I love my work and that appreciation makes me want to give back. That's simply why we created Botanist. Inspiration for the simple forms came from the notion of "blank canvas". Maximum surface area while creating a functional, strong and modular system of nest-able geometries was the goal.

Burst of creativity, of self-expression and ideas is what drives us as creatives, so, how does this idea get expressed in a simple visual? We took a literal pattern of an explosion, and reduced it to square pixels...the offsets and size variations creating an abstract, yet recognizable shape of a burst.

This design is an expression of the freedom of flight. The shapes are biomorphic and abstract- birds, but not birds. They scatter across the curved surfaces like leaves blown by the breeze, random, chaotic, joyful. The colors are earth tones, the color of plains, forests and deserts, the color of the land beneath the sky and the cycle of the seasons.

Milton Glaser (born June 26, 1929) is a graphic designer, best known for the I Love New York logo,[1] his "Bob Dylan" poster, and the "DC bullet" logo used by DC Comics from 1977 to 2005. He also founded New York Magazine with Clay Felker in 1968.

I call my design "Unlock the Cure". Cancer has affected far too many people in my life and I'm committed to doing something about it. The cure is out there, we just need to find the key. The light-reflective and luminous quality of the metallic finish symbolizes hope and optimism.

I have always found the intersection of the technical and natural to be fascinating; it highlights the possibilities of human achievement and alludes to the playfulness and casual beauty of nature.

Historically, decoration was used as a form of language, as well as a means of denoting the possibility of the human hand, the richness of craft, the workmanship of a period. With automation and the industrial revolution decoration was developed to carry on the spirit of the past, and a way of humanizing industrial objects.

The concept is my expression of the beauty of life. I chose a delicate and elegant branch with dew dropping off of it to represent earth, water and life.

We decided to take the three basic ways of setting type as inspiration, flash left (for the long bench) Centered (for the middle one) and justified (for the table) so we played the usual interaction between design fields.... We were not interested in flowery patterns, so the lines were natural for us. Pure and simple.

The "No ornamentation" series comments on the systematic overuse of ornamentation in contemporary furniture. The resurgence of decorative elements has been a welcome change from the unflinching minimalism of the early 2000's but it has also given birth to an array of products that have used such ornamental surface treatments merely to cover up their mediocrity.