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Posted by Anki Delfmann  |  22 Jan 2015  |  Comments (0)


Klanglichter by Onat Hekimogulu and Tobias Kreter

Our first stop during Cologne's design week is Passagen, a collection of 190 exhibitions scattered throughout the north part of the city. Off the beaten path for people who are more used to strolling through more established hubs and brands, the chilly walk lead us to some unusual venues and reused spaces. Our favorite exhibition was held in an empty, glass-fronted shop space in the brutalist concrete underground station of Ebertplatz. LABOR: Design n+1 by Köln International School of Design showed some experimental objects and lighting, exploring the boundaries of art, design and research.

Klanglichter, above, is a laser harp that combines gamification and music-making. The Arduino-based audiovisual interactive installation was designed by Onat Hekimogulu and Tobias Kreter. Fueled by the will to hit targets on a projection on the wall, visitors play the laser harp to create new compositions.



Binary Talk by Niklas Isselburg and Jakob Kilian transforms the ASCII data of a word into binary code, which is then translated into a smoke signal sent off through the air by a subwoofer. We loved this experimental approach to uncover hidden processes of modern communication. The project combines advanced technology and one of the oldest forms of long distance transmission, the smoke signal. Light sensors in the recipient module detect the binary smoke puffs, which are translated back into ASCII code on a second computer. Mistakes in interpretation caused by a breeze in the room remind us of the telephone game, and the accuracy we have come to expect in modern means of communication.


Posted by core jr  |   3 Nov 2014  |  Comments (0)

Lodz-Gallery-2014.jpgPhotography by Sam Dunne for Core77

Marking its eighth successive year the Łódź Design Festival took over the Polish city of Łódź with some great original wares on show. While the design scene in Poland is still in its infancy, this year's festival showed many promising signs of local industry being keen to collaborate with the country's emerging generation of design talent. Some highlights from the shows included a local manufacturer challenging designers to reinvent the humble radiator, inspiring entries to the Make Me design competition and taking a look round Daniel Charny's prototype Fixhub space showcasing projects tackling the need for fixing.

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Łódź Design Festival:
» 'Brave Fixed World' Fixhub Prototype
» 'Algaemy' by Blond & Bieber
» 'Terma' Radiator Design Competition
» Zieta 'Hot Pin' demonstration
» 'Kawara Chair' by Tsuyoshi Hayashi

Posted by core jr  |  27 Oct 2014  |  Comments (0)

Vienna-Design-Week-Gallery-2014.jpgPhotography by Sam Dunne for Core77

Vienna Design Week returned for the eighth successive year, this year setting up shop in the grand Schwarzenberg Palace in the heart of the city. Apart from being blown away (as always) by the spectacular architecture of Austrian capital, we were delighted to see the return of the legendary 'Passionswege' program—a platform in which up-and-coming international designers collaborate with local manufacturers and craftspeople from Vienna. Other highlights include an array of impressive upcycling at the Recycling Design Prize exhibition and a NikeID-like system for cakes that keeps customized decoration classy.

» View Gallery

Vienna Design Week 2014:
» Passionswege - BCXSY x Lobmeyr
» Passionswege - Pedrita Studio x Stiefelmeyer Glaserei
» Sebastian Marbacher's 'Baustellen Bank'
» 'Cake's New Dress' - Lucy.D x Cafe Landtmann
» Recycling Design Prize
» Passionswege - PostlerFerguson x A.E. Kochert

Posted by Sam Dunne  |  24 Oct 2014  |  Comments (1)


For a relative minnow of the design world, it was great to see some solid involvement from the international design community at Łódź Design Festival in Poland last week. To give one outstanding example—Eindhoven based Japanese designer Tsuyoshi Hayashi took to the stage to present his delightfully simple 'Kawara Chair'—a small stool from ceramic and wood.

Inspired by the charming array of colours and finishes of rejects, Hayashi makes use of off-casts from the traditional Kawara curved tile industry in Takahama, Japan. The frame design takes advantage of the tiles' standard size and shape: the tiles slot in with awesome precision, holding firm without the need for glueing or fixing of any kind. The unique hardness of these glazed tiles (apparently fired at double the temperature used in Western kilns) gives the dainty seats a satisfying solidity.




Posted by Sam Dunne  |  23 Oct 2014  |  Comments (0)


You're likely familiar with Polish designer Oskar Zieta—if only for his 2010 'Chippensteel' chair and other inflated steel furniture, often spotted in glistening chrome or copper. Zieta was back in the limelight at Łódź Design Festival in Poland last week with pyrotechnical demonstrations of some new steel products inflated by the application of heat.

The 'Hot Pin'—a repacking of Zieta's old techniques as a consumer product—is a wall-mounted coat hook sold flatpack in an admittedly quite charming mini pizza box. The intention seems to be to give us at home a chance to see the wonders of baking steel—the discs springing to life with inflating spontaneously when heated to temperatures above 200°C, cooling into a surprisingly solid object to be fitted to the wall.



Posted by Sam Dunne  |  22 Oct 2014  |  Comments (2)


Although Poland might not currently rank too highly in the Top Design Nations List (that I've just made up), our experiences in Poland at Łódź Design Festival show many promising signs of local manufacturers keen to collaborate with the country's emerging generation of design talent. As part of the festivities, Polish radiator manufacturer Terma exhibited winners and shortlisted entries from their Terma Design Awards—a competition calling for creative home heating products.

Some entries exhibited showed an imaginative reinvention of the radiator—incorporating pipes into a table for example, or repurposing floor mounted systems into a bench. Of the more conventional wall mounted radiators, there was some really interesting styling to behold and some impressive use of materials to make more of a feature of the lowly heater and to disseminate the warmth more effectively.


Design by Bartholomew Drabik, the industrial-chic "Ribbon" is sure to look handsome on an some exposed brickwork.


Named after the Japanese tradition for low, futon-covered, heated tables, "Kotatsu" by Marianna Janowicz incorporates radiator pipes into the structure of a table to create a gently warmed communal seating space.


Posted by Sam Dunne  |  21 Oct 2014  |  Comments (0)


A key event of the Łódź Design Festival is the international design competition Make Me! showcasing work of up-and-coming talent from Poland, Europe and the rest of the world.

Winner of the spoils this year was Berlin-based studio Blond and Bieber for their 'Algaemy' project (also awarded as a notably student speculative design entry to Core77 Award) using the properties of colorful algae to produce dyes for textile-making. Noting the huge recent scientific interest in the plants, the designers were inspired to explore the creative potential of algae. They created the 'Algaemy' printer—a mobile algae farm, workstation and human-powered textile printer—to print on large sections of textile with shades of blue, green, brown and red, where the colors apparently developing and deepening with time.



Posted by Sam Dunne  |  20 Oct 2014  |  Comments (0)


With London Design Festival having wrapped up only a couple of weeks ago, we headed over this week over to the other LDF in Łódź, Poland. Although the design scene of Poland may be relatively in its infancy, this year's festival in Łódź—the country's third biggest city, pronounced something link 'wodch'— marks the 8th year for the event, the words 'Brave New World' having been chosen as title and theme of this edition.

A large part of the festival hub in Łódź this year has been handed over to London-based designer and thinker Daniel Charny—founder of studio From Now On and rebel rousing advocate of the maker movement—to create a prototype of his proposed 'Fixhub' spaces. Building on the models and cultures of public makerspace like FabLabs and Repair Cafe, Charny's Fixhubs are part fix-shop, part library and part gallery brought together in a one stop shop for communities to be inspired, informed and equipped to action to extend the lifespan or usefulness of their belongings.


With lots of making workshops going on and a rack of materials to read, the gallery portion of the space showcased a wide range of making and hacking projects—a collection that Charny believes points to the coming of age of the maker movement. Likening the process to the early days of filmmaking, all the novelty and wacky experimentation (arguably much need to allow for learning) is finally giving way to works of much greater significance.


Launching officially at Dutch Design Week, Belgian studio Unfold and Dutch studio Kirschner3D gave festival goers in Łódź a sneak peek of their incredible 'Of Instruments and Archetypes'—a set of instruments that measure physical objects and transfer the dimensions to a digital model in real time, allowing users to then send these files off for 3D printing. On show with the video of the tools in action was a selection of vessels hacked with tools, different objects having been used for handles.


Posted by Kat Bauman  |  16 Oct 2014  |  Comments (0)


Ziba turns 30 this year, and the renowned design company is understandably proud. To celebrate the diverse and lasting work of founder Sohrab Vossoughi, he and other design veterans discussed the future of product design. On the panel were Vossoughi, Allan Chochinov of SVA and Core77, John Jay of Wieden+Kennedy, and Aura Oslapas, previously Chief Design Officer for Best Buy, with questions and moderation by Carl Alviani. These folks had strong opinions, punchy advice, and more personality than your average lineup of industry heads. Here's our synopsis of the key questions and insights.

The definition of "product" has shifted over time. What does it mean now and why?

Oslapas started off clarifying that a product has come to describe services and software, in addition to hardware. Vossoughi agreed, but pointed out that even as design becomes more integrated with business the consumer still thinks of "product" in physical terms. Jay, as a communications and advertising pro, disagreed, pointing out that in his field of design creating an emotional response and relationship to another product is itself a product. Chochinov jumped on this, noting that Product Design has never been a particularly clarifying term, and now the growth of interaction design has made things even more complicated: "I can never hope to have a career moniker that makes sense. If it weren't so funny it would be cruel." Referencing the recent Facebook/Ello debate, he pointed out that point of view is everything, since from one angle Facebook is the product, but in reality it's us the users who are the profitable product. Oslapas countered that consumers still call the product by what it is, unless there's an issue—"product" is just a business term for the thing that we sell, rather than name or noun used by the user. In Allen's words: a product is something that needs to be fixed.

What are new impacts on the field and practice of design?

Social media was the first, albeit obvious, theme. In Jay's estimation, user engagement is empowering enough that it's changing everything. Ideas necessarily have to come from different places, and the production process is no longer a Push theory from the producer's end. Oslapas credited design methodologies and tools that cross disciplines. Prototyping tools and new work models are both rapidly shifting expectations towards greater collaboration.

User-centeredness, as Chochinov put it, is design's current but deeply problematic frame. "Users are part of the problem! Earth-centric design won't fly with consumers, but it's essential that we use the privilege of the design community towards making something of use at all." This shifted into a scathing critique of what he sees as the main goals in design, namely providing convenience, beauty, pleasure to anyone with the disposable income to afford it.

Ziba_Design_Panel-FIRST.jpgFrom left: Allan Chochinov, Aura Oslapas, Carl Alviani, John Jay & Sohrab Vossoughi


Posted by Kat Bauman  |  10 Oct 2014  |  Comments (0)


ShowPDX is one of the long-running events that makes Design Week Portland worth leaving the house for. Now in its ninth year, the show is a small juried furniture exhibition with a specific focus on brand new work from the Northwest. The votes have been cast, and if you're in town you have until the 14th to visit them in person at the Fisk Building.

As is becoming PDX-standard, this year's submissions showed a heavy slant towards woodworking (they still call us Stumptown for a reason) and lightly updated Midcentury lines. There were some standout pieces, with and without vintage wood appeal. Here are our favorites.


Phloem Studio has retro wood in the blood, but I love the thick rope update to the traditional woven seat on the Harbor Chair. Really elegant frame doesn't hurt. Inspired by childhood boating adventures, it's scratching my macro textile itch without going absurdly nautical.


The Kindred Tables are a set of three indoor-outdoor mini tables, collaboratively designed by Ashley Tackett of SERA Architects and Gavin Younie of Outdoor Scenery. Their separate backgrounds in interior design and landscape architecture combined well with these airy looking but super solid pieces that would work as well in a garden as in a living room. Steel bases with marble off-cut tops make for durability, but the side-centered leg placement keeps them from feeling too clunky and suggests a jewelry-like stone setting.


Posted by Kat Bauman  |  10 Oct 2014  |  Comments (0)


How do you feel after listening to a Stefan Sagmeister lecture? Whether you mean to or not, you probably feel... happy. Sagmeister is a plainspoken powerhouse of graphic design and a walking wealth of lifestyle koans. His Design Week Portland talk, presented by Portland's AIGA, touched on the internal and external frameworks that impact our positive emotions. To illustrate his ideas about designing happiness he veered between beautiful shots of his interactive installations and often smutty infographics unpacking what "happiness" really is and how to get it.

Using the casual, personally-oriented storytelling familiar in most of his public talks on the subject, this keynote also got technical. Through personal anecdotes and work highlights, we got a guided tour through the research and findings he came to while struggling to make his movie on happiness a reality. Up first: definitions and limitations of happiness. Surprisingly, it turns out that self-reporting is pretty accurate. Do you think of yourself as happy? If asked, how would you describe your life satisfaction? From the sound of it, most of our public answers would check out when tested against our MRI readings. So that's cool.

The three factors that he believes influence happiness most are our activities, life conditions, and genetics. Specifically, the more non-repetitive activities, the more supportive your social environment, the better. Genetics, as a factor you can't impact, he doesn't "care for." Moreover, the material conditions of our lives only matter up to a point—money matters up to "middle class" and then stops having an appreciable impact as you get richer than $85K/year. People, perhaps unsurprisingly, find success relative: Most people would prefer to make less money overall but more than their neighbors when opposed to making more money overall but less than their neighbors. Telling. It's also why you get a little depressed seeing everyone else doing so damn well on Facebook.

Sagmeister's own notorious work cycle, which is loosely structured around taking a long sabbatical every six years, incorporates diversity of activity and socializing into his life, which in turn helps bring diversity and social thinking into his work. Even those of us without our own internationally renowned agencies can apply those ideas. The value of seeing new things, talking to new people, and pushing your own boundaries are obvious—as he put it: "Seek discomfort."


Posted by Ray  |  10 Oct 2014  |  Comments (0)


The short story of the Caochangdi artist's village is that Ai Weiwei more or less singlehandedly established a creative community in a residential neighborhood on the outskirts of Beijing. The experiment worked, and CCD is now home to dozens of artists and designers, as well as galleries and studios, and is rightfully among the primary sites of Beijing Design Week. Although it's mostly concentrated in a self-contained cluster of austere buildings in the heart of the neighborhood, there is a sense in which Ai's Red Brick complex endures as a vital hub for Chinese design.

"It's a strange area—it's a village on the edge of the city; it hasn't been the subject of regeneration or development or top-down beautification," says Ben Hughes, who curated the exhibition for this year's weeklong celebration of design. "All of the galleries here are entrepreneurial and sort of grassroots. It's a working village—it has its rough edges."

BJDW2014-CCD-ext.jpgA major thoroughfare in Caochangdi—the main horizontal street in the map below—with the Red Brick complex at left (and Zaha Hadid's Wangjing SOHO in the distance)

Hughes would know, having embedded himself in a live/work space shortly after he relocated to Beijing from London, where he taught at Central Saint Martins, in 2011; he currently works with his partner Alex Chien as A4 Studios. Despite the camaraderie between most everyone who has set up shop there, he notes that the Red Brick complex can be quite desolate at times, the interlocking planes of red and light gray that cast long shadows across the interstitial plazas and alleyways. (The locale is dramatized in Jason Wishnow's recently released dystopian short film Sand Storm, starring none other than Ai himself.)

"In China, design is quite often portrayed as highbrow [or] elitist—something that you need to be quite wealthy to take part in or enjoy," explains Hughes. "For Design Week, the message we're trying to [convey] is that design is accessible... that design is more about everyday things that everyone can get involved with. In the courtyards here—which are normally very brutal, very stark—we've tried to create more like a fair, a village fête kind of atmosphere." To that end, he set out to engage the locals by expressly fostering participation, namely through 'Plug-In Stations': "Things you can take part in, things you can make, things you can draw, things you can produce and take home."

BJDW2014-CCD-map.jpgA4 Studios designed the map, which incorporates street-level sights as landmarks; see the full version here


Posted by Kat Bauman  |   8 Oct 2014  |  Comments (0)


The Design Week Portland opening party was as beautiful and laid back as you'd expect for Portland. Staged at the historic and dramatic Staver Locomotive building, the scene was split between the odd-old and brightly modern. Entering through a blinding mirror-striped walkway visitors arrived in a huge moodily lit ex-industrial warehouse. Model train tracks wound through parts of the space and acted as unusual counters for drinks vending. The vaulted ceiling was hung with lights and live video installation pieces. Meanwhile outside, fire pits and food carts kept people close and sociable.

Back inside, guests lined up for their chance in a "live photobooth": a seat in front of a two way mirror, behind which artists scribbled frantically for 90 seconds to produce their portraits. A large glossy black open sketching wall invited anyone to add their own work to the communal pool, with predictably yearbook-like results. The other interactive highlight of the night was Set Creative's video installation, a pair of dazzle-painted boxes labeled "Fear Of Missing Out" into which viewer peered to watch the crowd around them... and their own darting eyes projected onto pyramid screens above.

All in all, a sweet and visually enjoyable start to a colorful week.




Posted by Hand-Eye Supply  |   7 Oct 2014  |  Comments (0)


The real heart of Design Week is the chance to peek behind the curtains and into the workspaces of creative people around town. Come by the Hand-Eye Supply Open House to check out the back story of how we do what we do, because sharing is vital, and snooping in inspiring!

Community engagement is key to supporting a creative culture, and for HES that engagement is more like an endless honeymoon. Our fortnightly Curiosity Club speaking event highlights the varied talents of local minds and encourages ongoing learning. The HES Quarterly brings together talented people and cool gear every three months. While creative work takes good tools and elbow grease, it also benefits from a strong social network.

Tour the shop and facilities 4–7pm, today. And if you didn't get tickets you can still tune in online at 6pm to catch the talent-packed panel presenting at the Design Week edition of Curiosity Club.

Tuesday, October 7, 2014, 4–7pm
427 NW Broadway
Portland, OR 97219

Posted by Sam Dunne  |   7 Oct 2014  |  Comments (0)

As part of the popular Passionswege—the Vienna Design Week platform that links international design talent with industry in the city—rising stars of London design scene PostlerFerguson have been working with craftsmen at 200-year-old producer of fine jewelry, A.E. Kochert, to make these stunning microphone accessories for Viennese DJ and music producer Ken Hayakawa, who uses sound recordings from the streets of Vienna as the basis for much of music.

The piece—designed to hold Hayakawa's weapon of choice, the AKG C1000 microphone—is a great example of the Passionwege's intention to combine the skills of designers with traditional manufacturing. Conceived and digitally modeled by Martin (Postler) and Ian (Ferguson) in the studio in London, the form was later printed into a mold used to cast the object from molten metal, then of course being given an exquisite finish by the team at the Kochert workshop in central Vienna.


As well as being damn stylish and a celebration of Hayakawa's unique composing process, the accessory is intended to give some real functional benefits—the cone shape providing a shield or the microphone whilst also providing a flat surface to rest the recorder. The addition of an equally crafted clip gives the option to keep the cable under control or providing a hook to hang the microphone from.

Posted by Sam Dunne  |   6 Oct 2014  |  Comments (2)


Our tour around Vienna Design Week last week gave us a chance to finally get a first-hand glimpse of winners of the 6th annual Recycling Designpreis—the touring exhibition of the awarded works having already made their way slowly form Berlin to Hamburg to Dusseldorf this year.

The winners and shortlisted works on display showed some awesome creativity in turning discarded items into surprisingly desirable products—upcycling at its best. Some of the most ingenious pieces even managed to identify a material stream beyond the obvious—fashion student Viktoria Lepeschko made striking outerwear from the skins of old tennis balls and designer Michael Hensel created uncompromisingly industrial furniture from used escalator steps.



Furniture designer Henry Baumann snagged first prize with his clever and intricate use of fruit crates to create a range of benches, stools, lamps and coffee tables.



Posted by core jr  |   6 Oct 2014  |  Comments (0)

LDF-2014-Gallery.jpgPhotography by Sam Dunne & Anki Delfmann for Core77

The London Design Festival, now in it's 12th year was back bigger than ever with festivities spreading even further into the metropolis. The usual suspects; designjunction, Designersblock, Tent, and Superbrands were out in full force with more design eye-candy than you can wave a well crafted candlestick at. There was a lot of unexpected treasures to be discovered in peripheries, and once again the organizers did an amazing job with producing and branding the design festival.

» View Gallery

London Design Festival 2014:
» Highlights from LDF14 at the VA
» Lee Broom Launches 'Nouveau Rebel'
» The First Law of Kipple
» Dominic Wilcox's Stained Glass Driverless Sleeper Car and Dezeen x MINI Frontiers
» Highlights from Designjunction
» Highlights from Designersblock
» Highlights from Tent London
» Global Color Research x Giles Miller Studio: 'Ten Years of Color'
» Ernest Wright & Son Scissormakers on Shoreditch Design Triangle

Posted by Kat Bauman  |   4 Oct 2014  |  Comments (0)


Tonight marks the start of a dense week of design, craft and innovative thinking as we kick off this year's Design Week Portland. This evening's opening party will feature installations by Set Creative and a DH set by local legend Rev Shines of Lifesavas. From October 5th through 11th, the rest of the events are cast far and wide over the city. This year there is an official HQ, located inside a series of geodesic domes in Pioneer Courthouse Square, where information and registration are centralized and where experimental events will take place throughout the week.

Like the design field itself, the festival's highlights are all over the physical and conceptual map. The lineup is thick with speaking events, open studios, demonstrations, curated shows, and panel discussions. The exhibited work ranges from modern architecture and cutting edge advertising to letterpress and ecosystem design.

Stay tuned for live and almost-live coverage of the highlights and question marks of this year's DWP.

Posted by Sam Dunne  |   3 Oct 2014  |  Comments (0)


Institution of Vienna cafe culture, Cafe Landtmann, have partnered with local design studio Lucy.D to explore the impact design can have on cake decorating. The cafe's management tasked designers Karin Santorso and Barbara Ambros with the brief of finding a new way to allow their customers to order custom-decorated cakes whilst avoiding the possibilities of their brand being tarnished by potential clienteles' kitsch creations.





Posted by Ray  |   2 Oct 2014  |  Comments (0)

NaihanLi-IAM-GalleryAll.jpgPhotos courtesy of Gallery All unless otherwise noted.

A mover-and-shaker in the Chinese creative scene for a decade now, Naihan Li got her start working for Ai Weiwei upon returning to Beijing after completing her studies at London's Bartlett School of Architecture. After subsequently working with various art and design organizations, she founded her own studio in 2010 and is perhaps best known for her CRATES series. This year sees the debut of the I AM A MONUMENT collection at Gallery ALL in the 751 D.Park, as well as a move from the Red Bricks studio/gallery compound (where she hosted an exhibition in her live/work space last year), around the corner to a converted factory. (Rest assured she's still based in Caochangdi, although she handed off her BJDW curatorial duties to Ben Hughes, who gave us a brief tour of the place last week.)

Some two years in the making, the pieces in I AM A MONUMENT take the form of scale models of various landmarks from the Western world: the UN building, Pentagon, New York Stock Exchange and Edinburgh Palm House, which have been re-imagined as a bookcase, bed, shrine and terrarium, respectively. The four new pieces are exhibited alongside the "Armillary Whisky Bar," which was commissioned by Melbourne's Broached Gallery in 2013. Li's artist statement invokes a critical examination of the relationship between art, architecture and design:

I AM A MONUMENT originated from Naihan's recognition of the Chinese desire for giant art installations in their homes. People want to own things that are monumental. This desire traces back to Chinese traditional paintings, which play with the idea of scale from a subjective point of view and minimize the universe. Chinese artists attempt to zoom in to a large part of the world on a small scale. The I AM A MONUMENT collection shrinks a landmark building 100 times and turns it into a utilitarian furniture piece, allowing collectors to contain something that is extremely large inside a room of their house.


NaihanLi-IAM-Edinburgh.jpgThe Edinburgh Palm House at the Royal Botanic Gardens



Posted by Sam Dunne  |   2 Oct 2014  |  Comments (2)


Recent Swiss design graduate Sebastian Marbacher has taken to the streets in Vienna, exhibiting some of his furniture as part of the festivities this week. Sebastian caught our eye immediately with his clever 'Baustellen-Bank' (translating from the German as 'Building Site Bench'), a bench made from a simple hack of components usually used to block public access from building sites.




Posted by Sam Dunne  |   1 Oct 2014  |  Comments (0)


More from the Passionswege: Young Portuguese design duo Pedrita Studio were paired up with central Vienna glass workshop Karl Stiefelmeyer Glaserei to share skills and explore some new avenues.

Designers Rita Joao and Pedro Ferreira were inspired by the detailed craftsmanship that the workshop staff gave to huge sheets of mirror and glass, wondering if these skills could be turned to small scale objects. Rita and Pedro set out designing a range of table top objects that could be made simply from the huge array of glass types and mirrors in stock at the shop. The designers incorporated colourful felts—the material used extensively in glass handling for protection—giving some lovely contrast to the pieces.

Although Stiefelmeyer have yet to make any moves to produce the objects, they did allow the designers to set up a showroom in a disused office room at the front of the shop to display the wares.




Posted by Sam Dunne  |  30 Sep 2014  |  Comments (0)


'Design Week' season is very much upon us here in Europe. As things wrap in London, we've jetted over to the slightly more sedate and astonishingly grandiose (seriously, Paris ain't got nothing) Vienna—capital of Austria—to hit the trail of Vienna Design Week, running from September 26 to October 5.

We're delighted to see the return of the awesome 'Passionswege' platform—the program in which the city's design department pair traditional manufacturing companies still surviving in the region with emerging international design talent, the partnerships sharing skills and often creating some truly inspiring objects and interventions.

First stop in Vienna this year, world -eknowned crystal manufacturer Lobmeyr—who took part in the Passionswege last year— invited the public to their showroom and workshop to see the fruits of their pairing with design duo BCXSY.





Posted by Sam Dunne  |  26 Sep 2014  |  Comments (0)


What with all the pomp and ceremony, prolonged exposure to design shows and festivals these days can, on occasion, cause a slight feeling of disease— a symptom perhaps of a perceived detachment from reality amongst the shiny objects and chair redesigns. What an oasis of perspective then, on our week-long tour of London Design Festival 2014, to stumble on the humbling sight of a scissor-making workshop in the heart of Shoreditch.

Craftsmen from century-old Sheffield-based Ernest Wright & Sons (fifth-generation family-owned no less) set up shop at The Saturday Market Project, giving demonstrations of blade hand-sharpening and scissor assembly in their mini-workshop. (Some of you may recall that Cliff Denton, a lifelong 'putter' at Ernest Wright & Sons, was recently the subject of a short documentary.) Whilst spending the day working up some intricate bird-like embroidery scissors, the guys also had an impressive selection of their hand-made tools on show—the owners are still passionate about the role of hand crafting in an age of mass-manufacturing when much production has moved out of British towns, like the once industrial powerhouse Sheffield.

We were particularly enamored with the cutting potential of the enormous large bolt 13" tailoring shears—a hell of weight to them! A pair of these hand-crafted monsters will set you back a cool GBP 130/USD 212





Posted by Moa Dickmark  |  26 Sep 2014  |  Comments (0)


Contemporary Hungarian design, what is it? - that was the question roaming around my mind when I headed down to Budapest a little while ago. In order to gain a greater understanding and overview of what's cooking over in Hungary, I met up with Judit Osvárt, the woman responsible for Budapest Design Week, at Nomuri, a newly opened design cafe in the heart of the city.


First, a very brief history of Budapest Design Week: Once upon a time, in the early 2000s, the Hungarian Property Office felt that it was time for them to introduce the public to the world of design so as to create a greater understanding of what design is, seeing that it can be rather hard to wrap your head around unless you know what it's all about. They were also very keen on helping Hungarian designers understand their rights in the legal system and teach them more about patents and other mysterious formulas.

The first year, you could attend a mere 28 events, but over the years, Budapest Design Week grew and grew in size, peaking on their ten-year anniversary with a total of 350 events including fashion shows, design exhibitions and festivities for days.

In the design sphere, we often hear about countries such as England, Italy, China, The Netherlands and Denmark when it comes to what is hot and up and coming on the design scene. Hungary is not on this list, but things are changing. For the 11th year in a row, they are arranging Budapest Design Week, an event that this year around starts off with the opening of a major exhibition on October and continues with events in various forms until October 10.



Posted by Sam Dunne  |  26 Sep 2014  |  Comments (0)


Color trend research agency Global Color Research took over the green outside Shoreditch station last week at London Design Festival, collaborating with material and surfaces specialist Giles Miller to create this unusual multi-colored obelisk in celebration of the dark art of colour forecasting. "Global Color Research has been successfully prediciting and applying color trends in design for 15 years. The science behind precise forecasting isn't simple but the results are clear..."


The installation—comprised of a frame holding a number swatches from the GCR archives, tracking the developing taste for colors from 2006 to (erm...) 2016—took on something of a religious character, with weary LDF-goers taking rest beneath its predictions past and present.


A smaller version of the sculpture was also on show at design show Tent London for those in need a mid-fair solace. All hail the gods of color!