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柳宗理，本名munemichi，1915年出生于东京，东京美术学校（今东京艺术大学）油画系毕业后，进入坂仓准三建筑研究所。之后，设立柳工业设计研究所，1953年开设了财团法人柳工业设计研究会。2011年12月25日早8时10分，因肺炎在东京的病院去世，享年96岁。

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这些栩栩如生的故事戒指均出自Shannnam之手，生活中平常的场景浓缩在透明的戒指中，凝固了时间，更凝结了情感。Shannnam由来自香港的两位创意工作者Riyo和Howard共同成立。Shannnam意为山岚，飘渺不定却充满了神秘感的气息。最近，他们刚刚带着自己手制的戒指从东京设计周归来，简短的聊天，帮助我们进一步了解这对亚洲设计界的新兴组合。

Hong kong-based design duo chan oi yau riyo and kwong ho sun howard of shannnam have exhibited  ’fragmented chronicles’ at this year’s tokyo designboom mart, part of tokyo designers week 2011. The collection is composed of 100 rings, each with a landscape frozen inside. The jewelry spans different topics,  from children’s characters to nuns standing in the snow, a woman walking with a suitcase to a shepherd  with his sheep. each is a visual story invoking a reaction and stirring the imagination of the wearer.

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Olivier Abry是一位创意灯具装配工匠，他最擅长利用回收再利用的工业原件来修复或重新装配可调节的古董灯具。Olivier现居法国里昂，他曾是一位售卖世界各地民族用品和家具店铺的老板，不期而至的金融危机如当头一棒唤起了Olivier的童年梦想——小时候，他就很喜欢拆解、再装配灯。于是，他就跟搭乐高积木一般开始了这项颇为古怪却很有趣的职业。

Olivier Abry is a light “creator-assembler” and makes the coolest adjustable vintage lamps, restored & re-assembled from industrial components. He is based in Lyon, France.

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绿色植物围绕的民居，经年累月沉淀的古董，充满生活气息的绿植装饰，把这些连结起来的人是东根康仁。“契机是源自做绿色咨询师的打工工作，当回首再审视时，才发现已经无法离身，随后独立，展开创作”这位绿色大叔如是说。从Gardening Gallery P・TWO开始，店铺的设计、施工到建言等多领域跨界发挥创意。随后将店更名“东根康仁景观调整事务所”，并从关西神户的芦屋转移到神奈川县的叶山，以关东为中心，辐射全日本。虽说是公司，却是生活漫溢的家庭氛围。以他独自的平衡感创作“美绿”，既用心感受的生活之美。钵盆的放置方式，泥土的搭配，植物的选择，树形的修葺，无不展现着他的思想，他手下的绿植与其说是作品，不如说是为生活增添的曼妙乐符。（撰文_Will）

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究竟是椅子，还是雕塑？纽约艺术家William S.Stong的这份源于生活内里的天马行空，令我想到了Bless。这些椅子模糊了艺术和设计之间的界限，更是对日常事物的普遍定义和人类的惯性思维的挑衅与刷新。

New York artist William S. Stone’s work blurs the lines between design and art with his reimagined chairs and other domestic furniture.

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“冷漠的对待他人和生活，是设计的头等大罪”，Dieter Rams说。Dieter Rams的生活和工作始终围绕着“思考人们如何生活，以及如何生活的更好”这个中心点，他在1960年代设计的产品至今仍被人所用。Jonathan Ive为该书撰写了序言，Klaus Kemp为我们讲述了老爷子的早年生活，他是一位建筑师，这种知识背景一直影响了他一生的创作。本书不但分享了Rams的优秀设计和观点，更是Rams的生活和工作的一次全面而深入的记录。绝大部分的内容着眼于在他在Braun和Vitsoe担任工业设计师期间的工作，并从设计草图、技术图纸、设计原型、成品、市场营销等方面的物料的展示，串联起Rams的工作过程和经历。除此之外，本书最精彩的两个章节应当属Rams自己的家——这位拥有建筑师背景的人唯一建造完成的房屋。本书共320页，由Phaidon出版，Kobi Benezri担任设计。

”Indifference towards people and the reality in which they live is actually the one and only cardinal sin in design” – Dieter Rams. Dieter Rams’ life and work are indelibly linked to his thoughts about how people live, and how they can live better. Products he designed in the 1960s are still being produced and sold today – only one demonstration of the strength of his work. This comprehensive monograph covers both Rams’ life and his work, as well as his ideas on good design, which continue to inspire designers and consumers today. A personal foreword by Jonathan Ive evokes the influence that Rams has had on his own work and, by extention, the objects with which so many of us share our everyday lives. An introduction and an essay by Klaus Kemp tell the story of Rams’ early life, his training as an architect, and the intellectual context in which his ideas were developed. The next four chapters examine Rams’ work and his life – which are more or less synonymous – in depth. This includes his role at Braun as well as the work he did for the furniture company Vitsoe. Each chapter includes sketches, prototypes, finished products and the marketing for those products, giving a complete picture of Rams’ work and its context. Two other chapters in this section present Rams’ own house, the only work of architecture that he completed, and examine the products he designed at the level of detail, a crucial aspect to his work. A further chapter examines Rams’ ‘ten commandments’ of good design and his credo, ‘less but better’, in the context of his role as head of design at Braun, and a final chapter explores his legacy in the work of contemporary designers including Naoto Fukasawa, Jonathan Ive, Sam Hecht, and Konstantin Grcic.

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