Cona coffee maker

29 01 2009

The Cona coffee maker is not a very innovative instrument for the kitchen because of   its old story but anyway I thought was good to included in my blog because of its shape and strange way to make coffee. 

The “Cona” method of coffee making has been world famous for more than a half century.  These unique and beautiful brewing devices perform wonderful results when properly done.  Manufactured in England and available in different finishes, these ultimate coffee brewers denote quality with remarkable results.  Its main feature is that the coffee is prepared entirely in glass where coffee has no contact with metal parts, or paper filters that would otherwise taint the full coffee flavor- giving you only a clean smooth taste.Because Cona uses the vacuum method of brewing , the coffee is automatically infused at the correct temperature, thus insuring the perfect extractions of oils and caffeine which give coffee its full taste.  This method insures no bitter taste from over-extraction.


Instructions for Using the Yama Coffee Siphons:

 – Drop the washable, reusable cloth covered filter into the funnel (glass 

infusion chamber) with the chain hanging down into the glass tube.

 – Pull the chain down until you can hook it to the bottom of the siphon tube. 

 -Stand the funnel onto its holder. Add one heaping measure of ground 

coffee per “cup”. 

 -Fill the bottom carafe with fresh, cool water up to the maximum capacity 

mark (5 or 8 “cup”). 

 -Place the funnel onto the bottom carafe and gently twist to fit the rubber 

stopper and tube into the opening. 

 -Place on stove, low to medium heat. 

-As the water boils, it will be siphoned to the top funnel chamber, where it 

will infuse with the coffee grounds. 

 -You may now stir the mixture a bit. 

 -It is normal for a little water to remain in the bottom carafe. 

 -Let brew about 60 seconds, then remove the coffeemaker from the heat 


 -The coffee will then filter back down into the carafe, leaving the grounds at 

the top. 

 -Gently rock the funnel back and forth to loosen it from the carafe, lift off and 

stand it onto its holder. 

 Pour and enjoy the coffee! 

This instructions were taken by this site:




Cona coffee

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. 

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.