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British football player and London 2012 Olympic Games ambassador, David Beckham (L), lights the Olympic torch, as the Olympic Flame arrives at RNAS Culdrose air base in Cornwall, UK, May 18, 2012.
An iconic image of post-World War Olympic Games is the torch, and for the London Olympics like previous editions, the design of the torch says something unique about the 2012 Games. The 2012 olympic torch carried the flame through the streets of London before its starring role at the opening ceremony, last Friday. It was designed by two young British designers, Edward Barber and Jay Osgerby, who set up their eponymous Barber Osgerby practice, specialising in furniture and industrial design, in 1996, after completing post-graduate studies in architecture at Londona€™ s Royal College of Art (RCA).
Chinese news agency, Xinhua, visited the two designers at their practice base, in a converted and whitewashed Victorian warehouse in the Shoreditch area of London, an area once dominated by trades like printing but which is now home to clubs, art galleries, restaurants and creative businesses like Barber Osgerby. The 10 days were intense, working 24 hours after the basic idea had been developed, said Osgerby. The mouth of the torch is also triangular in shape, highlighting a whole series of Olympic trios.

Remarkably, the torch, as we see it now, was the first design they came up with; a€?the only design we came up with,a€? said Barber. First, its shape and construction come out of Barber Osgerbya€™s now-established creative style.
It is made from aluminium, and is perforated with 8,000 holesa€” each hole representing one of the bearers of the flame, as it makes its journey around the British Isles. And the mouth of the torch echoes other themes in their furniture, which has often used layers of material, like wood, wrapped into a shape around an aperture. When asked, they looked at each other, and with a wry experience, and with a little puzzlement they confessed that when their torch was performing its final key function at the climax of the ceremony, they wouldna€™t be there. This included all the plans for previous flames, all the climate details for Britain in the summer, the history of the Olympics, and so on. The torch seems to be a plane that is bent into its iconic shape, and then folded and tucked down into itself from the hole at the top, where the flame appears.

Third, when you hold the torch, it feels right in your hand; it feels as though it should be there, that it was made to be a tool.
From the beginning, said Osgerby, they wanted to design something that was very simple and all made from one material. The most difficult thing is to produce an object that is engaging, appealing, represents what it needs to represent, and because there are no exact criteria for that,a€? he said.
Which is what it is, but as the pair say, and as the world expects, it is a lot more than that too. They wanted it to be a tool, rather than a trophy, which some previous torches had been, he added.

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