Rafael Marquina

Rafael Marquina i Audouard (3 November 1921 – 6 June 2013) was a recognized Catalan designer and architect. He created a revolutionary anti-drip oil/vinegar cruet that, apart from the lovely design, is highly practical, i.e. it doesn't drip or get dirty.
In 1961, Marquina invented the anti-drip oil/vinegar cruet (decanter), an emblematic design that has been the object of numerous copies throughout the world. The design allows the user to dose the liquid. It consists of a glass container in the shape of two cones placed together, the lower one serving as the container for the oil or vinegar while the upper one catches any drops that may drip from the spout while allowing air to enter the recipient for easy flow of the oil or vinegar. The neck is buffed or frosted so as to keep the spout in place, and the spout can be easily removed for refilling the container.
Marquina has followed a coherent line of work with a philosophy that can be observed in the majority of his creations and that can be summed up in three axioms. The first is that any design problem (industrial, communication, or use) is solved from a rational, organic perspective. The second is that the designer must take as a premise the gradual improvement of the object's use by the user. The third is that the industrial design has to seek improvement in the manufacturing process.
This pioneer of Spanish industrial design has a long professional career. Among other works, he was the person responsible for the design in automotion for Coast Workshops 1957–1958, he planned the remodeling of the Rock jewelry of J.M. Sert 1969, he was made charge of the new outer and inner design of the Banco Bilbao de la Via Laietana of Barcelona, it carried out a centerpiece for Barcelona'92, it created two candelabras for Nanimarquina in 1993, oil/vinegar recipients for Hojiblanca Oleo Cristal (2003) and two standard lamps for Iluminil Sa. The works of this author, I Reward National of Design, they speak about its capacity to work in areas of its professional disciplines.
In his professional facet he has combined with collaborations as a columnist in Saw of Gold, M+D, Hogares Modernos, Cuadernos de Arquitectura, and Bonart. Also, he has worked its facet as a sculptor and has participated in different exhibitions.