{"title":"NUUTAJÄRVI","description":"","products":[{"product_id":"bubble-vase-sh122","title":"\"BUBBLE\" VASE SH122","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This piece is named \"BUBBLE.\"\u003cbr\u003e\n    It was designed in 1955 and manufactured from 1956 to 1961.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    It is an art piece with an inner casing of blue-violet colored glass and air bubbles of turquoise colored glass encased in the lower part.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is \"S. Hopea Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    Manufactured in 1961.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"BLUE \/ SRHP440","offer_id":48501999960304,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP440_1.jpg?v=1765535143"},{"product_id":"candle-holderyellow-sh133","title":"CANDLE HOLDER (YELLOW) SH133","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n  \u003cp\u003e\n    This candle holder was designed in 1958 and manufactured between 1958 and 1960.\u003cbr\u003e\n    It is a heavy glass art piece with ground and polished yellow cased glass.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The yellow colored glass extends from the outer bottom to about 70% of the way up, with the rest being clear glass.\u003cbr\u003e\n    The appearance changes with the angle due to light reflection and refraction.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The cut signature is 'S.Hopea Nuutajärvi Notsjö -58', indicating it was manufactured in 1958.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003e\n  She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003e\n  The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003e\n  Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003e\n  From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP408","offer_id":48503046373616,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP408_1.jpg?v=1765536644"},{"product_id":"srhp443","title":"BOWL(CLEAR) 1367-130","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eSaara Hopea’s glass bowl, designed in 1952.\u003c\/p\u003e\n\u003cp\u003eA simple mold-blown bowl produced in four size variations. Sizes other than the 110 mm version were made only in clear glass. In 1955, Kaj Franck designed a teak tray to accompany the 110 mm bowl, and the combination was also sold as an hors d’oeuvre tray.\u003c\/p\u003e\n\u003cp\u003eThis example is the 130 mm bowl, the second-smallest size. A rare model.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"CLEAR \/ SRHP443","offer_id":48503902601456,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP443_1.jpg?v=1765537793"},{"product_id":"veikko-beer-glassmoss-green-2142","title":"\"VEIKKO\" BEER GLASS (MOSS GREEN) 2142","description":"\u003c!-- 上段：商品説明 --\u003e\n\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the 'VEIKKO' stemware series, designed in 1959, Saara Hopea's last year at Nuutajärvi.\u003cbr\u003eIt is one of the many stemware pieces designed by Saara Hopea.\u003cbr\u003eDespite its simple design, the gently curved cup and the stem, which is neither too thin nor too thick and extends straight, give it the elegant appearance characteristic of her work.\u003c\/p\u003e\n\u003cp\u003eIt is said to have been manufactured from 1959 to 1967, but due to the small number of existing pieces, it is presumed that the actual manufacturing period was shorter.\u003cbr\u003eThe capacity is approximately 500ml when filled to the brim.\u003c\/p\u003e\n\u003cp\u003eThis is a rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work.\u003cbr\u003eShe studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi.\u003cbr\u003eThe excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life.\u003cbr\u003eHer work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design.\u003cbr\u003eFrom 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"GREEN \/ SRHP411","offer_id":48503993270512,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP411_1.jpg?v=1765538003"},{"product_id":"punch-ladle-1927-210mm","title":"PUNCH LADLE 1927 210mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963, and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook onto the rim of the bowl.\u003cbr\u003eIn 1963, a punch glass (1736) was designed, and this design was carried over to its handle.\u003cbr\u003eA rare item.\u003cbr\u003eImage 9, right.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1791","offer_id":48590636515568,"sku":null,"price":14850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1791_1.jpg?v=1765779796"},{"product_id":"punch-ladle-1927-195mm","title":"PUNCH LADLE 1927 195mm","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA glass ladle designed in 1960 and manufactured from 1961 to 1963 and from 1972 to 1973.\u003cbr\u003eThe free-blown handle is fused to the mold-blown bowl.\u003cbr\u003eThe end of the handle is curled to hook over the rim of the bowl.\u003cbr\u003eIn 1963, a glass punch bowl (1736) was designed, incorporating this handle design.\u003cbr\u003eA rare item.\u003cbr\u003eLeft side of image 9.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1891","offer_id":48590913274096,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1891_1_9c554415-df22-4370-a1eb-49433fcc1006.jpg?v=1765780222"},{"product_id":"kremlin-bell-kf500-1500","title":"\"KREMLIN BELL\" KF500\/1500","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1957 and manufactured from 1957 to 1968. This is one of Kaj Franck's representative works and was one of the pieces exhibited when he won the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eInitially designed as an everyday product, its beautiful form and high degree of perfection led to its sale as an art piece after 1960. For this reason, two product numbers exist: \"1500\" for items up to 1959 and \"KF500\" for items from 1960 onwards.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a composition where function and form beautifully merge, designed to hold alcohol in the upper bottle and water in the lower carafe.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature is \"Nuutajärvi Notsjö\".\u003cbr\u003eThis particular piece was manufactured between 1965 and 1968, based on the cut signature.\u003cbr\u003eWhen held up to the light, slight water stains can be seen in the bottle section, but there is no noticeable damage, and the overall condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1869","offer_id":48591997206768,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1869_1.jpg?v=1765781711"},{"product_id":"object","title":"ITEM","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eIt has a Nuutajärvi sticker, but no cut signature.\u003cbr\u003eIt is probably a prototype.\u003cbr\u003eBased on the feel of the glass and the style of the work, it is presumed to be by Oiva Toikka.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA049","offer_id":48594873876720,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA049_1.jpg?v=1765866119"},{"product_id":"vase","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no clear evidence regarding Nuutajärvi Boutique, based on various information currently available, it is presumed to be prototypes or works created for events that were sold only at the Nuutajärvi gallery\/shop in Helsinki during the 1970s.\u003cbr\u003eThe works feature a special sticker with a pink logo and \"Boutique\" printed in silver, and do not have cut signatures.\u003cbr\u003eIt is believed that this was also an opportunity to gauge reactions and receive feedback on the works purely as art, through the sale of prototypes without revealing the designers' names.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece consisting of stacked cubes of different sizes.\u003cbr\u003eJudging from the style and later announced works, this piece is likely designed by Oiva Toikka.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA048","offer_id":48594875646192,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA048_1.jpg?v=1765866364"},{"product_id":"paperweight","title":"Paperweight","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A work designed by Oiva Toikka.\u003cbr\u003e\n    A paperweight with two cast glass pieces (only one side features a fish motif) welded together using the same manufacturing method as the OT1 (FISH) designed in 1964, with a polished surface finish.\u003cbr\u003e\n    The cut signature is \"Nuutajärvi Notsjö.\"\u003cbr\u003e\n    Based on the cut signature and the Nuutajärvi sticker, it is presumed to have been manufactured between 1965 and 1970.\u003cbr\u003e\n    A rare item.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\n  \u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\n  \u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\n  \u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\n  \u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\n  \u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA047","offer_id":48594876301552,"sku":null,"price":121000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA047_1.jpg?v=1765866545"},{"product_id":"gobletunique-piece","title":"GOBLET (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA unique goblet by Oiva Toikka.\u003cbr\u003eWhile details are unknown, the glass is similar to that used in IGLU (1973), PUTELI (1975), and PIENNAR (1975), characterized by its coarse bubbles.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eOiva Toikka received the Lunning Prize in 1970, and with the prize money, he embarked on a four-month journey, traveling through East Africa (Kenya, Tanzania, Uganda) and subsequently Central and South America (Brazil, Ecuador, Mexico, Peru).\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis glass was inspired by the glass he saw in Mexico, which was made from impure materials using primitive equipment.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt is presumed to have been designed between 1973 and 1975.\u003cbr\u003eThe cut signature is \"Oiva Toikka Nuutajärvi Notsjö.\"\u003cbr\u003eThis is an extremely rare item.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"WHITE \/ OIVA044","offer_id":48594877153520,"sku":null,"price":275000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA044_1.jpg?v=1765866721"},{"product_id":"vasegrey-1425-190","title":"VASE (GRAY) 1425-190","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA vase designed in 1954. In the same year, Kaj Franck began designing geometric glass items that harmonized with his Kilta series, which he released from Arabia in 1953, at Nuutajärvi, a group company where he served as director. In 1954, he designed the most products in his career based on these geometric forms.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe 1425 was released in three variations of height and two variations of body diameter. It features a geometric form combining a cylinder and a cone, and a characteristic design with a mountain-shaped protrusion at the bottom. It was manufactured using the mold-blown (swirled-blown) technique, so there are individual differences in size and glass thickness.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eA rare item.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e*There are some minor scratches, but it is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1863","offer_id":48639500255472,"sku":null,"price":41250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1863_1.jpg?v=1766907548"},{"product_id":"vaseyellow-1425-140","title":"VASE (YELLOW) 1425-140","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A vase designed in 1954.\n    In the same year he became director, Kaj Franck began designing geometric glassware at Nuutajärvi, a group company, to harmonize with the Kilta series he launched from Arabia in 1953.\n    1954 was the year he designed the most products based on this geometric form in his career.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The 1425 was available in three heights and two body diameters.\n    It features a geometric form combining a cylinder and a cone, and a characteristic design with a mountainous projection at the bottom.\n    It was manufactured using the mold-blown (swirl-blown) technique, and there are individual differences in size and glass thickness.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Rare item.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    *Although there are minor scratches, it is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"YELLOW \/ KFGL1537","offer_id":48639500714224,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1537_1.jpg?v=1766907665"},{"product_id":"tumblerclear-5023-006","title":"TUMBLER (CLEAR) 5023-006","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing pressed glass immediately after moving from Iittala to Nuutajärvi in 1950.\u003cbr\u003e\n    The 5023 series was Kaj Franck's first pressed glass series, commercialized in 1953.\u003cbr\u003e\n    It was manufactured from 1953 to 1968 and was available in three size variations.\u003cbr\u003e\n    Along with KILTA, which he designed at Arabia, a group company at the time, it was used in advertisements as a product embodying \"more beautiful everyday items.\"\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a 60ml clear glass version of the 5023.\u003cbr\u003e\n    Initially, the precision of Nuutajärvi's pressed glass machine molds was insufficient, making manufacturing with clear glass difficult.\u003cbr\u003e\n    The 5027, also made of pressed glass and released in 1956, was designed with clear glass manufacturing in mind. It is presumed that the pressed glass machine and molds were renewed at this time, enabling the production of clear glass 5023 as well.\u003cbr\u003e\n    However, due to the rarity of individual pieces, it is thought that production was for a short period.\u003cbr\u003e\n    It is a rare item.\u003cbr\u003e\n    *It has minor scratches, but is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"CLEAR \/ KFGL1843","offer_id":48639557271792,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1843_1.jpg?v=1766909292"},{"product_id":"tumblerblue-1722-012","title":"TUMBLER (BLUE) 1722-012","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eManufactured from 1955 to 1971.\u003cbr\u003eA simple cylindrical tumbler made by blow molding.\u003cbr\u003eThis is the second smallest size among the five variations, with a capacity of 120ml.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1748","offer_id":48639562514672,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1748_1.jpg?v=1766909416"},{"product_id":"plateyellow-5268-140","title":"PLATE (YELLOW) 5268-140","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eManufactured from 1954 to 1967.\u003cbr\u003eThis was Kaj Franck's first pressed glass plate, introduced in 1954 along with the square-shaped 5269.\u003cbr\u003eThe form is similar to the KILTA series plate released by Arabia in 1953.\u003cbr\u003e*In good condition with minimal signs of use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"YELLOW \/ KFGL1328","offer_id":48639569821936,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1328_1.jpg?v=1766909696"},{"product_id":"soap-bubble-vasegrey-l-kf113","title":"\"SOAP BUBBLE\" VASE (GREY) L KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1951 and manufactured from 1951 to 1961. One of the earliest art glass pieces designed at Nuutajärvi.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis vase, named \"SOAP BUBBLES,\" features a simple form with slight irregularities, crafted from thin glass shaped by free-blowing. The piece stands out for its delicate design, emphasizing the texture and transparency of the material itself.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt was also exhibited at the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957. This is the larger of the two sizes produced.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut signature reads 'K. Franck Nuutajärvi Notsjö -61.'\u003cbr\u003eThis particular piece was manufactured in 1961.\u003cbr\u003e*There are no noticeable damages, and it is in good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1800","offer_id":48640577896688,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1800_1.jpg?v=1766920823"},{"product_id":"soap-bubble-vasegrey-kf113","title":"“SOAP BUBBLE” VASE (GREY) KF113","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Designed in 1951 and manufactured from 1951 to 1961.\n    One of the earliest art glass pieces designed at Nuutajärvi.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Named \"SOAP BUBBLES,\" this vase features a thin glass in a simple, slightly irregular form, shaped by mouth-blowing.\n    It is a work that highlights the texture and transparency of the material itself within its light form.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This piece was also exhibited in the \"Design in Scandinavia\" exhibition, which toured North America from 1954 to 1957.\n    This is the smaller of the two sizes produced.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The cut signature is \"K. Franck Nuutajärvi Notsjö -61.\"\u003cbr\u003e\n    This particular piece was manufactured in 1961.\u003cbr\u003e\n    *There are no noticeable damages, and it is in good condition.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREY \/ KFGL1360","offer_id":48640586121456,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1360_1.jpg?v=1766920972"},{"product_id":"black-swanunique-piece","title":"BLACK SWAN (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, started to be manufactured in Nuutajärvi in the late 1850s, following the technique of Venetian glass. Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi filigree glass is made by carefully arranging thin, elongated rods of colored glass in a wooden mold with grooves carved on the inside. Transparent glass is then blown into it and fused, while twisting it to form its shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their placement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece of a black swan made of black filigree glass. The cut signature is \"K. Franck Nuutajärvi Notsjö\". There are no noticeable damages, and the condition is good.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLACK \/ KFGL1670","offer_id":48640871170288,"sku":null,"price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1670_1.jpg?v=1766929956"},{"product_id":"vaseunique-piece","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Filigree glass, which followed Venetian glass techniques, began to be manufactured in Nuutajärvi in the late 1850s.\n    Kaj Franck started working on this technique, which had once ceased, in the early 1950s, and revived it in 1961.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Nuutajärvi's filigree glass is formed by carefully arranging thin, stretched rods of colored glass into a wooden mold with grooves carved on the inside,\n    then blowing transparent glass into it, fusing it, and twisting it.\n    Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    This is a unique piece combining bubbly glass and filigree glass.\n    The cut signature reads \"Kaj Franck Nuutajärvi Notsjö 17.9.1975.\"\n    It was manufactured on September 17, 1975.\n    Normally, the manufacturing date is not included in the cut signature, so it is presumed to be a work with a special background.\n    *No noticeable damage; in good condition.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BROWN \/ KFGL831","offer_id":48640872481008,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL831_1.jpg?v=1766930153"},{"product_id":"vaseunique-piece-1","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eFiligree glass, manufactured at Nuutajärvi starting in the late 1850s, followed the Venetian glass technique. This technique was once discontinued, but Kaj Franck began working on it in the early 1950s and revived it in 1961.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eNuutajärvi's filigree glass is made by carefully arranging thin, elongated rods of colored glass into a wooden mold with grooves carved inside. Transparent glass is then blown into the mold and fused while twisting it into shape. Kaj Franck himself meticulously selected everything from the color and thickness of the glass rods to their arrangement.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a unique piece combining bubbly glass and filigree glass. Like KF212, the bottom is raised in a mountainous shape. The cut signature is \"Kaj Franck Nuutajärvi Notsjö\". *Although it is difficult to see in the image, there is an area on the inner surface of the mid-section that has burst along a line. This is presumed to be from the time of manufacture. It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"WHITE \/ KFGL1021","offer_id":48640874086640,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1021_1.jpg?v=1766930297"},{"product_id":"vaseunique-piece-2","title":"VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck is best known for his functional products based on simple, undecorated geometric forms, yet he also designed a considerable number of unique art glass pieces employing a wide range of techniques.\u003c\/p\u003e\n\u003cp\u003eIn 1956, he remarked that the continued simplification of form alone would not lead to further artistic development, and spoke of the need for designs and works not bound by use. In 1958, he expressed a related idea, suggesting that once simplification had been taken to its limit, one began to long instead for the richness of form. These ideas led to an interest in freer sculptural expression, distinct from functional product design, and also informed his work in unique pieces.\u003c\/p\u003e\n\u003cp\u003eThis example shares the same form as Goblet N540, an art piece produced from 1972 to 1978, but is a unique piece that differs from the standard color variations. The upper section combines clear glass with a metallic champagne-gold material, the middle section is in clear glass, and the lower section is made of clear glass containing minute bubbles.\u003c\/p\u003e\n\u003cp\u003eSigned “Kaj Franck Nuutajärvi Notsjö.”\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GOLD \/ KFGL832","offer_id":48640876871920,"sku":null,"price":330000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL832_1.jpg?v=1766930540"},{"product_id":"vase-3","title":"Vase","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eWhile there is no definitive evidence regarding the Nuutajärvi Boutique, based on various information currently available, it is presumed to have been a collection of prototypes and event-specific pieces sold only at the Nuutajärvi gallery\/shop in Helsinki in the 1970s.\u003cbr\u003eThese pieces were affixed with a special sticker featuring a pink logo and \"Boutique\" printed in silver, and they did not have a cut signature.\u003cbr\u003eIt is also thought that this was an opportunity to obtain reactions and feedback on the works as pure art, through the sale of prototypes without revealing the designer's name.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a large piece, approximately 40 cm in height.\u003cbr\u003eJudging from the style and later announced works, this piece is believed to be designed by Oiva Toikka.\u003cbr\u003e* There is a repair under a glass-covered section at the bottom.\u003cbr\u003eSince it is not a location prone to damage, it is believed to have occurred during manufacturing.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"BROWN \/ OIVA050","offer_id":48641389822192,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA050_1.jpg?v=1766973333"},{"product_id":"oval-vaseunique-piece","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this glass piece was one of only a few glass works exhibited.\u003cbr\u003eThe heavy, thick glass has a soft texture with a white interior and clear exterior, and is entirely frosted.\u003cbr\u003eIt was designed to harmonize with the graphical patterns of the fabrics, and its elliptical form, with gentle curves, appears to capture the movement of the fabric.\u003cbr\u003eThis work also suggests an experimental sculptural approach that led to KIVI, designed two years later in 1987, which became one of Heikki Orvola's most iconic works.\u003cbr\u003eThe cut signature is \"Heikki Orvola Nuutajärvi.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"WHITE \/ HOGL004","offer_id":48703108677872,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL004_1.jpg?v=1768014431"},{"product_id":"oval-vaseunique-piece-1","title":"OVAL VASE (UNIQUE PIECE)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eThis is a unique piece that was presented at a solo exhibition held at the Kluuvin Gallery in Helsinki in 1985.\u003cbr\u003eThis solo exhibition primarily featured fabrics designed for MARIMEKKO, and this is one of the few glass pieces that were exhibited.\u003cbr\u003eIt features a soft texture with a frosted finish on thick, weighty blue glass.\u003cbr\u003eDesigned to harmonize with the graphical patterns of the fabrics, it is an elliptical piece with gentle curves, as if capturing the movement of the fabric.\u003cbr\u003eIt also shows an experimental sculptural quality that would lead to KIVI, one of Heikki Orvola's most famous works, which was designed two years later in 1987.\u003cbr\u003eThe cut signature reads, \"Heikki Orvola Nuutajärvi.\"\u003cbr\u003eThe sticker marked \"14\" is the exhibit number from the exhibition.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eHEIKKI ORVOLA | 1943– | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola is a Finnish designer. He studied ceramics at the University of Industrial Arts in Helsinki under Kyllikki Salmenhaara. In 1968, during his final year of study, he joined Nuutajärvi as a summer intern to learn glassmaking, and two of his pressed-glass ashtrays, Omena and Norsuntassu, were soon put into production. Although he had already secured a position at Arabia, Kaj Franck invited him to stay on at Nuutajärvi, where he began his career as a designer. At the time, both Arabia and Nuutajärvi were part of the Wärtsilä group, and Kaj Franck served as art director for both companies.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eHeikki Orvola remained at Nuutajärvi until 1983, designing numerous products as well as art pieces. He later continued to work as a freelance designer across a wide range of fields, creating enamelware for Järvenpää Emali, ceramics for Arabia, and textiles for Marimekko. In the 1980s, Heikki Orvola also explored textile work and embroidery as part of his own artistic practice, further developing the decorative and graphic qualities of his expression.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eAt his alma mater, Heikki Orvola taught ceramic and glass design for many years, helping to guide the next generation of designers. His many honors include First Prize in the student category at the Faenza International Ceramic Art Competition, the Pro Finlandia Medal, and the Kaj Franck Prize.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"HEIKKI ORVOLA","offers":[{"title":"BLUE \/ HOGL005","offer_id":48703307120880,"sku":null,"price":82500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HOGL005_1.jpg?v=1768014825"},{"product_id":"oiva051","title":"CANDLE HOLDER","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA substantial candle holder by Oiva Toikka.\u003cbr\u003eThe thick clear glass is hollow inside, with two parts—the holder and the base—joined together, and the bottom is polished.\u003cbr\u003eNo cut signature is visible, but a rare sticker remains, marked \"Nuutajärvi Notsjö Oiva Toikka.\"\u003cbr\u003eBased on the style and the sticker, it is presumed to have been manufactured in the 1970s.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eOIVA TOIKKA｜1931–2019｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOiva Toikka was a Finnish designer and artist.\u003c\/p\u003e\n\u003cp\u003eHe studied ceramics at the Institute of Industrial Arts (Taideteollinen oppilaitos) under Elsa Elenius.\u003c\/p\u003e\n\u003cp\u003eAfter graduating in 1956, he began his career as a designer at Arabia and transferred to the art department six months later. In 1958 he held his first solo exhibition, presenting works including humorous and powerful animal motifs. The exhibition was well received and brought a fresh perspective to the Finnish ceramics scene of the time.\u003c\/p\u003e\n\u003cp\u003eIn 1959 he left Arabia to support his family and continued his design activities while teaching at several schools. In 1963 he joined Nuutajärvi as a glass designer, where he worked for many decades until 2019.\u003c\/p\u003e\n\u003cp\u003eFrom serial products to unique pieces, Toikka brought rich narratives and free imagination to the medium of glass. While Nordic design was often characterized by functionalism and rationality, he pursued forms that embraced humor, fantasy and elements of chance.\u003c\/p\u003e\n\u003cp\u003eHis activities extended far beyond ceramics and glass to include textile print design, graphic design, exhibition design and work for opera and stage productions.\u003c\/p\u003e\n\u003cp\u003eHis many honors include the Lunning Prize (1970), the Pro Finlandia Medal (1980), and the Kaj Franck Design Prize (1992).\u003c\/p\u003e\n\u003c\/div\u003e","brand":"OIVA TOIKKA","offers":[{"title":"CLEAR \/ OIVA051","offer_id":48726274474224,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/OIVA051_1.jpg?v=1768391983"},{"product_id":"kfgl1576","title":"PITCHER(TURQUOISE) 1609","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA model designed in 1954 and manufactured from 1955 to 1965. Initially, it had a slightly tapered shape, but when it was sold as a gift set with tumbler 2744 in 1955, the design was changed to a straight shape to fit into a cylindrical package.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe handle-less structure was intended for rationality, such as cost reduction through simplified manufacturing processes, reduced risk of damage, and space-saving during transport and storage. It is a pitcher that embodies functional beauty, derived from problem-solving.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIt is formed by blow molding (swirl blowing), and individual differences can be seen in size, glass thickness, and spout shape.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eOne of a series that won the Grand Prix at the 1957 Milan Triennale.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"TURQUOISE \/ KFGL1576","offer_id":48854715334896,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1576_1.jpg?v=1771587261"},{"product_id":"kfgl1577","title":"PITCHER(BLUE) 1609","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A model designed in 1954 and manufactured from 1955 to 1965.\n    Initially, it had a slightly tapered shape, but when it was sold as a gift set with tumbler 2744 in 1955, the design was changed to a straight shape to fit into a cylindrical package.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The handle-less structure was intended to rationalize manufacturing processes, reduce costs, lower the risk of breakage, and save space during transport and storage.\n    This pitcher embodies functional beauty, derived from problem-solving.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    It is formed by blow molding (swirl blowing), and individual differences can be seen in size, glass thickness, and spout shape.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    One of a series that won the Grand Prix at the Milan Triennale in 1957.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1577","offer_id":48854732833008,"sku":null,"price":44000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1577_1.jpg?v=1771587910"},{"product_id":"kfgl1940","title":"PITCHER(RED) 1610","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A model designed in 1954 and manufactured from 1955 to 1966.\u003cbr\u003e\n    The design further developed the ease of holding from pitcher 1609, with two inverted cones stacked on top of each other, and the constriction in the middle serving as a handle.\u003cbr\u003e\n    The handle-less structure was intended to rationalize manufacturing by reducing costs through simplified production processes, mitigating the risk of breakage, and saving space during transport and storage.\u003cbr\u003e\n    This pitcher embodies functional beauty derived from problem-solving.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    It is formed by blow molding (revolving blow molding), and individual differences can be seen in size, glass thickness, and spout shape.\u003cbr\u003e\n    *There is one small chip on the rim, but otherwise, it is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"RED \/ KFGL1940","offer_id":48870274138352,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1940_1.jpg?v=1771667664"},{"product_id":"kfgl1524","title":"PITCHER(SKY BLUE) 1610","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A model designed in 1954 and manufactured from 1955 to 1966.\u003cbr\u003e\n    Its design further improved on the ease of holding of the 1609 pitcher, with two inverted cones stacked on top of each other, and the constriction in the middle serving as a handle.\u003cbr\u003e\n    This handle-less structure was intended for rationality, aiming for cost reduction through simplified manufacturing processes, reduced risk of breakage, and space saving during transport and storage.\u003cbr\u003e\n    It is a pitcher that embodies functional beauty derived from problem-solving.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    It is formed by blow molding (rotary blow molding), and individual differences can be seen in size, glass thickness, and spout shape.\u003cbr\u003eRare color.\u003cbr\u003e\n    *There is one small ding at the bottom, but otherwise it is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1524","offer_id":48870276989168,"sku":null,"price":46750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1524_1.jpg?v=1771667838"},{"product_id":"kfgl1374","title":"PITCHER(MOSS GREEN) 1610","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This model was designed in 1954 and manufactured from 1955 to 1966.\u003cbr\u003e\n    Its design further improved upon the ease of holding of the 1609 pitcher, by inverting two cones and stacking them, with the constriction in the middle serving as the handle.\u003cbr\u003e\n    The handle-less structure was intended to be rational, aiming for cost reduction through simplified manufacturing processes, reduced risk of breakage, and space savings during transport and storage.\u003cbr\u003e\n    It is a pitcher that embodies functional beauty derived from problem-solving.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    It was formed by blow molding (rotational blowing), and individual differences can be seen in size, glass thickness, and spout shape.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREEN \/ KFGL1374","offer_id":48870277382384,"sku":null,"price":46750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1374_1.jpg?v=1771667989"},{"product_id":"kfgl2003","title":"PITCHER(BLUE) 1621 EARLY MODEL","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    A model designed in 1955 and manufactured from 1955 to 1968.\u003cbr\u003e\n    Following the success of the KILTA series launched by Arabia in 1953, Kaj Franck began to incorporate simple geometric forms into his designs at Nuutajärvi as well.\u003cbr\u003e\n    This pitcher, a combination of a sphere and a cylinder, is one such example.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Around the mid-1960s, the design was changed to a more stable form with a slightly wider sphere, but this is an early model.\u003cbr\u003e\n    The handle-less structure was intended to be rational, reducing costs through simplified manufacturing, mitigating the risk of breakage, and saving space during transport and storage.\u003cbr\u003e\n    It is a pitcher that embodies functional beauty, born from problem-solving.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    It is formed by blow molding (swirl blowing), and individual differences can be seen in size, glass thickness, and spout shape.\u003cbr\u003e\n    *It is in good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL2003","offer_id":48875358519536,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL2003_1.jpg?v=1771740282"},{"product_id":"kfgl1927","title":"“TOIVE” TUMBLER SET 2744-020","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eA gift box set designed in 1954 and released in 1955.\u003cbr\u003eNamed \"TOIVE PAKKAUS\" (Box of Wishes), this gift box was inspired by cylindrical marmalade packaging and designed in collaboration with Saara Hopea.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eUntil then, transparent packaging that allowed the contents to be seen was common, but this closed packaging, which concealed its contents, was a groundbreaking design at the time.\u003cbr\u003eThe cylindrical paper packaging not only surprised purchasers with its invisible, graphical design but also played a crucial role in efficiently storing conical products and protecting them during transport and storage.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eA set of six 2744 (200ml) tumblers, designed in 1953 using the mold-blown (rotational-blown) method.\u003cbr\u003eThere may be individual differences in size and glass thickness.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e※The glasses are in good condition with no noticeable damage. From the time of manufacturing, a portion of the rim of the BLUE VIOLET glass is slightly curved inward.\u003cbr\u003eThe box has some yellowing and marks where tape was removed, but the printed colored areas show no fading, and overall it is in good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"MULTI COLOR \/ KFGL1927","offer_id":48883129778416,"sku":null,"price":88000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1927_1.jpg?v=1771826771"},{"product_id":"kfgl1716","title":"TUMBLER(LILAC) 2744-020","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"LILAC \/ KFGL1716","offer_id":48883136921840,"sku":null,"price":9900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1716_1.jpg?v=1771827568"},{"product_id":"kfgl1708","title":"TUMBLER(YELLOW GREEN) 2744-020","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck, driven by the philosophy of designing essentials for postwar life, began designing ceramics at Arabia in 1946 and glass at Nuutajärvi in 1950.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the Tumbler 2744, designed in 1953 and made by mold-blowing (rotation blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both released in the same year, these products represent the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    This is a rare color for the Tumbler 2744.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREEN \/ KFGL1708","offer_id":48883140493552,"sku":null,"price":10450.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1708_1.jpg?v=1771828347"},{"product_id":"kfgl2007","title":"TUMBLER(YELLOW) 2744-020","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"YELLOW \/ KFGL2007","offer_id":48883143114992,"sku":null,"price":9900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL2007_1.jpg?v=1771828592"},{"product_id":"kfgl1650","title":"TUMBLER(RED) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"RED \/ KFGL1650","offer_id":48883148751088,"sku":null,"price":11000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1650_1.jpg?v=1771829326"},{"product_id":"kfgl1351","title":"TUMBLER(LILAC) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"LILAC \/ KFGL1351","offer_id":48883174375664,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1351_1.jpg?v=1771829446"},{"product_id":"kfgl1657","title":"TUMBLER(LILAC) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"LILAC \/ KFGL1657","offer_id":48883183124720,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1657_1.jpg?v=1771829557"},{"product_id":"kfgl1973","title":"TUMBLER(PURPLE) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck, driven by the philosophy of designing essentials for postwar life, began designing ceramics at Arabia in 1946 and glass at Nuutajärvi in 1950.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the Tumbler 2744, designed in 1953 and made by mold-blowing (rotation blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both released in the same year, these products represent the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    This is a rare color for the Tumbler 2744.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"LILAC \/ KFGL1973","offer_id":48883230310640,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1973_1.jpg?v=1771829668"},{"product_id":"kfgl1653","title":"TUMBLER(BLUE VIOLET) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1653","offer_id":48883297648880,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1653_1.jpg?v=1771829852"},{"product_id":"kfgl1969","title":"TUMBLER(VIOLET) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eKaj Franck started designing ceramics at Arabia in 1946 and glass at Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is the Tumbler 2744, designed in 1953 and made by mold blowing (rotary blowing).\u003cbr\u003eTogether with the KILTA series for Arabia and the press-glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eManufactured from 1953 to 1967.\u003cbr\u003eThere are individual differences in size and glass thickness.\u003cbr\u003eThis is a rare color for Tumbler 2744.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFGL1969","offer_id":48883325370608,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1969_1.jpg?v=1771829980"},{"product_id":"kfgl1658","title":"TUMBLER(TURQUOISE) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"TURQUOISE \/ KFGL1658","offer_id":48883405652208,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1658_1.jpg?v=1771830231"},{"product_id":"kfgl1683","title":"TUMBLER(MOSS GREEN) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"GREEN \/ KFGL1683","offer_id":48883434356976,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1683_1.jpg?v=1771830328"},{"product_id":"kfgl1965","title":"TUMBLER(YELLOW) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"YELLOW \/ KFGL1965","offer_id":48883477774576,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1965_1.jpg?v=1771830564"},{"product_id":"kfgl1944","title":"TUMBLER(SMOKE) 2744-009","description":"\u003cdiv class=\"black-text-01\"\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Kaj Franck started designing ceramics for Arabia in 1946 and glass for Nuutajärvi in 1950, with the philosophy of designing essentials for post-war life.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    This is the tumbler 2744, designed in 1953, made by blow-molding (rotation-blowing).\u003cbr\u003e\n    Together with the KILTA series for Arabia and the pressed glass 5023 series for Nuutajärvi, both launched in the same year, this product marks the starting point of Kaj Franck's geometric forms and functionalist design.\u003c\/p\u003e\n  \u003cp class=\"ex-text-01\"\u003e\n    Manufactured from 1953 to 1967.\u003cbr\u003e\n    There are individual differences in size and glass thickness.\u003cbr\u003e\n    *In good condition with no noticeable damage.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, and during his studies visited the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys. In 1934, he briefly worked as a draughtsman at Riihimäki Glassworks. His work was disrupted during the Second World War, but this period played a role in shaping the socially conscious approach that would later define his work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company, where he was tasked with redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer dedicated specifically to utility ware, and Franck became the first to take on this role. As he had no formal training in ceramics, he was regarded as someone capable of approaching tableware from a fresh perspective, unbound by established conventions. In 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he moved there, where he began designing glassware based on the same principles he had pursued at Arabia, later serving as artistic director.\u003c\/p\u003e\n\n  \u003cp\u003eOften described as the “conscience of Finnish design,” Franck’s philosophy was rooted in the ideas of “design for the people” and the social responsibility of the designer. His work is characterized by simple geometric forms and the use of color without ornamentation, resulting in timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\n  \u003cp\u003eAmong his most iconic works are the KILTA series (now known as TEEMA) for Arabia and the 5027 tumbler series (later marketed as KARTIO) for Nuutajärvi, both designed in the 1950s and still in production by Iittala today. KILTA in particular introduced a radically new approach: instead of fixed dinner services, it allowed users to select and combine individual pieces according to their needs, redefining the concept of tableware and setting the direction for modern tableware design.\u003c\/p\u003e\n\n  \u003cp\u003eAt the same time, Franck also produced numerous unique glass works at Nuutajärvi, especially from the 1970s onward, exploring more experimental and craft-oriented approaches. These works reveal another, more artistic dimension of his practice.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1960, Franck was also active as an educator at the Institute of Industrial Arts in Helsinki, exerting a lasting influence on Finnish design education. His legacy continues today, reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorary Award at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro in the same year.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"SMOKE \/ KFGL1944","offer_id":48883525681392,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFGL1944_1.jpg?v=1771830664"},{"product_id":"srhp397","title":"COVERD CYLINDRICAL JAR(RED) SH126","description":"\u003cdiv class=\"product-description\"\u003e\n\u003c!-- 上段：作品説明 --\u003e\n\u003cdiv class=\"product-description__upper\"\u003e\n\u003cp\u003eA lidded container designed in 1956 and manufactured from 1956 to 1960.\u003cbr\u003eAn art piece combining different materials: thick, heavy glass and thin, wide alpaca silver.\u003cbr\u003eThe contrast between the materials and their weight creates a sophisticated and high-quality appearance.\u003c\/p\u003e\n\u003cp\u003eIt features a structure where cylindrical glasses of the same diameter but different heights are stacked opening-to-opening, and the alpaca silver wrapped around the lid fixes them horizontally.\u003c\/p\u003e\n\u003cp\u003eThe cut signature reads \"S. Hopea Nuutajärvi Notsjö -58.\"\u003cbr\u003eMade in 1958.\u003cbr\u003eIt is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"RED \/ SRHP397","offer_id":48916307640560,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP397_1_bf930732-64d5-4b0a-8f5b-eae9347901e9.jpg?v=1772097554"},{"product_id":"srhp529","title":"ICE CREAM BOWL(CLEAR YELLOW) 1344","description":" \u003c!-- 上段：作品説明 --\u003e\n  \u003cdiv class=\"product-description__upper\"\u003e\n    \u003cp\u003e\n      Designed in 1952 and manufactured from 1952 to 1968.\u003cbr\u003e\n      This is one of the many stemware pieces she designed, an ice cream bowl with a plate-shaped foot to hold cutlery.\n    \u003c\/p\u003e\n\n    \u003cp\u003e\n      While the overall height and bowl diameter are almost the same, the sizes of individual parts differ, such as the height of the bowl, the thickness and length of the stem, the diameter of the disc-shaped decoration, and the diameter and angle of the rise of the plate.\u003cbr\u003e\n      The individual differences, despite being a product, are also one of its charms.\n    \u003c\/p\u003e\n\n    \u003cp\u003e\n      *In good condition with no noticeable damage.\n    \u003c\/p\u003e\n  \u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP529","offer_id":48918874915056,"sku":null,"price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP529_1.jpg?v=1772185143"},{"product_id":"srhp530","title":"ICE CREAM BOWL(CLEAR YELLOW) 1344","description":" \u003c!-- 上段：作品説明 --\u003e\n  \u003cdiv class=\"product-description__upper\"\u003e\n    \u003cp\u003e\n      Designed in 1952 and manufactured from 1952 to 1968.\u003cbr\u003e\n      This is one of the many stemware pieces she designed, an ice cream bowl with a plate-shaped foot to hold cutlery.\n    \u003c\/p\u003e\n\n    \u003cp\u003e\n      While the overall height and bowl diameter are almost the same, the sizes of each part, such as the bowl height, stem thickness and length, diameter of the disk-shaped decoration, and plate diameter and angle of rise, vary.\u003cbr\u003e\n      Even though it's a product, the individual differences are one of its charms.\n    \u003c\/p\u003e\n\n    \u003cp\u003e\n      *In good condition with no noticeable damage.\n    \u003c\/p\u003e\n  \u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"YELLOW \/ SRHP530","offer_id":48918875668720,"sku":null,"price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP530_1.jpg?v=1772185219"},{"product_id":"srhp526","title":"ICE CREAM BOWL(LILAC) 1344","description":"\u003c!-- 上段：作品説明 --\u003e\n\u003cdiv class=\"product-description__upper\"\u003e\n\u003cp\u003eDesigned in 1952 and manufactured from 1952 to 1968.\u003cbr\u003eThis is one of the many stemware pieces she designed, an ice cream bowl with a plate-shaped foot to hold cutlery.\u003c\/p\u003e\n\u003cp\u003eWhile the overall height and bowl diameter are almost the same, the dimensions of each part vary, including the height of the bowl, the thickness and length of the stem, the diameter of the disc-shaped decoration, and the diameter and angle of the rise of the plate.\u003cbr\u003eThe individual differences, despite being a product, are one of its charms.\u003c\/p\u003e\n\u003cp\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：Saara Hopea 基本コード（最新版・確定版） --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eSAARA HOPEA｜1925–1984｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eSaara Hopea was a Finnish designer active across a wide range of fields, with glass at the center of her work. She studied interior design at the Central School of Arts and Crafts in Helsinki. After graduation, she began her career as a furniture designer, and later worked at Taito as a draftsperson under Paavo Tynell.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1951, at the invitation of Kaj Franck, she remained affiliated with Taito while working as a freelance interior designer on furniture and spatial design for the gallery and showroom of Wärtsilä, the parent company of Arabia and Nuutajärvi. The excellence of this work led to her appointment as a designer at Nuutajärvi in 1952.\u003c\/p\u003e\n\n  \u003cp\u003eTogether with Kaj Franck, she created numerous products and art pieces based on a shared idea of designing essential objects for a new postwar life. Her work also extended to packaging, logos, exhibition spaces, and enamelware for Arabia. For Nuutajärvi’s fish trademark, she was responsible for the final design based on a rough sketch by Kaj Franck, and her package designs were also highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1959, she left Nuutajärvi to take over her father’s workshop, but despite her short seven-year tenure, her achievements as a glass designer are highly regarded.\u003c\/p\u003e\n\n  \u003cp\u003eFrom 1959, she designed jewellery for the goldsmith studio Ossian Hopea. After her marriage in 1960, she moved to New York with her husband and also worked on enamel design. From 1963, she lived in Nepal and India, where she designed textiles and other works. She returned to Finland in 1967 and continued designing jewellery until 1982. Jewellery also became an important part of her career.\u003c\/p\u003e\n\n  \u003cp\u003eA rational design approach grounded in meticulous drawings, a refined sense of colour, and an outstanding talent expressed across a wide range of disciplines consistently define Saara Hopea’s work.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1954 and 1957, she was awarded Silver Medals at the Milan Triennale.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SAARA HOPEA","offers":[{"title":"LILAC \/ SRHP526","offer_id":48918876717296,"sku":null,"price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/SRHP526_1.jpg?v=1772185320"}],"url":"https:\/\/elephant-life.com\/en\/collections\/nuutajarvi.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}