This Bra Combines a 16th Century Craft with Parametric Design to Provide Post-Mastectomy Comfort

We first introduced Lisa Marks’s Algorithmic Lace project in our roundup of this year’s Lexus Design Awards finalists, and now we’re taking a closer look at the Grand Prix-winner. The project—a bespoke bra for women who have undergone mastectomy surgery—took the competition’s social impact focus to heart on multiple levels, encapsulating Marks’s mission “to blend industrial design and forms of traditional craft, not only for craft revitalization but for better, more inclusive design.”

Marks’s interest in combining industrial design and craft began during her travels to Thailand, where she noticed an alarming wealth gap and began wondering how craft practices could empower less fortunate communities. “It was really striking to see the wealth gap. 40% of their population only has 2% of the wealth, and if they were to continue to lose handcraft the wealth gap would have little room to improve,” Marks said. Her research led the Parsons School of Design-grad (at that time still a student) to design a series of objects that used parametric modeling to “knit” forms out of semi-rigid bamboo.

The flexible “fabric” Marks developed out of bamboo was used to make a variety of household objects for her Cada Series—which was a notable entry in the 2017 Core77 Design Awards—including blinds, lamp shades, and bowls.

“Looking at knitting as a global craft with no known origin, an alphabet of shapes was created that can be die-stamped in large quantities out of sheet material,” Marks explained. “In this case, bamboo veneer, which already has a manufacturing basis in Thailand.” The resulting pieces have to be assembled by hand as they are too fragile, and that’s a crucial part of the process for Marks, who believes design is not only an expression of individual creativity but an exploration of existing design solutions that have been passed down in cultures around the world. Creating a dialogue between designers and craftspeople is an essential way of protecting those vulnerable communities. “As designers, we can contribute,” she says. “We can design objects using these techniques.”

To develop Algorithmic Lace, Marks looked to the tradition of Croatian bobbin lace. “We can create objects by thinking of what we can do with our hands, but not with machines. We can make lace with machines, very easily, we do it all the time—but, so far, machines cannot make three-dimensional lace,” she said. She decided to harness the 21st century possibilities of parametric design and combine those with a craft that dates back to the 16th century.

Marks developed her first prototypes for women who have had a mastectomy and may not be able to find anything that fits them adequately. “About 40 percent of women post-mastectomy choose to not have reconstructive surgery,” Marks said. “Many wear mastectomy bras and external prosthetics that are very heavy and create discomfort. Since seams, underwires, and traditional bras can be uncomfortable, with the Algorithmic Lace bra, you can create a three-dimensional bra that fits the body and honors whatever form the body is.”

A woman must first get a 3D body scan, which allows a computer program to generate a basic pattern of lace that is morphed to the precise form of her body. From there, the pattern and features of the lace can be customized further by each woman. “For instance, some women want it to look more symmetrical, or some women may want more dense lace to follow the scar,” Marks says. “The pattern is up to the woman and her design choices.” Once the design is ready, Marks prints out a mapping of the pattern, applies it to a foam bust, and gives it over to craftspeople who create the actual lace.

“When we think of algorithms, we usually think of computers and the high-tech industry,” Lexus Design Award jury member John Maeda said. “But the textile industry is where algorithms were first deployed as a means to realize new aesthetic choices in fabrics during the 19th century. Lisa Marks’s Algorithmic Lace project not only feeds on that rich history but goes even further back in time to incorporate a 16th-century technique for weaving complex lace patterns.”

Since debuting her prototype during Milan Design Week, Marks has been exploring manufacturing possibilities.

PocketMaker is literally a palm-sized, low-cost 3D printer!

Determined to make 3D printing accessible to all, the PocketMaker was created to be an incredibly competitive, low-cost, value-for-money printer to beat all other printers. Unlike most 3D printers that occupy a good 4-9 sq.ft. of space, the PocketMaker literally occupies the same amount of space as your palm and fingers, and comes with a detachable/replaceable printer head/extruder that you can easily swap when you find the nozzle getting blocked. The PocketMaker comes with plastic rails, not only bringing down the cost, but the weight too, and while plastic-to-plastic movement isn’t as smooth as a metal-on-metal gear/rail system, the PocketMaker’s small size makes up for it, giving you a tiny, low-cost printer that is capable of generating 8*8*8cm prints with no hassle. The PocketMaker works with PLA filament, allowing its baseplate to remain plain (unlike ABS printers that need a heated plate), truly working to create a proper, easy-to-use printer that’s low on space and cost, but high on possibilities!

The PocketMaker is a winner of the A’ Design Award for the year 2019.

Designers: Lang Qiyue and Yang Tian

Seven rising talents spotted at NYCxDesign 2019

Group by Yield

With New York’s 12-day-long festival NYCxDesign now over, US editor Eleanor Gibson picks out the emerging American designers and studios that stood out.

The 2019 edition of NYCxDesign took place from 10 to 22 May, featuring returning fairs ICFF, WantedDesign and Brooklyn Designs, as well as a host of exhibitions and pop-ups.

While the annual event draws flocks of international designers to the city, US talent was among the most promising. Read on for our pick of the top seven:

Group by Yield


Yield presented new designs at the International Contemporary Furniture Fair (ICFF), which runs annually to coincide with New York’s Design Week.

The studio, established by designers Andrew Deming and Rachel Gant, hails from Floridian city St Augustine, where it also produces all of its pieces. So far its outputs have included minimal and earthen homeware and candles with scents based on its favourite architects, including Frank Lloyd Wright and Carlo Scarpa.

Ty Williams

Ty Williams is a mixed-media artist, who has worked with major brands including Ace Hotel, Google and Urban Outfitters. His illustrations, which draw on the sea and coastline, have also featured in spaces like California’s The Sandman Hotel and a renovated house in South Carolina.

Williams was among the artists in design collective Colony’s exhibition during this year’s design festival, where his playful designs decorated a set of chairs by Fort Standard.

Stitch Stool Upholstered in First Hand Collection by Eny Lee Parker

Eny Lee Parker

Eny Lee Parker‘s cosy booth was among the hottest spots at ICFF this year.

The Brooklyn designer, a graduate of the Savannah College of Art and Design (SCAD), works with a variety materials including of clay and ceramics, as well as techniques like welding and woodwork. Parker told Dezeen she intends her work to celebrate “slowness, the intention and the respect for natural resources”.

Cerine by Trueing


Trueing, a lighting and furniture studio established by design couple Josh Metersky and Aiden Bowman, broke into the city’s design scene in 2017, when they were named Emerging Designer as part of the Editor’s Awards at ICFF in 2017.

The Brooklyn duo gained momentum this year however, with the launch its first lighting collection called the Elma, Inigo and Janus, and the release of the chunky Cerine lights shortly afterwards.

Orbit Sconce by Ryan Edward

Ryan Edward

Lighting designer Ryan Edward is based in Savannah, a coastal city in Georgia, where he creates fixtures to order. Edward aims to design pieces that “spark a playful interaction between people and lighting”.

He attracted attention this year with his Orbit series that turn on at the touch of a ball. “We believe is that extra interaction and detail that distinguishes it from other lighting pieces,” he told Dezeen.

Collate by Alex Brokamp

Alex Brokamp

Designer Alex Brokamp presented work in Bernhardt Design’s emerging talent exhibit at ICFF. Called Collate, the series comprises aluminium tables decorated with patterns created by a CNC-cutting machine.

Brokamp studied industrial design at the University of Cincinnati and is currently based in Los Angeles, where he is working towards a degree in environmental design at California’s ArtCenter College of Design.

In Common With

In Common With

Brooklyn’s In Common was established by designers Nick Ozemba and Felicia Hung, who met while studying at Rhode Island School of Design.

The studio’s latest designs, revealed at ICFF this year, include the handmade version Up/Down sconce – an updated version of the light it originally created for a coffee shop. The new design features ceramic shades that come in a variety of clay finishes, including speckled tan and tera-cotta.

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Virgil Abloh opens NikeLab pop-up in Chicago

NikeLab by Virgil Abloh

Nike and designer Virgil Abloh have opened a temporary NikeLab space in Chicago where architects and designers can host workshops with the local community.

The Re-Creation Center pop-up opens today at 673 North Michigan Ave. It offers the local youth mentoring and workshops, as well as access to exclusive Nike products.

NikeLab by Virgil Abloh

Abloh, the founder of fashion brand Off-White, has hand-picked creatives to lead the educational programmes.

These include Ann Lui and Craig Reschke, founders of local architecture firm Future form; Thomas Kelley and Carrie Norman, founders of US firm Norman Kelley; fashion designer Alyx Harch; graphic designer Chuck Anderson; and photographer Paul Octavious.

NikeLab by Virgil Abloh

Ten Chicago creatives will get to work with Abloh and the selected mentors for eight weeks, starting today and ending 28 July. It will culminate in the presentation of a final project by the students.

Sign-ups for additional workshops will also be available via Nike’s Snkrs applications.

NikeLab by Virgil Abloh

Billed as a “power plant of a different kind”, the temporary space is designed with a simple, industrial aesthetic.

It is divided into separate areas, including one for the store and the other for the workshops. A marbled grey flooring and industrial metallic shelves run throughout. The cabinets are used to store design materials and the exclusive Nike product, which will be made available to NikePlus members on the application.

NikeLab by Virgil Abloh

The entrance to the space is wrapped by a wrinkled, papery material and translucent screens. One of these is inscribed with the space’s slogan “A Power Plant of a ‘Different Kind'”.

In other areas, the see-through walls are packed with material that looks like old Nike products.

Large metal desks with glass tops provide space for working in the design studio. Additional materials such as threads and rolls of paper are held in storage cabinets below.

NikeLab by Virgil Abloh

Black speckled stools made from Nike Grind, a material that recycles old Nike products, form the seating. This provides a nod to the Reuse-a-Shoe initiative and installation in the space, where worn-out athletic shoes are turned into Nike Grind material.

The recycled material will later be used to build a community basketball court in Chicago for the National Basketball Association (NBA) All-Star in February 2020.

NikeLab by Virgil Abloh

The NikeLab Chicago Re-Creation Center c/o Virgil Abloh will be open until 28 July.

The space marks the latest collaboration between Abloh and Nike. The duo previously worked together to produce tennis player Serena Williams’ kit for the 2018 US Open and recreate 10 of Nike’s most iconic sneakers in 2017.

NikeLab by Virgil Abloh

Abloh has become one of the hottest names in design, having first gained recognition as a longtime collaborator of rapper Kanye West.

Recent successes include being named artistic director of Louis Vuitton’s menswear, with the first collection debuting last year, and collaborations with IKEA.

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CSM graduate Fredrik Tjærandsen envelops models in rubber balloons

Fredrik Tjærandsen rubber bubble clothing

Central Saint Martins fashion student Fredrik Tjærandsen has presented giant balloons that deflate to form dresses on the catwalk.

Models walking the runway at the CSM graduate fashion show yesterday wore huge inflated rubber spheres that formed bubbles around their bodies and heads.

Fredrik Tjærandsen rubber bubble clothing

Another model wore a black rubber outfit with two giant inflated banana-shaped sleeves that skimmed the crowd as he walked the runway.

A number of the colourful balloons were self-deflated from within during the show, transforming into bulbous dresses and skirts. A simple valve allows the wearer to release the air pressure and dive out of the top of the balloon when they choose.


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A post shared by BA FASHION CSM (@bafcsm) on May 31, 2019 at 2:24am PDT

The balloon dresses were the closing collection of CSM’s Fashion Design Womenswear BA graduate show for 2019.

The catwalk presentation, in which 43 students showed their final pieces, took place at the college in London’s Kings Cross on Thursday 30 May.

Fredrik Tjærandsen rubber bubble clothing

Norwegian designer Tjærandsen’s collection comprised eight looks in total, each featuring a balloon element.

All the outfits were made from rubber. The designer told Love magazine that he sourced the rubber for the collection from Sri Lankan suppliers that support and buy from local growers.

Fredrik Tjærandsen rubber bubble clothing

The first look was a yellow balloon that morphed into a shift dress with an inflated skirt. This was followed by sea green, purple and red balloon outfits, and a skintight blue rubber leotard with inflated blue armbands.

The purple balloon also deflated to form a tight-fitting skirt, revealing a rubber crop top beneath in the same shade.

Fredrik Tjærandsen rubber bubble clothing

While the blue armbands took about 10 minutes to inflate before the show, the largest of the bubbles can take up to an hour.

The final three looks were an orange balloon, this time in a slightly darker shade, the black outfit with banana-shaped sleeves and a final pale lilac balloon that closed the show.

The models’ entire bodies were initially enveloped in the balloons with only their shins and feet visible below. Some were strapped with bands of rubber, whilst others wore tight-fitting rubber leggings in colours to match their balloon.

Fredrik Tjærandsen rubber bubble clothing

Whilst completing his studies, Tjærandsen has worked as a design assistant at major fashion houses including Louis Vuitton and Balenciaga.

He was the recipient of the L’Oreal Professional Young Talent Award for the collection.

Fredrik Tjærandsen rubber bubble clothing

Other standout graduate fashion collections from 2019 include one by Jingle Yu from Parsons School of Design, which comprises a funeral wear for the deceased.

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Charming Mixed Media Illustrations by Christa Soriano

Christa Soriano est une illustratrice et artiste originaire de Barcelone, en Espagne. Réunissant souvent des techniques et des supports différents, ses œuvres illustrent ses connaissances techniques tout en poursuivant son propre style artistique. Elle explore souvent les thèmes de la nature et des animaux dans son travail, créant des croquis poignants à la plume et à l’encre soulignés par des touches de couleurs vives. Ses travaux les plus récents, une belle série d’animaux sauvages, figurent parmi les finalistes du concours du livre silencieux 2019. Voir ses travaux sur Behance et Instagram.

The Designey Roundup, #1

“The client needed a handrail. I accidentally ordered way too much tubing. My solution not only uses up all of the tubing, but has the added bonus of making it more difficult to vacuum underneath the stairs. I also blocked a doorway with the staircase placement, but that’s not my problem, I’m just the designer.”

“When using the bathroom, I want to be reminded that at least one extra cow had to be slaughtered to satisfy my whims. I also like to think of breasts when I look at the underside of my toilet lid.”

“I could’ve just done this with a hook, but a) I wanted to be forced to use both hands when hanging or removing an object, and b) I wanted to spend a lot more money on materials than a simple hook costs.”

“I like to keep these stair treads highly smooth and polished. That way, someone might slip and send their leg right between the steps. If they slip with both feet at the same time, it might result in a pretty sweet nut shot on that center support. #AmericasFunniestStaircases”

“Most leather things I carry are not heavy enough. Problem solved.”

“What you want in a kitchen drawer handle, is for it to be really difficult to clean out when you spill sauce–okay, red wine–down the front of it. I’ll call my handle design the Crumb and Cabernet Catcher.”

“I love working on desks that I can accidentally drop pens or sheets of paper through. I’ve also always wanted a furniture version of the last-year-these-pants-fit-me-but-now-they’re-too-tight feeling; when I gain weight after the holidays, I want to have to fold up an extra section so that I can fit.”

“I like designing furniture, and I like Eames stuff, but I don’t want to get sued. I also love this jacket I’ve got that has big wooden buttons. Hey–wait a second! I’m getting an IDEA!”

“When I take a key with me, I like to have hard wooden spheres of varying diameters pressing against my thigh from inside my pocket. It also looks cool, like I’ve got wandering nuts.”

“The problem with coat hangers is, they’re too easy to hook onto the closet rod–I get it right on the first try every time. I want a coat hanger that requires careful coordination to get it onto the rod. I also like to have sharp metal edges on the surfaces that I grab with my hands.”

Hungary plans €1 billion greenhouse city powered by renewable energy

Hungary plans a carbon neutral greenhouse city powered by renewable energy

Hungary has revealed plans to build a new carbon-neutral greenhouse-filled farming city that will be powered by renewable energy sources.

The €1 billion (£877 million) agricultural centre is proposed for the border between Hungary, Austria and Slovakia. It will cover 330 hectares – equivalent to 500 football pitches.

Hungary’s minister of agriculture István Nagy said the development would herald an “epoch change for agriculture”. German developers FAKT and energy providers EON are collaborating with the Hungarian government on the project.

Farms will run on renewable energy

The new district will be home to a complex of greenhouses for the year-round cultivation of herbs and vegetables such as aubergines and tomatoes. It will also be the location of “Europe’s largest onshore fish farm”, as well as the requisite cold storage and logistics facilities.

EON will be supplying the renewable energy to power these farms. This will be mainly in the form of solar and biogas, reported Bloomberg. Geothermal plants, a form of sustainable power that uses energy from the earth, will be used to provide cooling.

The settlement will be carbon neutral, meaning that the carbon dioxide produced in its construction and over its lifetime will be offset or eliminated entirely.

“Customers and society demand innovative, sustainable solutions that change our way of life and work today,” said EON director Alexander Fenzl.

“Sustainable, reliable and yet affordable energy solutions […] are essential for shaping the living and working spaces of the future.”

Sustainability is a global priority

Around 1,000 homes for workers will be located in a new residential area, complete with a kindergarten and elementary level school, as well as shops and hotels.

“With the project we want to set a standard for the sustainable integration of work and living in Europe,” said FAKT CEO Hubert Schulte-Kemper.

Pressure to seriously address climate change is mounting, with a UN report warning that we have just 12 years to prevent global warming rising above 1.5 degrees and triggering environmental disaster.

New urban developments around the world are already prioritising sustainability.

UNStudio has planned a new district in Amsterdam that will have a circular economy, processing its own waste and producing its own renewable energy. OMA has masterplanned an area for Milan that will turn disused goods yards into green parks for the city.

In India, BIG has masterplanned a new tech city for Bangalore that will be painted in cooling white paint, while Foster + Partners has designed a new state capital Andhra Pradesh, which aims to be one of the most sustainable cities in the world.

Main image is from Pixabay.

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A 400-year-old Japanese wood bending technique brought us these tablewares

When Tomoya Nasuda launched his first project, the Haori Cup, he wanted to showcase the centuries-old Japanese craft art of Hakata Magemono (Japanese ceder wood bending) on the world stage… now he’s trying to revive the once-flourishing-now-declining craft art by using the power of crowdfunding to give the artisans the spotlight and business they need!

The art of Magemono has been around and flourishing for as long as 400 years, but with the commercialization and modernization (and even westernization) across the world in the past half-century, the heritage artisans began seeing a gradual-yet-unavoidable decline in appreciation for their craftsmanship and eventually, their trade. When Tomoya Nasuda designed the Haori Cup for Kickstarter in 2015, he was taken aback by the absolute shortage of Magemono craftsmen. The Haori Cup received overwhelming support on the crowdfunding platform, but it took Nasuda over 15 months to deliver his last order. Determined to revive the dying craft art, Nasuda first sought to upgrade the craftsmanship process and tools that hadn’t seen any change in centuries. Streamlining the process helped artisans produce more products in less time, while maintaining their quality and authenticity. With this new setup, Nasuda decided to continue the Haori cup line, with the Magemono tumbler and the Magemono bread tray, two classic everyday products that add a touch of Japanese minimalism, craftsmanship, and perfection to homes and lives.

A bigger version of the Haori cup, the Magemono tumbler was one of the most requested products from Nasuda’s backers. The Magemono tumbler comes made with a Hasamiyaki porcelain inner vessel, and a Magemono Japanese ceder wood sleeve around the outside, in signature fashion. The Hasamiyaki porcelain cup is another traditional craft indigenous to Japan. With a slight translucency that’s comparable to Bone China, the tumbler has an elegant grace to it, and comes in a pristine, milky white color; finally paired with the cedar sleeve around it, feeling quite like an elegant reinvention of the to-go coffee cup. Paired with it is the Magemono Bread Tray, a fir tree crafted thin tray (available in two sizes) that’s perfect for meals, especially for the breakfast sandwich, paired with a nicely brewed cup of coffee, in the Magemono tumbler! The main material used for Hakata Magemono are coniferous trees such as cedar, cypress, and fir trees. These coniferous trees have the ability to control humidity, making them ideal for Japanese Bento Box construction because of their ability to allow items like rice to stay fresh and retain its moisture for longer. Nasuda says that the material used in Magemono is truly revolutionary, and unrivaled. Originally designed for bread and toast, rather than rice, Nasuda claims the Magemono Bread Tray can actually even toast crisp for longer!

Nasuda’s aim is to showcase the untouched perfection of Japanese artisanship, while helping the families of craftsmen to sustain themselves and also pass the art down to younger generations, helping it thrive. Building on the runaway success of the Haori cup, and the new-and-improved tools and techniques used for production, Nasuda hopes to successfully give Japanese traditional handicrafts the attention and appraisal it deserves, along with the ability for anyone, across the world, to own truly authentic Japanese traditional tableware with over 4 centuries of rich history!

Designer: Tomoya Nasuda

Click Here to Buy Now: $36. Hurry, less than 12 hours left!

Magemono Tumbler & Bread Tray

Magemono tumbler comes made with a Hasamiyaki porcelain inner vessel, and a Magemono Japanese ceder wood sleeve around the outside, in signature fashion. The Magemono Bread Tray, a fir tree crafted thin tray (available in two sizes) is perfect for meals, especially for the breakfast sandwich, paired with a nicely brewed cup of coffee.

About the Magemono

“Magemono” is a woodwork technique that has been in use in Japan since ancient times. It is also a generic name for containers made using thin sheets of wood such as Japanese cedar, cypress, and fir, which are bent and fastened into circular and polygonal forms.

Magemono containers exist in both our ordinary daily lives and as sacred items specially crafted for use in a ritual or festival setting.

In the Edo period, the Magemono technique mostly used to craft bento boxes, rice containers, trays, cake boxes, flower stands, and tea ceremony items. In the present, it is mainly a technique of crafting bento boxes which has been preserved.

The Magemono Tumbler

Following the footsteps of Haori Cup, Nasuda has once again united two traditional Japanese crafts together, “Hasami yaki” from Nagasaki and “Hakata Magemono” from Fukuoka, to introduce you to the new tumbler that is double the size of the Haori Cup. There are two versions of this tumbler.

Magemono Tumbler

A tumbler specially designed for daily use drinking of coffee, juice, water, tea etc.

Magemono Tumbler for beer

The second variant is designed for beer and are fired without the inner side of the cup being glazed, so it has a very small uneven surface finish. As a result, the cup has a matte finish on the inside, which is the key point.

Left: Standard (With glaze). Right: Beer Tumbler (No glaze)

These very small uneven surface on the inside helps deliver quality beer foam when you pour your beer in. Feels just as if it was poured right out of an industrial beer tap.

Now you can enjoy the taste of beer at a bar right at home. This is something you will not be able to experience with a regular glass of cup with smooth surface.

Hasamiyaki porcelain is made so lightly that the color of the drink is transmitted a little.

The Wooden Tray

Tomoya decided to design a bread tray that makes full use of the functionality a coniferous solid wood has, which will help keep the bread’s crisp texture for a extended period.

The main material used for Hakata Magemono are coniferous trees such as cedar, cypress, and fir trees. These coniferous trees are composed of tissue in which about 95% of the structure is a pathway for water movement called tracheids. These tissues contain many hollow layers inside, which makes coniferous trees very light and also making heat transfer to each other difficult.

Magemono Bento-box regulates the amount of water in rice and keeps it delicious for a long time.

Coniferous trees, which are porous materials, have a humidity control function that absorbs and exhales moisture in the air. In Japan, for keeping cooked rice in a delicious state for a long time, bento boxes (lunch boxes) and wooden container for cooked rice made with Magemono craftwork were mostly made from coniferous trees.

The corners of the wooden bread tray are bent with traditional techniques called “Hikimage”. It is a technique, in which a craftsperson makes shallow cuts into the wood in intervals, and then heat treat them to bend the wood. It is said that this technique was first introduced with Hakata Magemono.

Size S – Small, for a slice of toast.

Size M – Medium, for two slices of toast.

Left: fir tree / Right: cedar

Materials Used

Hakata Magemono is made from coniferous trees such as cedar, cypress, and fir tree. For the previous Haori Cup as well as the tumbler from this current project, the makers have chosen cedar and for the wooden bread tray, they have chosen fir tree for the material. Both very commonly used for Hakata Magemono crafts.

Mr. Taizo Morita

The Craftsmen

With the retirement of craftsman Mr. Tokugoro Shibata in 2017, Mr. Taizo Morita and Tomoya Nasuda are the two responsible for the main manufacturing. Mr. Morita has been a craftsman working under Mr. Shibata for 20 years between the age of 20 to 40 years old, and he was also the number one disciples out of the many others Mr. Shibata had.

At the age of 40, Mr. Morita completely left from the world of Hakata Magemono but with the news of retirement of his teacher Mr. Shibata, he decided to return to the workshop.

Despite being over 3 years from the last Haori Cup project, the discussion on how to survive in this world with severe shortage of craftsman and workshop still goes on today.

Click Here to Buy Now: $36. Hurry, less than 12 hours left!

Design Job: Flex Your Creative Muscles as a UX/UI Designer at Flex in Milan, Italy

In this interdisciplinary position the selected applicant will work on UX/UI activities for medical devices in Flex’s Milan Design Center. The UI/UX designer’s responsibility is to create a compelling, safe and efficient user experience in medical products developed by Flex. You will implement your ideas on different medical devices: from simple drug injectors with connectivity, through wearable devices to professional equipment for surgeons. You should feel at home both in UX and visual design

See the full job details or check out all design jobs at Coroflot.