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Jasper Morrison
Morrison calls his ideal supernormal: objects so quietly right that you stop noticing them and just use them. His Air-Chair for Magis, from 1999, is a stackable plastic chair made in a single gas-injection mould, cheap, light, outdoor-proof and comfortable; his Hal chairs for Vitra and the plain furniture and household goods he has designed for Cappellini and the Japanese retailer Muji follow the same logic. It is the least flashy work here, and that is the recommendation: you can live with it for decades without tiring of it.
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Hella Jongerius
Jongerius brings the irregularity of craft into industrial production. Her Polder Sofa for Vitra, from 2005, mixes several fabrics and colours across its long, low cushions and uses oversized buttons from wood, horn and mother-of-pearl, so it looks hand-assembled while being factory-made; it is deep and relaxed to lounge on. As Vitra's art director of colours and materials she also re-coloured classic Eames and Prouvé pieces. Her research on colour in woven cloth shows the practical side: she wants objects that age and show their making instead of looking new forever.
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Konstantin Grcic
Grcic, who trained as a cabinetmaker at John Makepeace's Parnham school in Dorset, designs from the manufacturing process outwards. His Chair_One of 2004 for Magis is a faceted seat of die-cast aluminium, like a football made of triangles, on a concrete cone or legs, light, stackable and built for public squares; the 360° stool lets you perch and swivel at a standing desk. His Mayday portable lamp for Flos, with a hook and a cable you can wind round it, is practical anywhere. The forms look severe, but each angle has a structural reason.
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