicolas Foucher; 279t (MacBook Air): © Doug Rosa (Photographer), courtesy Apple inc; 279b (iPad2): © Peter Belanger Photography, courtesy Apple inc; 284b (DP01): Jasper Morrison Ltd; 293tr (Paper Screen): Courtesy of Moooi b.v.; 293br (Dawn/Dusk): Minale-Maeda; 294t, 294b, 295: Courtesy Estudio Mariscal; 298t, 298c (IX Mirrors): Emilio Tremolada; 298bl (Eco): Miro Zagnoli; 299br (Gelo): Luis Silva Campos; 300tr (Brick Screen): Authorised by The World Licence Holder Aram Designs Ltd, London; 300b (Green Trays), 301tr (Green Pedestals), 301bl (Green Pads): Peterfotograf; 304t (Change the Record): Mark Cocksedge; 304c (AC01 Alarm Clock): Jasper Morrison Ltd; 304b (Xraydio 3 Natura Morta): Alessandro Paderni; 308bl (Matt Collection): © SWDO/Julien Renault

redpajama_set_name: RedPajamaBook