The iconic shape celebrates the special moment you pour Coke over the ice: the sparkles, the bubbles. It was important to me that the glass was instantly familiar, as if you'd seen it before, yet it's completely new. A simple form stripped down to it's essence. The bowl, the shape of the glass, holding the glass. Internal force. Super Simple. The Coca-Cola Heritage glass continues the brands tradition of iconic glasses dating back to 1886. Inspired by the Coca-Cola heritage, the glass takes the experience you know well and makes it simply more enjoyable.
What was your first thought when you were approached by Coca-Cola?
I was asked to do a modern interpretation of the classic Coca-Cola glass, the symbol of the brand and thought to myself: How do you update an icon?
What was the inspiration behind your design? Was there any Coca-Cola history in particular that inspired your design?
I visited Coca-Cola’s design archives at the start of the project which was inspiering and it became clear that Coca-Cola has always created a design story around the drinking experience. I wanted to follow that tradition and create a new and simple design story around the moment you pour a Coke.
How would you describe your design?
The design is simple, iconic and approachable. The sculptural form merges a straight base with a bowl on top. A form with an internal force. It's about you holding the glass, drinking, smelling. The top of the glass reinforcing the unique taste of a freshly poured Coca-Cola and makes the sparkly and bubbly experience come to life, while keeping the ice in just the right position.
Can you share a bit about the creative process and how it all came to life? How did you approach this project?
I started by pairing down the experience to its essence - that bubbly first sip of a fresh glass of Coke. You know when you get the fizz on your nose...I was searching for a silent shape, like one you have seen before. One that comes alive when you put in a few ice cubes and some Coke. A design that reinforces your experience.
We designed a range of paper and soap dispensers for bathrooms that has been an incredible success. With millions of dispensers asked for and made - with a longer life span - you will find the them in all over the world in places like Sydney Opera House, Copenhagen airport, swiss ski chalet's and Indian temples.
A success that demonstrates what good design can do to tell a story about your product and brand.
Recognition IF Award & Red Dot Award
Why do you call it "silent?"
Because in a public restroom, you don't want anything to stand out. No design statement. When someone pulls out, say, a paper towel, you want them to feel like they're getting the first paper towel that's ever been pulled out of that dispenser. "Ah, this is my paper towel." So the design language is silent and solid and sculptural. There's a hardness and shell-like quality to all of it.
Any unexpected challenges with this project?
There was one major innovation from a design point of view. People servicing these need to know when they have to refill the paper. That's normally done with a little window on the side. But the window is kind of squiggly and breaks up the whole surface. So on mine, the whole lower portion of the front is a window.
I pushed really hard for this. We had to go all over the world to find a tooling method that would fuse the window to the solid part of the box. The clear plastic is co-injected with the solid part. It's a major innovation. And it means better durability and increased hygiene, because there's no seam to catch dirt. So a side benefit is that these will be easier to service and to keep clean. That all started with me designing the window then asking if we could make that happen.
You spent almost three years on this project. What have you learned?
There are 14 different objects in this collection, and they all have to work together. Plus there were a lot of constraints because, as public-restroom objects, these had to meet laws and guidelines of several different countries. What that whole experience has given me is a newfound interest in creating objects that don't say anything, objects that will be accepted by a worldwide audience. I had to dare to do nothing.
Words By John Bradley
"This used to be a heavy black metal box. Now it's light, inviting and works much better"
Charge ipads, iphones, smartphones. Easier. Faster. More conveiniently. Griffin MultDock provides charging, storage and security for offices, schools and public places. We designed alot of function into a simple, stackable cube that is inviting and fit into most environments.
This collaboration allowed us to tinker with the mix of furniture and sport technology. The design allows the user to sit differently on the chair. You can sit in a normal position, like in a saddle or with your legs to one side, creating a different experience. The design incorporate sport manufacturing technology for the formed leather seat. Fiberglass, leather and foam. Shown at Milano furniture fair in 2002.
I started to work with Smith in the late 80's and created the V3. Labeled by many as the first modern goggle it had a frame with a "wrap around" lens that created a more integrated look and more importantly a much better view out of the goggle. It became a huge success for Smith and changed the category forever. Another game changers was the Warp. It was the first goggle with "outriggers", an innovation that most helmet compatible goggles use today. They became a success in motocross and helped to define Smith as an innovator and leader. The collaboration with Smith lead to design of several other iconic goggles, some of which are still in production and on many faces on the slopes.
An innovative design that greatly improves convenience and performance. Back in 2003 we completely re-engineered Flow's snowboarding binding and created a iunique design that still stand today. it increased sales from around 50K to over 200K in less than 3 years, establishing Flow as a valid leading brand in the snowboarding market. The design received IF Awards and Red Dot Award.
I was asked by Neil Pryde to challenge the stagnant windsurfing market in 2002. I created a new design langauge that became commercial success and re-established the brand as the leader again. Neil Pryde is still today using the same design language concept. The design received IDEA Gold Award, IF Awards and Red Dot Award.
What started as an experiment to redesign the longboard has evolved into a full line of performance-driven surf craft with a worldwide following of open-minded surfers. The longboard design is used by surfers all over the world and has received six international design awards.
We continue to create forward thinking surf experiences by pushing creativity, innovation and individuality in surfing and the life that surrounds it. What started out as passion has become its own path. We are continuing our quest to create new designs that move our experience forward as surfers.
We aim to always stay a step ahead and create innovative experiences that will be remembered as something meaningful. We work with an unusually broad range of projects that keeps us inspired and aware of the future as we are searching for the narrative of tomorrow from our design studio in California.
If you think you need a big design agency to solve your needs, you might want to take a closer look at us. We are a small studio but for various reasons we've gained the confidence of world renowned brands and have been entrusted with large assignments.
We create innovations, experiences, brands and strategies. While we prefer to be involved early on in any project, we take pride in developing solid design solutions taking them all the way to production. We have developed many innovative and award winning desgins for both well know brands and small start ups. In short - we like challenges.
Thomas worked at Apples Design Group and was the Designer of the eMate that was Apples first computer and by many described as the forerunner to the iMac. In 1997 Thomas left and set up his own design studio. Today he is one of the most innovative and influential designers of his generation. A rare breed; part designer and part innovator, his groundbreaking designs has reinvigorated and in some cases resurrected well known brands and redefined entire product categories.
He has worked with well known brands like Apple, Coca Cola, and Puma and small startups where he has time after time created disruptive innovations and new product stories in an unusually broad range. From technology & sport: to furniture and fashion and objects for everyday life.
Many of his designs have been a runaway success for his clients and become modern design icons.
Apples first translucent computer.
Thomas Meyerhoffer is one of the most innovative and influential designers of his generation. A rare breed; part designer and part innovator, his groundbreaking designs has reinvigorated and in some cases resurrected well known brands and redefined entire product categories.
In close partnerships with known brands like Apple, Coca Cola, and Puma and small startups he has time after time created disruptive innovations and new product stories in an unusually broad range. Many of his designs have been a runaway success for his clients and become modern design icons.
Meyerhoffer long list of groundbreaking designs include Apple’s first translucent computer. The first modern ski and motocross goggles, revolutionary snowboard bindings and surfboards. Surf a Meyerhoffer surfboard, and the waves feel different. Turn on a Meyerhoffer-designed computer, and the Internet seems different. Sit on one of his chairs, and, well, you get the idea. His products are most often found in homes, offices, and garages around the world with someone ready to experience parts of the world in a new way.
Meyerhoffer is also regarded as one of the most progressive shapers in the world and founder of his surf brand SUR FOR WRD. His iconic longboard, possibly the most radical longboard design in a generation, received six international design awards.
Working from his studio on the beach in California, his work has been featured in museums, books and been widely recognized around the world. He is the recipient of multiple international design awards and has been featured in a variety of articles like The New York Times and The Surfers journal.
"Thomas Meyerhoffer used to work at Apple, designing the ancestor of the iMac, until one day he discovered "there's so much to do out there" and left. Now he's a stone's throw from the sea in California, rewriting the future of sports equipment. And more.
He has been riding the surf at different times every day since 1998 depending on the tide. As a sport of course, but also as a profession or, to put it better, a profession as a passion.
This is how it happened: Born in Stockholm. In the mid 1990s he arrived at Apple, where he worked alongside Jonathan Ive and led the team that designed the eMate, a forerunner of the iMac. In 1998 he dropped it all and set up on his own in a studio on the beach near San Francisco.
There he worked for international brands like Nike, The North Face, Mandarina Duck, Black Diamond, and Capellini, with a predilection for the field of sport, designing glasses that can be worn with a helmet (he was the first to do this), and hourglass-shaped surfboards that forever revolutionized the aesthetics of water boards, won prizes, and are now appreciated all over the world"
We are proud to particpate with three surfboards together with such icons as the Lotus bike and F1 cars. Designed to Win explores the various ways in which design has shaped the sporting world. The exhibition charts key moments where design has played a significant role in progressing sport from performance, safely and fashion to new materials and technology. The exhibition is currently travelling around the world.
Designer Thomas Meyerhoffer has reinvented everything from computers to snowboards to cell phones to helmets - while surfing every day, his secret formula? Ignore IKEA, Listen to the ocean, and make work and play one and the same. By John Bradley
After leaving Apple in the late '90s, Meyerhoffer embraced surfing. He started with longboards but soon began wanting a more agile ride, so he tried alternatives like the fish, a shortboard with a swallowtail. None could match the momentum he felt cresting a wave with the big plank of a longboard beneath him, however. His designer's curiosity piqued, he began wondering how he could make the longboard do more.
What if we designed boards from that emotional angle? What if we sought out designs that amplified the surfing story unfolding with every ride? What if there were elements in the board itself that augmented the feeling we had during a run down the line? These are the sorts of questions swimming through the fertile mind of Thomas Meyerhoffer. By Scott Hulet