In her latest book, Judith Gura, a specialist in the history of interiors and furnishings explains the important movements (Bauhaus, Postmodernism, High Tech, and Green Design), forms, and furnishings from the 1950s to the present. Design After Modernism captures the range of influences that have spurred new ideas in design and illustrates many of the most characteristic and most innovative objects in this diverse mix.

With the first decade of the twenty-first century behind us, it is time to reassess the concept of "modern," a term that dates to the Middle Ages, when it signified current or recent events. Not until the eighteenth century did it become a stylistic term; more recently it has generally referred to the aesthetic that evolved from the Bauhaus and flourished in the mid-twentieth century. Though proclaiming freedom from the limitations of style, it became as formulaic as most of its predecessors, as Modern architecture and furnishings conformed to prescribed specifications: geometric forms, industrially fabricated, unadorned, and studiously ahistorical. 

Curiosity Kitchen, Alexander Pelikan (Netherlands) 2010
Annie, Reestore (United Kingdom) 2001 Repurposed shopping cart

Those guidelines are no longer relevant. As Midcentury Modernism has receded into history, Modernism has been redefined, reenergized, and in the process transformed. Today it embraces a cornucopia of design in an almost limitless range of materials: design studios are laboratories for experimentation; design concepts can be as important as finished objects; and furniture has crossed barriers to become a new art form. Tools and technologies never before possible have provided new approaches to decoration, and may incorporate influences from the past. The design profession has broadened its horizons; interiors and furniture are being created by architects, interior designers, furniture makers, industrial designers, artisans, artists, and even fashion designers.

Nomos Dining Table, Norman Foster (United Kingdom) 1989
Lounge Chair, Fabio Lenci (Italy) 1970

Design After Modernism offers an overview of developments in design over the past four decades-some evolutionary, some expected, and some extraordinary. It identifies the diverse influences that have generated new directions in design and illustrates many of the most characteristic, most noteworthy, and most innovative objects in this rich and variegated mix. All are representative of their time, and many of the earlier designs have already gained iconic status. Of the more recent ones, whether or not they will be admired in decades to come is something that only time will tell.

Hanging Lamp, Model SP1, Verner Panton (Denmark) 1969
Sushi III Chair, Fernando and Humberto Campana (Brazil) 2002

Book: Design After Modernism: Furniture and Interiors 1970-2010
Author : Judith Gura
Publisher: W. W. Norton & Company

In the collection designed especially for Galerie Gosserez, Piergil Fourquié explores the concept of balance, applied to the design of everyday objects. Through about ten objects, Piergil demonstrates: cantilever balance through the ‘Big Boss’ desk - dynamic balance with the ‘Partition’ shelf  - group balance through the infinite number of ‘Totems’ compositions - balance of the suspended membrane in the ‘Bulles’ collection, etc.

‘Partition’ shelf
This shelf looks like a musical score; the lacquered metal crosspieces punctuate and give rhythm to the entire piece of furniture, graphically and sculpturally. The way to fix it provides great flexibility and gives each user the possibility of forming their own score depending on the interior dimensions and the objects that are to be put on it. The light oak shelves are superimposed one above the other and give the impression of levitating, an effect accentuated by the contrast of the delicate and multiple bars. Materials: oak and metal

Les Bulles (Bubbles)
Suspended glass balls weighted with marble ballast, this individual case will form a precious and transparent cocoon for personal objects. It can also be changed rapidly into an original and very elegant vase. ‘Les Bulles’ collection drew inspiration from laboratory glassware. They also explore the themes of landscape and micro-architecture, around the notions of balance, stability and space. Combining simple volumes, they stage fascinating microcosms which play on the contrasts between glass and stone. Materials: blown glass and Carrara marble.

‘Totem’ hall elements
Totem is a series of six objects that are usually found in the hall: a mirror, a set of occasional tables, a flower pot holder and a coat stand. This set welcomes visitors to a simple and refined environment, punctuated by the solid cast concrete pedestals which support very fine structures. The concrete base is the weight which holds each of the totems in equilibrium at different heights. Materials: oak and concrete.

The ‘Big Boss’ Desk
Drawing inspiration from architectural constructions using the cantilever principal, the lacquered metal skirt gives a solid volume on which the entire desk depends. This support contrasts with the light oak suspended top which juts out over an empty space. The choice of material is a metaphor for a ‘sports coupe’ car: the metallic exterior reflects the immediate environment and hides the user’s legs. The refined topstitched leather interior creates a warm protective cocoon. The elegance of the lines hides all that is to be hidden: computer cables, electric wires, drawer. Materials: oak; topstitched leather and metal.

Photos credit Maxime Champion

Exhibition: "Equilibres" by Piergil Fourquié
From April 28 to June 4 2011
Galerie Gosserez
Paris, France

Cambridge Consultants announced the launch of the ‘Syreen’ syringe, a new concept that demonstrates the cost benefit and supply chain disruptions made possible by sustainable product design.

Instead of glass, Syreen syringes are made with COP (cyclic olefin polymer) plastic, which has enabled Cambridge Consultants to shed the need for secondary packaging altogether, a first in this medical device arena.
 
The United States alone produces 6,600 tons of medical waste per day, equaling well over two million tons per year—approximately 85 percent of which goes to landfills throughout the country. The Syreen eliminates the need for wasteful fillers such as cardboard and styrofoam, reducing the packaging weight by 30 percent and volume by 50 percent from today’s standard packaging. After delivery, with a simple snap, the user ejects the needle into the sharps bin allowing the user to potentially recycle the plastic capsule.

Jihyun Ryou, Design Academy Eindhoven graduate, did his Master Thesis about food preservation. By accumulating traditional oral knowledge, he looked at a feasible way to bring the knowledge into everyday life.

"Through the research about the current situation of food preservation, I’ve learned that we hand over the responsibility of taking care of food to the technology, refrigerator. We don’t observe the food any more and don’t understand how to treat it.

Therefore my design looks at re-introducing and re-evaluating traditional oral knowledge of food, which is closer to nature. Furthermore, it aims to bring back the connection between different level of living beings, us as human beings and food ingredients as other living beings."

Verticality of Root Vegetables -carrot, raddish, leek...etc.
Keeping roots in a vertical position allows the organism save energy and remain fresh for longer time. This shelf gives a place for them to stand easily, using sand. At the same time, sand helps to keep proper humidity.

Dryness of Spices
Rice absorbs the humidity easily. The spice container with rice inside helps spices stay dry without forming into a mass.

Humidity of Fruit Vegetables -zucchini, aubergine, pepper...etc.
We tend to think zucchini, aubergine, cucumber, etc. as vegetables. But they are biologically fruits. This shelf gives them a space to be outside the fridge. Also through the ritual to water them everyday, they will stay fresh.

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The final jury of the 'Prix Emile Hermes' has selected 17 projects from the contest theme 'la légèreté au quotidien / everyday lightness', a contest that was launched in 2008 in all the countries in Europe where Hermès has a commercial base.

The aim was to create an object for everyday life - Simplify use - Optimise function - Give material a spirit - Innovate to make everyday life easier - Create intelligent and user-friendly objects.

The jury unanimously decided not to award a first or second prize for this first edition of the Prix Émile Hermès, but rather to award three third-place prizes.

'Bronco' Rocking stool - Simon Lécureux, Switzerland - third-place prize

'Handbag support' Bag carrier - Bastian Goecke, Germany - third-place prize

'Rolling VS Folding' Weekend bag - Francesco Librizzi / Vittorio Venezia, Italy - third-place prize

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The Röhsska Museum prize committee for the Torsten and Wanja Söderberg Prize, which is donated by the Torsten and Ragnar Söderberg foundations, has decided to award the Finnish designer Harri Koskinen with this year’s prize of SEK 1,000,000.

The prize committee's reasoning is as follows:
“Harri Koskinen is one of the foremost designers now occupied with the task of continuing the Nordic design tradition. His extensive, wide-ranging body of work has a unique, austere design that is consistently expressed with clear Nordic roots in its demands for good function and simplicity of form, as well as in the choice of materials. These elements combine to create lasting value. At the same time as he enjoys successful partnerships with design-intensive companies around the world, he is also participating in the renewal of his homeland’s design industry.”

'Olo' Sofa - Lundia (2006)	'Lantern' - Iittala (1999)
'Lamppu' Portable & rechargeable Light - Oluce (2003)	'Senior' Stool - SE-design (2007)
'Fatty' Container - Schmidingermodul (1998)	'Block' Lamp - Design House Stockholm (1996)

The prize will be ceremoniously awarded at the University of Gothenburg on the 4th of November and will be followed by an exhibition at the Röhsska Museum from the 5th of November 2009 until spring 2010.
 
The prize of SEK 1,000,000 is the largest design prize in the world.