27/07/10 – Teak and limba wood toy monkey with articulated joints designed and produced by Kay Bojesen and his workshop in Denmark c. 1951. Available today complete with Henri Rousseau themed packaging through Rosendhal.
12/07/10 – Illustration by Aldo Rossi from the exhibition ‘La conica’ e altre caffettiere held September 8-11, 1984 in Milan. (more…)
Teak ice bucket designed by Jens Quistgaard for Dansk Designs Denmark (1960). Base marked: Dansk Designs Denmark JHQ. Dimensions: 19.25″ x 9.25″
23/09/09 – Old toy model of the Tatra T600 Tatraplan automobile designed in 1946-7 in Czechoslovakia by Josef Chalupa, Vladimír Popelář and Hans Ledwinka. The Tatraplan had a monocoque streamlined six-seater saloon body with a drag coefficient (Cd) of just 0.32. It was powered by an air-cooled flat-4 cylinder 1,952 cc rear-mounted engine. Only 6,342 were produced. Toy dimensions: 10″x 3.75″ x 3.5″. (more…)
31/08/09 – Second installment of 1960s & 1970s Scandinavian design logos on flickr//. Includes logos from a variety of furniture and textile firms. (more…)
24/08/09 – First installment of a collection of Scandinavian design logos/logotypes circa 1960/70 on flickr//. Initial assortment strictly Danish furniture and textile firms. More to come from Denmark, Sweden, Finland and Norway. (more…)
12/08/09 – Falkland Lamp by Bruno Munari for Danese Milano (1964). Spontaneous form tube-like suspension lamp. More images//
13/07/09 – Tapio Wirkkala Ultima Thule glassware for Iittala, Finland (1968). Set of six juice/whisky sour glasses (18 cl.). (more…)
02/05/09 – Lambretta LD 150 scooter built by Innocenti in Milan circa 1954-56. (more…)
01/04/09 – Excerpts from Bruno Munari’s Design as Art first published in 1966. Images on flickr//
Preface to the English Edition
They [artists] have realized that at the present time subjective values are losing their importance in favour of objective values that can be understood by a great number of people.And if the aim is to mass-produce objects for sale to a wide public at low price, then it becomes a problem of method and design. The artist has to regain the modesty he had when art was just a trade, and instead of despising the very public he is trying to interest he must discover its needs and make contact with it again. This is the reason why the traditional artist is being transformed into the designer, and as I myself have undergone this transformation in the course of my working career I can say that this book of mine is also a kind of diary in which I try to see the why and wherefore of this metamorphosis. (13)
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18/12/08 – Kobenstyle pot designed by Jens Quistgaard for Dansk International Designs, France (1954). Red enamel on steel. Opening diameter: 8.5″
09/12/08 – Henning Koppel teak salad bowl for Scanform, Denmark (c. 1960/70). Opening diameter: 11.5″. (more…)
29/11/08 – The Solair chair for IPL. Design by Fabiano & Panzini. Patent design d-44237. Item: no. 60323. Made in Canada (1972). (more…)
13/10/08 – Pot with teak handle from Henning Koppel’s Form 24 (aka. Koppel White) service (1962) for Bing & Grondahl. More images//
24/06/08 – Joe Colombo “Boby Trolley” designed for B-Line, Italy (1968) . Injection molded ABS in 3 shelf/3 drawer variation. Salvaged from Vancouver’s Downtown East Side (DTES) a little worse for wear but still functional. More information//
13/11/07 – Design from Scandinavia was a design annual that showcased the best in Scandinavian furniture, textiles, handicrafts and applied art. It was the brainchild of publisher Kirsten Bjerregaard.
According to the website of the original publishing house, World Pictures:
Her ambition was to do a ‘design exhibition in the form of a book’, and her idea was realized in 1967 when Design from Denmark came out and was distributed worldwide in 50,000 copies.
The next year Design from Denmark became Design from Scandinavia and a voyage of communicating about quality design from the five Nordic countries had begun.
A companion series began publication in 1974 entitled Architecture from Scandinavia. I am unsure whether the series saw more than the two editions pictured in Design from Scandinavia 8 (p. 128).
The series, especially the early editions, have proven to be an invaluable resource for information on Scandinavian design’s floruit during the 60s and 70s. Today, these early issues have become collector’s items. (more…)
11/10/07 – Source: Wallpaper* magazine (103), guest editor: Dieter Rams
01. Good design is innovative
It does not copy existing product forms, nor does it produce and kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities, in this respect, are by no means exhausted. Technological development keeps offering new chances for innovative solutions.
02. Good design makes a product useful
The product is purchased in order to be used. It must serve a defined purpose –in both primary and additional functions. The most important task of design is to optimize the utility of a product.
03. Good design is aesthetic
The aesthetic quality of a product –and the fascination it inspires– is an integral part of the product’s utility. Without doubt, it is uncomfortable and tiring to have to put up with products that are confusing, that get on your nerves, that you are unable to relate to. However, it has always been a hard task to argue about aesthetic quality for two reasons. Firstly, it is difficult to talk about anything visual, since words have a different meaning for different people. Secondly, aesthetic quality deals with details, subtle shades, harmony and the equilibrium of a whole variety of visual elements. A good eye is required, schooled by years and years of experience, in order to be able to draw the right conclusion. (more…)