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Follow ATELIER TALLY on Pinterest #pinitforwarduk

I’m pretty sure that you’ve all heard of Pinterest, but knowing the amount of UK sign-ups I’ll hazard a guess that most of you haven’t used it before. Depending on who you ask will give you a different description because Pinterest is as personal tool for collecting and organising the things you love. So when you ask a craft blogger or a mum-to-be planning her wedding, you’ll get something very different to when you ask me what Pinterest is about.

The best thing about Pinterest is the ability to store, in folders, products that I love. I stumble across them on blogs, on web-shops, on Tumblr and more often than not, on Pinterest itself. It’s like a visual Twitter. I love how images create a conversation between people, unspoken, but recognised by the act of ‘Re-pinning’ something you love. A traditional scrapbook would never garner this level of feedback so this is a real asset to their community.

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I regularly pin products to my boards and go searching for new images to store away… they give great blogging content and keep me updated on what is interesting and trending. I’d implore you all to join today.

Join now and follow ATELIER TALLY →

Mum, if you are reading this and want a bit more of a handhold then watch this little video which shows how easy it is to use Pinterest and the delights that await you inside…

And before I sign-off, this community wouldn’t be a community if I didn’t talk about another great ‘pinner’ and I get the pleasure to introduce tomorrow’s #PinItForwardUK participant, Helen Edwards from East End Prints who will tell you exactly why she loves Pinterest. You can follow her graphic prints on Pinterest also.

Great Gatsby cup and saucer, old sport.

Today sees the release of one of the most anticipated movies for a long time.. The Great Gatsby. Baz Luhrmann has a lot to live up to since his Romeo & Juliet movie from 1996. And it has made the interiors and fashion worlds go gaga for Gatsby style.

Richard Brendon is a London-based designer well known for his considered, refined and dynamic designs. His business started shortly after he graduated from Kingston University in 2010, with a degree in product and furniture design. He has also attracted high profile stockists such as Liberty, Lane Crawford and Le Bon Marché.

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These platinum-gilded cups mirror the pattern saucers, reuniting them as a perfect couple. A trademark Brendon style, the mirrored cups take upon the pattern of the saucers and when removed have a perfect solid colour to them giving them a contemporary feel.

Made in Stoke-on-Trent, the bone china cups are hand painted with platinum and then paired with orphan saucers, which are meticulously selected from antique dealers across Britain.

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The range of antique saucers date from 1870-1930 (with the odd gem from the 50s occasionally too). Richard has also sourced some rather rare saucers pre-1850. To qualify as rare they must be produced by a prestigious factory and be very beautiful.

Cup and saucer £70
Cup, saucer and plate £90

All Paths Lead To Foyles by Rebecca Hendin

Something quite fascinating happened on Wednesday. The old Central Saint Martins building, with hallways pounded by some of the UKs most famous creatives including Sir Terence Conran, Sir James Dyson, Alan Fletcher, Eric Gill, Bill Moggridge, Katharine Hamnett, Gilbert and George, Antony Gormley and even Pulp’s frontman Jarvis Cocker, underwent a transformation as the start of a new journey for the building to begin a new life as thirteen luxury apartments and a brand-new Foyles bookstore.

To ring in the new change, the building was covered in a large banner wrap to conceal the building work from the street whilst they nip and tuck the inside of the building in to a glamorous affair to be filled with some of Soho’s most expensive apartments.

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A giant new artwork by young illustrator Rebecca Hendin was hoisted (good word) onto the front of the former Central Saint Martins building on Charing Cross Road. Jointly commissioned by new owners, Foyles and Saint Martins Lofts, the artwork, entitled ‘All Paths Lead to Foyles’, celebrates the building’s ongoing status as a cultural landmark at the centre of a London’s historic music and bookselling district.

“I decided to create a surreal London cityscape, composed of London-like buildings and including a smattering of its landmarks, as well as flowers, oversized animals, trees, musical instruments, vehicles, teacups, bottles, ships, the river, the Underground, and more.”
Rebecca Hendin

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The artwork – Hendin’s first in the public realm – will be on display until September 2013, with the building open for business in April 2014. The building might have been empty for some time now, but I do love the history of the building and, in particular, the great names of people that got some of their early inspirations whilst walking around it. If I had the cash for an apartment then I could be tempted… but I don’t.

Hendin’s artwork was selected as the winning design in a competition curated by cultural placemaking agency Futurecity. Ten recent graduates from Central Saint Martins College of Arts and Design were selected to develop artwork proposals that would celebrate the character of both Central Saint Martins and Foyles, exploring the status of the two buildings as cultural icons and bringing their heritage to life.

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In a collage reminiscent of Heinz Edelmann’s hallucinogenic design for the 1968 animated Beatles film Yellow Submarine, Hendin’s illustration sees a collection of exotic, knowledgeable creatures infiltrating the city, above and below ground.

Drawing inspiration from the evolution of Charing Cross Road, Hendin captures “the Lego-like build-over-build-over-build quality of the London cityscape” and the ephemeral, energetic spirit of the capital: “there is not one thing that makes London what it is; rather, there are a huge number of pieces that, when joined together, make one very interesting, and complete, puzzle”.

I certainly like it and will always look up whilst walking along Charing Cross Road whilst it remains in place.

Alberto Guardiani Wallpaper* Limited Edition

Not only was the Milan Furniture Fair swamped with new product designs from furniture manufacturers, but with Milan being a centre of fashion we saw fashion designers collaborating with furniture designers to create edition collections.

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Leading Italian shoe manufacturer Alberto Guardiani has created a new luggage range, designed by André Klauser and commissioned by international design magazine Wallpaper*, during Salone del Mobile. Designed around a travel theme and produced in an elegant but hard-wearing canvas, Klauser’s capsule luggage range includes a large overnight holdall incorporating a shoe compartment and featuring an opening designed to mimic the shape of an unworn loafer, a travel document sleeve and a tablet sleeve.

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To design the new travel range, Wallpaper* chose Hanover-born, Royal College of Art-educated designer André Klauser, who once worked under Jasper Morrison. Now established in his own studio in East London, Klauser had already impressed Wallpaper* editors with his eco-friendly ‘Mechano’ chair and ingenious ‘Trivet Stick’ for keeping scalding hot pans off a work surface.

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“The central piece of the collection is the travel bag. It is dimensioned to fit the essentials for a short trip and small enough to take on board a plane as hand luggage. The basic shape of the bag is inspired by the uncomplicated tote bags that have become so familiar in recent years. The design references formal details and materials of the Alberto Guardiani Wallpaper* Limited Edition shoes, such as the reinforced bottom panel made from shoe sole leather. A simple document sleeve, a tablet and a laptop cover, all referencing postal envelopes, add to the collection.”

Andre Klauser

Clothes Horse by Jonah Takagi for Another Country

One of the highlights for me in Milan was obviously the Wallpaper* Handmade exhibition. Bringing together craftsmen and manufacturer is not a new idea but by pairing up these two creates something that neither would imagine from the outset. We all get comfortable within our areas and like to work with people that we are familiar with, so this idea is a really interesting concept.

I am biased, but one of my favourite pieces is the Clothes Horse by Jonah Takagi for Another Country. Regular readers will know that I have written about Another Country many times before but this product surprised me as it is not the typical functional product that I am used to seeing by them. Saying that, it does reimagine something of a past tradition and I can think of no better company to produce this product than Another Country.

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“The daily ritual of dressing takes centre stage with this modern clothes horse by Jonah Takagi. The arching clothes rail, which incorporates a full-length mirror and vanity shelf, builds on his previous explorations of creating structures that work to define a larger space.

Together, the all-encompassing dressing unit forms a worthy alternative to what might be typically found in the bedroom. Despite its straightforwardness, there is still a theatrical thread in the piece; from the front, most of the stretched wooden rail is hidden from view.

British wood specialists, Another Country, were the perfect partners to bring this modern piece to life. Realised in ash wood painted in the brand’s signature Pigeon Blue, the piece is a timeless vision that boasts exposed brass hardware and visible joinery to highlight the honesty of its construction.”

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Wallpaper* Handmade 2013

Wallpaper* Handmade has a new home at Salone del Mobile. This year’s spectacle was housed at contemporary gallery Leclettico and, for the furth consecutive year, Wallpaper* had assembled an international cast of designers, craftsmen and makers to create a show that is epic in scale and ambition.

This year’s marvels include Snarkitecture’s felt lights and other Woolmark woollen wonders, Gaia and Gino’s enlightening light show, Verreum’s glass master class, Naoto Fukasawa’s umbrella for life, Richard Meier’s chess set, Michael Anastassiades’ miraculous marble chips, and Harry Winston’s hidden gems.

Whilst you will have to wait until the August issue of Wallpaper* to see the full collection, here is a selection of pieces from the exhibition.

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Tokyo-based French architect Emmanuelle Moureaux has worked with Schönbuch to create these ‘Mille-Feuille’ storage units with sliding drawers of varying depths positioned up each cabinet. With some similarities to Shay Alkalay’s stack cabinet for Established and Sons from 2008, these cabinets are a vibrant stack of blocks that open to show spaces that you might not have imagined at first glance.

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Lola Lely has been working with master patineur, Derek Bayley from Bronze Age art foundry in Limehouse, East London to create the Patina candlesticks. Bayley is experienced in the art of patination and this collaboration resulted in some unusual and striking colour patinas for the lighting pieces.

Design heavy-weight Naoto Fukasawa created the ‘umbrella for life’ with Ombrelli Maglia, an umbrella company which has been producing brollies since 1854 and now working with a modern designer to use their craftmanship and Fukasawa’s design to appeal to a new audience.

Lobmeyr manufactured Pétanque, a vodka set from copper, designed by Tomás Alonso in response to a brief to design a bar set for drinking vodka made from copper and glass. Copper has been used for drinking vessels for thousands of years; the sphere and the cylinder are the only two formal elements used to design the set, allowing the materials and their manipulation by the craftsman to be the centre point of the set.

This marble installation by Michael Anastassiades is representative of chips curling in heat but created in marble on a far larger scale showing the natural movement that these chips would create.

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After the success of the Re-Imagined Chair by Nina Tolstrup during the London Design Festival 2012, 19 Greek Street has worked with Tolstrup to develop a complete furniture collection including sofas, daybeds, dining chairs, low chairs, and a variety of tables, all bearing the same aesthetics and honouring the same values of craft, up-cycling and sustainability as the original Re-Imagined Chair. This collection, in collaboration with Marc by Marc Jacobs, also features in the Handmade collection.

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Finally we see Welsh designer Bethan Gray working with Lapicida to create a tabletop collection of marble accessories. With a circus-like theme running through the objects, the black-and-white marble juxtaposition is incredibly striking and will be a sure success.

Tej Chauhan who created the iconic Colombo telephone was asked to work with long established Fiskars, famous for their orange handled scissors to re-imagine the traditional tool box and create a series of tools for the home that change the way we think of these practical objects.

Karl-Johan Hjerling and Karin Wallenbeck have worked together previously so coming together to work with George Smith to create the Högalid sofa named after a town within Stockholm. This design collaboration is an interesting direction for George Smith who are known for more tradition, incredibly well-made sofas and by working with these two Swedish designers have created something truly unexpected.

100 years of Melin Tregwynt

Melin Tregwynt—a white-washed wool-mill hidden away in a remote wooded valley on the Pembrokeshire coast, Wales. There has been a mill on the site since the 18th century, when local farmers would bring their fleeces to be spun into yarn and woven into fine Welsh wool blankets. Owned by the Griffiths family since 1912, it now employs around 20 people and celebrated its 100th year of being open.

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Originally part of the nearby Tregwynt estate, a corn mill, water from the local stream was used to drive hammers and beat the woollen cloth to clean and soften the fabric. In those days it was known as Dyffryn (Valley) Mill. Later the water wheel was used to drive leather belts off which the carding engines and early power looms would run. You can still see these in the old part of the mill.

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To celebrate the 100th year, Melin Tregwynt launched a series of campaigns to raise awareness of their famous designs, from a collaboration with Adain Avion, a mobile art space created from the fuselage of a DC-9 airplane working with Welsh artist Marc Rees, to a collaboration with Heal’s revisiting classic designs in a Melin Tregwynt upholstery.

The collection featured several pieces of upholstery including the iconic Balzac chair by Matthew Hilton and best selling Heal’s classics along with coordinating home accessories, including lighting and cushions.

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You can see more on the collaboration with Adain Avion and Marc Rees in this short video…

Snoopy table lamp by Achille e Pier Giacomo Castiglioni

The Flos Snoopy table lamp by Achille Castiglioni is one of my favourite pieces of modern design. With a stand of Italian Carrara marble it ticks the luxury checkbox in one swoop and at £595 it is by no means an impulse purchase. You can pick it up from Foundry Light + Design.

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Snoopy was designed in 1967 by Achille e Pier Giacomo Castiglioni, two Italian industrial designer brothers who were inspired by everyday things and made use of ordinary materials. The brothers worked from the viewpoint that design must restructure an object’s function, form and production process, and applied this maxim to every work that they produced. Castiglioni described this process as “Start from scratch. Stick to common sense. Know your goals and means”.

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Their Snoopy Lamp of 1967 was indeed inspired by the cartoon character, illustrated by Charles Shultz, with a marble base to stabilize the egg-shaped metal and glass shade.

The green version is a vintage production or limited edition – if anybody knows more about this, I’d love to hear. It recently sold at Vintage Seekers for £2,600.

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The Flos Snoopy lamp consists of a cylindrical base in white carrara marble, angled relative to the slab, which is blocked by the holder, a disc of transparent glass. This glass is very thick and has a hole in ground to support a lightweight aluminum reflector painted over with three holes for cooling.

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Some images courtesy The Street and Babe Shadow

Chairs: 1000 Masterpieces of Modern Design, 1800 to the Present Day

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I’ve written before about Charlotte and Peter Fiell when their publishing house turned the grand old age of one. Now known as Goodman Fiell and part of the Carlton Publishing Group, Peter and Charlotte have release a follow-up to their 1997 survey, 1000 Chairs with Chairs: 1,000 Masterpieces of Modern Design, 1800 to the Present Day. Don’t get the two confused – they are very different.

And being no strangers to the subject matter they approached this book to showcase 1000 chairs by some of world’s greatest designers, from Alvar Aalto to Marco Zanuso. This comprehensive work traces the fascinating history of the modern chair and explains why it has become such an important cultural phenomenon. You see, totally different to the compendium of 1000 chairs.

The cover shows a chair designed in 1965 by Peirre Paulin, a favourite of Peter Fiell’s. The model 582 Ribbon Chair is “perhaps the most comfortable seating solution in the world. “The Ribbon chair is a loop of upholstered foam that gently cradles the body and provides superlative ergonomic support. Highly sculptural, the Ribbon chair remains a very bold aesthetic statement, especially when upholstered, in psychedelic stretch-jersey fabric specially designed by Jack Lenor Larsen. Despite its blatant Space-Age connotations, this remarkable chair has an enduring appeal thanks to its seductive and inviting organic form.”

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The Fiell’s argue that chairs are unique in that they allow distinctive interaction with the user, as their body moulds to the design of the chair, giving the sitter a sense of ‘territoriality’. In addition, the authors explain how chairs are uniquely representative of the cultural phenomena of the time. This is exemplified with Charles and Ray Eames’ Model No. 670 lounge chair (1956), which embodied the emerging television culture of the Fifties, with leather upholstery and a detached footrest for more comfort over extended periods of time.

This book showcases the evolution of the chair from its humble origins to the more contemporarily extrovert designs of today. From the Pre-Raphealite era, through art deco, modernism, and post-modernism, Chairs explores the iconic designs and their designers, revealing the fascinating history of this modest piece of furniture.

Chairs: 1000 Masterpieces of Modern Design is published by Goodman Fiell and on sale now from www.carltonbooks.co.uk and all other booksellers.

Funiculí floor lamp by Lluís Porqueras for Marset

Funiculí is a new edition of a lamp designed in 1979 by Lluís Porqueras.

The name Funiculí comes from the concept of a “funicular” action—moving up and down. The mechanism for raising and lowering the lamp uses a pair of clips which make it very easy to change the height of the shade to meet the user’s needs. The shade itself can be rotated through 360º to point the beam of light wherever it is required.

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Porqueras has always sought an absolute simplicity in his designs, doing away with everything superfluous to leave the essence of the useful, simple object. 30 years on, the Funiculí lamp remains highly contemporary, both in its purist forms and in its features.

The base of Funiculí is covered in rubber on the bottom, avoiding the cold contact between the metal and the floor and adding stability to the lamp.

Porqueras himself recognises that he began designing without really knowing what industrial design was all about. After studying architecture and renovating a few country houses, in 1956 he set up Stoa, the first Catalan design studio which created lighting by Enric Franch amongst other things.

Together with Jaume Vaquero, he established Vapor in 1979. The company manufactured warm, simple lamps, going against the technological trendiness of the times.

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“I made very simple things, even though the manufacturing process involved 25 separate operations, the end result was simplicity itself; all I wanted to do was to pare away, to pare away and to pare away until I reached the pure essence of a simple, useful object!

“In time, I have come to realise that I have been a very bad businessman. Luckily, Marset showed an interest in what we were doing in Vapor and the major part of our catalogue now forms part of their collection

“Thinking about it, I have always believed that the light in a room must also go with shadow, that there should be contrasts with the points of light. This is what creates well-being, calm; your home must be a refuge from the aggressive outdoors in the city. Lights are lit for several hours a day, and the rest of the time they must maintain a certain discretion so that they do not bother you when they are off, and only become noticeable when they are on… like glow worms. Fashion does not interest me, and I have never made fashionable lights because they soon go out of fashion. I have always made lamps I liked.”

Lluís Porqueras

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How to tie a bow tie by The Hill-Side

I love bow-ties. I don’t ever feel fully comfortable wearing them but I love the look of that little piece of cloth around the neck. According to Wikipedia, bow-ties tend to be associated with particular professions, such as architects, tax-collectors, attorneys, university professors, teachers, waiters and politicians. Pediatricians frequently wear bow ties since infants cannot grab them the way they could grab a four-in-hand necktie, and they do not get into places where they would be soiled or could, whether accidentally or deliberately, strangle the wearer. I don’t fit in to any of the above but thankfully the wearing of bow-ties is a little more acceptable with less professional people.

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“To its devotees the bow tie suggests iconoclasm of an Old World sort, a fusty adherence to a contrarian point of view. The bow tie hints at intellectualism, real or feigned, and sometimes suggests technical acumen, perhaps because it is so hard to tie. Bow ties are worn by magicians, country doctors, lawyers and professors and by people hoping to look like the above. But perhaps most of all, wearing a bow tie is a way of broadcasting an aggressive lack of concern for what other people think.”

Warren St John, The New York Times

For many, including me, tying a bow tie is like summiting the sartorial mountain top. To give you, and I, a refresher the Hill-Side have put together a clever clip using stop-motion. One natty chambray bow tie walks you through every step to ensure you’ll never think of the words “clip-on” again.

Ugly… the aesthetics of everything

“For as long as I can remember, I have been helplessly engrossed with the look of things, whether a ketchup bottle or a temple, a woman or a car…”

Stephen Bayley

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What is ugly? We use the word commonly but do we truly understand its meaning? How do we know what is ugly and what is beautiful? How is that over time, something ugly can become beautiful? Is there actually such a thing as ugliness, how much does it have to do with personal taste, or does ugliness exist naturally?

“No object is so beautiful that, under certain conditions, it will not look ugly.”

Oscar Wilde

A greek word, circa 1250, uglike means “frightful or horrible in appearance” which was later softened to “very unpleasant to look at” around 1375. 502 years later and we’re introduced to the Ugly duckling by Hans Christian Andersen.

One of the leading cultural commentators of our time, Stephen Bayley, takes us on a journey of discovery by skilfully weaving centuries of art and design history into a discourse on the nature of beauty and its polar opposite, ugly.

Is ugliness only skin-deep, or can something that is beautifully engineered – a b52 bomber or a Colt .45 – also be ugly, if its function is to kill or to maim? What was “Degenerate Art” and why was it deemed such? Why are mountains seen as sublime expressions of nature, when only two hundred years ago they were regarded as loathsome things to be avoided at all costs? Just what is the relation between tattoos and crime, and why on earth is there a contest for “The Ugliest Dog in the World”? And lastly, if there was no ugly in the world, would there be any beauty?

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Stephen Bayley is one of the world’s best-known commentators on design and popular culture, and is also a bestselling author. In the early 1980s he headed up the Boilerhouse Project at the Victoria and Albert Museum – Britain’s first permanent exhibition of design – and later became Chief Executive of the Design Museum in London. He has also worked as a design consultant for among others; Ford, Absolut Vodka, The Coca-Cola Company, Volkswagen, BMW and Harvey Nichols. As an out-spoken authority on art and design he frequently appears on television and regularly contributes to numerous newspapers and magazines.

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Ugly: The Aesthetics Of Everything by Stephen Bayley is a new Goodman Fiell title, available from all good book stores, or online at www.carltonbooks.co.uk/books and Amazon. RRP £25.

Barber Osgerby design new £2 coin commemorating 150 years of the London Underground

Barber Osgerby has revealed its design for a new £2 coin minted to celebrate the London Underground’s 150th anniversary in 2013. The coin shows a tube train emerging from a tunnel and carries a patterned edging inspired by Harry Beck’s infamous tube map design.

“Depicting the familiar image of a Tube train emerging from a tunnel, the outer ring of the coin is used graphically to suggest the tunnel walls. The rails traverse the coin’s outer ring, contradicting conventions of a concentric frame. A ground line references the exergue on classical coins and here the view changes from two-dimensional to perspective, creating a sense of movement.”
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Note the signature ‘EB JO’ in the bottom left corner.

Featuring the iconic London Underground New Johnston font, the coin also references the 1967 Victoria line train, chosen for it’s aesthetic simplicity and its wide recognition.

Commenting on the commission, Edward Barber and Jay Osgerby said, “As well as being the oldest underground railway in the world, as an organisation the London Underground has been highly progressive, commissioning pioneering engineering, architecture and art.”

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The coin is one of two new ones struck by the Royal mint for 2013. The other has been designed by Australian artist Edwina Ellis and features the roundel underground logo which first featured on the Underground in 1908. Her coin is inscripted with the Underground’s infamous instruction to ‘Mind The Gap’ around its edging.

Edwina Ellis's coin features the London Underground roundel

Ellis, who previously created a masthead for The Times by employing cut wood engravings on polymer, used her iPad to design the new coin. The set of coins are struck as: Brilliant Uncirculated priced £20, Silver Proof priced £100, Silver Piedfort priced £200, and Gold proof priced £2000. Each set comes in a presentation folder designed by Royal Mint in-house graphic designer David Knapton, and includes a fold-out full colour poster featuring ‘Tales from the Tube’ and facts about each Underground line.

Messograf by Cleo Skribent

Time for some German product porn…

Caliper rule? Tire tread gauge? Ruler? Thread scale? Writing instrument? The Messograf by Cleo Skribent is all of these in one. The epitome of quality-obsessed hand-made German craftsmanship and precision seamlessly embodied in a multi-purpose ballpoint pen.

Founded in 1945 in a small garage in Brandenburg, the Cleo Skribent pen company grew to become a leading Eastern European maker of quality writing instruments, and their Messograf caliper pen soon became a trusted German staple, a weapon of choice among auto engineers, architects, and craftsmen. No matter your trade, we think you will find this tool a buoyant reminder of just how things should be made.

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All individual parts and components are made in Germany. The replaceable ink cartridges are standard size and can be found in most any stationery shops. It is a multipurpose instrument, constructed of chromium-plated brass for those who demand more than just the joy of writing.

Many have tried to copy it – none have succeeded. This is the original.

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Another Country at Home

British furniture brand Another Country continue to grow their collections, helpfully named Series One and Series Two, in case you lost track. Sporting a fantastic stand at the Home show this past weekend, Another Country showed two new products which I have fallen for…

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The newest addition to the accessories collections is the Another Country Numerals… laminated oak house numbers for mounting next to front doors for instant kerb appeal.

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But my favourite new addition is the Desktop Series Two – the most beautiful objects for the desktop with great natural materials and tones.

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The playfully named Another Candlestick was on show after its debut at designjunction during London Design Festival 2012 and looked as fantastic as it did then which complements the collection of candle holder that they already had.

The usual pieces were on show too, and really showed that Another Country has grown and become a clearly-defined brand which seems to be growing from strength to strength.

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