Tag Archives: Tableware

DYSH Cooks Dinner, Serves It, and Leaves Just One Thing in the Sink

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Cooking a single meal usually means dirtying a pot, a plate, and whatever serving dish stands between them, three separate objects doing what feels like one continuous job. DYSH collapses that chain into a single system, where the same vessel that cooks your food becomes the plate you eat from and the bowl you serve it in. It’s a multi-cooker built less around heating elements and more around eliminating the handoffs between cooking, eating, and cleaning.

The core vessel does the heavy lifting here, functioning as a pot, a frying pan, and a serving bowl depending on what a given recipe calls for. Rather than reaching for a different pan every time a dish changes character, from simmering a sauce to searing something quickly, the same piece of cookware adapts, cutting down on the pile of mismatched pots that usually accumulate across a single cooking session.

Designers: Chaeyeon Yoo, Doyoon Kim, Eui Hwan Kwon, Gun Park, Yangwoo Choi

The lid takes on double duty of its own, flipping from a cover that traps heat and moisture into an actual plate once the cooking is done. That single swap removes an entire category of dishwashing from the equation, since a meal cooked and served straight out of DYSH never touches a separate plate in the first place. It’s a small mechanical shift with an outsized effect on how much ends up in the sink afterward.

A two-way handle ties the physical and functional sides of the system together. It offers the grip stability you’d expect from cookware, letting you lift, tilt, or steady the vessel during actual cooking, while also serving as the control interface for the multicooker itself. Instead of a separate dial or touchscreen bolted onto the base, the handle you’re already holding becomes the same point of control.

Underneath all of it sits an induction base, the one component that stays put on the counter while everything else moves. Magnetic connections join the vessel, lid, and handle to that base, a detail that does more than simplify assembly. It keeps the overall system lighter, safer to handle when hot, and considerably easier to break apart and clean once a meal wraps up.

None of these choices exist in isolation. The vessel’s shape-shifting utility only works because the lid is ready to become a plate the moment cooking stops, and that handoff only feels seamless because the handle and magnetic base keep every piece aligned and secure throughout. Each part borrows from the next, turning what would normally be three separate categories of kitchenware into a single, continuous object.

For a kitchen already crowded with single-purpose gadgets, DYSH argues for consolidation instead of addition. A meal-kit cooker that eats its own leftovers, so to speak, absorbing the roles of a pan, a plate, and a serving dish into one connected system, changes what a full dinner’s cleanup actually looks like once the last bite is gone.

The post DYSH Cooks Dinner, Serves It, and Leaves Just One Thing in the Sink first appeared on Yanko Design.

Kellogg’s Hired a Designer to Make Your Cereal’s Crackling Louder — and It’s Gloriously Weird

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Whether you’re a milk-before-cereal guy or a cereal-before-milk guy (the only correct process btw), there’s an undeniable component about the cereal-eating experience that almost everyone takes for granted. That slight crackle and pop sound as the cereal’s air-pockets burst to get filled with milk. It’s a pretty simple yet fundamental auditory feedback that your cereal-eating experience would feel incomplete without. Seriously, imagine pouring milk into your cereal and dead silence, I guarantee you, it wouldn’t feel good.

That snap/crackle is such a core part of the cereal eating journey that Dominic Wilcox designed a bowl that amplifies the sound. If it sounds weird in theory, it absolutely is, and Wilcox isn’t one to shy away from weird inventions (including headphones that swap your left and right ears with each other so everything sounds strange). The aptly named “Snap, Crackle, and Pop amplification cereal bowl” is one such invention that leans into Wilcox’s need to chase the absurd. Designed to look like a gramophone, this bowl puts a microphone to your cereal, enhancing the musical journey you embark on every breakfast.

Designer: Dominic Wilcox

The cereal bowl was commissioned by Kellogg’s as a part of their challenge to make breakfast more interesting. While most people would simply put puzzles on a cereal box to keep kids occupied, this weird contraption tickles their fancy by leaning into the kind of chaos children tend to love. The bowl comes with a horn on top, and a knob on the rim. Load your cereal, add the milk, flip the on switch, and a microphone captures the audio, playing it through the speaker unit built into the horn. The volume knob lets you dial up or down the noise… and I can only assume there’s a battery somewhere in the base that needs charging every few days.

Needless to say, the Snap, Crackle and Pop amplification cereal bowl works with all types of cereal (as well as all types of milk). Just go about your breakfast the way you normally would, and listen to the gentle white noise of your cereal turning soggy. If you want to be even more unhinged, swap the milk out with soda and you’ll hear fizzing sounds too. Your dentist will hate me, but do it for the plot!

The post Kellogg’s Hired a Designer to Make Your Cereal’s Crackling Louder — and It’s Gloriously Weird first appeared on Yanko Design.

This Brutalism-inspired ceramic brewer makes pour-over coffee and gongfu tea in the same set

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Some brewing setups look like they belong in a kitchen. Purestone looks like it escaped from an architect’s desk. With its faceted black ceramic body, square tasting cups, and upside-down pyramid filter, the whole set feels closer to a tiny Brutalist sculpture than a teapot and pour-over kit. The proportions are tight, stackable, and clearly considered. That visual sharpness is what grabs you first, especially in a category full of soft curves, glass cones, and familiar café gear.

Then it starts showing off. The same compact set handles gongfu tea and pour-over coffee through a single reusable alumina mineral filter, eliminating paper entirely. Gongfu brewing means steeping leaves directly in the pot and straining through the filter, a practice rooted in Chinese tea culture that prioritizes short steeps and full leaf expression. That means fewer throwaway parts, more of the drink’s natural aromatic oils, and a ritual that feels tidier and more intentional. If your countertop has ever looked like a coffee shop and a tea house got into an argument, this thing clearly came to restore peace.

Designer: Purestone

Click Here to Buy Now: $69 $146 (47% off) Hurry! Only 4 days left.

The angular geometry is a stark difference from anything you’d otherwise find at .your local barista Purestone’s brutalist trapezoid pitcher body trades rounded contours for deliberately sharp edges that create natural grip points and double as thermal insulation from the heat inside. The square tasting cups, compact at 50ml, are built to stack cleanly. The drip tray, cast from the same raw mineral clay as the pitcher, uses a slanted three-dimensional wave contour tested repeatedly to lock the brewer snugly in place. It is a set designed from the geometry outward, not decorated after the fact.

Shaped like an inverted pyramid and sintered into a microporous structure, the alumina ore filter intercepts coffee grounds and tea particles while water flows through mineral-rich ceramic. Purestone claims this softens the water and reduces bitterness, an approach aligned with ceramic filtration science that Japanese makers like Kyuemon pioneered back in 1986. The non-porous outer layer handles physical sediment blocking; the inner microporous alumina does the mineral work. It is fully reusable, resets with a rinse, and preserves the aromatic oils that paper filters tend to quietly absorb. No paper waste, no metallic aftertaste from mesh screens.

Black Lubao ceramic clay goes into every piece, fired at 1,000 degrees in a kiln that vitrifies the material and bonds the matte frosted glaze to the surface. The process delivers stain resistance, thermal shock resilience, and a fingerprint-proof charcoal finish. The glaze is applied by hand before firing. Every component is then molded separately and hand-polished by artisans, with each bevel manually smoothed to remove what industrial casting leaves behind. The result is geometric in intent but warm in feel, and that contrast is what makes it work as a table object rather than just a shelf piece.

The pitcher’s handle is raised and widened into a three-dimensional form that creates an air gap between your hand and the hot ceramic body, keeping it cool without any insulating sleeve. The spout is hand-shaped into what Purestone calls an eagle beak cavity, which builds steady internal pressure and lets you dial the pour from a heavy stream to a fine trickle. Most ceramic spouts scatter and drip on the return. This one is designed to cut off cleanly. The tray completes the ergonomic picture, with a wave-contoured groove that holds the brewer steady and catches any drips that land off-target.

Zero electronic components, zero plastic parts, and zero rubber seals mean nothing in this set degrades or needs replacing after a couple of years. The reusable alumina filter eliminates the running cost of paper filters altogether. The primary materials are natural clay and mineral-based aluminum oxide, with no chemical coatings, no plastics, and no heavy metals anywhere in the mix. The custom EVA carry case in the Ultimate Package serves as permanent storage rather than packaging you toss on unboxing. It travels, stacks, and cleans with water.

Purestone is available now, with the standard set (brewer pot, two tasting cups, drip tray, and alumina ore filter) at a discounted $69. The Ultimate Package adds wooden pallets, the EVA carry case, and a 2-in-1 tea strainer and coffee spoon, priced at a discounted $129. No warranty period is specified in the available product details, but the all-ceramic, all-mineral construction makes longevity a materials argument rather than a mechanical one. Objects built from sintered clay fired at 1,000 degrees tend to outlast any guarantee. Global shipping begins November 2026.

Click Here to Buy Now: $69 $146 (47% off) Hurry! Only 4 days left.

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Heinz’s New Lid Has 3 Settings Based on Your Love Language

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Ketchup people are serious people. Not in an uptight way, but in the way that they know exactly what they want: a precise drizzle over scrambled eggs, a controlled zigzag down a hot dog, or the kind of generous pour that basically constitutes a second course. Ketchup rituals are personal, and Heinz, after 157 years of watching people argue silently over the bottle, has finally decided to do something about it.

The Heinz Love Lid is a customizable ketchup lid, and yes, that is exactly as delightful as it sounds. It replaces the standard cap on any existing 20-ounce Heinz bottle and comes with a rotating dial that moves through three settings: Like, Love, and Crazy Love. Each one adjusts the flow by raising an internal core to widen the aperture, so the more love you dial in, the more ketchup comes out. It’s patented, it’s made from recyclable polypropylene, and it was developed in partnership with Beta Design Office and Wieden+Kennedy London.

Designer: Heinz

What makes the Love Lid genuinely interesting isn’t just that it’s functional. Plenty of products are functional. What makes it worth talking about is the design thinking behind the naming. “Like,” “Love,” and “Crazy Love” aren’t just cute marketing fluff; they’re actually communicating something true about how people relate to condiments. Not everyone wants the same amount, and more importantly, the amount they want changes depending on what they’re eating. A fries-and-dip situation calls for something very different from a burger situation, and treating those two moments as identical has never really made sense.

Packaging rarely gets this kind of attention. Most brands treat the cap as an afterthought, a functional necessity that doesn’t need to earn its place on the shelf. Heinz seems to have realized that the lid is actually where the entire experience lives. It’s the last thing between you and the food, the part that determines whether you’re satisfied or standing over the sink trying to salvage a plate. Getting that right is not a trivial design problem, and Heinz approached it with the same brand language it uses everywhere else. Warm, a little playful, rooted in the idea that ketchup is a love story. That coherence is what elevates this from a gimmick to a decision that actually makes sense.

The bundle is limited edition, available online during grilling season. It comes with one bottle of Heinz Tomato Ketchup, the lid itself, and a printed guide suggesting which setting to use for different foods. The guide is a nice touch. It’s the kind of thing that feels unnecessary until you’re standing at a backyard barbecue at noon in August and suddenly very grateful someone thought this through.

I’ll admit the cynic in me noticed that this is a limited run, not a permanent product shift. You can’t just walk into a grocery store and grab one, and there’s a real chance many people will never know it exists. That does take some of the wind out of the sails for a design that clearly had real engineering effort behind it. A patented two-part closure with a mechanical flow adjustment deserves more than a grilling-season window.

But the more generous read is that Heinz is testing an idea before committing to it at scale. They’ve been doing a version of this with recent packaging experiments, including the Heinz Dipper, a fry box with a built-in condiment compartment, also a limited run. The pattern suggests a brand that’s genuinely curious about where its packaging can go, not just chasing a headline. If this gets traction, it’s hard to imagine Heinz leaving it as a seasonal novelty.

Ketchup, at the end of the day, is one of the most democratic foods we have. It belongs to everyone, and Heinz has always known that its market isn’t a type, it’s a spectrum. The Love Lid is proof that they’re still paying attention to that spectrum, right down to the pour.

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A Designer Curled a Single Sheet of Aluminum Like Paper to Make a Grater That Fits Perfectly in Your Palm

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Most graters are a negotiation. The box grater comes out, takes up half the counter, threatens your knuckles on every pass, and goes back in the cabinet the moment you are done. The result is a tool that earns its reputation for being more trouble than it should be. This palm-sized aluminum grater starts from a different premise entirely, one where the object fits the hand that is actually doing the work, rather than the other way around.

The design takes its form from a piece of paper curling at the corner, and that shape is doing more than looking interesting. Held in the palm, the curve keeps fingers clear of the grating surface, controls the angle naturally without you having to think about it, and makes the whole act of grating something you might actually offer to a guest rather than hide in the back of a drawer. It comes in a range of colors lively enough to leave on the counter without apology.

Click Here to Buy Now: $25.00

A Grater That Fits the Hand It Works With

The ergonomics here are not incidental. The curled profile positions the grating surface at an angle the palm controls without adjusting, which means less effort per stroke and more even results across cheese, vegetables, and anything else you run across it. The form also creates a natural guard between fingers and the grating teeth, which removes the usual tension from the process. Grating stops being something you do carefully and becomes something you do quickly, cleanly, and without thinking twice about it.

One Plate. No Assembly.

Stamped from a single aluminum alloy plate, the grater has no joints to loosen, no separate parts to track, and no assembly required before or after use. Rinse it, dry it, put it down. The construction keeps it light enough that it disappears into a bag or a drawer and honest enough that it does not pretend to be more than it is. A single well-made surface that does one thing consistently well is a more useful kitchen object than a multi-function tool that hedges every task.

What We Like

  • Palm-fit ergonomics: the curled form positions the grating surface naturally in the hand, keeps fingers clear of the teeth, and removes the usual caution from the process without any adjustment required
  • Single-piece aluminum construction: no joints, no parts to lose, no reassembly after washing. The simplicity of the build is the point, and it makes the tool genuinely easier to maintain
  • Color range: available in options lively enough that leaving this on the counter is a reasonable choice, which is not something most kitchen graters can claim

What We Dislike

  • Single grating coarseness: one surface means no adjustment between a fine dusting and a coarser grate. Useful for most tasks, but not for a kitchen that needs both regularly
  • Volume ceiling: the palm-sized format is ideal for finishing and garnishing. For grating in quantity, it will take more passes and more time than a larger tool

The Kitchen Object That Earns the Counter

The best kitchen tools are the ones that stay out. Not because there is nowhere to put them, but because putting them away feels like the wrong decision. This grater earns that position through a combination of form, color, and a construction clean enough that it looks as considered as anything else on the counter.

Whether it is finishing a pasta dish, dusting a salad, or handing it to a guest who wants to do the honors themselves, it handles the task without making anything of it. That is exactly the kind of object a well-run kitchen benefits from having within reach.

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Artefilo Makes Home Objects From Elephant Grass and Hospital Cabinets

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The sustainable home goods market has a specific credibility problem. Products marketed as eco-conscious often get there through incremental adjustments, reducing a percentage of virgin plastic, switching to a recyclable box, or sourcing from a slightly shorter supply chain. The result is a kind of sustainability theater that satisfies certification requirements without fundamentally changing either what objects are made from or how they find their way into a home.

Artefilo approaches that question differently. Based in Edam in the Netherlands, the independent design atelier makes contemporary home objects from materials most manufacturers wouldn’t consider: elephant grass combined with recycled plastic, reclaimed wood fibres, brick dust, and salvaged hospital cabinetry. Each piece is made locally in small batches, and the materials are chosen with the specific intention of giving discarded resources a renewed place in a living space.

Designer: Guido Baratta

The choice of Edam isn’t incidental. The city has a long tradition of ceramics craftsmanship, and Artefilo draws on that heritage without replicating it, taking the spirit of making by hand and applying it to a different material palette. Elephant grass combined with recycled plastic, for example, produces a surface that reads as handmade pottery without the environmental cost of extracting virgin clay or new plastic.

The rest of the material list is equally unexpected. Reclaimed wood fibres and brick dust bring texture and warmth to objects that might otherwise feel too composed, while recycled hospital cabinets contribute rigidity and durability that wouldn’t be obvious from the source. Finding these materials requires locating waste streams that industry hasn’t already claimed, then working out what form they can credibly take in a domestic setting.

Making in small batches has real consequences for what the objects can be. It means pieces that are genuinely one-of-a-kind, because material conditions are never exactly repeatable from one batch to the next. Brick dust carries different tones from different sources; reclaimed wood fibres vary in density and grain. That variability isn’t a flaw in the production model; it’s built into it deliberately.

The underlying premise is that objects shape the atmosphere of a space, not dramatically, but persistently. Something placed on a windowsill or bookshelf gets seen many times a day, and that repetition adds up. Artefilo’s design philosophy treats each piece as something that participates in the daily texture of a home rather than simply occupying it. The materials reinforce that, each carrying a visible trace of its previous life.

The atelier distributes through its own online store and through a local stockist in Edam. The collection is small, deliberately so, and the material sourcing means it isn’t trying to scale into something it isn’t. For a design category that often talks about slowing down without quite managing it, Artefilo appears to have structured itself around that idea from the ground up.

The post Artefilo Makes Home Objects From Elephant Grass and Hospital Cabinets first appeared on Yanko Design.

The One Thing Fine Dining Can’t Control Is Temperature, Until Now

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Temperature is one of the few things in fine dining that no one fully controls once a dish leaves the kitchen. A perfectly cooked piece of fish begins losing heat the moment the plate is set down, and by the time a diner has finished admiring the plating, the window for eating it at its intended temperature has already started to close. Most serving vessels are entirely passive about this.

Temper Hold is a modular serving system that addresses this through material rather than technology. Built from basalt, a volcanic stone with a high thermal mass, the system slows temperature change for both hot and cold dishes, extending the window between when food arrives and when it begins drifting from the cook’s intentions. The serving surface stops being passive and becomes part of how the meal unfolds.

Designer: Batuhan Duran

The system comprises four modules, each assigned a specific role at the table. CORE is the main presentation surface. RISE elevates a featured item on a pedestal base, adding vertical hierarchy to the setting. POUR handles sauce service in a form shaped for controlled pouring. REST organizes cutlery, keeping the table composed between courses. Together, they don’t overcrowd the table or impose formality on the setting.

The thermal logic relies on basalt’s natural density. Stone with a high thermal mass resists temperature change, absorbing heat slowly and releasing it gradually, which is the opposite of ceramic or porcelain, which loses heat quickly once it leaves a warming rack. For cold presentations, the same principle applies in reverse; the stone stays cool longer, keeping a dish within its intended temperature range throughout the course.

Each piece is shaped from basalt using CNC stone machining, with chamfered edges to reduce the risk of chipping during service. The exterior surface is matte-honed, preserving the volcanic texture of the stone, while the food-contact surfaces are polished to a smoother finish that’s easier to clean. The contrast between the two finishes also serves as an intuitive guide to how each piece is meant to be used.

A custom-cut leather sleeve is fitted to the underside of each piece, serving two functions at once. It softens the contact between the stone and the table, protecting both surfaces from the weight and texture of raw basalt, while improving grip when lifting and moving a piece between courses. The leather also introduces a warmer visual element against the predominantly dark, volcanic character of the stone.

The material palette is intentionally restrained. Black basalt provides the body of each module, and the leather is available in warm brown or black, creating combinations that feel tactile and grounded rather than decorative. Volcanic stone has an inherently irregular surface texture that distinguishes it from polished marble or engineered ceramics, and the matte-honed exterior of each piece preserves that quality rather than smoothing it away entirely.

The concept behind Temper Hold is simple but genuinely underexplored in tableware design. Most dishes arrive on materials chosen for aesthetics, weight, or cost, not thermal behavior. Basalt has been used for cooking on volcanic rock for centuries, and repurposing that thermal property as a serving surface rather than a cooking one is a small but consequential shift in how a piece of tableware is asked to perform.

The post The One Thing Fine Dining Can’t Control Is Temperature, Until Now first appeared on Yanko Design.

The Only Thing Missing From This LEGO Coffee Set Is the Smell

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LEGO fans are obsessive. Coffee fans are obsessive. Somewhere at the exact intersection of those two fandoms sits ModularManiac’s Coffee Collection, a build that exists purely because someone looked at their pour-over setup one morning and thought it deserved to be immortalized in bricks. Five separate builds, one shared obsession.

The set nails the process end to end: a gooseneck kettle mid-pour, a dripper loaded with grounds, a finished cup topped with latte art, even a coffea arabica plant growing berries nearby. Steam curls off the cup in brick form. The only thing this build can’t replicate is the smell, that first hit of fresh grounds and hot water that makes the whole ritual worth doing in the first place.

Designer: ModularManiac

Start with the pour-over, because it’s the mechanical centerpiece of the whole collection. The dripper’s pleated white filter might be the only non-lego element here, but I honestly can’t think of an alternative. It sits inside a transparent cone that shows LEGO pellet coffee grounds inside. Below it, a glass carafe holds a pool of translucent brown pieces standing in for brewed coffee. A gooseneck kettle accompanies the build, giving you exactly the right kind of hardware a coffee-nerd would expect from this build. Everything’s scaled to match each other, so you could even mimic your pouring pattern with this brickset… Yes I know you absolutely will.

A tiny cup sits on a saucer and comes with interchangeable latte art discs, built from gold and cream pieces arranged into foam-art patterns you can swap in and out depending on whether you want to mimic an espresso, a doppio, a cortado, or a macchiato. It’s a genuinely clever mechanism dressed up as a novelty, since the whole cup assembly pulls apart to let you customize the design sitting on top. Next to it, a small spoon rounds out the tabletop scene, presumably for stirring in sugar, and the coffea arabica plant stands off to the side with berries built along posable stems, giving the whole collection a quiet nod to where any of this actually comes from.

Altogether the build runs around 1,400 pieces across those five objects: kettle, pour-over, plant, spoon, and cup. None of it is enormous individually, but staged together on a shelf or a desk, it reads as a complete scene rather than five disconnected models, which is harder to pull off than it sounds.

The set has already picked up a Staff Pick badge on LEGO Ideas, the platform where fan designers submit builds like this one for the community to vote on. Cross 10,000 supporters and LEGO’s internal team reviews the project for a possible retail release. The Coffee Collection currently sits at 2,242 supporters with 590 days left to hit its first checkpoint of 5,000, so there’s time to help push it along. If your desk is missing a coffee ritual that never actually needs refilling (or if you’re a recovering caffeine addict who wants their fix without breaking their streak), you can cast your vote on the LEGO Ideas page here.

The post The Only Thing Missing From This LEGO Coffee Set Is the Smell first appeared on Yanko Design.

Lift This Handblown Glass and Find a Smile Left Behind by Your Drink

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Condensation on glassware is typically treated as a design problem to be contained. Coasters exist to hide what cold drinks leave behind, and most glasses are designed to minimize the effect where possible. The ring a cold drink leaves on a wooden table is just physics doing its job, and the standard response to that for decades has been to put something between the glass and the surface.

GRINN takes a different position. It’s a handcrafted glassware collection from Bangkok that doesn’t fight condensation but engineers the base to direct it, turning the moisture that forms around a cold drink into a smile-shaped mark on the surface beneath. Lift the glass after it’s been sitting long enough, and the outline of a curve appears beneath it. Not printed, not etched, just water behaving as water does.

Designer: Mooque Sarunphon Boonto (MOOQUE, Elmtoli)

The trick is in the base geometry. Each piece is mouth-blown from soda-lime glass using traditional glassblowing techniques, and the base is precisely engineered to guide condensation along a specific curved path. As a cold drink cools the glass and warm air does its work, moisture collects and follows the curve built into the structure. No stickers, no added decoration; the smile arrives entirely through physics.

The process has three steps: fill the glass with a cold drink and plenty of ice, wait 15 to 30 minutes at room temperature, then lift to discover what’s formed underneath. The sharper the temperature contrast between the drink and the surrounding air, the cleaner the impression. Timing varies with airflow and ice quantity, and smooth, non-absorbent surfaces produce the clearest marks.

Mouth-blown glass carries its own signature, and GRINN leans into that rather than apologizing for it. Slight variations and small bubbles are inherent to the process rather than defects, and no two pieces are identical. The collection is designed for cold and room-temperature beverages only. Hot liquids and sudden temperature changes should be avoided, a constraint that comes with the soda-lime material rather than any compromise in craftsmanship.

The collection spans five pieces: a Classic Glass, a Highball Glass, a Mug Glass, a Beer Mug, and a Carafe. Each applies the same engineered base geometry to a different vessel, which means the condensation smile works just as well on a glass of morning cold brew, a tall iced cocktail in the evening, or a sweating pitcher set at the center of a table.

The smile isn’t decoration in any traditional sense. It’s a consequence of structure, temperature, and time, a moment that only exists because someone put a cold drink down and waited long enough. Making an ordinary act worth noticing turns out to be a harder design brief than it sounds.

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Five Years, One Bowl, and a Woodturner Who Refused to Quit

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Most of us abandon a project after a few weeks of frustration. Olivier Gomis sat on one for five years, then came back and finished it. The Bowl Curved Pursuit is Gomis’s latest release, a handcrafted woodturning that looks, at first glance, like it was generated by some algorithmic design software rather than made by two hands in a workshop. The curves twist and rotate in a way that feels almost mathematically precise, each wood segment following the one before it in a pattern that spirals elegantly around the bowl’s body. It’s the kind of object that makes you look twice, then a third time, trying to work out how it was actually made. That’s kind of the point.

Gomis, a French woodturner and furniture maker, has been building a reputation for designs that sit right at the edge of what woodworking is supposed to look like. His work doesn’t whisper “rustic” or “farmhouse.” It says something closer to “sculpture” and means it. His portfolio spans coloured pencil vases, massive segmented bowls, and geometric pieces that wouldn’t look out of place in a contemporary design gallery. But the Curved Pursuit feels like a moment of arrival, a design he clearly couldn’t let go of until he got it right.

Designer Name: Oliveri Gomis

The process is deceptively methodical. Gomis built the bowl by gradually stacking and rotating wood pieces before cutting them on a table saw, then mounted the entire structure on a lathe and carved it into its final form. That sequence, stacking, rotating, cutting, turning, sounds simple enough until you consider how much precision is required at every stage. A miscalculation in the rotation angle and the whole pattern collapses into something ordinary. The five-year gap between conception and completion makes a lot more sense once you understand those margins.

What gets me about this bowl is how visible the thinking is. You can trace the logic of the design just by looking at it. The segments aren’t decorative afterthoughts, they’re structural decisions, each one informing the curve that follows. For a piece of functional decor, that’s a rare quality. Most objects in this category are either beautiful or interesting. The Curved Pursuit manages to be both, and does it without trying to explain itself.

The price sits at $372 USD, available to order on commission. That number might give some people pause, but I’d argue it’s almost suspiciously reasonable for what you’re getting. This isn’t a production piece pulled from a conveyor belt. It’s a hand-built object that required five years of problem-solving to even exist. Commissioning one means you’re essentially getting a slice of a very specific creative obsession, which is not something that ends up on most people’s shelves by accident.

There’s also a broader conversation happening here about craft in the age of mass production. We live at a moment when almost anything can be printed, extruded, or manufactured at scale, and yet the appetite for handmade objects keeps growing. Not out of nostalgia exactly, but out of a genuine desire to own something that carries a human fingerprint. Gomis’s work taps directly into that. His YouTube channel documents every step of his process with no shortcuts hidden, which is both a smart move and a generous one. Watching him work makes the finished objects more meaningful, not less. You come away from his videos understanding not just how a piece was made, but why it matters.

The Bowl Curved Pursuit is the kind of design that rewards attention. It doesn’t immediately give everything away. The more you sit with it, the more the geometry reveals itself, the precision, the patience, the particular stubbornness it takes to return to something after five years and finally decide it’s ready. Somewhere between design and craft, between art object and kitchen counter, Gomis has made something genuinely hard to categorize. If that sounds like a compliment, it is.

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