Baker Cookstove by Claesson Koivisto Rune

Swedish design studio Claesson Koivisto Rune has come up with a stove for the developing world that uses a two-thirds less wood than a traditional cooking fire (+ movies + slideshow).

Baker Cookstove by Claesson Koivisto Rune

The Baker Cookstove was designed by Claesson Koivisto Rune for Top Third Ventures, a company set up in 2011 to sell stoves to low-income households in developing countries, with the aim of improving the health of users and lowering carbon dioxide emissions.

Baker Cookstove by Claesson Koivisto Rune

In countries like Kenya, where the Baker Cookstove is being launched first, cooking is traditionally done on a three-stone fire – an open fire over which a pot is balanced on three rocks.

Baker Cookstove by Claesson Koivisto Rune

This inefficient method not only requires lots of firewood, resulting in children being sent long distances to fetch wood instead of attending school, but also creates a large amount of lung-damaging smoke.

Baker Cookstove by Claesson Koivisto Rune

Claesson Koivisto Rune came up with a compact stove made from recycled aluminium that requires only a third of the amount of wood normally used for a three-stone fire.

Baker Cookstove by Claesson Koivisto Rune
Diagram of stove

Tests at the University of Nairobi showed the Baker Cookstove achieved a 56% reduction in carbon dioxide emissions and a 38% reduction in smoke particles.

Baker Cookstove by Claesson Koivisto Rune

The shape of the stove and its bright colours are intended to resemble traditional African cookware.

Baker Cookstove by Claesson Koivisto Rune

“As designers we need to put the same effort into an African stove as if we were designing an Italian sports car,” said the designers.

Above: movie shows Claesson Koivisto Rune’s design process

We previously featured an aid kit that nestles between Coca-Cola bottles to bring medicine to remote locations and a bicycle-powered electronic waste recycler designed to save lives in developing countries.

Above: movie shows manufacturing process

Other cooking tools we’ve published include a liquor-distilling kit that breaks down into innocent household objects and a barbecue that chars food with geometric patterns – see all cooking design.

Above: movie shows how the stove is being sold across Kenya

Claesson Koivisto Rune’s recent products include a chair with armrests that reach out for a hug and a family of small pendant lamps in bold colours – see all design by Claesson Koivisto Rune.

Here’s some more information from the designers:


The majority of women in the developing world prepare food on a technology called a three-stone fire. It is basically three rocks that support a pot with an open fire in the middle. This cooking method is very inefficient and leads to many environmental and health problems, one very real side effect being that children are denied education and futures because they are sent to collect firewood, wood that every day is founder at further distances. The walk takes all day and leaves no time for school.

However, since the three-stone method has been a tradition for thousand of years, a new stove must allow the user to keep their way of life intact to be successful. The solution is to make a stove that burns wood, but as efficiently as possible.

The design approach has really been the same as with any design project. Design is about solutions – function, usability, unification – and about adding an immaterial – humane, aesthetic, iconic – dimension.

You can still cook over burning wood, but with the Baker stove you need only one third of the wood of before. In numbers from tests at the University of Nairobi the Baker Cookstove achieve a 56% reduction in CO and 38% reduction in particulate matter.

Local methods of cooking, tools and containers were studied as inspiration and to gain cultural insight. As a result the final shape of the Baker Cookstove as well as its strong colours are reminiscent of traditional African cookware.

The goal was to design a subtly iconic object. A functionalistic design, yet recognisable and memorable. The road up to the final incarnation has turned several times after research and performance optimisation changed the technical parameters. There are good reasons for each and every design choice, like the use of recycled aluminium and the trapezoid folding that correspond to weight, heat transmission, sturdiness etcetera.

The somewhat eye-opening obvious fact is that we all have an emotional relationship with our objects. The psychology is no different if you have less or have it all; if you relate to a basic cookstove in Africa or a high performance car in the streets of Europe. To hand out functioning but crude and cheap cooking tools to “the poor” is commendable but condescending. Would I myself really appreciate a cheap and ugly tool offered to me because it “works and improves my life”? Maybe that’s not good enough. As designers we need to put the same effort into an African stove as were we designing an Italian sports car.

The Baker stove project has inspired us not for the prospect of making money, not for the design itself, but for the extraordinary satisfaction of actually making a tangible, positive difference in many people’s lives and for the environment. And eventually, if the end users will come to tell us that they are proud to own this stove, our day is made.

Design: Claesson Koivisto Rune (through Mårten Claesson, Eero Koivisto, Ola Rune, Louise Bahrton and Patrick Coen)
Producer: Top Third Ventures (through Lucas Belenky and Björn Hammar)
Manufacturing: Kenya (locally)

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Claesson Koivisto Rune
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Interview: Catherine Bailey of Heath Ceramics: The historic California pottery company showcased at The Future Perfect

Interview: Catherine Bailey of Heath Ceramics


Ten years ago Catherine Bailey’s interest in lending a design hand to the small but established California pottery company Heath Ceramics took a detour that resulted in Bailey and her husband serendipitously buying the Sausalito-based company….

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“The Hot Dog Stuffed Crust Pizza is a product of the zeitgeist”

Sam Jacob on hot dog stuffed crust pizza

Opinion: a pizza crust stuffed with a hot dog could be the ultimate expression of contemporary design culture, suggests Sam Jacob in this week’s opinion column.


If this is all that’s left for design to do on this earth then maybe we are finally fulfilling that quaint Victorian statement that everything that can be invented has been invented.

That’s the second thought I had after seeing the latest product out of the gate from Domino’s secret diabolical research facility: the Hot Dog Stuffed Crust Pizza. The first thought was where I was going to vomit.

Think of it for a second. Turn the idea over in your mind slowly: a pizza whose crust contains a hot dog. Yes, a sausage that loops around a pizza’s circumference like a mechanically-recovered meat Large Hadron Collider.

Crusts, of course, have troubled pizza makers for years. To the volume pizza industry crusts are dead air, the unfortunate bready by-product of the pizza-making process. Barren, boring margins to the infinite possibilities of a pizza’s surface daubed with cheese, tomato, pepperoni, chicken tikka and so on.

Previous attempts to transform these tasteless terrains have included stuffing them with cheese (acceptable in my book, at least in principle, because it’s just a rejigging of certifiable pizza ingredients) and so-called “crust-less” pizzas (weird, like a spineless book or a hairless cat). Other tactics have included transforming the pizza base into a sandwich of discs glued together with a garlic flavour emulsion (frankly revolting and a thankfully short-lived experiment).

But this ring of meat takes the biscuit. The Hot Dog Stuffed Crust is a fast food crossing of the streams, a hybridised foodstuff too far. But don’t blame Domino’s. It was apparently Pizza Hut who first introduced it. Domino’s version just ups the ante with mustard already lining the orbital sausage cavity. Pizza Hut has fought back with more innovation: the Hot Dog Pizza Bites Pizza: “pull-apart crust with 28 succulent mini hot dog bites, packed with delicious flavour” (in case you needed further explanation).

We might be appalled by the fact that this ever got off the drawing board and onto the back of a delivery moped driving around the very same streets that you and I walk. But I think I’m not alone in also secretly applauding the sheer ingenuity of this foul invention.

Let’s suspend judgement for a moment. For, as revolting as it may be, the Hot Dog Stuffed Pizza Crust represents a form of design thinking. That is to say, it isn’t a one-off incident but a product of the zeitgeist. It’s something that could simply not have happened say, 30 years ago. The HDSCP emerges out of a culture that we are all part of, that we all participate in, that we all contribute to. Frightening as it may be, all of us are responsible for the existence of the Hot Dog Stuffed Crust Pizza.

Here are some of the things that I would argue enable humanity to conceive of the HDSCP; its cultural ingredients, in other words. Third Way politics that suggested you could be both left and right at the same time without being either. Hacking culture. Surrealism. Postmodernism (which might problematise the very idea of “pizza” and “hot dog” in the first place).

Robert Venturi (a better example of “both/and” you’d be hard pushed to find). Advertising. Pornography. Swiss Army knives. Photoshop. The convergence of uses that electronics has delivered since the digital watch first gave us a clock that was also a calculator (i.e. there’s not much ground to travel between the idea of a phone + camera to a pizza + hot dog).

All these phenomena (and many more) change the way in which we think. They alter our expectation of things, what we want them to do and to be. Design is something animated by forces outside of itself, shaped by the broad culture within which it practises. Objects, much as we’d like them to, can no longer be simple, natural or authentic because of the sheer complexity of contemporary production and consumption.

Much like food itself, the sensations of simplicity, naturalness and authenticity can only be created with spectacular and concentrated effort. The cult of the natural – so understandable a yearning in the face of things like the HDSCP – is as synthetic as everything else.

The Hot Dog Stuffed Crust Pizza might be a revolting thought, but it is also an object that crystallises a trope of contemporary design culture. Its appallingness has a purity to it, a clarity that reveals tendencies that often lurk below the surface of design, hidden by good taste and convincing rhetoric.

If I were helping build the Design Museum’s new collection and wanted the object ne plus ultra of 2013, it would be this. An object so completely of its moment that if it was all that was left of civilisation, future archeologists could decode the entire socioeconomic structure of our society.


Sam Jacob is a director of architecture practice FAT, professor of architecture at University of Illinois Chicago and director of Night School at the Architectural Association School of Architecture, as well as editing www.strangeharvest.com.

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is a product of the zeitgeist”
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“An era is drawing to an end for Italian design”

Dezeen and MINI World Tour: in our second film recorded at the MINI Paceman Garage in Milan last month, MINI head of design Anders Warming describes the centrepiece installation in the space and Joseph Grima, editor-in-chief of Domus magazine, reflects on a difficult period for Italian design.

"An era is drawing to an end for Italian design"
Kapooow! installation at the MINI Paceman Garage

“We wanted to create a sculpture that shows the development of MINI as a design product,” says Warming of the installation, which features the new MINI Paceman. “From an idea created by people in dialogue with engineers, at the end of the day [it] becomes innovation for the road.”

"An era is drawing to an end for Italian design"

Grima of Domus is the second interviewee in our Dezeen and MINI World Tour Studio, which we set up within the garage. He believes that Italian design is going through a period of transition.

“I think it’s interesting that at the Triennale the annual design museum exhibition is very much on the theme of the great masters and the past and Italian design almost searching for comfort in its own history,” he says. “I think everybody realises that possibly an era is drawing to an end and a new era is beginning.”

"An era is drawing to an end for Italian design"
Joseph Grima, editor-in-chief of Domus magazine

Grima believes that Italy’s economic and political problems are hampering the progression of its creative industries. “It’s one of the paradoxes of Italy that on the one hand it’s one of the most innovative, creative countries in the world,” he says. “On the other hand the actual governmental, bureaucratic [and] economic framework of the nation… one would be forgiven for thinking it had been designed to suppress any sort of creative, vital energy.”

Despite this, he detects a spirit of optimism in the city. “There’s a collective hope that a new idea will be born, something new will emerge,” Grima says. “The digital technologies that we talked a lot about last year, they lend themselves also to being combined with traditional knowledges regarding materials, the kind of hands-on skills of the artisans that exist in this region and are unrivalled anywhere else. I think some manufacturers are really seriously beginning to think about how they can engage a completely different model of design industry.”

"An era is drawing to an end for Italian design"
Dirk Vander Kooij’s Endless Robot at Domus’s 2012 show The Future in The Making

Unlike many cities, such as London, the education system in Milan is based on an apprenticeship model, which Grima suggests could be another reason the city is struggling to keep up with it’s competitors. “The great tradition that was born here was not born from the tradition of schools, it was actually the direct contact between the masters and the craftsmen,” he says. “That’s something that’s now in a little bit of a crisis because it is not as easy to perpetuate and the world has moved more towards the schools model.”

The system has also failed to produce a new generation of great Italian designers, with the major Milanese brands choosing to import talent from around the world instead. However, Grima does not think this is necessarily a problem. “I don’t think you can expect to survive by perpetuating the past,” he says. “I think Milan still has an undisputed role as the design capital of the world and as long as it is able to look out to the world and capture, be the arbiter in a way of what is interesting and what is innovative in the design world, that’s something that can be equally as important.”

"An era is drawing to an end for Italian design"
Our Dezeen and MINI World Tour Studio

See all our stories about Milan 2013.

The music featured in this movie is a track called Konika by Italian disco DJ Daniele Baldelli, who played a set at the MINI Paceman Garage. You can listen to more music by Baldelli on Dezeen Music Project.

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for Italian design”
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Talma chair by Benjamin Hubert for Moroso

London designer Benjamin Hubert has created a chair that looks like it’s wrapped up in a cloak for Italian brand Moroso.

Talma by Benjamin Hubert for Moroso

Named Talma after a type of cloak, this chair by Benjamin Hubert for Moroso, has a fabric cover wrapped snuggly around its frame.

Talma by Benjamin Hubert for Moroso

The chair is composed of a softly padded textile folded around a lightweight CNC-shaped steel frame with integrated support straps.

Talma by Benjamin Hubert for Moroso

The stretchy fabric is custom made by Innofa and is secured in place with a series of zips and two fastenings at the front.

Talma by Benjamin Hubert for Moroso

Talma was presented by Moroso at the Salone Internazionale Mobile in Milan last month, where the brand also launched a family of chairs influenced by the shape of a hood. 

Talma by Benjamin Hubert for Moroso

Other chairs we’ve recently featured by Moroso include a chair with a backrest wrapped in rush and a chair made from a single loop of material.

Talma by Benjamin Hubert for Moroso

Benjamin Hubert also unveiled an armchair that weighs just three kilograms in Milan.

Talma by Benjamin Hubert for Moroso

We interviewed the designer at our Dezeen Live event during 100% Design at the end of last year, where he talked about the importance of branding for designers.Watch the interview »

Talma by Benjamin Hubert for Moroso

See all design for Moroso »
See all design by Benjamin Hubert »

Talma by Benjamin Hubert for Moroso

See all our stories about chair design »
See all our coverage of Milan 2013 »

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Reclaim x2 NYC: Quality designs created collaboratively to benefit the Brooklyn Recovery Fund

Reclaim x2 NYC


As a part of New York Design Week 2013, the charitable, grassroots design organization Reclaim NYC will host its second furniture exhibition with a corresponding charity sale from 16-18…

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Bucket’s Portland Press: Turn a standard Mason jar into a sustainably-made French press

Bucket's Portland Press


Sometimes Portland is just so “Portland”—and we love them for it. The small-batch-everything mentality has given birth to an endless supply of start-ups with interests varying from leather goods to ice cream. The most…

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Pure Geometry

Focus sur le motion-designer Alexey Romanowsky basé à Kiev. Avec cette vidéo « Pure Geometry », ce dernier joue avec talent sur différents styles d’animation en se basant sur des formes géométriques simples et efficaces. A découvrir en images dans la suite, le tout sur la musique de Vector Lovers – Clandestine.

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Plume Mudguard: Keep your bike’s profile (and your back) clean with this sleek recoiling fender

Plume Mudguard


Inclement weather and clunky fenders beware: Plume’s new mudguard (a Britishism for fender) will keep cyclists on the road—and dry—no matter what Mother Nature has in mind, all the while keeping the aesthetic of the two-wheeled…

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Parkroyal Singapore Architecture

Les équipes de Woha Architects ont imaginé à Singapour, l’architecture du dernier hôtel de « Parkroyal » installé au cœur de la ville. Avec un design très réussi, ce lieu incroyable propose près de 15 000 m2 de verdure luxuriante grâce à des jardins auto-alimentés grâce à la récupération de l’eau de pluie.

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