Multi-Disciplinary Practice by William Carpenter

MULTI-DISCIPLINARY

PRACTICE

MULTI-DISCIPLINARY

PRACTICE

FEATURING LIGHTROOM UNSTUDIO SAGMIESTER INSIDEOUTSIDE MK12 THE PRACTICE OF EVERYDAY DESIGN LOBO STEVEN HOLL THE ART OFFICE MICHAEL GRAVES CLAYDIES

THIS IS A BOOK ABOUT

ARCHITECTURE

THIS IS A BOOK ABOUT

ART

THIS IS A BOOK ABOUT

GRAPHICS

K ABOUT

O THIS IS A BO

GRAPHICS

THIS IS A BOOK ABOUT

FILM

THIS IS A BOOK ABOUT

DESIGN

MULTIDISCIPLINARYPRACTICE By: William Carpenter, FAIA, Ph.D, LEED AP Lightroom Studio 2010

Featuring: Lightroom UN Studio Sagmeister Inside Outside MK12 The Practice of Everyday Design LOBO Steven Holl The Art Office Michael Graves Claydies

This book talks to you.

MDP: Multidisciplinary Practice multidisciplinarypractice.com Lightroom Studio 115-b North McDonough Street Decatur, Georgia 30030 www.lightroom.tv Copyright (c) 2010 Lightroom Studio All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval systems, without permission in writing from Lightroom Studio.

30-41

Multidisciplinarity essay by william carpenter

44-63 lightroom

64-73 unstudio

74-83 sagmeister, INC.

84-91

INSIDE OUTSIDE

92-103

MK12

104-111 the practice of everyday design

112-121 lobo

122-131 steven holl ARCHITECTS

132-137

THE ART OFFICE

138-155 michael graves & ASSOCIATES

156-00

CLAYDIES

MDP is emerging as a new way of designing. It allows for a creative process to flourish as the diverse team can move across scales. Building upon the rich legacy created by Charles and Ray Eames in Venice Beach, California; this movement allows for a new view toward interactivity and a new cohesive approach to design ideas. We believe the following firms represent a watershed vanguard of exciting and vital approaches to multi-disciplinary design creating a new design future.

June 2010 Decatur, Georgia

“i didn’t design this

we all did” – William Carpenter

Multidisciplinarity

William J. Carpenter FAIA PhD

Multidisciplinarity allows for the creative overlap of different design disciplines in an interactive and compelling way. An example of this paradigm shift is exhibited in the overlap of cubist painting, quantum physics, poetry, educational theory and deconstructivist architecture. Building upon the seminal work of Charles and Ray Eames this theory allows for the exploration of interactive experiences allowing emotive architectural experiences in web and filmic space to occur. As design become more complex; and teams become increasingly diverse; Multidisciplinarity allows for scalar thinking and incorporates collaborative processes from diverse fields such as architecture, engineering, graphic design, filmmaking, interactive and product design.

Throughout the history of architecture, architects have transformed abstract ideas into tangible, built and meaningful reality. In these buildings of the past, an inseparable unity of design and construction processes existed. Today, however, a complex and segmented process nearly separates the architect from the builder. In recent years, design-build has swept through the building industry as a delivery method offering faster and more cost-effective buildings. These buildings, for the most part, have lost the connection to design that once existed in buildings of the past. These buildings tend to emphasize cost savings and efficiency over design process and rigour. This study is a wake up call to academia and industry to again see the connection between design and workmanship in architectural education. Architectural education has mirrored this segmented process existing in architectural practice. It is very rare for architecture students to actually build something they design. In some cases, such as at the Dessau FILM Bauhaus, students were encouraged to build in ARCHITECTURE PRINT DESIGN order to learn and pursue design intentions. This was Walter GroINTERIORS INTERACTIVE piusâ&#x20AC;&#x2122; intention as he set (WEB,VIRAL) up the school as an antiLANDSCAPE ARCHITECTURE thesis to the Ecole des Beaux Arts educational system.

considering architectural education and conThe Bauhaus Instruction, it is helpful to discuss the inherent

theoretical differences between schools of thought. At the Parisian Ecole Polytechnique, C.N. Durand, the first tutor in architecture, sought to establish a universal building methodology. This was an architectural counterpoint to the Napoleonic code by which economic and appropriate structures could be created through the modular permutation of fixed plan types and alternate elevations (a sort of stock plan theory). After winning the Prix de Rome, Henri Labrouste spent five years at the French Academy devoting much time in Italy and studying temples at Paestum. The education of the Beaux Arts architect put an emphasis on the picturesque, an attitude toward the monumental and archival use of history for emotional affect, and a sort of “hands off“ approach. This approach appeared to lead to an elitist attitude, as architects were concerned with drawing elaborate elevations of unbuilt palaces for the wealthy and opulent. In the Deutsche Werkbund movement, which lasted from 1898 to 1927, Gottfried Semper stated that the depreciation of materials results from its treatment by machine lead. Frampton and Semper, at the same time, were asking how industrialization might affect the quality of architecture. Semper wondered if the hand craft would be lost. Gropius, bringing the craftsman and artist together, states: “Let us create a new guild of craftsmen, without the class distinctions, which raise an arrogant barrier between craftsman and artist. Together, let us conceive and create the new building of the future, which will embrace architecture, sculpture and painting in one unity and which will rise one day toward heaven from the hands of a million workers like the crystal symbol of a new faith” (Proclamation Weimar Bauhaus, 1919).

!”

- “G

ute

ag nT

The first design-build projects were two houses built on the campuses and furnished by the students. The Sommerfield

House, designed by Gropius and Adolph Meyer, and the “Versuchshaus,” or experimental house, were designed as traditional “Heimatstil,” or log houses, with interiors of carved wood and intricate stained glass. The second house was a production object or living machine. The house was organized around an atrium space. All of the fittings, windows, door frames, furniture and light fixtures were built by the students in the workshops of new materials. Josef Albers designed the stained glass and built the installation with student help in 1922.

“Only an Idea has the

power

to spread so far”

– Ludwig Mies van der Rohe (Naylor, 1968)

The Sommerfield house can be viewed as a prototype that Walter Gropius created to express his vision of the school. This was the school working in partnership with Gropius’ own firm, and he wanted it to express ideas of school- based practice. The idea of the Live Project, or school-based commissions, was pivotal to the Bauhaus. The educational situation that forged the Bauhaus in Germany after WWI showed the chaos of post-war society compounded by the vestiges of a traditional, rigid division between the (academic) arts and (practical) crafts. Walter Gropius created the first Bauhaus in Weimar. In his Bauhaus Manifesto, Gropius declared that “the ultimate aim of all creative activity is the building.” The building was jointly erected and embodied both the arts and the crafts, which were taught side-by-side at the Bauhaus. Students started as apprentices, progressed to journeymen, then completed their studies as young masters. Students had two master mentors: one for form (art) and the other for craft. In contrast with both history and other cultures, the Bauhaus embraced design for an 33

industrial society, as opposed to a craft society. Its pedagogy was a leap forward that fused the best from the predecessor approaches and bridged gaps, art versus craft, for example, and academics versus practitioners. In 1922, Gropius documented this pedagogy as a group of concentric circles depicting workshops of increasing skill and art as the student moved inward and deeper into mastery. Bauhaus students spent their first six months in the basic workshop studying fundamentals of form and materials by making arts and crafts. Those selected to continue spent three years studying “components” of design and building. In all stages of learning, students actually built what they designed. Speaking to American educators later in his career, Gropius discussed the DBS as an educational model: “The designer should become a person of vision and of professional competence, whose task it is to coordinate the many social, technical, economic, and formal problems, which arise in connection with the building. He/she must recognize the impact of industrialization and explore the new relationships and constraints dictated by social and scientific progress. In an age of specialization, method is more important than information. Training should be concentric rather than sectional with an emphasis on relations. Design knowledge only comes by individual experience, where feedback on one’s own work is of paramount value. Through the feedback students receive when trying to build their designs, they quickly learn to account for constraints. The aim

is to provide a rich and deep learning environment, facilitating a student to design and build ubiquitous computing, not only within human capability constraints, but also for human enjoyment, spirituality, etc. At the start, basic design and shop practice combined should introduce the students to the elements of design and simultaneously the ideas of construction. In succeeding years, the design and construction studio should be supplemented by field experience. Construction should be taught with design, for they are directly interdependent. Students should be taught to work in collaborative teams. Case history studios should be studied in later years, rather than first, to avoid imitation and intimidation. Students learn to design better when first encouraged to explore, try, reflect upon, and integrate design and construction.” (Walter Gropius, ACSA National Meeting, 1959) The Bauhaus was closed by the Nazis in 1933, only 14 years after being founded, and having produced less than 500 graduates. These students had very progressive attitudes toward architecture and collaborative design. Gropius states: “The school set out, in the resurgence of optimism after World War I, to train a generation of architects and designers to accept and anticipate the demands of the twentieth century, using all of its resources—technical, scientific, intellectual and aesthetic—to create an environment to satisfy man’s spiritual and material needs” (Naylor, 1968). 35

Itten was one of the most influential johannes itten Johannes Bauhaus professors. His inventive ideas involved

integrating materials to enhance the design process. Itten stated, “The ability to invent through construction and to discover through observation is developed, at least at first, by undisturbed, uninfluenced and unprejudiced experiment that is a playful tinkering with concrete goals and experimental work” (Itten, 1932). The institution of the preliminary course, as a step in artists’ training, was not an invention of the Bauhaus or of Johannes Itten. Rather, it goes back, to the nineteenth century and it was expressly encouraged in the early twentieth century by numerous art school reformers. Itten describes the course objectives:

“To liberate the creative forces and thereby the artistic talents of the students. Their own experiences and perceptions were to result in genuine work. Gradually, the students were to rid themselves of all the dead wood of convention and acquire the courage to create their own work.”

“To make the students’ choice of career easier. Here, exercises with materials and textures were a valuable aid. Each student quickly found the material with which he felt the closest affinity; it might have been wood, metal, glass, stone, clay, or textiles that inspired him most to create work....”

“To present the principles of creative composition to the students for their future careers as artists. The laws of form and colour opened up to them the world of objectivity. As the work progressed, it became possible for the subjective and objective problems of form and colour to interact in many different ways” (Wick, 2000).

Itten uses materials to teach design. It is through the process of montage that he lets these materials be understood as a learning tool. In a sense, each material is seen as a different representation of building materials. In order to heighten the students’ senses, both optically and haptically, Itten carried out studies with materials and textures in his course that were taken over, in modified form, by his successor Laslo MoholyNagy. Itten remarks on these: “At the Bauhaus, I had long chromatic series of material samples made for the tactile assessment of the various textures. The students had to feel these sequences of textures with their fingertips and their eyes closed. After a little while their sense of touch improved dramatically. I then asked them to make texture montages of contrasting materials. Fantastic structures were produced and their effects were completely novel at the time” (Wick, 2000).

“TO LIBERATE THE

CREATIVE

FORCES AND THEREBY”THE ARTISTIC

TALENTS

OF THE STUDENTS – Johannes Itten (1932)

The design process, according to Itten, sharpens the ability of the senses to recognize and to expand concrete thinking. He once expressed this connection in a concise formula, but did not further explain: “sharp senses exact real thinking.” Itten was not concerned with anatomically precise reproduction of an external reality, but with finding the typical “expressive form” and “inner movement.”

Critics of Itten’s Vorkurs called it a kind of brain-washing, where students were to forget everything they had learned before the course, and the course opened them up to become receptive to these new ideas (Whitford, 1984). Josef Albers had enrolled in Itten’s preliminary course and was the same age as his teacher. Walter Gropius asked Albers to remain at the Bauhaus because Itten had praised Albers’ work as a student.

JOSEF ALBERS

Josef Albers’ view of the Bauhaus was unique. He felt the school had strayed from its original goal: The old school seeks, in addition to its main goal of popular education, to pass on abilities but only a few essential ones: language, writing, arithmetic. Today people want knowledge and so they want scientific departments. There, people are teaching, writing things up and writing things down, reading things aloud and looking them up, finding snacks everywhere but never eating their fill. The highest students are called auditors, they take many books and turn them into a single one, after which they are called doctor and they call up their own auditors: the teaching moves in circles. Today, passing some

thing along without increasing its value is called wrangling. So the school produces wranglers rather than creators. Rather than having the students design, it has them take notes.... That is a way to make managers, not designers… Today’s youth notes the wrong direction: that ... historical knowledge hinders production. And that hearing teaching without being allowed to forget is like taking a meal without a stool to follow, and that the substitute for the latter—regurgitating in exams—is unhealthy… A lot of history leaves little room for work. The reverse—little history and much work—is our task” (Wick, 2000). Albers was fascinated by the properties of materials and their potential when shaped. A piece of paper when cut and folded is remarkably strong and rigid. Insights gained from experimentation with sheets of paper, metal and fabric were used in his course. He elaborates on this point: “... Invention, and reinvention too, is the essence of creativity ... Learned working methods and their application develop insight and skill but not creative energies. The ability to invent through construction and to discover through observation is developed, at least at first, by undisturbed, uninfluenced and unprejudiced experiment which is initially a playful tinkering with a concrete goal, which is to say unprofessional (i.e., not burdened with instruction) experimental work. Sometimes the results of these experiments represent innovations in the application or treatment of material. But even when we evolve methods, which are already in use, we have arrived at them independently, through direct experience and they are our own because they have been rediscovered rather than taught. 39

We know that this instruction by learning takes longer routes, even detours and false paths. But, no beginning is straightforward. And mistakes that are recognized encourage progress. Conscious detours and controlled false paths will sharpen criticism, will make those once burnt twice shy, and will produce a desire to find the right paths” (Wick, 2000). In contrast to the official opinion at the Bauhaus (as stated in the founding manifesto) that art cannot be taught, Albers took a somewhat modified standpoint on the issue. He believed that art could not be taught directly, but that it could be “learned.” This linguistic nuance contains that which distinguishes the principles of Albers’ concept of education from the practical training of the old school, as manifested in the activities of the art academies. The teaching of design by Josef Albers and his intention to abolish hierarchy and integrate the arts remains the core belief at the Bauhaus. Albers’ teaching methods were very different than those of his colleagues. “His particular approach did not include the teaching of theory (at least not directly), and here he departed from the teaching methods of Itten, Klee and Kandinsky (Wick, 2000). Albers was more concerned with exposing his students to making and later infering theoretical principles. Albers promoted the notion of flexible teaching, by which experimentation is encouraged and failure acceptable. Understanding the difference between “material studies” (Materialstudie) and “matter studies” (Materiestudie) is helpful for grasping Albers’ method. In the material studies, the students made projects that emphasized the materials’ inner energies or capacity. In the matter studies, students studied the materials’ external image and concentrated on texture, form and contrast. “[Albers] brought wood, metal, glass, stone, textiles and paint into his class and discussed

their properties, and took his students on visits to local factories and workshops” (Horwitz, 2002). He was not interested in the students’ prior knowledge. He wanted them to be inventive and work without preconception through direct experience. Albers further describes the connection to industry: “We find ourselves in an economically oriented age. Formerly the bonds that came from world-views were more important. Today no one can exist without considering economic aspects: We are concerned with economic form ... Economic form results from the function and the material. The recognition of the function is, of course, preceded by the study of the material. Thus our considerations of form will begin with the study of the material” (Wick, 2000). Albers stressed optimal use, or doing as much as possible without loss or waste. Teaching economy of materials meant teaching rational, planned action. “Nothing unused is permitted in any form, otherwise the calculations will not work out, because chance has played a role” (Wick, 2000). Economy of materials implies discipline, and cleanliness and exactness are the most important factors in discipline. Economy in the use of materials leads to an emphasis on lightness, which was a widely accepted goal at the Bauhaus (in Moholy-Nagy’s course, for example). This was realized in the realm of product design by Marcel Breuer and his steel tube chair.

LIGHTROOM STUDIO Lightroom studio is an interdisciplinary studio in Atlanta Georgia. They have expertise in sustainable modern residential and commercial architecture, historical preservation, interiors, web sites, graphic and exhibit design, film production and strategy. Lightroom is know for itâ&#x20AC;&#x2122;s exceptional design, for itâ&#x20AC;&#x2122;s commitment to the particularly of place, context and user and for an approach based on quiet and restrained rigor.

LEFT: Food Loop, Branding and Packaging RIGHT: The Cycle Theory, DVD packaging

ABOVE: Lindsey Dowell, Website Design RIGHT: Decatur Modern, Branding

BELOW: Northeast Perspective RIGHT: Process Diagramming

PREVIOUS: Village Vets, Decatur, GA ABOVE: Beals Residence, Decatur, GA

ABOVE: Lightroom Studio, Decatur, GA

Schematic Presentation for Bloom House, Gordon County, GA

[concept]

GORDON GORDON

5TH AVENUE

[site plan]

[foundation]

[section]

[structure/enclosure]

ABOVE: Process and diagramming for Dominey Pavilion

Dominey Pavilion, Decatur, GA

UN STUDIO UNStudio is an international architectural practice, situated in Amsterdam since 1988, with extensive experience in the fields of urbanism, infrastructure, public, private and utility buildings on different scale levels. At the basis of UNStudio are a number of long-term goals, which are intended to define and guide the quality of our performance in the architectural field. They strive to make a significant contribution to the discipline of architecture, to continue to develop our qualities with respect to design, technology, knowledge and management and to be a specialist in public network projects.

training in numerous fields. As a network practice, a highly flexible methodological approach has been developed which incorporates parametric designing and collaborations with leading specialists in other disciplines. Drawing on the knowledge found in related fields facilitates the exploration of comprehensive strategies which combine programmatic requirements, construction and movement studies into an integrated design. Based in Amsterdam, the office has worked internationally since its inception and has produced a wide range of work ranging from public buildings, infrastructure, offices, residential, products, to urban master plans.

The name, UNStudio, stands for United Network Studio referring to the collaborative nature of the practice. The office is composed of individuals from all over the world with backgrounds and technical 65

PERVIOUS: Summer of Love Exhibition 2005 ABOVE: Burnham Pavilion, Chicago, IL 2009 NEXT: Mercedes-Benz Museum, Stutgart, Germany 2008

MYchair, Client: Walter Knoll 2008

SAGMEISTER, INC. Sagmeister Inc. is a multidisciplinary design company based in New York City. Over the last 15 years they designed integrated branding projects across a wide spectrum of platforms including campaigns and publications within the worlds of culture, science and philanthropy. An important goal for the company is to touch the heart of the viewer and interject an emotional component into visual communication. Sagmeister Inc. is a recipient of the National Design Award, two Grammys and other prestigious international design awards.

PREVIOUS: Sagmeister AIGA New Orleans Poster 1997 LEFT: Worldchanging 2006 ABOVE: Apostrophe poster 2005

PREVIOUS LEFT: Anni Kuan Horse Brochure 2002 RIGHT: Rolling Stones, Bridges to Babylon 1997

LEFT: COMPLAINING IS SILLY. EITHER ACT OR FORGET, 2005 ABOVE: Seed Media Group 2005

INSIDE OUTSIDE Inside Outside works through architecture itself. Often for public buildings or spaces, in close collaboration with architects, usually from conceptual design through tender, construction and installation. We develop objects that offer solutions to technical demands; solve ‘problems’ like acoustics, light, sun, climate, movement, view; add logical, spatial, visual and sensual effects; both in the landscape field and in interior spaces. The aesthetic and technical quality of the designs (curtains, floor, ceilings, walls, gardens, parks, landscapes) are closely related to the architectural context and atmosphere; melting into, complementing or challenging the architecture or the architectural environment. Taking care, at the same time, that they service the

users in the best possible way. To achieve this, Inside Outside remains responsive to the general cultural and economic situation of the site; to the client’s position in both a practical and a political sense; to the building or the site’s history and future; the cultural and visual expectation of users, visitors and sponsors; and to the educational and economic expectations of the city, region, or country. Inside Outside takes its motivation from the combination of needs that are inherent to exterior and interior designs. The soft, absorbent requests of inside spaces are traditionally in direct opposition to the hard, durable requirements of public space. This dichotomy becomes the inspiration which leads us to begin a project, at any scale. 85

PREVIOUS: Prada Sound Sock 2001

Seattle Public Library 2000-2005

Touch / Vinyl Wallpaper

LEFT: Stage Curtain Process 2005 RIGHT: Hackney Empire Theater Stage Curtain 2005

MK12 Inside Outside works through architecture itself. Often for public buildings or spaces, in close collaboration with architects, usually from conceptual design through tender, construction and installation. We develop objects that offer solutions to technical demands; solve ‘problems’ like acoustics, light, sun, climate, movement, view; add logical, spatial, visual and sensual effects; both in the landscape field and in interior spaces. The aesthetic and technical quality of the designs (curtains, floor, ceilings, walls, gardens, parks, landscapes) are closely related to the architectural context and atmosphere; melting into, complementing or challenging the architecture or the architectural environment. Taking care, at the same time, that they service the

PREVIOUS: Music Video for hip-hop artist Common, in collaboration with Kanye West BELOW: Coca-Colaâ&#x20AC;&#x2122;s Magnificent 5 Collection

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PREVIOUS: Clips from opening credits of Quantum of Solace LEFT: Game Intro for Rockband Beatles Edition

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THE PRACTICE 0F EVERYDAY DESIGN The Practice of Everyday Design is a new partnership founded in 2009 with a focus on installation art, product design, and architecture. The Practice is committed to the merging of seemingly irreconcilable ideas to form new design opportunities. Their ideas emerge from the desire to re-evaluate the banality of the everyday in order to create innovative and playful designs. Using art as a means to investigate process and design there is no clear boundary between their design practice and our art pieces.

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PREVIOUS: Stalac Coffee Table RIGHT: The Mobile Office NEXT: Tiger, Tiger

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LOBO It’s been almost 20 years since Sergio Salles invested $1,500 in an aspiring company that sought to provide what by then was something almost unheard of in Brazilian advertising: computer graphics. Together with partners Alberto Lopes and Alceu Baptistão, he managed to turn Vetor Zero into one of the leading digital animation and post production houses in Latin America. In 1999 Vetor Zero started teaming up with Lobo, a small motion graphics studio founded in 1994 by Mateus Santos and Nando Cohen. This partnership was rewarding for both companies, since it allowed Lobo to grow and establish itself as a competitive enterprise and a creator of cutting edge design work; and provided Vetor Zero with opportunities to expand their

operations both creatively and market-wise, even beyond the South American foothold it had already established. Today, Vetor Zero and Lobo are as united as ever, sharing not only the same workspace but the various talents and skills of their combined personnel. The range of techniques they master allows the company to handle every aspect of the filmmaking process. Being able to express themselves in such varied means like stop motion, cel animation, 3D, live action and motion graphics also enabled Vetor/Lobo to establish their mark without getting branded with a “trademark” style, instead approaching every project with a fresh perspective and focus on the client’s needs. 113

BELOW: Smoking Beach 2009 NEXT: LOBO Office

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STEVEN HOLL ARCHITECTS Steven Holl Architects (SHA) is a 50 person innovative architecture and urban design office working globally as one office from two locations; New York City and Beijing. Steven Holl Architects has realized architectural works nationally and overseas, with extensive experience in the arts (including museum, gallery, and exhibition design), campus and educational facilities, and residential work. Other projects include retail design, office design, public utilities, and master planning. With each project Steven Holl Architects explores new ways to integrate an organizing idea with the programmatic and functional essence of a building. Rather than imposing a style upon different sites and climates, or pursued irrespective of program, the unique character of a program and a site becomes the starting point for an

architectural idea. While anchoring each work in its specific site and circumstance, we endeavor to obtain a deeper beginning in the experience of time, space, light and materials. The phenomena of the space of a room, the sunlight entering through a window, and the color and reflection of materials on a wall and floor all have integral relationships. The materials of architecture communicate through resonance and dissonance, just as instruments in musical composition. Architectural transformations of natural materials, such as glass, stone or wood, produce thought and sense-provoking qualities in the experience of a place. Following this approach Steven Holl Architects is recognized for the ability to shape space and light with great contextual sensitivity and to utilize the unique qualities of each project to create a concept-driven design.

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ME N

LEFT: Loisium Hotel, Langenlois, Austria, 2005 ABOVE: Watercolor for Higgins Hall Auditorium, Brooklyn, NY, United States 2005 NEXT: Riddled Cabinet, Horm Furniture, 2006

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MAX

KOVTOUN

125

PREVIOUS: Loisium Cork Lamp (Unfolded), Langenlois, Austria, 2005 LEFT/RIGHT: Knut Hamsun Center, HamarĂ¸y, Norway, 2009

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Horizontal Skyscraper Vanke Center Shenzhen, China, 2009

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THE ART OFFICE The Art Office strives to bring innovation to every project. They seek to inspire clients, communities, contractors, fabricators, and ourselves. They desire to create work at all different scales in art, architecture, and design. Their ability and desire to work within these varied disciplines is what keeps them on the cutting edge, fresh, and exciting to work with. Located in the midst of the Southern California desert, their office has a unique daily perception of space, landscape, light, and color.

The surrounding San Jacinto and Santa Rosa mountains, the Salton Sea, the desert sky and the native flora and fauna are constant reminders of pure design, pure beauty, and a continuously changing world. In the end, they desire for their work to be like the clouds…Universally appreciated with an innate sense of awe and open to all for individual interpretation.

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PREVIOUS: Lamp 01 2005 ABOVE: Chair 01 2006

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PDCPC Family Life Center 2000-2003

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Trina Turk Pillow Store 2008

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Transformed Flower 2008

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MICHAEL GRAVES & ASSOCIATES Michael Graves & Associates has been at the forefront of architecture and design since the firm’s inception in 1964. Today, the practice is comprised of two firms - Michael Graves & Associates, the architectural and interior design practices, and Michael Graves Design Group, the product and graphic design practices. Combines, they employ over 100 people at offices in Princeton, New Jersey and New York City, The services provided by the two firms are highly integrated, supporting a continuum among architecture, interiors, and products, which results in a powerful lifestyle brand. The architectural practice has designed over 350 buildings worldwide encompassing many building types. MGA’s Interior Studio

provides design services for all of the firm’s architectural projects while maintaining an extensive stand-alone practice. Working in conjunction with Michael Graves Design Group, the Interiors Studio often custom-designs furniture and artwork that compliment the character of the architecture and interiors. The combined practices of Michael Graves & Associates and Michael Graves Design Group are organized as a series of studios: four Principal-led architecture studios, an interiors studio, three product design studios, and a graphic design studio. Michael Graves and the firms have received over 180 awards for design excellence.

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Water Pitcher, Salt and Pepper Shakers, Wall Clock from Alessi Collection, 1985

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Hanselmann House, Fort Wayne, Indiana, 1967 Next: Nile Corniche, 2014

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CLAYDIES

Claydies is a Danish ceramics company founded by Tine Broksø and Karen Kjældgård-Larsen in 2000. Claydies is known for their avant-garde approach to pottery design and products produced by Normann Copenhagen and KählerDesign. Their vision is to make design, arts, and crafts that offer a new angle to the field.

Objects made for their exhibitions are just as important as a series of products. You could say the exhibition projects are their artistic motive. Making projects that play with the meanings and the functions of the objects is a goal set for many of the Claydies designs. They often relate to recognizable elements from everyday life.

Claydies’ work has been exhibited all around Europe and the United States. In their exhibitions, they often use photography or performance as a part of their display. The exchange between activities adds to the experience of the concepts.

They have their roots in ceramics, and stress the importance to develop design objects with their hands. No matter how a design is produced, it should still have the Claydies touch. 149

PREVIOUS: Claydies and Gentlemen LEFT: Ceramic Blades of Grass NEXT: Grass Vase for Flowers

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ABOVE: Dahlia Rugs

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Claydies and gentlemen 2003

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Blueclay earthenware bowls 2007

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Karen Kjældgård-Larsen

Tine BroksĂ¸

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True Feelings

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CREDITS LIGHTROOM Cycle Theory: Images: Kevin Byrd, Aaron Byrd Food Loop: Images: Kevin Byrd, Aaron Byrd All other projects: Images: Lightroom Studio Sketches: William J. Carpenter

UNSTUDIO Mercedes-Benz Museum: UNStudio Exhibition Design Summer of Love: Ben van Berkel and Caroline Bos with Job Mouwen, Christian Veddeler and Cristina Bolis, Holger Hoffmann, Kristoph Nowak, Kristin Sandner Advisors Production: p & p, F端rth/Odenwald Construction: H + M B端hnenservice GmbH / N端ssli-Deutschland GmbH, Giessen Burnham Pavilion: Ben van Berkel, Caroline Bos with Christian Veddeler, Wouter de Jonge and Hans-Peter Nuenning, Ioana Sulea MYchair: Ben van Berkel with Martijn Prins and Christian Bergmann, Arne Nielsen

SAGMEISTER, INC. AIGA New Orleans Poster: Art direction, design, illustration: Stefan Sagmeister Additional Illustration: Peggy Chuang, Kazumi Matsumoto, Raphael R端disser Photography: Bela Borsodi COMPLAINING IS SILLY. EITHER ACT OR FORGET.: Design: Stefan Sagmeister Typography: Matthias Ernstberger, Richard The Apostrophe Poster: Design: Matthias Ernstberger Seed Media Group: Art Direction: Stefan Sagmeister Design: Matthias Ernstberger World Changing: Art Direction: Stefan Sagmeister Design: Matthias Ernstberger, Roy Rub Photography: various Editor: Alex Steffen Editor at publisher: Deborah Aaronson Bridges to Babylon: Art Direction: Stefan Sagmeister Design: Stefan Sagmeister & Hjalti Karlsson Photography: Max Vadukul Illustration: Kevin Murphy, Gerard Howland (Floating Company), Alan Ayers

THE PRACTICE OF EVERDAY DESIGN Stalac Coffee Table: Images: The Practice of Everyday Design Mobile Office: Images: The Practice of Everyday Design Tiger: Images: The Practice of Everyday Design

STEVEN HOLL ARCHITECTS Loisium Alsace: Images: Steven Holl Architects Higgins Hall Watercolor: Steven Holl Loisium: Drawings: Steven Holl Architects Images: Christian Richters and Marherita Spiluttini Riddled Cabinet: Images courtesy of Horm and Steven Holl Architects Knut Hamsun Center: Images: Steven Holl Architects Photography: Iwan Baan Vanke Center: Images: Shu He

MICHAEL GRAVES Alessi Collection: Images: Michael Graves & Associates, Alessi Hanselmann House: Images: Michael Graves & Associates Nile Corniche: Images: Michael Graves & Associates

INSIDE OUTSIDE McCornick Tribune Campus: Image: Steve Hall Prada Sound Sock: Images: Inside Outside Seattle Public Library: Sketches: Inside Outside Images: Iwan Baan, Christian Richters Touch Wallpaper: Images: Inside Outside, Wolf Gordon Hackney Empire Theater: Sketch: Inside Outside Images: Phil Meech, Tim Ronalds

THE ART OFFICE Lamp 01: Images: The Art Office Chair 01: Images: The Art Office Transformed Flower: Images: The Art Office Trina Turk Pillow Store: Images: The Art Office PDCPC Family Life Center: Images: The Art Office

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LOBO Smoking Beach: Images: Photographers: Marcello Righini and Gabriel Dietrich Special thanks: Nelson Aguilar Video: Directors: Marcello Righini and Gabriel Dietrich Actor: JoĂŁo MaurĂcio Leonel Sound design: Paulo Beto Special thanks: Nelson Aguilar LOBO Office: Images: LOBO

CLAYDIES Claydies and gentlemen: Grass Vase for Flowers: Dahlia Rugs: Blueclay earthenware bowls: True Feelings:

WILLIAM J. CARPENTER, FAIA, Ph.D, LEED AP author

TODD EBELOFT GEORGE FABER book design

special thanks:

MAX KOVTOUN, MENG GONG, LAURA MEADOR, DEREK HARDT, LORI FINE, MARIA SYKES

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this book talks to you.