Sarah Finn is a German designer who specializes in working amazingly intricate patterns into wood. Although originally apprenticed as a furniture maker, her primary focus now is on tableware and lighting. Above: Olion and Drachenbaum are olive wood pendant, wall and table lamps with beautiful laser-cut patterns. In the case of Olion the patterns only come to life when turned on but disappear when turned off, while Drachenbaum features detailed floral patterns around the fringe.

“Light and living” is how Sarah prefaces the product section of her website; although the “light” likely refers to the Olion lamps featured above, it’s also an appropriate description for her tableware. Above: lightly-colored solid oak, elm and maple trivets and bowls each feature successively smaller concentric pieces speak to a simpler way of living.

Although probably the least glamorous of table accessories, Sarah gives the coaster and candle holders their fair dues. A coral-shaped version (coaster, candleholder) features a complex and abstract network of branches and is fairly sturdy despite its fragile appearance, while a more conservative variant consists of internal laser-cutouts on stained maple.

image credit: design*sponge

Even napkin rings and placemats get the royal treatment: the napkin rings feature stars and s-cut incisions and small tabs to lock them in place and can be easily flattened for storage, while amazingly detailed floral edgework on wood veneer placemats embellish meals like never before. For more Sarah Finn products, visit any of the stores listed below; we have also provided a link to her personal homepage which provides a bird’s eye view of her works.
aplusrstore.com
hygge-life.co.uk
mossonline.com (type “sarah finn” into the search box at left)
sarah-finn.de

As a fourth generation Vancouverite in a city that is itself barely 150 years old, Brent Comber is definitely a rarity. Vancouver also traces its origins to the lumber industry (specifically the Hastings Mill), so it is entirely appropriate that he makes his living from woodworking. Most of Brent’s pieces are reclaimed or recycled, so his work is not only about honoring the Pacific Northwest’s history but preserving it for future generations.

The overarching theme in Brent’s work is a blending of the urban and natural worlds; above: Originals is a collection of sculpted geometric shapes against natural wood, most of which incorporate slight curves that heighten the sophistication of the pieces. I particularly like the way that the subtle curvature helps to elegantly accentuate the grain of the wood (as opposed to the more savage and primal pieces of chista).

Quad is similarly geometric and a bit more functional as it also serves as a table base. The base features four piece segmentation with a slight twist at the top for added drama. Available in Douglas fir and red cedar with multiple finishes, I definitely prefer it in black with a square glass top (it’s recommended you supply your own).

Both the Alder and Shattered collections reveal beautiful patterns no matter what direction you view them from. The Alder collection is composed of alder rounds, while Shattered is formed from tightly packed shards of wood. In both collections, the relatively ordinary external geometries contrast sharply with the chaotic and fragmented realities within. Psychoanalysis aside: Brent Comber’s work is something I’d love to see in my own home; his website is below if you feel similarly inclined.
brentcomber.com

Michiel van der Kley is a relatively young designer, both in terms of age and experience, yet has worked with numerous European designers including Artifort, Soft Line and Van Esch. One of his best known creations is the I-Con Desk, winner of the “best of the best” category at the 100%design furniture fair in Rotterdam in 2006. This beautiful minimalist desk is wrapped in white Corian with a dark, contrasting walnut center, and is perched on stainless steel legs. One version even doubles as a computer, with an LCD screen, speakers, bluetooth and Wi-Fi all integrated into the frame–this is somewhat apt considering the smoothly rounded edges have faint overtones of iPod.

The Bingo Pouf has also been particularly well received; this attractive and highly versatile polyurethane foam mattress can also be folded up to serve as an ottoman, side table, or stool. An included bentwood tray helps further underscores its multifunctional nature. Structurally speaking, the high density foam provides ample support while the durable wool/synthetic upholstery enhances durability.

van der Kley’s approach to seating is essential minimalism mixed with just enough comfort. His Conco chairs are comparable to a heavily eroded pebble; even the seams are reduced to a bare minimum, with a knot at the top to hold the fabric together, and a point at the bottom for the base to meet the seat. The Bird Chair is an interesting contemporary sofa which curves back on itself, while the more transitional Seven series features a rectangular silhouette that contrasts with a gently rounded seatback.

The Chase series of coat stands and coat hangers are both highly functional but drastically different in terms of appearance. The Chase W is curvy and hollowed out, essentially hiding the hangers and minimizing its visual profile. The floor-mounted model takes the opposite tack with an attention-getting tripod design and dagger-like legs.

Similar to the I-Con desks, Michiel’s Sumo dining table is topped with Corian and is a minimalist’s delight. Integrated but removable trays with circular depressions eliminate the need for plates, while a separate set of featureless trays can be inserted during work time to form a flat surface. Despite his relatively young age, van der Kley has an impressive design portfolio; we hope for (and expect) to hear much more about him in the near future.
michielvanderkley.nl

2Jane Co. is named after the Greenwich Village address of owner Roxie Mae, who regarded the once-Bohemian enclave as “a direct route to life’s inspired possibilities”. Although no longer a resident, a progressive vibe is embodied in much of the imported goods soled on Roxie’s website. Above: UK-based Innermost Homeware’s ghostly vases and clocks mix contemporary design with ornate etchings. Yee-Ling Wan’s glass Fantome Clock also includes a mirrored backing that effectively double its depth, while the GHOST Candelabra and Vase are formed from intersecting planes of etched acrylic.

WelMadeProducts hails from the other side of the globe in Hong Kong, and features intricate patterns that are neither Asian nor European. Most of their tableware takes the form of wiry black scrolls against pure white bone china, but their serveware and a limited number of dinner and dessert plates are decorated with frosted etchings over clear glass.

Polly George’s Mr. and Mrs. Jones are two porcelain heads (one male, one female) that regularly adorn a drinkware collection that includes teapots, mugs and cups. If this sounds strange to you, that’s because it is–the inanimate couple forms everything from the top of teapot lids to the middle of juicers. Perhaps most disturbing is the use of the heads on the rims of mugs: for left handers, this means gazing back at a disembodied head while sipping coffee.

Also by Polly George is the Butterfly & Rose Collection. The human heads are replaced by much more conventional butterflies and roses, making for a beautiful (as opposed to macabre) collection of mugs, jugs and vases.

Lastly we have the Lehti Trays, which start at an astounding $800–but as part of the permanent collections of New York’s MoMA and London’s V&A, rightly so. These trays maintain a lightweight presence with hundreds of intersecting veins and a myriad cutouts, but are amazingly made from metal. I’m not sure how it maintains its structural integrity, but each piece definitely holds its own as a tabletop centerpiece.
2jane.com

Rios Clementi Hale Studios (notNeutral) is a multidisciplinary design team based in hip and trendy Melrose in West LA, and specifically avoids “lowest common denominator” products. This kind of attitude is pervasive in their products, which range from garden accessories to tableware. We focus on the latter in this post; above: notNeutral’s limited edition Designers’ Gilt plates are adorned with familiar patterns ranging from lace doilies to spirographs that are further interpolated along a polar axis. The 12.5″ plates carry a high price tag at nearly $80, but that’s because the designs are made of 22K gold.

notNeutral’s more conservative casual china still skirts the edge of style with four designs: Leaves, Letters, Links and Circuit. Despite their rather mundane names, these self-contained works of modern art are difficult to find at any traditional retailer. Color combinations alternate between b/w and shades of green, blue and brown. The latter colors seem to be inspired by Nature; notNeutral, but perhaps “natural”.

Much more seasonal are the Studios’ trivets, which basically consist of two themes: Fall and Winter. Their “Fallin” Trivet collection bakes the intense reds and oranges of Fall onto leaf-shaped steel cutouts with neoprene feet, while “Frosty” is the more elegant of the two with beautiful and delicate snowflake patterns painted in shades of blue.

Although perhaps not as interesting as the china and trivets above, notNeutral’s placemats fit their role perfectly; subtle birch mats with cork feet are screen printer with their now familiar patterns, and then sealed to protect against food and liquids. Also available in coaster sets, these complementary tableware accessories have the innate beauty of woodgrain and the style of minimalist, rounded corners.

As a final touch, no dinner is complete without the comforting ambience of candlelight; 80% soy based wax candles are scented with 10% essential oils. The beautiful glass cups are decorated with contemporary botanical designs that include bamboo, sycamore and pomegranate, and come primarily in green with hints of baby blue. For more information on Rios Clementi Hale Studios, feel free to visit their website, notNeutral.

Brave Space is a Brooklyn-based group of designers with a focus on sustainable products that are both a bit playful and contemporary. Their environmentally-friendly Bamboo Slide is a classic example of both their philosophy and their New York roots, with a small footprint that is perfect for tight urban kitchens. A sliding butcher block top adds nearly another 2 feet to its length and also reveals an extra, removable cutting board. Two drawers to either side of the table also slide out for additional storage space. In Brave Space’s words, this useful kitchen island also allows a host to simultaneously prepare food and serve as barkeep–making Bamboo Slide not only efficient in space but in time.

The Hollow line of tables features an open-ended “hangar” that sits just underneath the tabletop, useful for hiding relatively flat items such as magazines and books. The end table is particularly suited for storing periodicals with pockets on its legs, while the bench makes up for its length with a central cutout that allows for access to its hollow interior. A light blonde bamboo trapezoidal inner frame is wrapped by a darker amber shell, which is an interesting play on negative space. Finished in organic herbal oil, these tables are both minimal and sustainable.

Brave Space’s Tetrad series is based off of Tetris, a game to which many of us can attribute lost hours and sore thumbs. Not only is the shape of Tetrad just like its electronic counterpart, but its pieces are interchangeable too. This allows for an infinite variety of combinations; stylish, double-sided beveling only adds to the permutations by making the individual shelves reversible. A Pack Flat version comes with metal backing and fast shipping, while the Mini and traditional versions are bulkier but finished in more stylish Walnut.

Deep Space is a two-toned Baltic Birch and Walnut wardrobe which highlights Brave Space’s love for compartments and extra storage spaces, with a variety of hidden, shallow and deep drawers located not only inside its cavernous 4 foot-deep interior but installed inside its longest door. Three exposed drawers allow for easy access, while a bi level shoe rack near the bottom and a hanging rack near the top handle clothing and other apparel easily. Powder-coated black aluminum hardware accents an otherwise fully wooden frame which is finished with their patented water-based BioShield formulation.

The Bamboo Stagger and Desk 235 both feature zig-zagging perpendicularly oriented parts; the Stagger is a shelving system with an asymmetric configuration to make room for irregular pieces such as vases while maintaining a fairly compact profile, while Desk 235 is wrapped in thin cherry/walnut veneer panels for a lightweight appearance. 235 is so named for its shelving which resembles a digital clock; now if only we all got to leave work at 2:35!

Lastly we have the Folded Bed, which is a sleek, low-profile bed platform with the same thin-panel appearance as the Stagger and 235. The headboard is flanked by two semi-translucent panels which, are useful for diffuse rear lighting. Even the slats are stylish, as they not only flush with the bed but fully integrated into its frame. In addition to the products featured above, Brave Space also provides custom design services to fit your own needs; for more information, visit their website by clicking here.

It’s always nice to feel good about anything you buy; it can be said that Andrew Moe’s furniture engenders good feelings twice over with not only style but environmentally sound production practices. Reclaimed lumber is the Moe Design Studio’s medium of choice, and as such no two pieces are ever alike.

Above: The Olathe series of tables is perched upon tapered, insect-like legs and can be topped with glass, wood or even stone. The top table is made from hickory, while the bottom is made from oak–both from reclaimed sources.

The Ames and Musashi are solid and imposing coffee tables with fundamentally different design approaches; Musashi is clearly more asian-inspired with a cantilevered oak top, while the Ames is minimal and modern. Musashi actually utilizes two pieces of steel to support its “roof”, whose ends are purposely exposed at the top of each leg. The Ames utilizes more traditional dovetail joinery to produce an essentially seamless transition from the sides to the top.

The zebra-like Chama is composed of several different species of wood to give it a unique striped look. The example above is made from soft maple and spruce, with a contrast not only between colors but textures (smooth vs. rough). At just over 1 1/2 feet in height, Chama is suitable as a short end table, stool, or plant stand.

Ridgeway looks a bit like it was sculpted from a single and unbroken piece of wood. In reality the white-washed finish nearly obscures the transition between the legs and the bottom of the seat. I like the overall shape of the piece – sharply tapered legs and an uneven top give Ridgeway a playful, handcrafted look with just a touch of modern.

The city of Mancos is located in the extreme southwestern corner of Colorado, and is rich with farming, timber and mining industries. The Mancos bed is somewhat of a testament to a predominantly outdoor culture with a rustic, unfinished red oak frame. I say somewhat, in that the bed is also clearly contemporary in shape, if not in texture.

The elegant Ophir desk and chair combo is made from rich ash wood with gorgeous, sweeping legwork on both pieces. This collection is my favorite, as it balances both minimalist aesthetics with just enough flair to make a statement. For more information on the Ophir and other pieces by Andrew, feel free to visit the Moe Design studio. Note: although his work is mostly made to order, some of his tables are also available at Vivavi.

Maybe it’s just the professional photography–but New York-based Lorin Marsh’s line of furniture is infused with an architectural elegance that crosses the boundaries of traditional, contemporary and transitional furniture. Above: the metropolitan Plinth cocktail table is supported by two bronze monoliths with wide bases that resemble the load-bearing components of a bridge, while both the Eclipse and Handle Bar tables feature thinner, more wiry frames. The Eclipse is made from stainless steel, while the Handle Bar’s base is crafted from brown Parisian iron and topped with a limestone slab.

Wood never looked so good: the Solitaire dining table is a solid table with a pleasant mix of rounded and squared elements, and is absolutely stunning in glossy Macassar ebony. Simpler but more contemporary, the Cube is named after the slick lacquered wood block that sits on its stainless steel base.

Lorin Marsh clearly prefers an eclectic variety of materials; the U bench has a fairly basic design but is clad in textured metal to give it a more imposing, stone-like presence. Similarly, the Nesting Tables also look to be made from concrete or rock, but are actually wrapped in Mink goatskin with polished nickel hardware accents. Lastly, sandstone-like paneling on the Waterfall cocktail table is actually bleached goatskin, also accented with polished nickel around the underside.

Like prop pieces from a ritzy Art Deco movie, the Glam sofa and club chair have flared and vertically ribbed backs with smooth, rounded arms. Beautifully upholstered in metallic silver fabric and finished with dark wooden legs, these chairs are sophisticated and flashy – much like Hollywood celebrity of the 20s and 30s. The Tivoli game table and Jansen chest complement the Glam collection, as they are both sheathed in stainless steel and accented with classy gold and brass; with shiny furniture like this, it’s no wonder that celebs seem to perpetually sport sunglasses.

Significantly more subdued but just as classy, the Fretwork ottoman and Maze desk feature dark, geometric frames with. Both pieces highlight a playful tendency to form similar elements from fairly different materials; while the Fretwork’s frame is made from maple wood, the Maze is actually perched on iron legs.

Saving the best for last: the Laslo chandelier is a stunning 12-light fixture with fancy serpentine arms juxtaposed against a futuristic, satin nickel frame. This unique blending of contemporary and traditional design is classic Lorin Marsh. In an age of mass-produced me-toos, quality innovation–even if it draws on historical influences–is always welcomed by the discerning consumer.
lorinmarsh.com

Although I’m not entirely convinced that patterned tabletops will stand the test of time, they do a decent job of catching the eye–in a good way. Via Sensory Impact: Kinkyform’s Nopattern and Zenvironments tables are the result of collaborations with budding/established graphic artists. The signed, laser-cut wooden tables snap together without the use of glue or nails, and are scratch and waterproof.

For slightly less frenetic patterns, Scandinavian Surface features prototype printed tabletops on their website. Though not currently in production, it’s worth contacting them here if you’re interested in a quote. Images are via: Poppytalk and Astrid at Flickr.

One of the more famous “pattern pioneers” is Patricia Urquiola, who we first featured here. Her Damasco tables are decorated with a combination of lacquered inlay Asian silkscreen and damask fabric patterns. Available at Unica, the tables are available either round or square, both with the ever-popular popular wenge-stained finish.

Tord Boontje is another prolific pattern designer, with glass being his preferred medium. Above: the simply-named “Oval table” features a laser-cut steel frame with powder coating and a printed glass top, while the gorgeous Rialto Deco is pure printed glass with ghostly floral silhouettes. He does use wood in one instance – his The End Nail Table is made from wood, nails and spray paint. Although interesting, I find it difficult to stomach the sky-high price tag: $11,800.

Anna-Katriina Tilli & Mari Relander’s delicate Anemone is fairly basic – a powder-coated metal frame and a sandblasted glass top. Where it obviously stands out is the handmade lace (available in black, silver or red), whose effect becomes readily apparent by looking at the leafy shadow cast on the floor.

The beautiful Yakuza table has somewhat dark underpinnings, with its name derived from the heavily-tattooed Japanese mafia of the same name. This intricately detailed coffee table is covered with Asian artwork which is digitally printed onto a flesh-toned veneer surface. Like many of the other tables featured in today’s post, the Yakuza is intriguing, stylish and utterly unique.

Peter Harrison’s LAVASSA line utilizes wood, metal and concrete (relatively ordinary materials) to exceptionally creative and stylish ends. While I’ve heard of wood and metal, and perhaps metal and concrete, all three of these together seems like an odd combination–until you see Peter’s work. Above: Carbon looks somewhat like an inverted suspension bridge, but is actually a sofa table. Ten stainless steel cables intersect to form an exquisite diamond pattern near the bottom, while the lacquered Mahogany frame is bracketed at the corners with concrete blocks.

Io and Isotope are tall end tables that both sport fashionable wenge wood. While Io uses curved stainless steel rods, Isotope opts for a more columnar design with two planks of wood topped with 3/8″ tempered glass. I like the restrained use of aluminum trim in both tables, which helps to add a bit of gloss.

Although its namesake is an inert gas, the Argon coffee table is medley of dynamic elements. A complex, moebius-like network of stainless steel is the star of the show, an X-shaped Mahogany base, concrete legs and a tempered glass top (your choice of round or square) add even more visual interest.

The Mercury and Jupiter benches both feature relatively large slabs of concrete–these are not light pieces by any means. Both Mercury and Jupiter feature a gently curved, almost propeller-like Mahogany seat, but only the Mercury includes faintly-visible graphite lines which are sealed underneath lacquer.

Not all LAVASSA pieces are furniture-size–both the Barossa and Napa are wine holders that use the weight of a concrete base to counterbalance wine bottles near the top. The Barossa has an especially high center of gravity, giving it a somewhat precarious but sophisticated presence, while the Napa is perfect for counter tops. Although Peter does not mention prices for any of these pieces, you may make an inquiry by filling out his contact form.
lavassa.com

There are some designers whose enthusiasm for their work shines brighter when compared to others; Karim Rashid is one of them. His work includes everything from ultra-modern seating to sophisticated tableware, and you can tell he has fun creating all of it. Above: the two-toned Kurv chair focuses on a curvaceous and ergonomic wood frame with an upholstered center, while the undulating Orikami sofa features a chrome frame and your choice of fabric or leather upholstery.

Karim’s tabletop accessories are equally unique, with the porcelain Ripple Bowl (top) being a prime example. I’m particularly fond of his stainless steel pieces, which use sensuous curves to maximize the interaction of light on glossy metal surfaces. His trio of Flare candlesticks is on exhibit in Chicago, New York, Tokyo and Prague (to name a few), while the Kissing salt/pepper shakers, Tulip candlestick holders and Jimini Creamer and Sugar come in sexy pairs.

While Rashid’s usage of wood, metal and fabrics is definitely stylish, his glass pieces are simply elegant. Above: the aptly named Tilt wine decanter features an easy-to-grip neck, while the ribbed Bopp vases are winners of the Gold Star Gallery Award.

My favorite glassware is the Motus collection. Made from full-lead crystal, Motus features delicate swirling ribbons etched into the surfaces of dinnerware and vases. For more information, visit either Karim Rashid’s shop or Nambé.

Piet Hein Eek is a prolific Dutch designer who clearly enjoys working with and combining different materials, textures and finishes. Visual dissonance is his signature, as he is perhaps best known for using scrapwood to create contemporary furniture. Above: dining tables, beds and sofa all feature a wild patchwork of recycled wood, somewhat similar to what you would find at a seaside shanty.

Not content with scrapwood, Piet also loves to mix and match vintage patterns. Floral and striped upholstery nearly half a century past its prime is fair game — all of this again wrapped around the tight, clean lines of modern design. I particularly love his eponymous Eek dresser, which is actually powder-coated metal covered with Baroque-style vinyl.

If you love his designs but aren’t too fond of his eclectic finishes, there’s no need to despair – Piet bares it all with his steel and aluminum furniture. His trademark patterns are absent – these pieces are all about showing off their clean, efficient lines. Utilitarian grey steel and rivets are only tempered with tapered legs and padding – in other words, everything you need and nothing you don’t.
pietheineek.nl