Beneath the Surface

Thursday Salute to Originals: Stair or Sculpture?

Wed, 23 May 2012 21:52:00 GMT

Staircases have become more than a physical connection between two floors; some of the most innovative stair designs around the world are architectural focal points created to evoke feelings of movement, fantasy, and even fear. We hope these whimsical creations will inspire you to skip the elevator, and take the stairs instead!

Sensualscaping Stair (above)

With the use of digital production and fabrication, Atmos Studio has transformed a residential staircase into a sculptural masterpiece. The stairs themselves are a “continuation and intensification of the simple graphic skirting board lines that trace their way through the house. As they turn the corner into the stair void, they expand like a genie released from a lamp, curling and separating and bifurcating from the wall to the delicate edge of the stair treads, lifting into the air to rise as the veil of the balustrade.”

TAF Stairs (above)

Between it's depth distortion, angled treads, and steep rise, this Stockholm staircase takes visitors from one floor to another without taking up a large amount of space. TAF arkitektkontor not only designed the residential stair to occupy a space smaller than a typical closet, but used pine wood as a primary building material, adding an additional level of sustainability.

Umschreibung Stair (above)

Olafur Eliasson used the architectural details of a staircase to create an inspiring steel sculpture located in Munich Germany. The 9 meter tall piece of art located in the courtyard of an accounting firm is just as beautiful as it is puzzling.

Bird's Nest Suspended Staircase (above)

Alluding to the confined nature of a bird cage, the haphazard pattern of steel bars act as a contrast to the monochromatic interior environment. While the metal elements draw attention to the intricate design, they also act as structural support for the delicate wood planks.

Ribbon Staircase (above)

At first glance, the fragile steps of HSH's Ribbon Staircase appear to defy gravity. Constructed of 10 mm thick sheet metal, the system relies on hidden brackets mounted into the wall to distribute weight down to the floor. Form and structure merge in a winding ribbon with bold colors accentuating the sharp turns.

Image credits: Atmos Studio, Farm5 via Flickr, WebUrbanist

Deriving Architectural Inspiration from Onyx Materiality

Wed, 23 May 2012 03:40:00 GMT

With numerous technological innovations that have revolutionized the construction industry, do natural materials remain a major source of inspiration for modern architects and designers? Though often treated as an applied finish or an afterthought, what if we re-frame our thinking about these natural building materials to allow their deeper roots to inform our designs? If you take on this point of view, you'll quickly see that many contemporary buildings around the world could have been influenced by our favorite material: onyx! The wide range of colors and diverse styles of veining in natural onyx can inspire creative solutions to architectural problems regarding structure, materiality, openings, and sun-shading.

Take a look at our collection of onyx slabs paired with contemporary architecture projects to gain greater insight into our point of view:

One of the most attractive characteristics of onyx is the layered quality of the stone resulting from environmental changes throughout the different stages of its lifetime. Like this multi-brown onyx, St. Botolph's Hall in London, England uses a spectrum of earth-toned striations to give a multi-dimensional aesthetic to the facade of an otherwise ordinary building.
In addition to mimicking amber tones in the materials and lighting features, the Trunk house by Paul Morgan alludes to onyx veining in its structure. By utilizing forked trees as the primary form of structural support, this Australian home creates a relationship with the natural surroundings while simultaneously introducing ancient Aboriginal construction methods. The sharp lines across an organic background provide instant visual interest.
It can be argued that the delicate proportioning system of Steven Holl's Museum of Ocean and Surf was inspired by the thin black striations slicing through crystal-white onyx. Located in Biarritz, France, this seaside structure received the “Best Building of the Year” award in 2011; embodying our favorite characteristics of onyx - translucency, soft dustings of color, and contrast - we can see why.
China is evolving into into the new international capital for high-tech architecture and design. Taking cues from the elegant white striations in black onyx, the building at Leatop Plaza is likely to become an architectural icon in the Guangzhou skyline. The sharp lines slice through black masses unapologetically.
One of GPI Design's favorite qualities of onyx is the multi-dimensionality that can be achieved on a flat surface. The Yellow Diamond by Jun Mitsui & Associates extrudes the characteristics of honey onyx to form a 3D “gem” within the Seoul urban realm. A dynamic interaction with the streetscape is achieved with the subtle extrusions of crystallized forms.

By shifting perspectives and dissolving scale, materials can spur the exploration of new architectural concepts. How can YOU shrink, stretch, extrude, slice, and layer other natural materials to inform design solutions at a larger scale?

Image credits: E-Architect, CNL Stone, Architizer, StoneWorld, 1BP, ArchDaily

Thursday Salute to Originals: Interactive Glass Surfaces

Wed, 16 May 2012 17:33:00 GMT

It's no secret that the sleek surfaces of touchscreens, tablets, and mobile devices have proliferated throughout society in recent years. While touch screens and interactive displays have become fundamental to modern communication, Corning believes that their custom Gorilla Glass will begin to impact the lives of people around the world in innovative yet unexpected ways. Imagine viewing your daily schedule on your bathroom mirror as you get ready for work, or using the kitchen counter to video-chat with your mother as you prepare dinner. Futuristic as these ideas may seem, Corning believes that it's only a matter of time before this technology reaches homes, schools, and community facilities around the world.

“Glass is the essential material enabling this new world. The displays and touch surfaces of the future will require materials that are tough, yet thin and lightweight; that can enable complex electronic circuits and nano functionality; that can scale for every large applications, and that also have a cool, touch-friendly aesthetic.”

While most glass surfaces are considered fragile, Gorilla Glass can withstand rigorous daily activity as a result of Corning's intense chemical strengthening process. By introducing large ions to the surface of the warm glass as it is molded, the cooled material can develop an additional layer of compressive stress. This unique defense mechanism allows the glass to maintain its sleek appearance while adding indiscernible strength and resilience.

Any surface clad with Gorilla Glass has the ability to project information from mobile devices, internet websites, and television channels, meaning that a person's schedule, weather, and even shower settings are just a touch away on the bathroom mirror. Though Corning is primarily using the material for experimental purposes on large-scale surfaces, Gorilla Glass is currently used at a small-scale in over 600 products on the market, including televisions, smartphones, and computers.

Despite the strength and technological capability of Gorilla glass, the material is a slim .5 mm thick and 100% recyclable. Corning proves that sleek, interactive screens have the ability to impact more than just mobile devices and computers; combinations of surface and technology have the ability to revolutionize the way we live.

Image and Video Credit: Corning

Thursday Salute to Whimsical Deconstruction: Interview with Furniture Designer Judson Beaumont

Wed, 09 May 2012 15:07:00 GMT

The Straight Line Designs workshop in Vancouver is full of whimsy; we envision their studio bookshelves lined with Dr. Seuss and colorful children's books to release the imagination. Creating custom furniture pieces that function equally as working furniture as they do decorative sculptures, the nine person studio has embraced the playful possibilities of furniture design. We have the lead designer Judson Beaumont of Straight Line Designs with us today to discuss the ideas and process behind his furniture pieces.

"Hollow Chair"

gpidesign: What is your general design philosophy? What do you believe is a good furniture design?

Judson Beaumont: Be different. You have to differentiate yourself enough to be able to compete in the design and manufacturing industry these days. There is always someone out there who can do it faster and cheaper, so you have to figure out how to do something nobody else is doing. A good design is one that sets itself apart from others. A design that challenges the norms of modern design and is still able to achieve a great level of functionality is a successful design.

"The Apple Cabinet"

gpidesign: Your designs are fun, creative, and different. What’s your secret to keeping thinking out of the box?

Beaumont: The secret to our design process is to challenge ourselves as designer and as builders. We strive to design pieces that, while they might look interesting on paper, they are actually quite complicated to materialize into fully functional pieces of furniture.

"Tear Away Bench"

gpi design: Take "Tear Away Bench" for example, could you elaborate on what your design inspiration is and what the typical design process is like?

Beaumont: The tear away bench was to create a sense of discovery in the user. With traditional wood benches, you accept that it has a flat top, flat sides, legs, etc. The Tear Away Bench is the answer to our question “What is actually underneath these solid, rigid surfaces?”. It is not exactly a correct answer, it is more about the discovery of other possibilities that lie under the surface.

"Squiddy"

gpi design: Your bio expresses that your rule is: “if you can draw and design it, you can build it.” It seems to be quite a bold statement. Have you ever designed something that is technically impossible to build? Take Squiddy for example, how did you balance between aesthetic and functionality?

Beaumont: That rule still stands true for us to this day. We always try to maintain that old “sky is the limit” methodology that designers use in our fabrication methods. Although something might seem quite simple once you see the final product, the process used to create this final piece may include countless hours of testing and tweaking which actually give it more value. If your design can’t be produced by someone else, you maintain your unique place in the market.

With Squiddy, we sought to give a solid material, Alder wood, a life of its own that seemed other-worldly. Each Squiddy is thought to be an individual creature that only sits still long enough for the user to exit the room, after which it is free to roam around and explore.

Each leg is hand shaped from a solid 2”x2” piece of Alder and finished with a low-gloss clear coating.

"Cracked Cabinet"

gpi design: If you were given the chance to incorporate lighting into one of your furniture pieces, which one would it be and what would the design look like?

Beaumont: We would be interested in incorporating lighting into our Cracked Cabinet. We are thinking maybe the inside surfaces of the cracked area can be illuminated behind opaque white plastic as if the light is coming from within.

Many thanks to Judson for opening up our minds to the playful side of design!

[Image credits: Straight Line Designs, Straight Line Designs Wordpress]

Thursday Salute To Originals: What Light Brings to Life

Wed, 02 May 2012 22:03:00 GMT

They say that beauty is in the eye of the beholder. In the case of artist John V. Muntean’s unique sculptures, beauty may be in the eye of the flashlight holder. Unlike traditional sculptures where "what you see is what you get", these carefully crafted wooden blocks are instead, only a piece of the puzzle. The real picture comes to life when the secret ingredient (light!) is added, taking you beyond the strange and jarring visuals of the surface.

Upon first glance, Muntean’s sculptures appear as a jumbled and chaotic mix of various shapes. Interesting, yes, but rather difficult to interpret and comprehend. However, when the sculptures are lit from above at a 54.7 degree angle, the crazy shapes and slopes begin to make sense. In the cast shadows, hidden images – the true visual goal of the sculpture- are revealed. As the sculpture turns, new images take form in the cast shadows, piquing thought, curiosity, and interest.

We can’t help but think of our own work when looking at Muntean’s sculptures. Often times we encounter a surface that appears quite flat, non-descript, uninteresting. To be blunt, it’s just boring. But once we use our lighting systems to illuminate the surface from behind, all sorts of hidden characteristics come to life. Subtle veins, color shifts, and pattern depths that were once invisible, instantly highlight and enhance, truly changing the appearance, and more importantly, our minds. It reminds us that the best visual is not necessarily what is on the surface. Latent beauty often lies hidden within, revealed through the precise execution of arrangements and technologies.

Can you think of any other instances similar to Muntean’s sculptures? Has light ever enhanced or revealed something more to you?

Image credits: John V. Muntean

Thursday Salute to Originals: Tangerine Tangos Down the Runway

Wed, 25 Apr 2012 17:52:00 GMT

Unless you have been hiding under a rock, you probably already know that Tangerine Tango is the 2012 Pantone Color of the Year. Popping up all over Pinterest in paint swatches and as demure sundress colors, Tangerine Tango has been on the visual radar. Yet with interior designers seeming to embrace it only as an accent color, we yearned to see how the world of the avante garde is putting its twist on this year's hue.

As fashion and architecture can be mutually inspirational, we enjoy this compilation of images as reminders to push the boundaries in all aspects of design.

Above: Craig Lawrenc

Above: Betty Jackson

Above: Chikashi Suzuki for Dune Magazine

Above: Narciso Rodriguez

Above: Alexander McQueen

In these fashion pieces, color, texture, shape and pattern are manipulated in bold moves. Though we continue to see Tangerine Tango being used at a smaller scale as interior accents and in product design, few architectural designers have yet to embrace the full potential of the color without apology.

Is the architectural world too boring? Why haven't we seen any sculptural building facades splattered in Tangerine Tango yet?

Image credits: Elle, DesignerHK, Washington Post, Tumblr, Searching for Style

Painting Landscapes with Light: An Interview with Barry Underwood

Thu, 19 Apr 2012 20:12:00 GMT

Fascinating uses of light never cease to capture our attention. Whether light is being used in a cool, new way via budding technology, or simply using its inherent ambient qualities to enhance surroundings in an unexpected way, the possibilities of light are endless. That’s probably why we were so drawn to the work of Barry Underwood. The color and light of his landscape installations are breathtaking. Just one look at these eerie installations and you are immediately entranced by a captivating, dream-like world. Seeing our passion for color and light resonating in his installation, we couldn’t resist the opportunity to speak with Barry on his work. Graciously, he agreed to speak with us and provide further insight into his beautiful creations.

GPI Design: Barry, what inspires you first?

Barry Underwood: Ideas in art inspire me, and working with ideas imbedded in painting, installation, drawing, photography, and cinema. I am also inspired or rather influenced by science and nature and its energy.

GPI Design: Is it a particular landscape that inspires the lighting, or do you get an idea for the lighting itself to which you need to find the perfect landscape that captures your vision?

Barry: The process begins with drawing. I either have an idea first then look for a landscape, or I make artwork in response to a particular landscape. I then sketch out the idea. This gives me time to work through some of the media and logistical issues that may arise during the install. Composing or framing the shot is next. Then the installation process takes place.

GPI Design: On your website, you say that “Light and color alter the perception of space, while defamiliarizing common objects." Why do you think your work integrates so well on landscape and the outdoors? Do you think the same elusive and mystifying effect would translate onto interior environments?

Barry: In the photographs of the installations I am most interested in the ways in which the colored light does not integrate with the landscape. The sculptural light I introduce is very foreign in color palate to the subtle coloration of land, plant, sky and water. The concept is not exclusive to the landscape. I am currently working on a commissioned series of installations within interiors.

GPI Design: Most of your images use vivid colored light that evokes a sense of dreamlike imagination. Why do you think color is so central in creating this dream-like effect? Do you think white light could achieve a similar effect?

Barry: Color is intrinsically tied to our perception and psyche. It has a psychological effect on our bodies. Light (color) is the world in which we move around / through.

GPI Design: How do your techniques enforce the impression of the light as an externally applied, alien-like intervention rather than a revelation of inherent qualities?

Barry: I am not thinking about aliens or Hollywood ideas of aliens. I am thinking about ideas of abstraction, particularly contemporary abstract painting, and the abstract ideas carried out in 60s and 70s land art. Making a mark in the landscape rather than on a canvas. Light is merely a means to record color photographically.

Thank you to Barry Underwood for taking the time to elaborate on his work. Be sure to check out the rest of Barry's portfolio. If you’re a fellow Clevelander, you can visit his exhibition at the Museum of Contemporary Art in Cleveland coming up on October 8, 2012.

Image credits: Barry Underwood

Thursday Salute to Originals: The Glass Frog, Nature’s Necessary Transparency

Thu, 19 Apr 2012 16:22:00 GMT

The natural world is full of wonderment and inspiration. These glass frogs spend their time high in the rain forest canopies of Central and South America, but if you’re lucky enough to see one up close, you’ll find that there is more than initially meets the eye. Flip one of these little guys over and you’ll discover that their stomachs are completely transparent, allowing a view of their innards that seems straight out of a sixth grade science book.

Above: The transparent underbelly of the glass frog.

Above: Some species of glass frogs are completely transparent on both top and bottom.

Not only does this intrigue the science nerd within us, but it starts the wheels turning to look for parallels in design:

Because of its transparency, the glass frog blends into its leafy environment and frames specific inward views. Architectural parallel: Selgas Cano's Glass Office

Mixtures of opacity and translucency on different planes create visual intrigue. Architectural parallel: BIG's green-roofed design for a school in Asminderod, Denmark

At sometimes just the size of a fingernail, the frogs are compact and not any larger than they need to be. Architectural parallel: House in Horinouchi by Mizuishi Architect Atelier

The exposure of the frog's internal organs is visually intriguing, allowing unexpected glimpses of functional systems that are typically obscured by skin. Architectural parallel: Pompidou Center by Richard Rogers and Renzo Piano

The glass frog is structured the way it is for survival, making the aesthetic implications of its design even more intriguing. What else can this tiny unique creature teach us about design?

Image credits: Factzoo, Mudfooted, Inhabitat, Great Buildings

Thursday Salute to Originals: Design That is Music to Your Eyes and Your Ears. Literally.

Wed, 11 Apr 2012 20:11:00 GMT

We love discovering designs that are not only visually appealing, but also exciting and intriguing to our other critical senses. It makes the entire design more dynamic, interesting, and real when it can be experienced and interpreted from various modes of perception (things you can't experience in a Sketchup or Revit model). So it’s no surprise that when we came across the Aeolus, an installation that combines design, sensory perception, and a little bit of physics, that we simply couldn’t take our eyes (or ears) off of it.

Named for the mythical rulers of the wind in Greek mythology, Aeolus is a giant perforated metal arch with 310 stainless steel tubes of varying proportions affixed to outer portion of the arch. Created by Luke Jerram, multiple senses are impacted as one moves through the Aeolus, making the installation both physically and intellectually stimulating.

From an optical point of view, the perforations and metal tubes act as framing elements to the surrounding landscape. As one changes their position in and around the arch, and as time passes through the course of the day, different scenes and light levels are framed through each viewport. Each opening creates a unique focal point that highlights the fleeting surrounding elements (like clouds in the sky), amplifying their beauty and reinforcing their transitory nature.

From an auditory perspective, the Aeolus seems to give life to the surrounding wind and landscape. As wind moves through the arch and tubes, vibrations resonate creating a singing-effect similar to a finger moving around the rim of a crystal goblet. Depending on the intensity and direction of the wind, different combinations of tones and pitches are emitted, embodying nature itself in its own unique and ever-changing song. And just how the human ear can decipher the direction or general area from which a noise originates, the same can be done with the Aeolus. The acoustic dynamics inherent in the arch make it possible to track the wind’s direction and it’s usually silent shift, just by following the sound.

This installation makes us wonder what other instruments could be adapted to a giant scale that interacts with Mother Nature. Maybe some kind of giant drum that creates noise when branches blown by the wind rap upon the stretched membrane? Or maybe a string instrument where strings are plucked by weather, like raindrops falling from the sky? What ideas do you have?

Image credits: Luke Jerram

A White Space in Brilliant Colors: Interview with Interior Designer Noriyuki Otsuka

Wed, 04 Apr 2012 20:54:00 GMT

Japanese interior designer Noriyuki Otsuka describes his design for Le Ciel Bleu, a boutique retail space located in Osaka, Japan, as "a white space in brilliant colors". The GPI team is excited to get in touch with Otsuka to learn more about his unique interpretation and approach to lighting design in this minimal retail environment.

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gpidesign: In general, what does lighting mean to you as an interior designer？　

Otsuka: Light is not able to show its own existence but when it is reflected off something, then its presence becomes known. As an interior designer, I use this characteristic to design retail spaces.

gpidesign: How significant a role do you think lighting plays in defining a space such as Le Ciel Bleu?

Otsuka: This 278 square meter retail space has absolutely no wall dividers. Extends across the entire store from the windows. As a result, I got the idea to take the position, specs and color into consideration to create a certain impression with people who look into the shop from the windows.

I calculated the color temperature of the light in degrees Kelvin and arranged the lights so that the temperature of the light from the ceiling is 2800 K and the indirect lighting from the pendants in the cylinders (I call these ultra-pendants) and from the shoe area is 3200 K. Also, the neon lights installed inside the shop are 4200 K.

The differences in color temperature create shadows, and the design creates accents within the shop, which has few reflective materials.

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gpidesign: The large pendant in the cylinder cage-like structure largely determines the theme of this space. What is your design inspiration of this pendant?

Otsuka: Light emitting diode (LED) lamps are currently the mainstream light source in the world of lighting design. LEDs have shorter wavelengths and the light that they omit is directional.

They are a wonderful product depending on the use. Nonetheless, the filament lamps invented by Thomas Alva Edison 130 years ago have excellent color rendering properties and are a complete light source with a broader light direction. They are able to make products look beautiful in boutiques that sell primarily garments, and they are an indispensable product. For this design, I created an analog light performance in a delicate cylinder that includes meanings of both tribute and cynicism.

gpidesign: Why did you choose the linear shape over other spotlight options?

Otsuka: This cylinder, which I call the birdcage, is made of the thinnest possible structural elements and the smallest possible amount of materials based on structural calculations.

Also, the form enveloped in a 30 mm by 30 mm steel mesh was designed using minimal color. This delicate birdcage takes in the light from the ultra-pendant designed as a lamp that emits light 360 degrees around from the steel mesh and serves as a symbol of this 278 square meter retail space.

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gpidesign: What factors do you need to take into consideration to ensure sufficient light source in such a commercial space? And how do you cope with them?

Otsuka: The retail shop is located in a shopping mall with an attached pedestrian deck on the exterior. The lighting in the mall walkway is from 5000 K discharge lamps. The ambient light coming in from the windows has the effect of making the color temperature too white. In addition, sunlight (6500 K) that comes into shops from the pedestrian deck during the day gives the color temperature a blue cast. For a commercial space that is influenced by various color temperatures, I created a curtain that cannot be seen with the eye in the window area inside the store by raising the brightness by three times. By calculating the color temperature relationships between the objects, materials, and light in the space on the inside of the curtain, I create a kekkai in the Japanese spatial aesthetic and establish a kuukan where everyone looks beautiful.

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A sincere thanks to Noriyuki Otsuka for sharing his insight. His design philosophy "nothing is everything / mixtures of transparency" forces a strict attention to detail and subtle manipulation of holistic environments. We admire the elegant boldness of Otsuka's philosophy and his work.

Image Credit: Noriyuki Otsuka

Thursday Salute to Originals: Sample Sample

Wed, 04 Apr 2012 20:17:00 GMT

Interior designers who earned their stripes by purging and organizing the fabric sections of material libraries can relate to this one! Or would hanging these images on your wall drive you crazy? Inspired by the layering and weaving patterns inherent in textiles, this graphic art series Sample Sample begs for interpretation. To create the 2D images, the elusive Zeitguised studio expertly conducts color, texture, form, and shadow in their representations of woven textiles.

Portrayal of Argyle

Each block of color is given its own space, and that space seems to undulate in and out, forming peaks and valleys that appear to have been photographed from an object in real life.

Portrayal of Plaid

Portrayal of Tartan

What makes these images so compelling to us is that they defy scale; the interpretations can range from the weave of carpet, scaly snake skin, stacks of legos, or the massing of an urban space. How do you see it?

Image credits: Zeitguised

AIA Blog Off: History at the Heart of Design

Fri, 30 Mar 2012 19:18:00 GMT

by Fallon Burgdorf and Caitlin Walsh for the American Institute of Architects #AIA2012 Blog Off

During the week of March 25 - 31, architectural bloggers and design professionals create blog posts to discuss the topic: "Design Connects".

Everyone has a history. It is an integral part of our existence. History reminds us of where we’ve been, and hints at where we are going. It is the blueprint of our being. The impact of history is not limited to humanity; history is also an essential component of the design of our environment. Design expresses history - the time periods, movements, emotions, and events that we have all experienced throughout time. This inherent past connects people and cultures to form tight emotional bonds with otherwise inanimate objects, born from idea. Design connects us not strictly through aesthetics, but also in its representation of our shared history, both physically and emotionally.

Underneath the aesthetic surface of design is a rich visual history that creates an inherent connection with everyone who experiences it, consciously or not. Design details and architectural elements are not just independent, sporadic, and disconnected ideas. Rather, their roots stem from past influences. Similar to one looking back through their ancestry to learn where their physical traits came from, design acts as a “family tree’’ revealing lineage and references from the past. Whether a particular style, a certain color, or use of material - past, present, and future are revealed through these physical characteristics.

Though the aesthetic may differ, we are able to experience and relate to the physicality of various designs because those past references are directly attached; the story imbedded within design appeals to us all. No matter what that initial reaction toward the physical design itself, the history behind the design intent is what draws us in on an intuitive level. Because it’s not strictly a look that grabs our attention, but the story of its inherent past that allow us to, consciously or subconsciously, formulate a bond.

The physicality of our built history is not the only way in which design connects people. Emotions, values, and movements throughout time are also embedded within design. As inherently passionate creatures, humans develop feelings and emotional ties to things we feel are important. It is this emotional propensity that further elevates design from a strictly physical sense to an intellectual level, able to signify powerful emotions, movements, and values throughout time. But not any one particular design element alone can fully convey these values; the collective design expression is where these emotions lie. For example, one may have a preference for expansive front porches that recall wonderful past memories of a childhood home. Another may have a tendency toward “green” and “eco-friendly” designs that resonate with a modern passion for Mother Earth.

But designs that embody these memories and movements are not achieved though just one design element. The baluster of a porch balcony or the LED light bulb alone, do not signify the importance of these passions. Instead, it is the design’s ability to connect us to personal memories or the greater community that elicits these feelings, values, movements, and emotions, solidifying their importance in time. It is this interpretation that grabs, recalls, and appeals not only to the eyes, but to the soul.

Physically, emotionally, or simply aesthetically, the complex layers inherent in design allow it to create bonds and elicit emotion unlike any other media. The capacity of design to embody not only the evolution of building, but the deeper and richer connotations of cultural and interpersonal history, connects us all on various levels. Design links everyone because design is history, and we all have a history.

Image credits: jsrice00 via Flickr Creative Commons

Thursday Salute to Originals: Whimsical Winged Lights

Wed, 28 Mar 2012 16:43:00 GMT

You blink for a moment. As your eyelids lift to reveal the scenery again, you thought you just missed witnessing a flock of huge birds shining with light storm through the hotel lobby. Their tails left traces that were still sparkling in the thin air. But when you close and open your eyes again, they are still there.

That’s the dramatic illusion artist Ayala Serfaty created with her light design, Nana 200. The Nana 200 is part of her Jewel Collection, an arrangement of elegant and lyrical suspended kinetic mobiles intended for public spaces. The mobile structure allows the creation of variable composition of shades. The shades sway as if blown by a breeze and their movement creates a magical environment.

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The lamps are covered in textiles of various hues and illuminated with compact fluorescent light fixtures.

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The shape and free-style arrangement of Nana 200 set it apart from other mundane and motionless pendants.

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Apparently free from the grips of gravity, these lighting creations animate spaces with their fleeting expressions of permanent memories. How would you design an interior lobby space to adequately respond to and create a home for these unique creations?

Image Credit: Aqua Gallery, Planhomedesign

GPI Tweekly Archive: The Design Industry Unites Beyond 140 Characters

Thu, 22 Mar 2012 21:26:00 GMT

Who would have imagined that a single character in a tweet could have so much potential? The design community is taking advantage of the connective power of Twitter by linking their thoughts together with the use of hashtags. Hashtags are topic-specific labels attached to tweets by simply typing the pound sign (#) within the body of the tweet. Everyone using that hashtag label is linked together in the Twitter feed. Hashtags helped to keep us informed of specific news, gathering, and awards in the industry this week.

The Elevator Pitch event, a forum of young architects face a jury to defend their designs in style of the TV show "Shark Tank". The event has received significant attention thanks to the use of the hashtag #Epitch and tweets by @architectmag and @design8dsketchr. Several prominent designers make up the jury, we look forward to reading about the outcomes!

The winners of Lighting Design Awards 2012 quickly spread their gratitude on Twitter with the use of hashtag #LDA2012. Congratulations to @SpeirsandMajor for "Lighting Design Practice of the Decade" and Michael Grubb from @Sutton Vane for "Lighting Designer of the Year".

The LetsBlogOff event (#LetsBlogOff) popped up in our Twitter stream so much that it eventually had us pouring through the archives. We stumbled upon this series where four authors address the question "what is design?".

Successful Design post by @dogwalkblog
Musings On Successful Design post by @concretedetail
What is Design? post by @paul_anater
What is Successful Design? We Ask This Because... Actually Can't Remember Why post by @modenus

New York City's Design Week seemed bursting with energy as attendees to the Architectural Digest Home Show 2012 fired off their reactions using the hashtag #ADHome2012. This orange bar stool photo was shared via Instagram by @ceo_thenewtrad.

TWeekly Archive is GPI Design's blog column that updates every Friday to feature innovative and inspiring architecture, interior, and lighting designs that are shared through Twitter within the week. We always appreciate tweeps who constantly refresh our minds by sharing great articles, pictures, and videos. If you have something that you feel like sharing and want it featured on our blog, leave a link in the comment or simply @gpidesign on Twitter. We are always hungry for cool designs!

Image credits: Architonic, The New Traditionalists, Holidaying

Thursday Salute to Originals: 52 North Soho by 44th Hill - Runway of Lights

Wed, 21 Mar 2012 19:49:00 GMT

When we are developing custom lighting pieces for our clients, one essential question we always ponder is: what does lighting mean to the space?. Should it be functional, mood-setting, or decorative? Today, we have the Stuart Hill, the Creative Director of 44th Hill brand environments agency to talk about the design process for the lighting at the 52 North Soho project.

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The design brief for 52°North Bar & Kitchen was to create a 'home from home' at the heart of Soho in London. The relaxed atmosphere and touches of classic Eames furniture gives the feel of comfort and luxury. The walls have a feathered-like design of wood panels, the furniture is a mix of wooden chairs and lavish leather Chesterfields with soft lighting throughout. A feature wall of painted graphics dominates the stairwell wall capturing the style of 52°North Bar & Kitchen.

“Upon entering, from the front door to the bar area are 600 light bulbs overhead (as a runway of lights) which give the bar and restaurant the creativity and uniqueness that Soho deserves, giving 52°North Bar & Kitchen a distinct design feature which also enhances its ambience", the restaurant describes the atmosphere.

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gpidesign: The "runway of lights" is a brilliant idea. It leads people's focal point directly to the bar. What was your design inspiration?

Stuart Taylor: 'The bright lights of Las Vegas', making people feel special when the bright lights are shining. It draws you in from external views.

gpidesign: How was the strong axis of the “runway of lights” reinforced by the remainder of the space?

Stuart: I kept the rest of the space more minimal to make sure that the focal point was the runway.....all of the other elements were soft and comforting.

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gpidesign: How significant of a role does lighting play in creating the "home away from home" atmosphere for 52 North?

Stuart: The dimming capability of the lights allows the whole bar to create the required mood.....you can turn the lights down near to off, this really brings the comforting feel that we were after.

gpidesign: Often in design, lighting sources are concealed or disguised. In your application, the fixtures are stripped down and raw. There's no smoke and mirrors here - you see the socket and bulb immediately as part of the interior. How do you think this honest approach to the lighting affects the aesthetic of the space? Do you think its more difficult to design using this type of strategy?

Stuart: The mix was to create a contemporary space with some traditional, industrial aspects, the exposed batten fittings gave this feel, whilst adding a focus and a 'home' for the light bulbs, there was certainly no hiding 600 lights..., so I wanted to celebrate the fact and over express their application.

A special thank you to Stuart Taylor and 44th Hill! You can check out more of their immersive brand environments on their website: 44th Hill