“Design is so simple. That’s why it’s so complicated.” –Paul Rand

Because the house is narrow and long (16 by 68 feet), the design team decided to create a huge open-air space to light the interior naturally. Two retractable motor-driven 

canvas canopies shelter the space during Singapore’s frequent rains.
In another section of the yard, Cooper added varying-sized circular cement stepping stones, which lead toward an elevated planter filled with California-native plants.
The master bath contains all functions in the white fiberglass panel that runs the length of the wall. Lazor designed the vanity; the tub is by Duravit.
The master bedroom features a low-level picture window that opens out to the green space behind the house.
“It was a major decision to put the kitchen in the center where everything would revolve around it,” says Lazor. “We did this simply by following what patterns we observed—it was just where people gravitated.” The bar stools are by Blu Dot, and the chairs by Charles and Ray Eames.
Joachim's propensity for sharing statistics in a stream often verging on the grim is not without a touch of self-deprecation. After noting that "the amount of waste and trash generated in NYC in one hour could fill the Statue of Liberty," he added, "Unfortunately, I'm loaded with these."
In response to another audience member's question about fuel efficiency, Mitchell responded, "Zero efficiency is stupid…it's like No Impact Man. Or Switzerland. What's the point of being neutral? We need positive efficiency - giving back to the environment, not just zero or neutral, but adding something good."
On what it will take for cities to become sustainable and self-sufficient: "The Green Revolution happened. It's done. We won. We have the answers. Now we need to implement the technology that's been created," says Joachim. "Which brings us to the next, more important question: What will it take for society to take notice that we can't keep growing at the current rate without serious repercussions?"
Waste as Source: Mitchell's Rapid Re(f)use takes one week's worth of e-waste and creates sculptural creatures—in the vein of Pixar's Wall-E—and displays them in a public square in Germany. "It's the best way to get people talking and asking questions," says Joachim. "Is it art, or trash?"
Mitchell's Fab Tree Hab homes challenge the status quo of instant gratification. Although such organic structures may require years in creation, Joachim says: "Seriously, a good scotch takes 12 years. So we have to wait a while…what's the big deal?"
On the Gulf Oil Spill: "…Satan was vomiting crude oil into the ocean," yet even that wasn't a big enough crisis to get the public's attention to inspire change. Answering one attendee, Joachim considered the notion that ultimately, it may take financial crisis to motivate change. "We'll need one that hits our pocketbooks."

In response, Dameron asked: "Does technological innovation happen only under duress?"

Joachim: "Not at all. One example is cell phones replacing land lines. Innovation happens when there's a need for a better product, one that works better, looks better and feels better."
Wan for FLOS, 2006

Wan is the Japanese word for “bowl,” Grawunder’s inspiration for these hanging “bowls of light” that continue to be produced, as both suspension and hanging lights in various finishes.
Circle Light, Private Collection, 2011

For a commission for the Parisian jewelry designer Lorenz Baumer, Grawunder was inspired by one of the rings she had seen on his website. Concentric stainless steel rings combine with colored plexiglass and LED lights that change color to create one of Grawunder’s more decorative pieces.
Boxy, for Glas Italia, 2011

Glas Italia “has this amazing possibility to make a mirror out of any color of glass,” says Grawunder. Using that material as a starting point, Grawunder turned the mirrors into boxes and then sanded off their silver backing at the corners, allowing light to emanate from the colored glass. She envisions these “hybrid objects”—a combination of light-table-storage—to be used as mini bars or bedside tables that hold books.
Limelight, for Carpenter’s Workshop Gallery, 2012

This modular wall light consists of two modules, each able to pivot right or left, controlling how much light is emitted. The light itself is color-changing LEDs that are operated by a remote. The inspiration for the bead-blast finish: the back of Grawunder’s iPad.
Giolight, for Gallery Roberto Giustini & Partners, 2007

Grawunder’s bestseller—and one of her most iconic pieces—is included in the permanent collections the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art. Produced for a Rome gallery in two different sizes, the lights are highly coveted by collectors. Six of the larger, hanging versions were created for $25,000 each and were sold out in a week. A week later, one sold at an auction for $75,000.
Singapore Free Port, Lobby, 2010 

These hanging lights were designed to resemble mirror walls hanging in the lobby space. “I wanted the mirror effect to reflect the lobby windows and repeat the pattern,” Grawunder explains. A mirror coating was also applied to the lobby windows, so in the day “there is a lot of reflection up there.” At night, the "walls" glow up and down, with color changing LEDs giving a three-dimensional ceiling effect.
Singapore Free Port, Exterior, 2010

Grawunder worked closely with Swiss architects Benedicte Montant and Carmelo Stendardo to light this storage facility, designed as the “ultimate safe” for high-value art and collectibles. On the exterior, Grawunder used very low light green LEDs to give a bioluminescent feeling to the wall of plants behind it. In the daytime, the holes where the light comes from reflect the sky. Containing many kilometers of lights, this is Grawunder’s largest installation ever “and probably will be for a long time,” she quips.
Color on Color Mirror, for Glas Italia, 2010

In this three-part collection, Grawunder layers color “like a painter would do,” including Rothko-esque “black-out parts, which is what the mirror does.” The mirror, at center, is the only part of the fixture that’s not colored. “They wouldn’t let me put light in this,” Grawunder says, which, ultimately was a good idea. “The color of the glass itself is so luminous, it almost looks backlit.”
Slash, Private Collection, 2011

This piece for Baumer was created for an entry foyer. A more architectural fixture made mostly of polished stainless steel, it needed to incorporate movable lights to spotlight works of art. Grawunder suspended track lights, a typical form of spotlighting, from the main color field, making them more of a decorative than a purely functional element.