MULTI-DISCIPLINARY

PRACTICE

PRACTICEMULTI-DISCIPLINARY

LIGHTROOM UNSTUDIO

SAGMIESTERINSIDEOUTSIDE

MK12THE PRACTICE OF EVERYDAY DESIGN

LOBOSTEVEN HOLL

THE ART OFFICEMICHAEL GRAVES

CLAYDIES

FEATURING

ARCHITECTURE

ARCHITECTURETHIS IS A BOOK ABOUT

THIS IS A BOOK ABOUT

ART

ART

THIS IS A BOOK ABOUT

GRAPHICS

GRAPHICS

GRAPHICS

THIS IS A BOOK ABOUT

THIS IS A BOOK ABOUT

FILM

FILM

THIS IS A BOOK ABOUT

DESIGN

DESIGN

By:

William Carpenter, FAIA, Ph.D, LEED APLightroom Studio 2010

Featuring:

LightroomUN Studio

Sagmeister Inside Outside

MK12 The Practice of Everyday Design

LOBOSteven Holl

Michael GravesThe Art Office

Claydies

MULTIDISCIPLINARYPRACTICE

MDP: Multidisciplinary Practicemultidisciplinarypractice.comLightroom Studio115-b North McDonough StreetDecatur, Georgia 30030www.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.

This book talks to you.

30-41 MULTIDISCIPLINARITY ESSAY BY wILLIAM CARPENTER

44-63 LIGHTROOM

64-73 UNSTUDIO

74-83 SAGMEISTER, INC.

84-91 THE PRACTICE OF EVERYDAY DESIGN

92-103 STEVEN HOLL ARCHITECTS

104-111 MICHAEL GRAVES & ASSOCIATES

112-121 INSIDE OUTSIDE

122-131 THE ART OFFICE

132-137 LOBO

138-155 CLAYDIES

156-00 MK12

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 ap-proaches to multi-disciplinary design creating a new de-sign future.

June 2010Decatur, Georgia

“i didn’t design this

– William Carpenter

We all did”

MULTIDISCIPLINARITY

Multidisciplinarity allows for the creative overlap of different design disciplines in an interactive and compelling way. An ex-ample of this paradigm shift is exhibited in the overlap of cubist painting, quantum physics, poetry, educational theory and de-constructivist architecture. Building upon the seminal work of Charles and Ray Eames this theory allows for the exploration of interactive experiences allowing emotive architectural experi-ences in web and filmic space to occur.

william J. Carpenter FAIA PhD

As design become more complex; and teams become increas-ingly diverse; Multidis-ciplinarity allows for scalar thinking and in-corporates collabora-tive processes from diverse fields such as architecture, engineer-ing, graphic design, filmmaking, interactive and product design.

Throughout the history of architecture, architects have transformed ab-stract 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 workman-ship in architectural education.

Architectural education has mirrored this segmented process existing in architectural practice. It is very rare for architecture students to actually

ARCHITECTURE

INTERIORS

LANDSCAPEARCHITECTURE

INTERACTIVE(WEB,VIRAL)

PRINTDESIGN

FILM

build something they design. In some cases, such as at the Dessau Bauhaus, students were encouraged to build in order to learn and pur-sue design intentions. This was walter Gro-pius’ intention as he set up the school as an anti-thesis to the Ecole des Beaux Arts educational system.

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 method-ology. This was an architectural counterpoint to the Napo-leonic 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 the-ory). After winning the Prix de Rome, Henri Labrouste spent five years at the French Academy devoting much time in It-aly 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 werk-bund 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 crafts-man and artist. Together, let us conceive and create the new building of the future, which will embrace architecture, sculp-ture 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 Bau-haus, 1919).

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

The Bauhaus In considering architectural education and con-struction, it is helpful to discuss the inherent

- “Guten Tag!”

House, designed by Gropius and Adolph Meyer, and the “Ver-suchshaus,” or experimental house, were designed as tra-ditional “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 orga-nized around an atrium space. All of the fittings, windows, door frames, furniture and light fixtures were built by the stu-dents in the workshops of new materials. Josef Albers de-signed the stained glass and built the installation with student help in 1922.

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 prac-tice. The idea of the Live Project, or school-based commis-sions, was pivotal to the Bauhaus.

The educational situation that forged the Bauhaus in Germany after wwI showed the chaos of post-war society compound-ed 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, Gro-pius 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 mas-ters. 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

“Only an idea has the

– ludwig Mies van der Rohe (naylor, 1968)tO spRead sO faR” pOWeR

“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 dic-tated by social and scientific progress.

in an age of specialization, method is more important than information. train-ing should be concentric rather than sec-tional with an emphasis on relations.

design knowledge only comes by individ-ual experience, where feedback on one’s own work is of paramount value. through the feedback students receive when try-ing to build their designs, they quickly learn to account for constraints. the aim

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 con-centric circles depicting workshops of increasing skill and art as the student moved inward and deeper into mastery. Bau-haus students spent their first six months in the basic work-shop 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:

is to provide a rich and deep learning en-vironment, 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 prac-tice combined should introduce the stu-dents to the elements of design and si-multaneously the ideas of construction. in succeeding years, the design and con-struction studio should be supplemented by field experience. Construction should be taught with design, for they are direct-ly interdependent.

students should be taught to work in col-laborative teams.

Case history studios should be studied in later years, rather than first, to avoid imi-tation and intimidation. students learn to design better when first encouraged to explore, try, reflect upon, and integrate design and construction.” (Walter gro-pius, aCsa national Meeting, 1959)

The Bauhaus was closed by the Nazis in 1933, only 14 years af-ter being founded, and having produced less than 500 gradu-ates. 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 aes-thetic—to create an environment to satisfy man’s spiritual and material needs” (Naylor, 1968).

integrating materials to enhance the design process. Itten stated, “The ability to invent through construction and to dis-cover 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 Bau-haus or of Johannes Itten. Rather, it goes back, to the nine-teenth century and it was expressly encouraged in the early twentieth century by numerous art school reformers. Itten describes the course objectives:

johannes iTTen

“to liberate the creative forces and thereby the artistic talents of the students. their own experiences and perceptions were to result in genuine work. gradu-ally, 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 valu-able 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 pos-sible for the subjective and objective problems of form and colour to interact in many different ways” (Wick, 2000).

1.

2.

3.

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

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 Moholy-Nagy. Itten remarks on these: “At the Bauhaus, I had long chromatic series of material samples made for the tactile as-sessment 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).

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.”

“tO liBeRate the

– Johannes itten (1932)

fORCes and theReBy” CReatiVe

the aRtistiC

talentsOf the stUdents

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 be-come 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 re-main at the Bauhaus because Itten had praised Albers’ work as a student.

goal: The old school seeks, in addition to its main goal of popu-lar 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 au-ditors, 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

joseF aLBeRsJosef Albers’ view of the Bauhaus was unique. He felt the school had strayed from its original

“... invention, and reinvention too, is the essence of creativity ... learned working methods and their application develop insight and skill but not creative ener-gies. the ability to invent through con-struction and to discover through ob-servation is developed, at least at first, by undisturbed, uninfluenced and un-prejudiced experiment which is initially a playful tinkering with a concrete goal, which is to say unprofessional (i.e., not burdened with instruction) experimen-tal 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.

thing along without increasing its value is called wrangling. So the school produces wranglers rather than creators. Rath-er 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 be-ing 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 experi-mentation with sheets of paper, metal and fabric were used in his course. He elaborates on this point:

We know that this instruction by learn-ing takes longer routes, even detours and false paths. But, no beginning is straight-forward. and mistakes that are recog-nized 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 be-lieved that art could not be taught directly, but that it could be “learned.” This linguistic nuance contains that which dis-tinguishes 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 accept-able. Understanding the difference between “material stud-ies” (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 fac-tories and workshops” (Horwitz, 2002). He was not inter-ested 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 mate-rial” (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 permit-ted 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 prod-uct design by Marcel Breuer and his steel tube chair.

STUDIOLightroom studio is an interdisci-plinary studio in Atlanta Georgia. They have expertise in sustainable modern residential and commer-cial architecture, historical preser-vation, interiors, web sites, graphic and exhibit design, film production and strategy. Lightroom is know for it’s exceptional design, for it’s commitment to the particularly of place, context and user and for an approach based on quiet and re-strained rigor.

LIGHTROOM

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

ABOVE: Lindsey Dowell, website DesignRIGHT: Decatur Modern, Branding

BELOw: Northeast PerspectiveRIGHT: 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

[section]

[concept]

[foundation]

[structure/enclosure]

[site plan]

5TH AVEN

UE

GORDON

[section]

[concept]

[foundation]

[structure/enclosure]

[site plan]

5TH AVEN

UE

GORDON

ABOVE: Process and diagramming for Dominey Pavilion

Dominey Pavilion, Decatur, GA

STUDIOUN

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.

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.

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

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

MYchair, Client: walter Knoll 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 1997LEFT: worldchanging 2006ABOVE: 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, 2005ABOVE: Seed Media Group 2005

PREVIOUS LEFT: Anni Kuan Horse Brochure 2002

RIGHT: Rolling Stones, Bridges to Babylon 1997

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.

THEPRACTICE

0FEVERYDAY

DESIGN

PREVIOUS: Stalac Coffee TableRIGHT: The Mobile OfficeNEXT: Tiger, Tiger

ARCHITECTS

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.

STEVEN HOLL

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

MENG

GON

G

LEFT: Loisium Hotel, Langenlois, Austria, 2005ABOVE: watercolor for Higgins Hall Auditorium, Brooklyn, NY, United States 2005

NEXT: Riddled Cabinet, Horm Furniture, 2006

MAX KOVTOUN

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

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

Horizontal Skyscraper Vanke Center Shenzhen, China, 2009

& ASSOCIATESprovides 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.

MICHAEL GRAVES

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 de-signed over 350 buildings world-wide encompassing many building types. MGA’s Interior Studio

water Pitcher, Salt and Pepper Shakers, wall Clock from Alessi Collection, 1985

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

OUTSIDE

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.

INSIDE

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: Prada Sound Sock 2001

Seattle Public Library 2000-2005

Touch / Vinyl wallpaper

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

OFFICE THE ART

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, we desire for our work to be like the clouds…Universally appreciated with an innate sense of awe and open to all for individual interpretation.

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.

PREVIOUS: Lamp 01 2005ABOVE: Chair 01 2006

Transformed Flower 2008

Transformed Flower 2008

Trina Turk Pillow Store 2008

PDCPC Family Life Center 2000-2003

PDCPC Family Life Center 2000-2003

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.

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

BELOW: Smoking Beach 2009NEXT: LOBO Office

BELOW: Smoking Beach 2009NEXT: LOBO Office

CLAYDIES

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.

They have their roots in ceramics, and stress the importance todevelop design objects with their hands. No matter how a design i produced, it should still have the Claydies’ touch.

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 Kähler-Design. Their vision is to make design, arts, and crafts that offer a new angle to the field.

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.

PREVIOUS: Claydies and GentlemenLEFT: Ceramic Blades of GrassNEXT: Grass Vase for Flowers

ABOVE: Dahlia Rugs

Claydies and gentlemen 2003

Claydies and gentlemen 2003

Blueclay earthenware bowls 2007

Karen Kjældgård-Larsen

Tine Broksø

True Feelings

CREDITSLIGHTROOMCycle Theory: Images: Kevin Byrd, Aaron ByrdFood Loop: Images: Kevin Byrd, Aaron ByrdAll other projects: Images: Lightroom Studio Sketches: William J. Carpenter

UNSTUDIOMercedes-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 Pro-duction: p & p, Fürth/Odenwald Construction: H + M Bühnenservice GmbH / Nüssli-Deutschland GmbH, GiessenBurnham 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 SagmeisterAdditional Illustration: Peggy Chuang, Kazumi Matsumoto, Raphael RüdisserPhotography: Bela BorsodiCOMPLAINING IS SILLY. EITHER ACT OR FORGET.: Design: Stefan SagmeisterTypography: Matthias Ernstberger, Richard TheApostrophe Poster: Design: Matthias ErnstbergerSeed Media Group: Art Direction: Stefan Sagmeister Design: Matthias ErnstbergerWorld Changing: Art Direction: Stefan Sagmeister Design: Matthias Ernstberger, Roy RubPhotography: various Editor: Alex Steffen Editor at publisher: Deborah AaronsonBridges 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 DESIGNStalac Coffee Table: Images: The Practice of Everyday DesignMobile Office: Images: The Practice of Everyday Design

Tiger: Images: The Practice of Everyday Design

STEVEN HOLL ARCHITECTSLoisium Alsace: Images: Steven Holl ArchitectsHiggins Hall Watercolor: Steven HollLoisium: Drawings: Steven Holl Architects Images: Christian Richters and Marherita SpiluttiniRiddled Cabinet: Images courtesy of Horm and Steven Holl ArchitectsKnut Hamsun Center: Images: Steven Holl Architects Photography: Iwan BaanVanke Center: Images: Shu He

MICHAEL GRAVES Alessi Collection: Images: Michael Graves & Associates, AlessiHanselmann House: Images: Michael Graves & AssociatesNile Corniche: Images: Michael Graves & Associates

INSIDE OUTSIDEMcCornick Tribune Campus: Image: Steve HallPrada Sound Sock: Images: Inside OutsideSeattle Public Library: Sketches: Inside Outside Images: Iwan Baan, Christian RichtersTouch Wallpaper: Images: Inside Outside, Wolf GordonHackney Empire Theater: Sketch: Inside Outside Images: Phil Meech, Tim Ronalds

THE ART OFFICELamp 01: Images: The Art OfficeChair 01: Images: The Art OfficeTransformed Flower: Images: The Art OfficeTrina Turk Pillow Store: Images: The Art OfficePDCPC Family Life Center: Images: The Art Office

LOBOSmoking Beach: Images: Photographers: Marcello Righini and Gabriel DietrichSpecial thanks: Nelson AguilarVideo: Directors: Marcello Righini and Gabriel Dietrich Actor: João Maurício LeonelSound design: Paulo Beto Special thanks: Nelson AguilarLOBO Office: Images: LOBO

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

WILLIAM J. CARPENTER, FAIA, Ph.D, LEED APauthor

TODD EBELOFTGEORGE FABERbook design

special thanks:

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

this book talks to you.