Daniel Rybakken, Single Flower Vase, 2012
Daniel Rybakken, Single Flower Vase, 2012
Carl Auböck, Double Noose Vase, 1950s
Carl Auböck, Double Noose Vase, 1950s
Carl Auböck, Ring Vase, 1950s
Carl Auböck, Ring Vase, 1950s

Norwegian designer Daniel Rybakken has presented his new Single Flower vase this week. The design will be officially launched at Salone del Mobile in Milan.

Despite we love simple and deeply conceptual design of Daniel Rybakken, we could not forget our favorite mid-century designer Carl Auböck who designed many similar vases in the 1950s. As a reaction for after-war financial crisis in austria, Auböck has designed these vases for everyone who could not buy expensive pack of flowers, but only just one piece. Very precise brass objects are small table sculptures. Has Rybakken designed his vase also as a reaction for global economical crisis today?

More on Carl Auböck in our Vienna Only magazine.


Mobile phones by Tokujin Yoshioka or Naoto Fukasawa. It is the Japanese brand iida.

Some times ago we came up to their nice catalogues presenting various phone models. Every piece is unique work of technology and design. Robust, colorful, sensational, flashy, rather than minimalist as last global trends lead, iida products are different and represents "disco" in the world of design of mobile phones.


Mobile phones by Tokujin Yoshioka or Naoto Fukasawa. It is the Japanese brand iida.

Some times ago we came up to their nice catalogues presenting various phone models. Every piece is unique work of technology and design. Robust, colorful, sensational, flashy, rather than minimalist as last global trends lead, iida products are different and represents "disco" in the world of design of mobile phones.












Our Light Sculptures exhibition at DOX by Qubus concept store was created in collaboration with designer Jakub Berdych from Qubus studio who created free form installation using glass tables and visual abstraction of the cables. As a whole it resembles large lightning space object.

The installation starts chronologically in the 1950s, when the Czechoslovak industrial and interior design had an advantage because it was not forced to conform strictly to the period’s socialist realism and historicism in such areas as fine arts. In the field of lighting design, Czech designers tended towards the style of international modernism, which dominated throughout the architecture and design of almost entire civilized world. Lighting design, in this context, is often reminiscent of principles typical of modern visual arts, primarily of abstractionism and the upcoming kinetic art, which was suppressed by socialist realism in the former Czechoslovakia. Thus, lamps – like the period’s glass production – became one of few possible materializations of modernist ideas, which had been fully repressed for some time in the field of fine arts. Lights are delicate statues with a luminous function. This holds true for both the production in the newly established producer cooperatives, such as Napako, Drupol, Lidokov, and Zukov, and the hand-crafted lights by Alena Nováková, Antonín Hepnar, and others. Their aesthetics and designing methods approximated modernist designs of European and American designers in many aspects. Although the forms are similar, the quality of workmanship often lags behind the brilliant works of French and Italian designers such as Angelo Lelli, Gino Sarfatti, Boris Lacroix, Michel Buffet, and Jacques Biny. Refined metals and detailed workmanship were substituted with imitations and substandard quality of socialist production. The unique table lamp designed by Jaroslav Anýž, a descendant of the famous pre-war lighting brand, also displayed at this exhibition, serves as an exception to these average works. This lamp, designed for the national enterprise of Lustry in Kamenický Šenov, is a technically and aesthetically artful combination of three materials: the base is made from Ditmar Urbach porcelain, the body from metal, and the shade from glass. Other lamps designed by Josef Hůrka, Pavel Grus, and others are very elegant and feature great visual aspects despite some workmanship flaws. Czech design, for that matter, struggled with the confrontation of great design and imperfect workmanship throughout the communist regime.

The organic decorative aesthetics of the so-called Brussels style, named in Czechoslovakia in relation to the world exhibition in Brussels in 1958, dominated until the late 1960s, with table lamps of various elegant delicate shapes made in the above-mentioned producer cooperatives serving as the best example. It was in the 1970s when new impulses arrived – the simplification and monumentalization of new forms. The works of designers/artists/artisans Růžena Žertová and Antonín Hepnar stood out most in that period and continued to do so into the 1980s. The unique lights, which they made themselves in very limited editions, correspond with the period’s interest in space-age design and minimalism. One could easily find links with the decorative design of European designers Michel Boyer, Maria Pergay, Kim Moltzer, and Boris Tabakoff, whose works were also related to small-lot production and limited means. The impact of the futurist Italian designs by Joe Colombo and others, or their period presence, is also evident. Antonín Hepnar’s work – later, he started to experiment with halogen and very minimalist shapes – focuses on wooden lathed shapes, whereas the work of Brno-based architect Růžena Žertová specialized in metal.

Thus, the exhibition presents several fundamental works of Czech design from the second half of the twentieth century and partially documents its stylistic development on the single typological example. Most objects on display are presented in such a curatorial selection for the first time. Through their joint context, we strive to rediscover a neglected chapter in the history of Czech design and typology of table lamps.

Photos by Jaroslav Moravec













Our Light Sculptures exhibition at DOX by Qubus concept store was created in collaboration with designer Jakub Berdych from Qubus studio who created free form installation using glass tables and visual abstraction of the cables. As a whole it resembles large lightning space object.

The installation starts chronologically in the 1950s, when the Czechoslovak industrial and interior design had an advantage because it was not forced to conform strictly to the period’s socialist realism and historicism in such areas as fine arts. In the field of lighting design, Czech designers tended towards the style of international modernism, which dominated throughout the architecture and design of almost entire civilized world. Lighting design, in this context, is often reminiscent of principles typical of modern visual arts, primarily of abstractionism and the upcoming kinetic art, which was suppressed by socialist realism in the former Czechoslovakia. Thus, lamps – like the period’s glass production – became one of few possible materializations of modernist ideas, which had been fully repressed for some time in the field of fine arts. Lights are delicate statues with a luminous function. This holds true for both the production in the newly established producer cooperatives, such as Napako, Drupol, Lidokov, and Zukov, and the hand-crafted lights by Alena Nováková, Antonín Hepnar, and others. Their aesthetics and designing methods approximated modernist designs of European and American designers in many aspects. Although the forms are similar, the quality of workmanship often lags behind the brilliant works of French and Italian designers such as Angelo Lelli, Gino Sarfatti, Boris Lacroix, Michel Buffet, and Jacques Biny. Refined metals and detailed workmanship were substituted with imitations and substandard quality of socialist production. The unique table lamp designed by Jaroslav Anýž, a descendant of the famous pre-war lighting brand, also displayed at this exhibition, serves as an exception to these average works. This lamp, designed for the national enterprise of Lustry in Kamenický Šenov, is a technically and aesthetically artful combination of three materials: the base is made from Ditmar Urbach porcelain, the body from metal, and the shade from glass. Other lamps designed by Josef Hůrka, Pavel Grus, and others are very elegant and feature great visual aspects despite some workmanship flaws. Czech design, for that matter, struggled with the confrontation of great design and imperfect workmanship throughout the communist regime.

The organic decorative aesthetics of the so-called Brussels style, named in Czechoslovakia in relation to the world exhibition in Brussels in 1958, dominated until the late 1960s, with table lamps of various elegant delicate shapes made in the above-mentioned producer cooperatives serving as the best example. It was in the 1970s when new impulses arrived – the simplification and monumentalization of new forms. The works of designers/artists/artisans Růžena Žertová and Antonín Hepnar stood out most in that period and continued to do so into the 1980s. The unique lights, which they made themselves in very limited editions, correspond with the period’s interest in space-age design and minimalism. One could easily find links with the decorative design of European designers Michel Boyer, Maria Pergay, Kim Moltzer, and Boris Tabakoff, whose works were also related to small-lot production and limited means. The impact of the futurist Italian designs by Joe Colombo and others, or their period presence, is also evident. Antonín Hepnar’s work – later, he started to experiment with halogen and very minimalist shapes – focuses on wooden lathed shapes, whereas the work of Brno-based architect Růžena Žertová specialized in metal.

Thus, the exhibition presents several fundamental works of Czech design from the second half of the twentieth century and partially documents its stylistic development on the single typological example. Most objects on display are presented in such a curatorial selection for the first time. Through their joint context, we strive to rediscover a neglected chapter in the history of Czech design and typology of table lamps.

Photos by Jaroslav Moravec













Our Light Sculptures exhibition at DOX by Qubus concept store was created in collaboration with designer Jakub Berdych from Qubus studio who created free form installation using glass tables and visual abstraction of the cables. As a whole it resembles large lightning space object.

The installation starts chronologically in the 1950s, when the Czechoslovak industrial and interior design had an advantage because it was not forced to conform strictly to the period’s socialist realism and historicism in such areas as fine arts. In the field of lighting design, Czech designers tended towards the style of international modernism, which dominated throughout the architecture and design of almost entire civilized world. Lighting design, in this context, is often reminiscent of principles typical of modern visual arts, primarily of abstractionism and the upcoming kinetic art, which was suppressed by socialist realism in the former Czechoslovakia. Thus, lamps – like the period’s glass production – became one of few possible materializations of modernist ideas, which had been fully repressed for some time in the field of fine arts. Lights are delicate statues with a luminous function. This holds true for both the production in the newly established producer cooperatives, such as Napako, Drupol, Lidokov, and Zukov, and the hand-crafted lights by Alena Nováková, Antonín Hepnar, and others. Their aesthetics and designing methods approximated modernist designs of European and American designers in many aspects. Although the forms are similar, the quality of workmanship often lags behind the brilliant works of French and Italian designers such as Angelo Lelli, Gino Sarfatti, Boris Lacroix, Michel Buffet, and Jacques Biny. Refined metals and detailed workmanship were substituted with imitations and substandard quality of socialist production. The unique table lamp designed by Jaroslav Anýž, a descendant of the famous pre-war lighting brand, also displayed at this exhibition, serves as an exception to these average works. This lamp, designed for the national enterprise of Lustry in Kamenický Šenov, is a technically and aesthetically artful combination of three materials: the base is made from Ditmar Urbach porcelain, the body from metal, and the shade from glass. Other lamps designed by Josef Hůrka, Pavel Grus, and others are very elegant and feature great visual aspects despite some workmanship flaws. Czech design, for that matter, struggled with the confrontation of great design and imperfect workmanship throughout the communist regime.

The organic decorative aesthetics of the so-called Brussels style, named in Czechoslovakia in relation to the world exhibition in Brussels in 1958, dominated until the late 1960s, with table lamps of various elegant delicate shapes made in the above-mentioned producer cooperatives serving as the best example. It was in the 1970s when new impulses arrived – the simplification and monumentalization of new forms. The works of designers/artists/artisans Růžena Žertová and Antonín Hepnar stood out most in that period and continued to do so into the 1980s. The unique lights, which they made themselves in very limited editions, correspond with the period’s interest in space-age design and minimalism. One could easily find links with the decorative design of European designers Michel Boyer, Maria Pergay, Kim Moltzer, and Boris Tabakoff, whose works were also related to small-lot production and limited means. The impact of the futurist Italian designs by Joe Colombo and others, or their period presence, is also evident. Antonín Hepnar’s work – later, he started to experiment with halogen and very minimalist shapes – focuses on wooden lathed shapes, whereas the work of Brno-based architect Růžena Žertová specialized in metal.

Thus, the exhibition presents several fundamental works of Czech design from the second half of the twentieth century and partially documents its stylistic development on the single typological example. Most objects on display are presented in such a curatorial selection for the first time. Through their joint context, we strive to rediscover a neglected chapter in the history of Czech design and typology of table lamps.

Photos by Jaroslav Moravec










In Rotterdam we have visited legendary VIVID gallery.

Established in 1999 by Saskia Copper and Aad Krol, VIVID was one of the first galleries to exhibit contemporary limited design. Important creative hub for Dutch conceptual design of the last 10 years, VIVID inhabitants the iconic Red Apple Building designed by KCAP Architects&Planners.

Airy and fresh space on the ground floor always occupies exhibitions of unique conceptual design by many important creators such as Ettore Sottsass, Hella Jongerius, Studio Job, Atelier van Lieshout, Slothouber & Graatsma and Jaime Hayon, among many others.

We have looked behind the scene of the gallery and in its storeroom we have found some pieces by young as well as established Dutch and international designers. Chairs by Dirk Vander Kooij or Maarten Baas, porcelain and glass objects by Japanese designer Hisakazu Shimizu and other artistic objects documents cult status of this exhibition space.









In Rotterdam we have visited legendary VIVID gallery.

Established in 1999 by Saskia Copper and Aad Krol, VIVID was one of the first galleries to exhibit contemporary limited design. Important creative hub for Dutch conceptual design of the last 10 years, VIVID inhabitants the iconic Red Apple Building designed by KCAP Architects&Planners.

Airy and fresh space on the ground floor always occupies exhibitions of unique conceptual design by many important creators such as Ettore Sottsass, Hella Jongerius, Studio Job, Atelier van Lieshout, Slothouber & Graatsma and Jaime Hayon, among many others.

We have looked behind the scene of the gallery and in its storeroom we have found some pieces by young as well as established Dutch and international designers. Chairs by Dirk Vander Kooij or Maarten Baas, porcelain and glass objects by Japanese designer Hisakazu Shimizu and other artistic objects documents cult status of this exhibition space.




We have finished next editorial for Prague-based magazine Esprit. This time with the theme of traveling.

In the editorial published this week you will see, among others, wonderful Savoia-Marchetti S.55 airplane as well. Famous Italian flying boat was extremely successful aircraft during the 1930s. Shortly after its introduction in 1924 began setting records for speed, payload, altitude and range.

Most famous pilot of the airplane was the Italian air marshal Italo Balbo (1896 – 1940), controversial figure of the Italian history and great pilot as well. Hi most famous piece was one of his Atlantic crossings, when in 1933 flew with 24 aircraft to Chicago's Century of Progress International Exposition. On 1 July 1933, General Balbo commanded a flight of S.55s from Orbetello, Italy, completing the flight in just over 48 hours, in a tight "V" formation. From this time this kind of flying formation is called Balbo.

S.55 is a great example of the inter-war aircraft design. Robust, yet elegant, the aircraft is the legend of the Italian sea planes history.










Our Light Sculptures exhibition at DOX presenting Czech table lamps from the period of 1950 - 1990 is open until 26th April.

Today we bring you some pictures from the preparing of the exhibition and its graphic design which is very strong part of the whole exhibition concept. All the lamps standing on the glass tables have captions with illustrations hanging on the walls beside. Captions are durable paper cards with simple iconography of lamps on them. Again we have to thank Atelier Činčera for its paper production mastery.

Stay tuned and see the whole installation next week!

Photos by Matěj Činčera