Bunch Of Bulbs

Flexible knockdown lamp made of standard plumbing fittings/kibisi

base stools

redwitz

Houdini

Both chairs are made from 4mm thin oak-veneered plywood using an unusual production methodology. The outcome is a new silhouette of wooden furniture where the chairs’ back and seat run in bent curves around the base forming a seat shell/Stefan Diez

Clouds 2008

Thermocompressed foam and fabric & double injected rubberband/Ronan and Erwan Bouroullec

Lampalumin

Lampalumina is a delicate lamp collection born from the deep interest of Ronan and Erwan Bouroullec for Ceramica alumina, a highly technical ceramic with subtle qualities

eyeball

The table is a continuation of the SLAP DASH series and uses chopped out parts of the table to form a collection of small stools. When brought together the fragments form the image of the eyeball, when apart each stool has it’s own abstract decorative design/Oscar Narud

hoist

An expandable floating hanger system that can be adapted to different spaces and accommodate for any ceiling height/Oscar Narud

bowls

The bowls are made out of wood, material is local, found by an artist/via: swiss miss/Christoph Finkel

lamp

vandasye

Folding Stool

Bikram Mittra

weave stool

The Weave Stool uses a single laminated section and repeats it to create a weave effect which is stable as well as forming a comfortable profile.
Translating abstract mental visuals and ideas into physical objects and scenarios is what makes design exciting for me. What is even more exciting is when one has to make these mental visuals and ideas thrive on limitations of material, production, technology, the user and so on, but still respond to the expectations of the future/Bikram Mittra

oakcoatstand

David Sutton

fabricated

David Sutton

table lamp

David Sutton

stool

My interest lies in how objects describe themselves, telling us how they might be used, made, or work. The objects I create are not only the result of an internal conversation, but also an external discovery process, where trial and error, mistake and chance, success and failure each play an important role/David Sutton

M trestle table

Continuing the exploration of new structures and material combinations, the M trestle proposes a new solution for a foldable trestle table that can be arranged in various ways or fold flat for storage when not in use/Tomas Alonso

cutt

The cutlery set “Cutt” is exemplary of Thomas Feichtner‘s experimental approach. Challenging the functional and ergonomic requirements on cutlery it surprises the user with its functionality only when it is actually used. Individual surfaces folded as to a bowl turn out to be the body of the spoon and the fork. The shape of Cutt is only defined by a few points, lines and areas. Not only the formal expression has priority but also the material. Austria’s industrial cutlery production has largely either migrated or been shut down. Only traditional Viennese silver manufacturers still manufacture cutlery. This was another reason why Thomas Feichtner wanted to develop – in formal terms – an autonomous and manufacturally contrivable design concept rather than draw on the industrial esthetic of the modernity. He deliberately overrides the general rules of the designing process and makes the design functions follow form. The cutlery set was initially manufactured on a small scale by Vienna‘s Wiener Silber Manufaktur. “Cutt“ has already found its way into several cutlery and design collections/Thomas Feichtner

reset

Founded in 1859, Stamm defines itself as publisher for Austrian design in combination with traditional crafts. The focus is on dining culture with collections made of combined materials and silver, crystal and porcelain accessories. The latest project in cooperation with the Austrian designer Thomas Feichtner and his “Reset“ dinnerware set shows that contemporary design and careful handicraft and tradition complete each other perfectly and produce extraordinary results. The design of the dinnerware set forgoes classic characteristics of tableware. Whether plates, bowls or glasses - the side walls of all receptacles taper toward the bottom edge, which creates an almost light-footed appearance. Although the bottom is smaller than the top, the structure is not less stable than that of a conventional receptacle of the same height. A shift in the center of gravity provides the required stability. Thomas Feichtner intentionally breaks with obligatory semantics of design. It is a break that has had a long tradition in architecture but is provocative in design. Another unique feature is the use of identical shapes in different materials like silver, crystal and porcelain. “Reset“ is a dinnerware set that can be combined freely and at the same time creates formal cohesion. The name “Reset“ was chosen for this collection as a sign of the new beginning of the Stamm brand. “Reset“ was first shown on the occasion of the Vienna Design Week 2009/Thomas Feichtner