Inspired by retro-modernism, but without overt reference, Pod is an all white space painted with colored lights. The restaurant features pods (individual spaces), from deuce pods along the dining perimeter, to pods for six to ten people that have internally illuminated color changing table tops. Some design features that make Pod so unique are the high gloss white epoxy walls, acoustic foam ceilings, creamy concrete floor, dipped rubber chairs, and a thirty foot red rubber lounge barge.
The Gilmore Bank is an almost fifty-year-old, family-owned, hometown bank in the middle of a city. Moved twice in the past five years, the bank now occupies a street front portion of a new building with an architectural style that is elegant and simple, retaining visual elements from its handsome original building. The design challenge for the exterior graphics and signage was to create a sign visible from a busy street, extend and strengthen its graphic identity, and harmonize with the exterior architecture.
The exterior and interior signage express a dynamic, creative spirit unique to the building's urban site and temporary function. Supergraphics painted on rooftop fixtures and on the building façade communicate a visual identity consistent with MoMA's home building in Manhattan. The large-scale logos make it easy for the visitor to locate MoMA QNS in the cityscape from a distance, especially important since Queens is not a traditional tourist destination, and most visitors approach via elevated subway train.
Two Twelve Associates, Base Design, Michael Maltzan Architecture
Richard Foy co-founded CommArts with Henry Beer in 1973. The two met at the office of Charles and Ray Eames. CommArts was an office of architects, industrial, interior, graphic, and environmental graphic designers.
Henry Beer co-founded CommArts with Richard Foy in 1973. The two met at the office of Charles and Ray Eames and for 35 years, along with Janet Martin, headed a staff of architects, industrial, interior, graphic, and environmental graphic designers who created nationally and internationally acclaimed work for their clients.
Set apart from the new casinos of the last few years, the Palms was built for the local Las Vegas visitor. Theming the property was far down on the list of priorities when this friendly and approachable desert resort was created, although out-of-town visitors also recognized the appeal. Patterns in combination with a color palette, inspired by Maynard Dixon's paintings of the Southwest, evoke the impression of palm trees as affected by sunlight and shadow, and form the core of the visual identity for the project.
This exterior signage system is one of the largest and most technically sophisticated signs in the world. Covering more than 7,000 square feet and spanning 22 stories, the sign is an integrated system of thirteen LED panels that not only grabs the attention of passersby, but also effectively communicates what Reuters does and why it's important. The sign symbolizes how Reuters gathers, processes, and displays information to the public. Raw data flows down the sign and into the building as processed information flows out of the building and up the sign.