Furniture Design Mystery Solved: Who Designed That Table, Ebbe Gehl or Barber & Osgerby?

In last week’s “Design Minutiae” I ogled the display tables used by Australian brand Mud, and wondered at the provenance.

Two sharp-eyed readers wrote in with information. Sarah Sitz pointed out that it was surely the Home Table designed by the UK’s Barber & Osgerby:

Home Table, Barber & Osgerby
Home Table, Barber & Osgerby

Reader Ian D. suggested it could be the Mira table designed by Denmark’s Ebbe Gehl:

Mira, Ebbe Gehl

The two tables do indeed look very (almost disturbingly) similar. But if we look closer, there are a couple of visual giveaways that indicated the tables at Mud are the Barber & Osgerby variant. The first is the height of the Mira’s apron, which appears slightly shorter than that of the tables at Mud.

Mira, Ebbe Gehl

The second is the notable reveals on the longer apron sides of the Mira.

Mira, Ebbe Gehl

Those are there not because the joinery is poor, but because they’re drawers containing leaves. The Mira was designed as an expandable dining table.

Mira, Ebbe Gehl

Both tables are made from solid oak, providing a similar appearance. But Ms. Sitz found definitive proof that the Mud table is Barber & Osgerby’s. As she writes:

DesignOffice, who consulted for Mud Australia’s retail spaces, list the Home Tables on their portfolio page for the Melbourne retail space.

Nail in the coffin. Er, table.

Some of you may be wondering, which came first, the Mira or the Home Table? I have an idea, but instead of just stating it up front, I’m going to show you some of the hell that a blogger goes through when trying to find what should be a simple answer. (Warning: Boring detective work up ahead.) Here’s what I could find:

1. Barber & Osgerby’s table was designed in 2000 and is currently in production by Isokon.

2. Gehl designed the Mira for John Lewis, year unknown, and is still sold there.

3. Gehl has been around longer. He started Nissen & Gehl, his design firm with partner Søren Nissen, way back in 1970, just a year after both Edward Barber and Jay Osgerby were actually born. (Barber & Osgerby, the firm, came about in the 1990s.) 

4. Gehl, not Nissen & Gehl, is credited as the designer of the Mira. This indicates Gehl designed it after he and Nissen parted ways. However, there is no record of the two splitting.

5. Neither Nissen & Gehl, nor Ebbe Gehl, has an active website.

6. John Lewis, the company the Mira was designed for, is a K-Mart-like department store in the UK that sells everything from furniture to baby clothes to appliances.

None of those provide a definitive answer, but no. 6 is the clue. Given the nature of department stores, I find it unlikely that Gehl’s design antedates Barber & Osgerby’s 2000 design and has remained in production for 18 years. I can’t say for certain, but my guess is that Barber & Osgerby designed their Home Table first.

Anyways, now you know why no one wants to talk to me at cocktail parties. (Might also be my breath.)

Thanks to Sarah Sitz and Ian D. for contributing!

Surreal Life in the Extreme North by Dominika Gesicka

Dominika Gesicka dresse un portrait irréel et inquiétant de la vie à l’extrême Nord du monde : l’archipel norvégien de Svalbard, une terre à mi-chemin entre la Scandinavie et le Pôle Nord. Dans un scénario presqu’absurde, la nature prend le dessus sur l’homme. Le froid rend ce monde hostile et en dehors de tout repère de civilisation.











Competition: win a book showcasing 50 new Japanese houses

Dezeen is giving away five copies of The Japanese House Reinvented by Philip Jodidio, a book featuring 50 houses that highlight Japan‘s current residential trends.

The book showcases properties from the last five years, designed by architects ranging from Pritzker Prize-winners to recent graduates.

Free comp: Japanese House Reinvented

Among the homes featured are designs by Koji TsutsuiTadao Ando and Shigeru Ban. Architectural trends in materials and technology are also explored.

“Contemporary Japanese architecture has emerged as a substantial force on the international scene ever since Kenzo Tange won the Pritzker Prize in 1987,” said publisher Thames & Hudson.

Free comp: Japanese House Reinvented
House in Kyodo by Go Hasegawa & Associates. Photograph by Iwan Baan

“Japanese houses today have to contend with unique factors that condition their design, from tiny plots in crowded urban contexts to ever-present seismic threats,” it continued.

“Their formal innovation and attention to materials, technology and measures to coax in light and air while maintaining domestic privacy make them cutting-edge residences that suggest new ways of being at home.”

Free comp: Japanese House Reinvented
Villa in Sengokuhara by Shigeru Ban Architects. Photograph by Hiroyuki Harai

Shigeru Ban’s Villa in Sengokubara is one of the featured properties. For this, Ban created a timber structure with a sequence of rooms that each face towards a central courtyard.

Another is Koji Tsutsui’s Inbetween House, a cluster of five connected cottages in a mountain region outside of Tokyo.

Free comp: Japanese House Reinvented
InBetween House by Koji Tsutsui & Associates. Photograph by Iwan Baan

The Japanese House Reinvented was released in early 2017. Its launch coincides with the latest exhibition at London’s Barbican, The Japanese House: Architecture and Life after 1945.

This exhibition offers an overview of the developing distinct styles that defined Japanese house design after the second world war, and is on show until 25 June 2017.

Free comp: Japanese House Reinvented
House in Utsubo Park by Tadao Ando. Photograph by Shigeo Ogawa

Five readers will each win a copy of The Japanese House Reinvented, published by Thames & Hudson, but it can also also be purchased online for £24.95.

Competition closes 27 April 2017. Winners will be selected at random and notified by email, and their names will be published at the top of this page.

Loading…

The post Competition: win a book showcasing 50 new Japanese houses appeared first on Dezeen.

DesignMarch 2017: Highlights from Iceland's Annual Design Festival

This past weekend saw the ninth edition of DesignMarch, a proverbial diamond in the rough when it comes to the annual design-festival calendar. From March 23–26, Iceland’s homegrown design festival once again featured hundreds of events and exhibitions—possibly the highest rate per capita for a country of a mere 330,000 inhabitants, 40% of whom reside in capital city Reykjavík, where the event has taken place since 2009.

The “Added Value of Architecture” exhibition at the Harpa Concert Hall

Of course, the jam-packed official event guide (roughly the size of two iPads stacked) belies the understandably modest scale of the festivities, which generally emphasizes quality over quantity, even as it encompasses product design, architecture, visual communication, and fashion. Despite the prevalence of posters at bus stops and cultural institutions alike—free copies of the guide were even available in a magazine display rack at the airport—the advertising efforts were lost on the majority of the (mostly American) tourists. It seemed that nature, not culture, remains the main attraction for most of the travelers in town (“Crazy Iceland” and “I Survived Iceland” were among the slogans laser-cut into souvenir refrigerator magnets).

IDEO’s Paul Bennett related three case studies from his work in the field to offer a new definition of design
The opening reception of FIT2017, the Association of Icelandic Graphic Designers‘ annual awards program
The launch of sustainable swimwear label Swimslow featuring a live musical performance and runway show 

But it is precisely the contrast between, say, the tourist-infested Blue Lagoon and the well-attended design-week events that affirm the strong sense of camaraderie among members of the local creative community, starting with the one-day conference that marks the beginning of the festival. Broadly addressing the theme of “Brut Nature,” Thursday’s DesignTalks featured a healthy mix of local and international designers, whose practices spanned critical design and visual art to research and ethnography. From IDEO’s globetrotting Paul Bennett to a trio of Icelandic porcelain-seekers, the speakers offered a healthy dose of inspiration to inaugurate the ninth edition of DesignMarch.

The “Roundabout Baltic” exhibition at the Nordic House was a highlight; stay tuned for more coverage.
“Peekaboo” featured six Icelandic illustrators and 16 Polish ones, including Marta Ignerska, whose work is pictured here
Icelandic textile company Istex collaborated with Danish designer Astrid Skibsted to produce “A Colour Map of Icelandic Wool”

The exhibitions themselves offered more local flavor, at times alongside projects and presentations from Continental Europe, namely Scandinavia and Poland. Now more than ever, Icelandic designers working in various scales and media are looking to carve out their niche in the broadly Nordic tradition, and DesignMarch is the de facto platform for them to do so.

Thorunn Arnadottir, “Shapes of Sounds”

For example, we first encountered Thorunn Arnadottir’s “Shapes of Sounds” project in Tord Boontje’s cacophonous Electro Craft exhibition during London Design Festival, their understated simplicity was a disadvantage amidst the multimedia onslaught of the dense group exhibition. In her native Reykjavík, Arnadottir’s interactive objects occupied an intimate gallery apropos their essential element of sound, displayed with sketches and schematics.

The FÍT2017 exhibition, on the other hand, was among the few for which the texts and catalog were not bilingual. The Association of Icelandic Graphic Designers presented the winners of its 17th annual awards program at the Hafnarhús, one of three buildings of the Reykjavík Art Museum (each one hosted a design exhibition). In this case, the language barrier underscored the quality of the projects on view, from bold craft-beer packaging to books and illustration as well.

Installation view of FÍT2017
Detail view of FÍT2017
Detail view of FÍT201
Hugdetta recently opened a flagship store, where they presented their own products alongside new pieces in the 1+1+1 collection, an ongoing three-headed collaboration with Sweden’s Petra Lilja and Finnish studio Aalto+Aalto. Each studio independently designs a piece with a key constraint — say, the dimensions of a mirror — and they convene to mix and match the pieces, sight unseen, only just before they are to be exhibited.

Yet Icelandic design is hardly an insular affair: On the contrary, designers from the island nation are engaging with their counter-parts in Sweden and Finland—literally, in the case of the Design Diplomacy event series and the 1+1+1 project—in the interest of establishing their own identity. It is these kinds of dialogues that reveal common ground as much as they cast Icelandic design in sharp relief.

As DesignMarch looks forward to its tenth anniversary next year, the only thing that is clear about the future is that there is no endpoint but rather a continuous process of self-discovery.

ListenUp: LPX: Tightrope

LPX: Tightrope


From Lizzy Plapinger’s impassioned vocals to choreography from icon Karole Armitage and minimal, powerful lighting and set design, there’s nothing to dislike about “Tightrope,” a track and video from Plapinger’s solo project LPX. The powerful performance……

Continue Reading…

Enchanting Starry Illustration by Rafaela Martinez

Après un premier projet coloré dans le cadre du partenariat entre Fubiz et Nissan pour la sortie de la Micra nouvelle génération, Rafaela Martinez nous offre une nouvelle création au sein de laquelle elle fait de la citadine une constellation céleste. La silhouette de la voiture est formée par une succession d’étoiles. Une poétique mise en abîme créative.


Bye-bye Jet Lag!

Ask any traveller and they’ll tell you that in the fast-paced globetrotting world the saying goes “If you don’t snooze, you lose”. When you’re rushing between time-zones, or cities, or even within the city, one small power-nap does wonders. The Voyage Pillow by Sondre Travel is the perfect solution for anyone who wants to catch a few winks while traveling. Unlike those atrocious U-shaped travel pillows that look unsightly and occupy volumes of space, the Voyage is compact, some may say perfectly-sized even… for carrying around with you on flights, train-journeys, or even long road-trips.

At barely a third of the footprint of your regular travel pillow, the Voyage pillow does the job twice as well, allowing you to sleep with your head to the back, or even the side. It comes with a strap that secures itself around your neck so you don’t drop it, or leave it behind by mistake (we’ve all done it), plus the strap even doubles up as an eye mask, allowing you to get effective sleep virtually anywhere.

The Voyage pillow’s microbead pillow give you all-round comfort by adapting to your body. The Spandex fabric construction fits everyone and feels soft to the touch, allowing one to comfortably drift into sleep. Available in a variety of colors, users can choose between a classic Midnight Black, a dreamy Ocean Blue, or a rejuvenating Sunset Red. With its compact design, it fits comfortably into any suitcase giving you ample space to pack other important things as well. Essentially doing the job of a comfortable travel pillow, and an eye mask when needed, the Voyage pillow allows you to effectively rest on the go, in any which way you feel comfortable… because we all know that jet-lag can be a complete drag!

Designer: Matt Benedetto

BUY IT HERE: $21.00 $31.00

voyage_pillow_cover

voyage_pillow13

voyage_pillow14

voyage_pillow5

voyage_pillow6

voyage_pillow7

voyage_pillow

voyage_pillow2

voyage_pillow3

voyage_pillow_10

voyage_pillow_11

voyage_pillow_12

voyage_pillow_13

 

Is IKEA's Disembodied Dimmer A More Romantic Take On Smart Bulbs?

IKEA is finally pushing seriously into smarter home territory with the TRÅDFRI system, a series of LED lights finally coming to global stores by the end of March. The networked lighting is built around a small series of bulbs and furniture panels, a network connection hub/gateway powered by Ethernet, and controlled via app. 

The system uses Zigbee Light Link standards and offers a wide range of tailoring for space and use needs, from desk lamps to glowing cabinetry. The bulbs and app accommodate a wide range of luminosity, dimming options, plus three preset color temperatures (2200K, 2700K, and 4000K), ideal for mood-specifying your spaces. 

Set daily timers for lights, control them remotely, and station lights as far as ~30 feet apart. It’s all fairly standard, with some IKEAesque visual tweaks. By far the biggest and most fun feature for me is the addition of a motion controlled remote dimmer, apparently used sans buttons or triggers. You just hold it in the air and turn like a traditional knob.

I need to stop evaluating IKEA designs through a lens of “how fast would I break or lose this?” and start thinking about how responsible people use things, because smart widgets get exponentially more interesting that way. While the TRÅDFRI offers a more recognizable controler with clear adjustment buttons, the puck shaped dimmer is obviously more playful. And easily lost. And unnecessary. And possibly imprecise. But fun!
It docks with its equally puck-like charger, so if you’re a more responsible remote user than I am, it’ll be easy to keep charged, stored and looking cool on a desk. 

Paired with IKEA’s strategic low prices, these lights might have what it takes to beckon newcomers into the Smart Home fold. At >$100 for a gateway and a pair of bulbs, I imagine a lot of dorm rooms are about to get a lot more beguiling.

Too bad smart lighting can’t make your kissing better or your wall-facing paintings less creepy

Design Job: Uncork Your Potential! Affinity Creative Group is Seeking a Branding & Packaging Design Creative Director in Vallejo, CA

Affinity Creative Group seeks a dynamic creative director to help shape and drive the growth and development of a four-year-old brand and package design agency full of experienced, responsible and talented individuals from other respected firms. You’ll partner closely with your colleagues to build upon an established reputation for

View the full design job here

Interview: Artist and Designer Yinka Ilori: The passionate Nigerian-Brit shapes a sense of belonging into conceptual chairs

Interview: Artist and Designer Yinka Ilori


“When I went to Nigeria for the first time I saw my grandmother and she spoke no English at all, but she spoke to us through what she was wearing,” says artist/designer Yinka Ilori. “Her clothes were really beautiful and empowering—and she looked really……

Continue Reading…