This set of dishes prompted extreme responses, from total disapproval to delight. On the one hand, we have finished objects, ready to serve and enjoy (even if we may have some doubts concerning their functionality, the pleasure of having these objects on the table is beyond dispute). On the other, we are left with the impression that we have something provisional, temporary, only a sketch, an attempt, a trial run, and even if the pieces are not avant‑garde, they please us like the first day of spring. Often this kind of exploratory work results in overdesigned products, but here we have something invigorating, which stirs emotions and controversy – it provokes and encourages discussion. In a field which has been developing for several thousand years, in which it seems as though everything has been said, such courage and lack of inhibition is very necessary. The youthful approach to form, which does not seem tortured by research on ergonomics and function, gives the impression of artistic fun, and it strikes us as less important if it will serve well for pouring, drinking, and washing up. The crucial asset of this design is the reminder that a ceramic coffee pot on a table ceases to be merely a dish, and becomes an abstract form to admire.