Designer Pernille Vea and Menu have created a new tea and coffee series with a cafetiere, teapot and practical thermal cups.

The simple, white porcelain thermal cups with the tempting spring green colour on the inside match Menu’s functional new teapot and cafetiere. All of the series’ pieces are created by designer Pernille Vea and made of a daring mix of New Bone China porcelain and silicone. Despite their major differences, the two materials harmonise well and give the pots and cups a unique look, as well as special soft and warm glow. “With my choice of materials and colours, I have added a new freshness to the timeless, pure and classic Scandinavian mode of expression,” says designer Pernille Vea, who has also created a wide array of successful designs for Menu, including the award-winning porcelain series, Black Contour.

The new thermal cups have double porcelain walls and an insulating hollow core that maintains the temperature of beverages and also ensures that the cups are always comfortable to hold and drink from. The size of the thermal cups is suitable for tea, a large cup of coffee, cappuccino or latte, and they naturally match the new teapot with a built-in tea infuser and the cafetiere, which is good news for those who have longed for a cafetiere made of porcelain.

Design: Pernille Vea
Materials: New Bone China porcelain, silicone

Stair ladders are manufactured in solid birch and have an extended grip on one side, that you can hold on to. This makes it suitable for people of all ages, whether it’s your child who has to reach the kitchen table, or you who needs to get something that is up in a cupboard. The steps are ergonomic and good to stand on. Even at the uppermost level, you are safe and comfortable with one hand on the extended grip.

Stair Ladders are functional and are good and safe to use daily. The special-designed brass fittings ensure that the ladder does not slip.

After use, the ladder can be folded together and hung on the wall using the included Wall Bracket and therefore is always at hand when you need it. It is simultaneously a simple tool that is reliable and display furniture when not in use.

The first product was in clear lacquer, but the latest products are also available in the colors black, white and orange, so you have the opportunity to create contrast or harmony in your home.

They have recently updated the store with lots of new wallsticker designs and new colours. For instance this cute series for the kid’s room called “Silly Animals”

DiMaria Wallstickers

‘Lean has a wonderful design and is very aesthetic. It is classic and modern at the same time – and weighs next to nothing. Lean can be hung on the wall as a sculpture and is very simple to assemble when you want to use it’, the prize committee nomination states.
 
Lean is easy to take on family trips to the beach. It can be quickly and simply unfolded – and is equally easy to fold up again. Lean is, in addition to beach trips, perfect for concerts, picnics, barbecues or as a children’s TV chair. The recommended retail price for Lean is from DKK 1,795 to 1,995. 

The 3 Jewellery hangers are different and can be combined by you to create a design. One of them has a hollowing, use it as a mini-vase or as you wish to create a beautiful, feminine environment. 

Designer Louise Christ has employed a solid and elegant material – high-polish aluminium – which can withstand use. They are 12 cm at the longest part and 9 cm at the shortest. They are hung with hidden fittings and reach out 4 cm from the wall.

Design: Louise Christ
Material: High-polish aluminium.

In order to keep warm the jug is double walled and it is comes in abeautiful dark brown colour that resembles the colour of roasted coffee beans. Just like the rest of the 21st series it has a simple, futuristic form language. The basic shape of the jug is a sort of rounded rectangle with soft edges. Stelton 21st is designed by Designit. Price £ 39,90.

A website-special will inform in detail about the history of this classic design-item and Erik Magnussen himself to all interested customers starting at www.30-years.com.

Alongside the planning process for the jubilee jugs, the vacuum jug received on March 29th, 2007, Denmark’s official and most important design prize, The Danish Design Prize 2007. It was handed over to Erik Magnussen and Michael Ring, Majority Shareholder and Managing Director of Stelton, at a glamorous ceremony out of the hands of Denmark’s Crown Prince Frederik. Thus, Stelton’s vacuum jug is the only jug, which received this important recognition twice – when it had its world premier in 1977 and now, 30 years later. A wonderful reason for celebrating the jubilee.

The origins of the vacuum jug

Throughout 30 years and four changing decades, Erik Magnussen’s elegant vacuum jug has been Stelton’s best-selling product. The jug, with its unique rocker stopper, was introduced in 1977 as a follow-up to Arne Jacobsen’s Cylinda-Line jug. The jug is exactly like Arne Jacobsen’s design, and with its taut cylinder shape and two-colour graphic appearance it still expresses a minimalism and a functionality ahead of its time.

Originally, it was made of stainless steel, and since then, it has been produced in around 30 different colours. With its timeless design, the vacuum jug has been popular and stood the test of time through 30 years and four decades of change in culture, social politics and design.

For this, it has received end of March 2007 the official classic design award “The Classics Prize 2007″ by the Danish Design Center. This price is Denmark’s official and most important design prize and with this recent distinction, the Stelton vacuum jug is the first and only design product ever, having received this distinction twice – in 1977 in its premier year and after 30 years.

Child of the 70s

When the jug was born, many countries around the world were in the middle of the oil crisis – for the first time (and likely last time), it was possible to go for a walk on high-ways and busy roads, as not one single car was going to drive. The oil crisis bared its teeth in most of the 70s, though the hippie movement, made itself snug indoors with shaggy rugs and pottery in burnt colours. In many European countries, especially the Scandinavian ones including Denmark, the Social Democratic Party was in power, and Marxism was deeply rooted in the minds of the young intellectuals. Political-driven bands, theatres and the “red” temper of the time added colour to life. Visually, the vacuum jug followed suit – and was soon launched in 1970-style colours such as red, brown, and orange. A perfect match for the housing estates and communes of the times.

Young in the 80s

The spirit of solidarities of the 70s soon gave way to the materialistic yuppie mentality of the 80s, and soon the jug found itself in the decade of Narcissism and mirror-clad cafe walls. Postmodernism took over. Fashion was playing with identity and gender. Music was either electronic or mascara-black punk. Architecture was characterized by post-modern eclecticism with its mixed styles, columns, cobalt blue, and pastels. The Conservatives were now in power again and ruling in many countries of Europe the political systems. Then came 1989 and the fall of the Berlin wall – the world opened up, and the Cold War was finally over. The vacuum jug was a highlight in this period with its new pastel-colours as well as half-litre versions.

The Way We Were in the 90s

The 90s is a more spiritual period, the decade that saw the fall of the great ideologies. There is no longer just one truth, and suddenly one thing is as good as another. In culture and architecture, deconstructivism is the order of the day. Money does not count any more; what counts is expressing oneself as a fascinating, unique individual in surroundings all of ones own. An individuality not always compatible with the idea of “Till death us do part”, and so the divorce frequency of the 80s goes up even further in the 90s. The Internet arrives on stage, and IT interferes with everything. Computers invade every home and office. Society changes to a degree and with a speed that no one would think possible. The Internet creates exciting networks and communities across civilizations and frontiers, and global feeling increases accordingly. In parallel to this, the number of colour shades increased with e.g. granite, saffron yellow, and paprika red.

Millennium design

In the course of the 90s and into the new millennium, Erik Magnussen’s vacuum jug blends with both minimalism, retro, Feng Shui, and lounge style. We find it in the homes of traditional families, singles, and new families with children of different marriages, which are becoming more and more common in an age of serial monogamy.

Employment is up in the new millennium, and a cell phone is in every hand. Economy is thriving, and in spite of the collapse of the real estate bubble we are decorating our homes more than ever. TV is packed with interior design programmes. And more than ever before, our homes are used as a setting to show who we are – or how we would like to appear. The Stelton vacuum jug was during this time supplemented with a new, soft-mat and rubber surface and is also offered since 2006 with regular changing as well as limited fashion colours of the season. Colours such as soft black, soft lemon yellow and soft chocolate now replaced some of the earlier colour shades.

In short: Times have changed, politics changed the world, fashion and music styles have been experiencing waves after waves. Yet, like any true classic, Erik Magnussen’s vacuum jug from Stelton has been at the cutting edge of design in every decade. Timeless, a symbol for an iconic statement of design – and front-running because it is continuously and sensitively updated with new colours and materials, without following short-lived trends.

Facts about designer Erik Magnussen

Designer Erik Magnussen (born 1940) was educated as a ceramist at the School of Applied Arts and Design – graduating with a silver medal in 1960. His work is exhibited in museums throughout the world – among others at the Museum of Modern Art in New York. Magnussen has been awarded heaps of prizes through the years. In 1983, he was elected “designer of the year” by the Danish Design Council, and his products have several times been given the ID-prize by the Danish Society of Industrial Design. Most recently, in 1997 Erik Magnussen was awarded “The Red Dot” in the “Design Innovations 1997″ competition held by German-based Design Zentrum Nordrhein-Westfalen, and he won the “Good Design Gold Prize” awarded by Japan Industrial Design Promotion Organization.

The Danish Design Prize 2007 goes to’Stelton!
The vacuum jug itself has now won Denmark’s official design prize twice – in 1977 and again in 2007, thus, representing the only product ever winning this design award twice. Again – a distinction only a true icon could ever achieve.

The award ceremony, where Erik Magnussen and Michael Ring, Owner and Managing Director of Stelton, received the price out of the Danish Crown Prince Frederik, took place in the Copenhagen-based Danish Design Center on March 29th, 2007. The accompanying design-prize exhibition is open from March 30th to October 14th, 2007 – more information can be retrieved at www.ddc.dk.

More information about the history of the Stelton vacuum jug, its designer Erik Magnussen as well as the six new, limited jubilee jugs will be available from end of May at www.30-years.com.

You could call it a young and street-smart concept that can easily be moved around and placed high or low, on walls, in cabinets, turned or tilted, matching any interior you may have. BeoVision 8 is a flat-screen television that appeals to the contemporary lifestyle where a switched-on television is an indispensable part of everyday life. It is a television that does not have to be placed in the living room, but also fits perfectly in the kitchen, the bedroom, or the children’s playroom. It is a television that is not too fashionable to be used anywhere at any time.

Performance optimised for daily use
BeoVision 8 has been optimized for daily and casual use. Focus is on simplicity and ease of use, and no unnecessary functions have been included. All choices in relation to the performance of the television have been evaluated against the casual user pattern. But both BeoLink functionality and extra video connections can be included with a convenient plug-and-play module.

Excellent picture quality with the latest in LCD technology
The BeoVision 8 screen is based on a new and progressive display technology. A high-glare surface is what the new element is about. “This is particularly relevant when you watch TV during the daytime. It results in a considerable improvement of the screen’s contrast conditions: black is blacker, both when the screen is on and when it is off”, explains Business Manager Rie Pripsø.

Surprisingly good sound from a small cabinet
With BeoVision 8, Bang & Olufsen has once again achieved very good sound in very little space. During the entire process, the good sound quality has been an important parameter. And as this is a casual TV product switched on all day, much focus has been on speech reproduction. With this TV, the viewer will get the feeling that the sound is coming out of the screen. For instance when the news comes on, the newsreader’s voice will seem to be coming from his or her mouth rather than the loudspeaker underneath.

It has been extremely challenging to get the loudspeaker cabinet to hold all the speaker components in its slim design. And so it has been necessary to make the most of the space inside the loudspeaker cabinet to ensure uncompromised synergy between design and sound quality.
BeoVision 8 is a genuine Bang & Olufsen TV when it comes to craftsmanship and performance – the synthesis between design and function remains intact as in all Bang & Olufsen products.

In the evening the lamp takes a well deserved brake. ‘Wait for me’ visits people in their home, leans against the wall, puts the cable in the plug in order to recharge for the next day and throw light on the surroundings. Maybe ‘Wait for me’ will stop by your home one day……..

FurnID is an ambitious design office, consisting of Morten Kjær Stovegaard, Bo Strange and Sara Vinther Martinsen. They are determined to achieve their common goal, to succeed in the design business with a vision to create inviting and friendly products.
The design office is mostly engaged with furniture- and industrial design and so far they have worked together with Fritz Hansen, Engelbrechts, PLOT, B.I.G, GN Resound and Illums Bolighus.

From the beginning, the three designers agreed on designing friendly and sculptural products. FurnIDtable was the first furniture in a line of inviting products. Ever since it seemed obvious to carry on with the inviting concept and make it a special trademark for FurnID.

There are many excellent ideas in the desk drawer waiting to be completed, but the designers also express a strong desire to join forces with the manufacturers at an early stage in the design process. This way you get a viable product which also match the specific company.

LE KLINT 215 is designed by Poul Christiansen and is a natural extension of the world-renowned Sinus collection. LE KLINT 215 can be used alone or in harmonious combination with the other lamps in the series.

Dimensions: 35×35 cm, D: 15 cm.

Design: Poul Christiansen