What’s new?

30 11 2008

Designers’ play with steel, transparency, colours, plastic, cast iron and stones. The bizarre objects that we see today in kitchen are countless, designers have gone out of the ordinary standard and with their creativity they design objects that at first they seem useless or out of the ordinary but in reality they are trendy useful and unique in their nature.


Some example? Alessi and Guzzini is a company very famous in this particular sector that some of the objects have become a real symbol of cult that won’t disfigure in a museum of contemporary art. An example is the squeeze juice of Philip Starck and the “open bottle” of Anna G that enter not only in the houses of people but also in the gallery and magazines of houses. 

 aas1030_aSqueeze juice


anna-corkscrewBottle opener

If we see the new magazines regarding the Alessi Company we can appreciate new objects as the Pop-up corkscrew that is a very elegant ornament for the house. In fact it has a round form and the material is steel. It’s very simple to use in fact we only need to put it in the neck of the bottle and press a little bit and then cheers…


alessibo1Pop-up corkscrew

The role of kitchen today!

26 11 2008

The role of kitchen in the past was simply a hidden place in the house where to prepare and consume food. The interior design was extremely simple, in fact was based just in a table, some chairs, and a stove. The object used were: pots in terracotta or ceramic, jugs where to put wine or water. Obviously plates in terracotta were used in an every day life while the one in ceramic just in special occasion. Also there were no differences among water and wine glasses.

Meanwhile today kitchen is the protagonist, the main character of the new spaces in the house. We can think at kitchens as the heart of the house because is the meeting point where to socialize both with people and also with the new technology. In fact here we can find an innumerable objects that have been influenced by the new design and technology. 

The taste is not just in the mouth, in fact we don’ t just eat with the mouth but also with eyes. This is why designers put more effort in the beauty, originality, and cure of the aesthetic of objects that we utilize to make food and consume it. 

How to play in the kitchen

17 11 2008

skull-toasterSkull Toaster


In this post there will be all the funniest and crazy accessorizes that we could find in the kitchen. Designers have gone mad with put together all their ideas in this amazing object that I will show you below. Most of them come from the Alessi company but not all

Above you can see how a toaster is able to stamp in a slice of bread a skull. So just in case you hate someone in your house I guess that an accessorize like this could be useful to you or if you have a passion for skulls well there you go! Of course there aren’t just skull toaster but a vast variety.


resize300aspHeart mould






If your feeling are not hate but love, well this can be a good accessorize to demonstrate someone how much you got love for him/her. 

This above represent flexible stamps/moulds made of silicon that gives the help that women or men need. In fact they don’t need anymore to put butter or flour because the extraction of the little heart is very easy thanks to the flexibility and to the nonstick. So basically they have been replaced by the normal metal shape that our gradma use to cook us biscuits.  Another advantage is that you can place them either in the oven or freezer that they won’t broke. 


Magazine article

17 11 2008

Below I reported a whole article that i found on the internet and was pubblished the 24 october 2004, I found it very interesting and I wanted to share it with you. Basically it talks about how the tastes women were important for the new design market of the house.

“Modern Comfort Food, The Furniture Version


Published: October 24, 2004

A NEW show at the Yale University Art Gallery offers a fresh look at domestic life in the Great Depression, when Americans yearned for the comforts of home to offset times that were bad in ways we’ve long since forgotten.

The theory of the show, ”Livable Modernism: Interior Decorating and Design During the Great Depression,” is that as the economy plummeted in the 1930’s, American consumers increasingly longed for the familiar in the objects surrounding them at home. Typical of this aesthetic was the Colonial Revival style, the most popular decorating fashion of the time.

But designers of the period had different ideas. They were becoming interested in working with materials that characterized the modern age — like steel and chromium — and in creating objects inspired by the simplicity and functionalism of such industrial products.

The answer, the show suggests, was livable modernism — objects that combined the old and the new. A 1936 armchair designed by Russel Wright, prominently displayed in the exhibition, is the paradigm of this style, with its spare, lightweight modernist frame that holds deep, comfortable cushions upholstered in a nubbly, homespun-like material.

As Kristina Wilson, the show’s curator, wrote in a book that accompanies and expands on the exhibition, ”Livable modernism is defined not only by its adherence to the belief that a simplified aesthetic could facilitate an enlightened lifestyle, but also by its respect for the physical and psychological comfort of the user.”

Ms. Wilson, an assistant professor of art history at Clark University in Worcester, Mass., coined the term ”livable modernism” to describe the new decorating style. But, as she explained in an interview at Yale, the term also refers to the way the designers marketed their work. She said that as a scholar, she was as interested in how the products were marketed as she was in their artistic significance.

Ms. Wilson said that to an extent not seen earlier, modernist designers allowed their work to be shaped in part by marketplace demands, and also embraced up-to-date mass marketing tools aimed aggressively at the middle class, especially at women. Among these strategies were advertising campaigns in national magazines and radio, and through department stores.

”The result of this interaction,” she wrote, ” is an overlapping of modernity with modernism — that is, the overlapping of the structures of modern society with the forms created to interpret that society.”

On display at the exhibition are furniture and household items like glasses, clocks and tableware. The galleries are arranged to look like a house, with a living room, dining room and bedroom. The intention is to evoke daily life in the years before World War II. All the items are from Yale’s substantial collection of American modernist designs of the 1930’s.

The show explains the psychological appeal of the Colonial Revival style, which sprang into vigorous life in the 19th century, jump-started by the Centennial celebrations of 1876. To the American consumer, it offered a comforting vision of an idealized early America.

One of Colonial Revival’s foremost proponents in the 1930’s was Wallace Nutting, a minister turned entrepreneur who also collected and dealt in American antiques. ”Whatever is new, is bad,” said Nutting, who has been called the Martha Stewart of his day.

Nutting, the subject of an exhibition last year at the Wadsworth Atheneum Museum of Art in Hartford, shrewdly mined the subliminal pull of Colonial Revival, creating a multifaceted business empire based on its evocation of the past. Thomas Denenberg, a furniture historian who was the curator of the Wadsworth’s show, called Nutting’s enterprise ”a deft combination of myth and materialism” in a book accompanying that show.

Modernist designers — like Gilbert Rohde, Russel Wright, George Sakier and Lurelle Guild — co-opted Nuttings’s ideas to create the new style of livable modernism. Working with manufacturers like the Herman Miller and Conant Ball furniture companies, Fostoria Glass Company and the Aluminum Company of America, they produced modernist objects for every room in the house.

The products were mass produced, sold at affordable prices and distributed through department stores and other mass outlets.

The 20th-century advertising man David Ogilvy often said, ”The consumer is not a moron; she is your wife.” The show recognizes how the marketing of these products was pitched to women.

”The consumer audience for home furnishings — both livable modernism and Colonial Revival — was predominantly female,” Ms. Wilson wrote. ”In a continuation of the gendered roles of late 19th- and early-20th century families, housewives of the 1930’s were usually expected to make the decorating decisions.”

To make their decisions, women counted on magazines like House and Garden, Good Housekeeping and American Home, all of which were filled with ”how to” articles and crammed with advertisements for household objects, she said.

Ms. Wilson described herself as a generalist at heart, interested in the ”whole vast panoply” of humanity’s decorative and fine arts. She has done research on the antique English silver collection at the Museum of Fine Arts in Boston, and on Marsden Hartley and Alfred Steiglitz. Still, she said, ”puzzling over modernism in America is what gets me up in the morning.” 

”Livable Modernism: Interior Decorating and Design During the Great Depression” is at the Yale University Art Gallery, 1111 Chapel Street, New Haven, (203)432-0600, through June 5. “

Interactive Floor

15 11 2008

Did you ever dream of walking on the  top of a mountain or deep down in the water of the ocean and even more in a lawn full of flowers? 

If your answer is yes, then watch this video

Today this is possible even inside your own house, in fact, what are we talking about are Interactive Floor, which project whatever you wish, for example if I want to be in a snowy mountain or if I feel like being in a white sandy beach, always remaining inside my house, thanks to interactive floor I can do it. What is also amazing is that you can even play games, for example you can play cards. Now you ‘re asking how? Well you move the cards with just the movement of your feet.

ARCASTREAM, is a company that in London, on the 22nd of October, presented the Interactive Floor, that with a set of sensors, seized the movement of people that trampled upon the interactive floor.

This interaction allows the images to be modified in real time, hence the scenery change with each step that a person make on the interactive floor.


Obviously this is just the begging of this revolution because today the most original thing that we were aware was the existence of aquarium floor, or glass floor with decoration inside as the pictures below show.



Aquarium floor


Decorative floor


Anyway my conclusion is that an interactive floor inside a room of a house, for example the living room could be something that I would say really cool, but are we not going to forward? My major thoughts are that after a month that a person has this interactive floor isn’t going to be bored and stressed with all these lights and images that move with each step? I guess that the answer of this question is to try this new innovation for a while and verify the satisfaction that it can give.



What’s new in your kitchen?

15 11 2008


Kitchen is becoming one of the most important part of the house where the technology plays the central rule, in fact all the kitchen tools and all the furniture, have an important field where to play because the tradition of a good meal it will never end. But in order to cook a good meal we need a new set of tools and thanks to the new technologies, that everyday give us these tools, we are now able to express with  easiness and precision ourselves.




This minikitchen has the same functionality and practicality of every type of kitchen. Is a cylinder block power feed, an inside the wood it has a mini fridge, a dishware, kitchen utensils for six persons, kitchen household appliances, a cooking area in ceramics glass and finally several drawers. This minikitchen is a project made by Corian da Boffi.



Frutteria Scolatoio

This object has two uses: one is for fruit basket and the other is to strain the pasta once is cooked. In fact as for the fruit basket, you don’t need to take each fruit and wash them under the water, but you bring the basket you wash all the fruits directly under the water and then you take the basket from the two handles and you bring it into the table. This object has been designed by Achille Castiglioni and from the one who are curious he won the Conseil National des Arts Culinaires de Paris price.  


Citrus fruit press

The most interesting thing of this object is obviously its design; in fact it looks like a space shuttle doesn’t it? Thanks to this design, it makes it the protagonist of the kitchen and another interesting thing is that is very light, in fact its weight is about two kilos.

Each part of this citrus fruit , can be jointed so it’s not difficult to clean and also is very easy to use because once you put the fruit in the top part, with a continuous fluid it will put the juice in your glass. 



Glowing Cutlery

You will wonder what exactly do we use these cutlery? Well I also asked myself because obviously it won’t be so nice used them during a proper formal dinner with important people or during Christmas lunch with all the family. But anyway it s a good invention for parties or for bars that as most of them are not very luminous this could actually help people to find their own fork or knife in case they don’t find it