It’s always disappointing when something looks wonderful, but does not perform.

This stainless steel tea infuser from Kitchen Craft, for example, seems like it will be pretty cool.

It sports an attractive, sleek shape, and the way it opens — by pressing down one end so the tea-holding ball slides in half — is fun. But it completely fails at its intended task.

When you release the tip to close the ball after dipping in loose leaves, the halves slide back over one-another, pushing out a good deal of your tea.

When you want to empty the used tea, you discover that even when you push the spring-end as far as it will go, the two hemispheres don’t completely separate. Much of the dredge is stuck in the ball. It takes a few uncomfortable swipes of the finger to clean it out.

“Form follows function” has been a popular credo of modern design movements, from architecture to products to programming. The idea and phrasing is usually attributed to Louis Sullivan, who in the late 1800s designed the first modern skyscraper.

But aesthetics are intrinsic to perception, and can play an important role in the success or longevity of an object. And as the New York Times noted recently, the digital age has allowed us to move farther and farther from the need to connect the two. The tiny iPod Shuffle is their premier example.

And sometimes it’s worth conceding a bit of practicality: the Cube Jigger was derided by a few bartenders as unusable for the quick pours needed in a restaurant setting. But for a home user, the cool look makes it a fair trade off.

Have you run into an object that sacrificed functionality for good looks? What was it? Was it worth it?

The Vapur™ Anti-bottle is a foldable 16oz plastic water bottle. It contains no BPAs — the chemicals in rigid plastic bottles that leech into liquids over time — so it’s completely refillable and reusable.

When full of liquid, the brilliantly-designed bottle stands upright. When empty, just roll it up and stuff it in a pocket, or even flatten it and slip between the pages of a book.

Vapurs are available in an assortment of colors, and come with a carabiner for easy carrying when full. They can be frozen for use as an portable ice-pack, and are dishwasher safe.

Lay your hands on one for the bargain price of $8.95, or a set of four for under $30. You can even buy extra screw or squirt caps separately.

Introduced in late 2009 by a California-based company, the bottles are manufactured entirely in the United States, and ship flat (taking up 90% less trucking space than comparable rigid plastic bottles).

Packaging is printed using wind power with soy-based inks on 100% post-consumer recycled paper. The company also participates in the 1% for the Planet program.

Compare that to the approximately 17 million barrels of oil it takes each year just to manufacture standard water bottles for the US market, and the fact that an estimated 30-40% of water is wasted while filling these bottles for sale.

Sure, you can use an expensive, bulky aluminum canteen instead. But why would you?

Get yours now & spread the word!

[via core77]

Twitter: @vapur

Most likely, it is a property of the human mind. An algorithm, like time, that helps consciousness make sense of the world around us.

That our idea of space is relative can be illustrated simply, without need to delve into quantum physics.

Take the “Magic Mirror” toy that was popular in the late 19th century. Images that appear to be distorted blobs become detailed drawings when viewed in a different way — in this case as a cylindrical reflection. This is an example of anamorphosis, which has been used in art since Leonardo Da Vinci and by many since, including Salvador Dalí and Marchel Duchamps.

Putting the concept into practice in a very modern way is one of Swiss design firm Zmik’s latest installations, appropriately entitled “Anna.”

The main corridor in the new offices of Swiss interactive firm iart is visually expanded by a series of large-scale drawings.

From five set viewpoints, these sketches coalesce to reveal wireframes of (both real and imagined) spaces behind the walls. Viewed from any other position, the design appears to be simply a rather random pattern of graphic lines.

Zmik describes the work as an “allegory for the quest of new perspectives.”

It can also be viewed as a metaphor for the “fixed vantage point” each of us holds in this journey of life, along with its accompanying limitations, biases and opportunities.

But this rigidity is changing. Whole new online communities — such as Twitter, World of Warfare, Second Life — are forming with their own, different rules of space and time.

Dr. Robert Lanza says, “Reality is simply an information system that involves our consciousness.”

Understanding consciousness and the way it shapes our worlds is the next big step in evolution.

Let’s be intent on getting there.

[via core77 and dezeen, interior photos by Eik Frenzel]

Crooked Neck has a circuit bent drum machine & 2 battery powered amps built-in. The speakers for the amps are behind the blue & grey circles on the body.

Or does your adventure choose you?

If you’re an artist, usually a bit of both.

Ben Simon makes wonderfully whimsical and unique handcrafted electric guitars and other instruments.

After growing up all over the East Coast, he landed for a time in the Carolinas — a region with a rich history in woodworking — and immersed himself in learning the craft at Burch Company Wood Studio.

As a musician, Simon noticed that some of the more elaborate cutting boards he was working on were reminiscent of electric guitar bodies.

Taking 2 and 2 apart, he deconstructed an electric guitar, did some research, and in 2006 crafted his first custom instrument.

He went on to twice tour Europe playing self-built guitars and basses with his band Get the People.

The instruments themselves have evolved over the years. One was made using 18 different types of wood.

The repertoire is also no longer limited to guitars; pieces have been built that incorporate synths, drums, speakers and amps.

Bass made with exotic hardwoods

A true artist, one of Ben’s goals is to teach, and spread his specialized knowledge and discoveries.

As a member of the Brooklyn artist community center 3rd Ward (which it so cool that it gives all of its members free bicycles — yes, free bikes), Simon has access to a full woodworking studio.

He’s working on an instrument building program for disadvantaged youth featuring small classes there.

(This should be very popular with kids, who will see tangible, usable results from their hard work.)

To own your own one-of-a-kind musical art piece, you can consult with Ben (bensimonmusic@gmail.com) and discuss types of wood, shapes, hardware and more.

Prices start as low as $500.

Check out more photos below after the jump, or on his Flickr stream.

The adventure’s just begun.

Busking with the Guitar2D2 - an instrument with a built-in drum machine, keyboard, effects and amps.

Guitar made from wood streaked by the ambrosia beetle as it burrows through maple trees, with a a semi-hollow body and little handpainted figures of people inlaid into the front. The word 'people' cut into the front acts like the 'f holes' on a violin.

Simon's first guitar, with 18 types of wood, has accompanied him to Europe twice.

Made for -- well -- Dave Simon.

Thunderstorm has a speaker built-in and a sound circuit that makes a thunder clap sound.

[via Thrillist]

But for those addicted to appreciative of cocktails: the Cube Jigger.

Inspired by traditional Japanese sake cups, from which the drink is sipped at the corners, Philadelphia designer Josh Owen came up with this elegant bar tool in 2007.

Made from aluminum, the jigger provides an elegant way to mete out the six most common drink measurements, compactly arranged in a single 3″ x 3″ x 3″ cube.

Owen is an educator as well as designer, teaching at both UPenn and Philadelphia University. His design philosophy describes him as “simple, practical and quietly innovative” and states that he “defines function in humanistic terms.”

His other products range from clocks to socks to furniture and more, and have earned placement in museums and garnered many awards. (Love the Stoop Bench, created for DesignPhiladelphia 2009.)

Available online for $30 at Kikkerland or in person for $25 at Portfolio, the museum store at the Pennsylvania Academy of the Fine Arts, the Cube Jigger might just make it into our home bar collection very soon.

[via mealticket -- we knew there was rationale behind our addiction to food blogs]

The beautiful new titling font by British designer Jonathan Barnbrook is named well. Priori Acute establishes it’s own rules of dimensionality.

Developed through experimentation, the font presents optical illusions of depth — using techniques similar to that of Dutch graphic artist M.C. Escher — that present impossible perspectives.

Barnbrook also cites the shapes and angles of the Stealth Bomber as inspiration.

Though his graphic design, Barnbrook is active in political & social causes, and has a  stated ambition to use ‘design as a weapon for social change.’

The font is available for $50 from Emigre and comes packaged with a set of ornamental elements that can be tiled into mesmerizing patterns.

View the whole alphabet and some of the patterns after the jump.

[Via Core77]

The clean, elegant wood frame is offset by the fun colors of the nylon that creates checkered patterns for the seat and back.

Over on Apartment Therapy, Kristen points out that Tim’s beautiful, handcrafted work is not cheap ($700-$1,600), but that it looks entirely worth the price.

We caught up with Tim via email and he was kind enough to answer some questions.

Read on for Tim’s thoughts on these re-imagined lawn chairs, the Philly design scene, how we should embrace a push to “buy locally” in artisan crafts  (just like the current ”buy local” trend for food & drink) and his love of the pencil.

PDB: Were the strap chairs & stools developed for a particular client? What was the inspiration behind them? Are they comfortable as well as good-looking?

The classic aluminum webbed lawn chair was not regarded as a piece of high design; however, it is something that many of us have a nostalgic relationship with. That lawn chair has become extinct, and its replacement is the molded plastic lawn chair available for a few dollars at any mega box store. These plastic chairs lack a sense of handwork that the aluminum chair had in it’s woven seat. My Strap Series is a type of a commemoration and reinterpretation of this relic.

The frame is now constructed from wood with visible joinery and a furniture grade finish. The seat, although webbed, has an upholstery foundation, so instead of your weight putting tension on the straps and creating a stiff surface, you are supported, and the woven top becomes a soft seat.

PDB: Is your work showcased anywhere? Where can it be purchased? Is there a good atmosphere in Philadelphia for artisans like yourself?

As of now, my work is available directly through me. My contact info and examples can be found on my website at timlewisstudio.com.

After growing up in nearby Mongomery County, I attended University of the Arts here in Philadelphia, and then worked for four years for one of my teachers, Philadelphia studio furniture maker Jack Larimore. In Philly there is a general respect for well-made things — which is something you won’t find in cities that don’t have such a rich history with furniture and craft as ours.

The working atmosphere for artisans in Philly (and especially in Fishtown) is tight knit. Great sources abound, from upholstery suppliers like Quaker Jobbing and Katz Foam, to pattern makers for casting and machinists — a place around the corner from me restores machine motors. Just as we have that rich history with craft we also have a history with industry.

PDB: How could the market for individual craftspeople in Philadelphia be improved?

To make the local market better for artisans like myself, we need to have more shops and places that focus on local design. There are many artisans here like me, but it’s hard for us to find the right place to sell our work. It’s not always appropriate for a gallery and many of the showrooms here focus on international designers.

We need to make it known that you can “buy locally” in the design world, just like you can at the grocery store. The benefits resonate beyond the initial maker. The local network of suppliers and fabricators also benefits: none of us are outsourcing work to China – that’s not part of the process for us!

If you buy something from a larger design firm with furniture in mass production, that’s not going to be the case. Local commissions are also often competitive on price, since we don’t have the overhead of running an international corporation.

PDB: What’s your favorite tool — your go-to object that you couldn’t create without?

I couldn’t create without a pencil. Maybe it’s is a lame answer [Ed - We don't think so!] but I am a huge advocate of drawing. It’s the quickest, easiest and cheapest way to develop your ideas.

Also, I highly value variety. It’s hard to come up with new ideas when you keep asking the same question. I’m constantly switching up the way I work, from making highly finished furniture to pieces made with sticks and super glue, from large scale to small, and with varying degrees of hand work to machine work. This helps keep me loose, and from becoming too dependent on one skill.

PDB: Any forthcoming concepts or designs you can let us in on?

A chair version of my Plank Stool [inspired by another American relic: grade school furniture] will be done soon.

I’m working on the preliminary sketches for a shelving unit that has a shelf support system similar to some antique wooden clamps I have.

Another interesting design is the Iris Chandelier created with copper toilet floats. [Surprisingly attractive!]

Also I’m about finished with what you could sum up as an architectural proposal for a tree house that should never be built, called New Ground.

PDB: Sounds cool! Thanks for your time & insights.

For the first time since the 1950’s the census will show an increase in the city’s population.

The city’s restaurant scene is exploding with tons of new spots, including our new Iron Chef star Jose Garces’ & Philly pioneer Stephen Starr’s recent openings with more on the way.

However, funding for public spaces is scarce. (See: threat of no holiday lighting in Rittenhouse Square; on a larger scale, major downsizing & possible closures of the entire Pennsylvania park system.)

Because of this, several neighborhoods are leaning on the restaurant boom: Cafe Cret opened on the Ben Franklin Parkway, and Franklin Square enjoyed great success bringing in SquareBurger.

South Street Headhouse District might be next.

A multi-step improvement plan is in the works. Philly Councilman Frank DiCicco secured money for the already-completed first phase. This past week saw the dedication of a new fountain at 2nd & Lombard.

The fountain, which had been in disrepair, now boasts a child-friendly, rubberized basin, colorful LED lighting and more seating. New, programmable water jets feature an ananemometer to measure wind speed and automatically adjust the height of the spray.

On one side of the fountain sit the Headhouse Shambles — home to one of Philly’s biggest & best farmers’ markets. On the other currently sits a mishmosh of parking spaces & asphalt.

Cope Linder Architects, who provided the design for Phase 1, have ready a preliminary design for this area which would reclaim much of the space from cars.

It involves an expanded, landscaped pedestrian walkway from the fountain up to the South Street end of the block, where a pavilion with a café will be built. Such a café might bring not only a steady stream of revenue from concession sales, but also encourage more pedestrian traffic for neighboring establishments.

Barry Essinger of Cope Linder even brought up the possibility of closing off the whole street on weekends or holidays, creating a vibrant. car-free mall like those in Buenos Aires or the new Times Square.

South Street is already morphing into a much nicer, more upscale tourist destination. This redevelopment would be a welcome bridge from South to historic Society Hill, and even all the way to Independence Mall and Old City.

Build it! (and they will come….)

Instead of neon or plastic, the metal frame of the sign surrounds hand-crafted steel sculpture.

An elegant rendering of the restaurant’s name in bronze- and silver-colored cut metal rests over a blue-burnished background.

At the top, the restaurant’s signature flower (Italian for sunflower = girasole) shines down like the sun.

The overlapping petals — appearing somehow delicate, yet strong — allow glimpses of the real sky to peep through and are different on each side of the sign.

It’s a wonderful example of the work coming out of Chora Leone Art & Design in Atlantic County, NJ.

Jose Chora and Judy Leone have been creating together for over 15 years, and last year opened a gallery in Somers Point, NJ.

I caught up with Judy via telephone and she was kind enough to send over some additional photos of their works.  He works with the metals and she does the mosaics.

Peep some of their other artworks below.

Three top Danish design firms have recently merged, forming KiBiSi, whose logo itself is a statement in functional modernism.

One of their first collaborations is the wonderfully happy EXPO Chair.

These are the chairs that will be placed in the Denmark Pavilion at the Shanghai Expo 2010.

This year’s World Expo in Shanghai has the tagline Better City, Better Life and is “just like an arena and stage for countries and international organizations worldwide to show their originalities and wits.”

The Danish Pavilion will be a Möbius-strip-like perpetual loop through which visitors can ride one of the free provided bicycles and get a feel for Danish life. In the center is a swimming pool filled with fresh water from Copenhagen, and topped off by their national monument “Little Mermaid” statue (that of Hans Christian Anderson — and subsequently, Walt Disney — fame).

With the colorful EXPO Chairs lining the way, it’s bound to be a cheerful ride.

[Via Core77]