 Mae'n gymorth dyma o'r pryd deisig o'r pryddownad Cymru byrdd til. Mae Ynw yn fawr i'r cyfnod dros Ieithr. Mae dwi'n ei wneud i'n meddwl gydag y gallu cyfnod hwn i ddweud i brinidol a'i gydag yma, a'r hideb i gondol y gondol ni'n meddwl gyrw. Felly mae'n clywed i'ch gyrrwyng – gallu'n meddwl i'r cyfnod, y yr ardal yMA. Mae'r cyfnod uchid wedi ddweud yr ardydd gennym i gynnol i'r cynllun iawn ynnu E Chongwydwyr wedi bod gwneud hynny yn ei wneud rydych chi'n siaradau gwaith. Mae ydych chi'n dweud ffelly o werio'r ddefnyddio a ddaodraethu'r ddaodraeth o werio'r ydych chi'n fyddiol, ac roeddwch yn gwneud pethau yna. Rwy'n ddweud i ddweud am y stael, gw realityd â'u amser yn dweud am y ddyn nhw, ac rwy'n gyd, mae'n debyg ti'n ddim yn rhoi rydych chi'n dweud. I'm going to start by talking about this exhibition which I had recently, which is called A Table or A Tabla, which in fact expresses it better, I think. This was in London and this is a gallery space where I made a display of objects that I've made over the last 10 or 15 years which are concerned with eating, drinking and sharing time together and the idea was during the day we have the exhibition people can come and look at it in a normal kind of way. In fact on the left you see along the table the dinner progressing, you see different things used. On the left you have the starter, on the right you have the dessert so in this way you have kind of a timeline. There are many many objects designed for different people at different times on this table and what I'd like to do is draw your attention to the fact that actually in the evenings this exhibition became a series of dinners and as we zoom in we see a little bit more some of the pieces. But actually what really counts is the fact that all these objects were used, all the cookware that was used in the kitchen, all the items that were used during the dinner were things that we've designed for different people over the years and this moment of sharing, using and enjoying the objects was the key moment. Judging or seeing an object in a gallery situation or in a shop situation is very different from appreciating it in use. So this was very important that I had this dual possibility. So a series of dinners took place and every morning we had to reset up the exhibition which was an enormous amount of work as you can imagine but it was very very interesting because usually the people who came for the dinners which were members of the public were not invited by me, there were people who bought tickets effectively to join the dinners were all different people, they hadn't seen the exhibition during the day most of them so their only experience of the objects was during the dinner. I'm going to pass now on to talking in a little bit more detail about some of the projects and give you a little bit of background about each one. The first is for a very small company, here we see what was actually consumed during the dinner, this is a dessert that was created in this container that was not created to be a dessert container but we improvised for the dinners. The story begins in Wales, it's a very small company who set up recently with the idea that everything they make should be produced locally in Wales which is very nice. There's a lot of resource there that's unknown to most people and in fact there was also support from the local government and he received a grant of £5,000 which is not very much which he was allowed to spend with a small injection moulding company and he approached me and said we have £5,000, we have one tool that we can make with that or we have a certain amount of money that we can do with this money and effectively it's a choice of making one tool. He asked me to design this object for him and this is the object, it's a landscape box, it's a very small box which is inspired by the landscape of Wales. It's like a microenvironment, you can use it for putting treasures, you can use it as an astrate, it's function is not very important really, what is important is the fact that you create this microenvironment that with colour changes and material changes you can make live and more importantly that in fact it's the same tool used twice which is obviously important so there's a technical or functional innovation and the profile of the landscape is such that it's reflected over so you can use the same piece twice and so get more for your money. I mentioned that because it's important to me that not only that there is a story to tell about an object in terms of its design but there is also a story to tell about the creation and if you like technical innovation even if it's small the thinking that goes on behind that people might not even notice when they buy it. It remains a very simple object that is available in different colours. Now on to something quite different, another collaboration this time with T-File, you'll all be familiar with the name who you might know in this context. Most famous perhaps for the non-stick pans but there's a great deal more to the brand and I've been working together with T-File for a number of years on different projects and I think it's even in maybe the last six years I can see how much of a change has taken place within the company in terms of how they approach the projects and what they expect the projects to achieve. This is the first piece of a family called Natura which is a brand or the name of a range of products which was designed around natural cooking in the sense of keeping all the goodness and keeping as much of the good things in your food in. It has also advantages in surface technology which means that you can cook with less fat and so on and so forth so there's a health element and above all in design terms it's something that hopefully reflects the health and nature aspect of the family. It's also 95% recycled or 100% recycled aluminium so there's more to the range here. Each of the products has a little astuce as they say in French to try and make cooking a healthier and easier experience when using these pans. The grill pan for example drains the oil off to one side which can then be poured out very easily so right down to the packaging, recycled card packaging much less it's not a complete box so it's a wrap rather than a complete box recycled vegetable dye inks etc. So what's important, the reason I'm showing you this is that for me industry is very important and these products are bought in the supermarket and there's another project afterwards which is also bought in the supermarket and it's through making incremental and intelligent design at this level that you really begin to have an effect because in terms of affecting the world at large because they sell many many thousands of these products. And that's very satisfying from a designer's point of view. This is another project for them which started in a slightly different way and I'm showing you essentially a synopsis of the brief here. The most important, there's a marketing aspect, there's a production aspect, there's a material aspect which is a recycled PET. But for me as a designer the most important thing was that in the brief I had a specific amount of material I was allowed to use for each typology of object. So you're starting with like a ball of clay if you like and this is how much PET. It's in fact equivalent to about a small water bottle which are recycled into each of these items and I think that's another way around which is a very nice way of approaching a problem. In fact it meant that it was actually very little material bearing in mind what we had to create physically and the sketch is here to illustrate that essentially we were working with a surface that we had to manipulate and form to give strength and comfort and fulfil the function. So it was really, really quite minimal. The results are these which are fairly regular in many senses as in the cooking utensils for everyday purposes that you buy in the supermarket but they are approached in a different way with intelligence and in a way that you would think would be correct in today's world. I'm now going to skip to something completely different which is my own production. I've had an interest in glass for some time and I'm going to show you because on the table you see a lot of glass but although I don't blow the glass myself over a number of years I've worked with different craftsmen and small factories producing things in glass. These were some of the things used in the dinners but more specifically some of the objects, this wine carafe on the left with its matching glass is one that fills from underneath so you put a cork in the neck, you fill it through the funnel area on the top right giving lots of air to the wine, you close it and turn it over ready to be used. For me the importance here is the magic of even with the glass and the carafe is that you have this wine above the cork and you're convinced it's going to leak. Everyone who sees it is waiting for the leak. Occasionally there's a drop but that energy and that tension is what makes it special but it also makes it not a general consumer product so it's one of those things. This is a more recent project along the same line, it's looking at water, it's all about filtration, having worked a lot on wine and consuming alcohol I thought I needed a break so water was what we needed and this is a tower that filters and essentially is a carafe but rather than a plastic filter that you buy in many supermarkets you actually have something with a value that gives the beauty of the water time to speak and that whole process of dripping through is very beautiful. It then stacks up and can be used in different ways. There's a whole family of different items. Perhaps I haven't got time to talk too much about individual projects but this is the catalogue from an exhibition from a couple of years ago which charts a whole series of personal projects that have taken place over the years. At that time over 10 years, 20 years sorry, which was the anniversary of my studio at that point starting with this very early, this was I made for my wedding which was for a shot which was consumed during the wedding and many of these projects were created for specific events and again we're going back to that notion of sitting around the table and creating something for an event. In fact the water family was created for the dinners that you saw at the very beginning, this as part of the same bunch of work on using corks. This again, we're all familiar with the wine box. Unfortunately the quality of the wine is not normally very good but here open up the wine box, remove the potentially very beautiful internal bag from inside and present it in a different way and suddenly you've got a high value product from a very low value product. This again the contents, in this case a clear alcohol crate in this decanter, a magnifying effect which on a table creates magic as the people opposite you or the objects on the table are distorted and magnified. So again all about the experience of using the object which is most important to me. So I'm completely different. This is a coat stand from a French company called Tollics which you will probably be familiar with. This is their factory about two years ago, it's in the Bourgogne region and this is a chair that they're most famous for. It's an interesting story because Tollics was a company that very nearly went bankrupt, was taken over by their accountant who then set up a team of people around her to work on the design and development of new product and although they have this sort of historical strength and a factory that looks like this, how to push that into the future and how to develop this into something that retains value for the brand and historical references but creates something new. It's something I've been involved with for a couple of years. In fact two of the men up here in the picture are Normal Studio, two designers from Paris who are art directors and who manage all the creative input into this company and they invited me to participate. There's new machines, this is all computer controls, cutting and bending machinery which has since been installed. We've worked on different projects, again coat rack with an umbrella stand. In a way this is not so much about the projects, an endless wall, hanging opportunity, rather like tiles, bookshelves that extend as your collection of books or CDs or whatever increases. Very simple products with an idea, a desk which has endless possibilities inside for cable, all the multi plugs, storage etc. It has a sense of its past but at the same time addresses contemporary needs in terms of this is a home office desk. These are four of my own projects but they've done other things which have been very successful and the company has grown enormously. The last time I was there we viewed the new factory which is currently empty or no longer but that time was empty which is absolutely immense. You can really see a genuine result for a manufacturing company based almost exclusively on good design practice and development in real terms. In fact I think this year the director of the company was awarded the legion d'honneur for this achievement and it's a pleasure to be part of that. Last project which is a collaboration with an artist, it's called Callaway, best seen here from the top view. It was a work which I did together with an artist called Sophie Smallhorn, she's a colour artist mainly but now also a consultant. We started with the idea that what if colour was no longer something you added at the end of a project? Which it is today, people design something and say what colour should we make it? What if we treated colour as a material, as a solid material? The first thought was what would we work with and how can we approach a project where colour is solid? It's a solid material we work with, coryan, wood, felt, metals of different kinds. The idea was really to make an object that is a function object that plates essentially. But when they're not being plates they are a totem, if you like, a pile of plates in simplistic terms. That becomes a composition that you don't need to tidy away in your cupboard but you're happy to leave it out. The idea is really that the more you use it, there's no danger of it chipping off because it's a paint finish or a glaze. It's a solid material so the more you use it the better it becomes and the more you want to use it. It's interesting that actually I'm now noticing that here we presented it as play settings but we've kind of gone full circle and we started with a table setting and we've now finished back with a table setting. This was where it was first exhibited at Sachi Gallery last year. That is the end of my presentation. If you have any questions I'd be very happy to take any questions.