While the function of this exhibit was to showcase Italian tiles, a fabrication requirement was that tiles be used sparingly to keep the shipping weight down. Each overhead pyramid lights a single tile, each weighing less than fifty pounds.
Minimalist elements allow the tiles to be displayed much like art objects. The entire exhibit is dipped in Ferrari red, as most Italian tile manufacturers are located near Modena.
Desert Passage is the centerpiece of the Aladdin Hotel & Casino resort in the heart of the Las Vegas strip. The primary goal at the outset of the project was to create a completely immersive environment so compelling and authentic in its detailing that it would transport guests to a different place and time. Environmental graphic design began with the creation of a story line that took the visitor on a retail "journey" retracing the ancient spice routes from Morocco to India.
Like much of her work, Jenny Holzer's installation at the Berlin Neue Nationalgalerie was site-specific, made especially for a specific space and designed to last a particular length of time. However, this exhibition has become a permanent part of Berlin's new national gallery due to its success and Holzer's thoughtful response to the building's architecture.
This casino interior design is based on an underwater theme and much of the architecture reflects the imagery of ships and of water "elements." The ceiling and the mechanical and electrical systems are cleverly masked by hundreds of undulating mesh screens interspersed with floating, inflated sea "anemones." The cumulative effect is that of being beneath the waves. Lighting is arranged so that one has the sense of looking up from underwater, towards shimmering daylight. The carpet pattern emulates a field of brain coral.
The stage is set up to resemble a run-down, neglected old-time movie palace, a tribute to "B" movies of the fifties, complete with dilapidated theater seats, an art deco chandelier and a richly sculpted proscenium arch. The proscenium splits apart, collapses, and tracks off left and right; the movie seats flip upside down and disappear, and the scrim is pulled down to reveal a distorted metal grid wall in front of the onstage band.
This store was planned organically, rather than geometrically, with the goal of placing fixtures in a way that would maximize the ratio of sales area to store circulation. The dark, wood-paneled interiors have been replaced with a new palette of off-white wall surfaces. A floating wood slat ceiling incorporating mechanical and lighting fixtures defines a vast horizontal plane in the major retail spaces. Ceilings under adjacent pitched roofs remain open and their wood structures lit to emphasize their dramatic volumes.
This 38,000 square foot exhibit opened and ran for three days. For PlayStation, the objective is always to portray "new" – new games, new platforms, new adrenaline rush. The primary design concept for the 2001 E3 exhibit utilizes an umbrella environment of deconstructivist architecture composed of the faceted polygons used in CG environments. Other influences include origami and Japanese robots.
The project is a series of meeting rooms and a training facility for Macquarie Bank; the goal was to enliven and activate the space to encourage open thinking and communication, and incorporate the bank's values in the design. By branding the space with a unique name, visual identity and total thematic approach, Emery Vincent Design unified the spaces and created the destination "Thinkspace." The theming enables people to escape the constraints of linear thinking common to the banking environment and to transcend into a lateral-thinking mode.
This memorial is meant to capture a moment from the morning of September 11, a day that stands strongly in everyone's mind. The beginning of the memorial, essentially "ground zero," was designed so visitors walk through a path of destruction. Obstacles in their way will be life-size sculptures of people running from the towers and helping others, demolished vehicles, fire trucks, and other emergency vehicles. There will also be briefcases, cell phones, facemasks, and paper scattered on the ground.
AMTRAK's Acela Specialty Station Signage Program. The Acela signage breaks new ground in the branding arena. Rather than being logotype-driven, the program derives its branding strength from its sculptural forms.