Super Normal, from a conceptual point of view, leans on an intentional and extraordinary ambivalence (Fukasawa & Morrison). Specifically, based on the terminology, it could be taken both as an oxymoron that ‘super’ opposes ‘normal’, referring to ‘beyond’ or ‘above’; also a concept of absolute superlative in which the Super Normal determines the superlative of normality to its greatest degree in its ontological form. Although the etymology of what is considered ‘normal’ relates to ‘ordinary’ with no features, in the context of what Fukusawa and Morrison defined as Super Normal designs are not ‘normal’ any more by making them so ‘normal’, they become both ‘normal’ and ‘exceptional’, pushing the norm to the boundaries of the possible and introjecting a sort of paradoxical coincidence of opposites at the same time (Fukasawa & Morrison). They are so exceptional that seem normal. In other words, they are not perceived or perceivable as exceptional, at least, until they are noticed and co-opted by Fukusawa and Morrison. Only at this point that Super Normal reveals the paradox embedded in its genetic code: at the very instant it is perceived, catalogued and exhibited as such, Super Normal transcends itself. As Fukasawa and Morrison claim, durability is deemed as indispensable element that is particularly fascinating in the Super Normal category to reach sustainability, just like functionality. Products become Super Normal through the lengthy use rather than design. Most of the