The Immersive “Room” : Designing Collaborative Craft
Follow @wip.ish on IG for accompanying images (Fig. 42 - 63).
I found @kendall.latham via an IG tag (Fig 42). I don’t remember exactly when I started to follow him, but I was glad I did because his profile is full of exciting #WIPs (Fig. 43). It was only after seeing a selfie in front of a pink rooftop (Fig. 44) that I couldn’t help but reach out via DM : “This is too cool - I’m jealous. Did you study architecture?” I wasn’t expecting an answer, much less a conversation, but I got both.
Kendall did, in fact, study architecture - he graduated with a B.Arch from the University of Kentucky. Like most of us, he started work in a traditional architecture office like OMA and SO-IL, but he soon migrated to working at creative offices like @officialhushstudios and @bureaubetak. If you haven’t heard of these places, @bureaubetak most recently collaborated with @jacquemus for his Spring / Summer 2021 show, L’Amour (Fig. 45). Kendall didn’t work on this show, but he did help design many other fashion sets and shows while working there.
Today, Kendall works at Glossier as a “Senior Experiential Designer”. I was not familiar with the term, but Kendall explained that anything with any kind of spatial aspect to it needs architecture skills in order to make it happen. So, I’m guessing that the pink rooftop he was posed in front of was also possibly designed by him. But this pink rooftop really got me thinking : It felt particularly London-esque. That is, it felt like it might have been included in this Glossier London because it related to Mary Poppins - a famously English character. The only difference here, was this roof was pink - not full of soot (Fig. 46).
Many of Glossier’s stores function this way - that is, they are extremely site specific. Site research seems to mean something different when designing a store for Glossier, where the charm of their stores derives from researching the intimate specificities of their locales. In other words, what we typically understand as “site research” to include location, orientation, square footage, etc, also begins to includes popular culture, unique paraphernalia, and local favorites. Including and incorporating such elements into these retail spaces ultimately creates an environment that feels special, especially for local residents. I mean, had you ever seen a closet with a fabricated canyon inside of it (Fig. 47)? Admittedly, none of these details are “necessary”. Instead they’re meant to create an experience that immerse you (and sure, maybe you take a selfie inside of it). But these spaces are also just fascinating to be in and to look at, and I’m of course curious of the process of designing and making them because they somehow feel very different than what we typically do as architects.
The first instance of this kind of immersive @glossier space, seems to hark back to the “Escape Room” in the Glossier penthouse in 2015 (Fig 48). The Escape Room was a temporary transformation of Glossier HQ’s conference room into a “multi-sensory art installation” by artist Grace Villamil (Fig. 49). @viagracia had previously made similar (though not as intimate) installations in both boutique @comingsoon, and restaurant Mission Chinese Food. An interview with Glossier CEO Emily Weiss confirms that this shimmery space was commissioned for Glossier’s HQ opening to the public for the very first time:
We worked with a friend, Grace Villamil, an artist who I discovered last summer and have been wanting to collaborate with. I went to art school and I love supporting female artists. We had the opportunity to create this really incredible escape room…You become teleported into this totally different headspace. [1]
What’s interesting about the Escape Room is that Glossier didn’t design the space - not really. Instead, Villamil was given a space to recreate her installation in a more intimate setting, and the result didn’t “scream” Glossier, at least not the way their spaces do now. However, the idea of creating that signature immersive space was already taking shape by hacking a conference room into a mylar wonderland complete with neutral colored bean bags - though today I think those would have been pink.
Glossier, then, seems to have a trend of working with closely with artists in order to be able to fulfill their spaces because they aren’t just designing architecture as-per-usual, instead they’re designing larger than life spaces that are highly crafted - where craft can be anything from lipstick inflatables to custom furniture. In other words, because of the highly specific and unique nature of these spaces, typical contractors alone wouldn’t be able to physically produce the entirety of these stores. Glossier Seattle, for example, included a lush landscape of flora native to the area (Fig. 50). As a result, Glossier collaborated with @lily_kwong from @studiolilykwong and @plantbowls_bk (Fig. 51 - 52). I previously mentioned the recreation of Antelope Canyon in what was previously an old storage closet in Glossier LA. In order to achieve precise colors and textures, Glossier collaborated with both sculptors and painters (Fig. 53) - by the way, this canyon is at its core made of foam. Glossier Chicago featured local creatives, friends, and members of the Glossier community (Fig. 54), and collaborated with photographer @deunivory to create their portraits which hung along the walls of the store (Fig. 55 - 56).
But Glossier has worked with other artists and creatives for non-retail experiences. For their recently launched Skywash campaign (Fig. 57), Glossier worked with artist @betteradams who created enormous textured canvases for each color to be shot in the desert (Fig. 58). For their new years party, Glossier ordered custom ice cubes containing a pink rose and signature Glossier G (Fig. 59) made by @discocubes, which was started by (DJ) @lesliekirchhoff who while working gigs noticed a “lack of creative attention” to the ice cubes in her audiences’ cocktails - so now she puts all kind of objects into custom molded ice (Fig. 60). And Glossier’s Flagship seems to always have a fresh bouquet of matching flowers all over their spaces (Fig. 61) from @brrch_floral, which was started by Brittany Asch, whose work can has been highly featured in editorials and fashion shows (Fig. 62). I suppose when we start talking about ice cubes and flowers, we’ve gone a bit off track, but I mention them because I think thinking of these kinds of details are kind of why Glossier spaces (and collaborations) are so spectacular in the first place.
But back to the spaces, and more specifically, Kendall (Fig. 63). Kendall has worked on all of the Glossier stores I’ve mentioned up to now (London, LA, Seattle, Chicago) and he has also had a heavy hand in designing Glossier Miami and the New York Flagship. I recently reached out yet again via DM to ask if he would share his process as an experiential designer with me, and we had a slow interview over email :
MGC : What is your process from beginning to end? Where do you receive a project and where do you say “goodbye”?
KL : After receiving the initial brief establishing the location of the project, I begin looking at the cultural signifiers relating to the region. What elements are emblematic or symbolic of the community? What makes people proud of their communities? Drawing regional inspiration is fundamental to a creative concept that acknowledges its setting. Through analysis and research, we move into the creative development phase where we find concept images that not only reference design, but also the mood and "world" of the project. Thinking holistically about the concept, especially how one feels in a space is equally, if not more important, than the physical design. Moving into the next phase, we begin exploring configurations of the plan, thinking about circulation, interaction, and relationships between our visitors. After establishing the organization of space, we begin translating the concept images into physical elements that exist in the space, trying not to hold ourselves to any constraints other than measurements. Nothing is impossible. Speaking to vendors, gathering material samples and mockups, and understanding the textures and materials of the space is essential for our process. Because of the short timelines, we often develop and build in parallel, but once the details of the designs and drawing set are complete, the construction phase begins. Building relationships with our contractors, electricians, and anyone involved in creating the space is very important in the learning process and makes each project easier moving forward. Once construction is complete, we have a "finish touches" phase where we lay out all the products, cross every "t" and dot every "i" AND lowercase "j" in the space. The process ends when the scented candle is lit and the first customer walks in the store.
MGC : Glossier LA feels a bit more rooted and specific to its site as a permanent store than the NY Flagship via textures, flora, and Glossier Canyon. What does feel to be in common and possibly signature of all Glossier spaces is the “immersive room”. The NY Flagship seems to highlight its products, not its site, which makes a lot of sense especially as the Flagship, but it does have many immersive “rooms” : the red velvety entrance, the Wet Bar, and the Boy Brow Room. None of these might be site specific but they have the same feeling as being in a closet transformed into Antelope Canyon or an entire store that is covered top to bottom in a custom floral print (Glossier London). Can you say more about designing this immersive quality? All of the stores are actually so immersive but I’m particularly struck by the times this quality is super concentrated in a kind of “room,” which in the pop-up stores can actually just be the entirety of the store itself (thinking about Glossier Seattle’s entirety filled with flowers). I suppose I like how these spaces are less utilitarian and more experiential and I wonder how you’ve changed the way you thought about designing now from the way you were taught in architecture school.
KL : While there are more nuanced design elements, formal languages, and display strategies that connect all of our stores and popups, our "experience room" is something that particularly excited our visitors. Our nod to the region is sometimes more subtle and less obvious, but we utilize more exaggerated thematic interpretations to really transport customers into another layer of the design. These rooms never have windows, and often have very specific lighting, smell, and sound. For instance, the LA store is flooded with natural light, while the "canyon room" is a smaller room tucked away in the back. It has programmed lighting to emulate a time-lapse of the sunset/sunrise (you can see the different lighting transitions in many of the photos people post), and we burn palo santo in the room to give it a different scent. The sounds that are specific to the room are actual recordings that our team recorded in a canyon /desert. It's also important to acknowledge that these spaces are content moments for visitors to take selfies, etc. While the romanticized "transportive" qualities of the room are intentional and effective, the value in them lies in our visitors engaging and taking photos and posting them on social media. This drives brand awareness and often results in thousands of people becoming aware of Glossier. I think that's something that people in architecture don't like to associate with their projects, because it makes them seem juvenile, or trendy, however there are "content moments" incorporated into every design. The mushroom room at Fondazione Prada. The Vessel at Hudson Yards. Even entire buildings as symbols re: The Duck and the Decorated Shed. What I'm trying to say, in so many words, is that social media has integrated itself into design, and now that social media presence has a price tag, it can have a huge impact on how we design and who we are designing for.
MGC : What is the most important form of representation for you : I’m curious if you work with physical models or is 3D (Rhino or the like) the primary way of working.
KL : Most of our creative process involves hand sketching or drawing different details quickly to get all of our ideas in the open. Personally, I find endless 3D modeling and iterating to be an inefficient way to design. Translating the world of architecture school, and lots of offices, where you create hundreds of models for the same project just didn't work anymore. I found that it diluted initial creative instincts, visions, and imaginative details that are so inspiring and impulsive. Having mockups and models of architectural details, especially the atmospheric ones like lighting, texture, and smaller, more intimate design elements is so helpful in our design process. I feel like it's really unnecessary to make a physical model of the entire space. We try not to reference images from the shallow-internet too much when developing form and materiality– I feel like I've seen every image on Pinterest 5 times. The depths of the internet are fun to explore however.
MGC : I resonate with so much of what you just said. It sounds like instead of individually endlessly iterating, designing these spaces is more of one joint effort that begins with a discussion of what matters to a specific area and beginning to re-imagine these things in a spatially immersive way. I obviously don’t know what the reality is, but I’m personally picturing a big table with images and drawings scattered all over the place where members of the design team at Glossier are maybe thinking out loud about possible concepts, sketching them in real-time. Can you tell us more about what your process might look like on a typical day with your team?
KL : You're right on the money about the piles of drawings and ideas and sketches. Our team's desks are famously messy and kind of resemble an architecture school desk in many ways. Our monitor, stacks of relevant drawings, books, and models, and barely enough space for you to move the mouse across a rhino viewport. Our product samples take over corners of our creative lab, because we create the largest physical objects in the company. We always use the mornings to have an open discussion about the projects we work on – our "morning coffee" as it reads on our calendars. This is something that has been really affected by working remotely. The time spent sketching together or having impromptu conversation about something we saw on a nearby screen now takes place on planned zoom calls. We occasionally invite special guests from other teams/departments to get a broader view on what's going on in the company and get new perspectives on things we are working on. Sometimes we spend 30 minutes talking about movies or TikTok or whatever else comes to mind. That's usually followed by a few meetings with our creative director and/or head of design to speak about the brand and share progress updates after some additional working time drawing details, modeling, rendering– the basic deliverables. The latter half of the day we spend in similar check-in meetings but try to have working/creative time as much as possible. We VERY rarely stay past 6pm, which our team takes very seriously so we come in with fresh minds and never get burnt out.
MG : Glossier seems to collaborate so much with artists / specialists. How do you find these people? When do you involve them in the process? How does knowing you can reach out to artists (in addition to more conventional contractors) allow you to design in what seems like a much more creative manner?
KL : We always develop a very specific design for each of our spaces, leaving no detail unturned and making sure we have a holistic creative approach. Because we work for a singular brand, we understand how to inject the right amount of "Glossier" into each concept while still connecting each design to a unique region. Designing the Seattle Pop-Up is a great example of how we worked with another specialist. We decided early on that we wanted the space to be overgrown with plants and flowers, creating rolling hills with live plants that contrasted really machined, refined materials like mirrors, linear LED strips, and our display pedestals. We gathered reference images and sketched a design that we wanted, and then searched for an expert to execute the vision. Looking at some of our references, we found that several of the installations were created by a local studio called Studio Lily Kwong. Because she specialized in installations like the one we had designed, we connected with her and brought her on board immediately. The limitations of our expertise, and the value other designers and fabricators can bring to enrich each project, is something that we consider for every project we design.
MGC : This is really insightful to hear and I think its why I appreciate Glossier spaces so much. I feel like it broadens our understanding of what expertise typically means. Glossier has looked to floral artists, sculptors, and photographers for expertise we would never typically come across, and realistically, many of us won’t ever come across as architects. Is there another kind of expertise Glossier has sought for in a project that you were particularly struck or surprised by? Or is there someone you would love to collaborate with? For some reason I’m picturing Petra Blaisse designing a Glossier store that is just one enormous curtain, haha.
KL : For our flagship store in New York, we partnered with PRO architects and Gachot Studios. We didn't have a robust design team (it was just me and our Head of Design, and I started during the latter stages of the project), so we relied heavily on external architects and designers to develop suggestions and proposals based on specific feedback we provided during our working sessions. Other than that, during my time at Glossier, we haven't partnered with any designers (other than Glossier Seattle) to conceptualize, develop, and draw the physical spaces. Currently, we feel very strongly about designing these spaces in-house so they evolve with the brand and aren't influenced by an individual designers' style. I don't think collaboration would dilute or detract from a Glossier space in any way, but if we were to collaborate it would be very intentional. That being said, we have worked with a number of sound designers, florists, lighting designers, and fabricators to bring their expertise to each project, because it simply isn't in our wheelhouse.
MGC : What has been your favorite / most exciting thing to design at Glossier?
KL : The Seattle Pop-up holds a very special place in my heart. I'm a little biased because I love the Pacific Northwest, but the natural environment of Seattle contrasted by minimal, highly-machined details drew from the fabric of the city in an interesting and unexpected way. Collaborating with other designers proved to be an extremely rewarding experience because not only were they able to bring their expertise to the project, but I learned so much from seeing different ways of fabricating and making. Engaging with the community is not only woven into our projects design, but across disciplines as well. We donated the live plants in the store to local nurseries to be repurposed, and our design team created a Seattle-specific Nalgene bottle that directed it's profits to Mary's Place, a local nonprofit organization that provides shelter for women, children, and families on their journey out of homelessness. While the design of the space is hugely the reason it's my favorite project, what really does it for me is the positive community impact the store brought to Seattle.
MGC : Even from an outside perspective, looking closely at Glossier stores has made me aware of different ways of making, which is why I really wanted to get in touch with you. Your answer brings up a really interesting point I hadn’t explicitly thought about until now : The difference between a permanent store and a pop-up store. It seems as though the fast paced and multiple versioned Pop-Up is what allows so much collaboration at Glossier between designers of all kinds, which we’ve discussed a bit already, but I think it’s so great that the Seattle Pop-Up had an afterlife. Was this the first time something like this was done or do you typically look to repurpose Pop-Up material? Are there other opportunities afforded by the Pop-Up that we don’t typically see?
KL : Both permanent stores and pop-ups have their advantages. With permanent stores, we are able to use nicer materials and be a little more innovative with how we utilize that materiality. Elements like lighting and sound are really supported by permanent spaces. Furthermore, with popups we re-use a lot of our materials. Most of the lighting, the speakers, the display pedestals and product merchandising elements are just some of the elements we are able to re-use throughout each popup as they relocate. The pop-ups also enable us to use materials and designs that would never stand the test of time if they were permanent. They are much more impactful, but we have to get really resourceful and creative with materials and oftentimes those are a little less durable than others.
MGC : Finally on the note of things you’ve designed at Glossier, I read on your website you designed the Glossier London floral pattern that was printed on the floor, walls, tapestry, and furniture pieces. What was that like? I’m curious if you can share any anecdotes from that process.
KL : That pattern was a LOT of work. The first iteration was based on a lot of pattern research, including historical references like William Morris. There was also a very complicated science to design something in tiles that is infinitely scalable, but didn't appear to be so regimented. (Apologies in advance for all the software terminology) I actually drew the first version in Rhino and made sure it met those requirements. I quickly found out that it wasn't as simple as exporting that to a vector file and manipulating colors. I had to heavily rely on other people from our creative team to take the drawing and format it for printing, which was much more complicated than anticipated. We found a local textile printing shop in London, and sent them all the color variants so we could get samples of different fabrics, carpets, and wallpapers and see how we had to change each individual variant to color-match. It was quite a process. The end result was exactly as we intended it: Willy Wonka meets Alice and Wonderland meets London Social Club meets Glossier.
Follow @wip.ish on IG for accompanying images (Fig. 42 - 63) and an eclectic source of unrelated WIPs. On that note, I also want to know what, where, and how you make! DM or email me at wip.ishhh@gmail.com with unsolicited WIP images or #wip posts with an optional caption and IG handle to be featured on the WIP-ish IG :
This week’s featured WIP are @laurayeh_ and @archofficehours :
@laurayeh_ (Fig. 64) studied at both Parsons School of Design and The Royal Danish Academy of Design. She is currently a senior designer @glossier where she works on art direction, industrial, packaging, and graphic design. Her personal IG features a recent video on her process of designing @glossier’s new hand cream (Fig. 65). I love this WIP because it shows us both the solitary and collaborative acts of design - there are things we can and cannot do “alone”. While @laurayeh_ is not an architect, a lot of what she does is familiar to us : sketching (Fig. 66), model making (Fig. 67), 3D modeling (Fig. 68), and iterative making (Fig. 69)
@archofficehours is a very recent and ongoing series of free and open discussions over Zoom for strictly BIPOC students, designers, and architects on a range of design topics like setting up an architecture office, licensure, curating, publishing, etc (Fig. 70). I think this is really amazing! These are literally conversation about conceptual process and how-to’s regarding so many different aspects of the architectural profession… I first heard of @archofficehours via @estherchoi and @dongpinwong’s personal IGs - @dongpingwong even offers 1-on-1 30 minute office hours (again strictly BIPOC students, designers, and architects) to discuss work, school, money, clients, aesthetics, portfolios, bosses, teachers, racism, or anything vague architecture related (Fig. 71). So far, three @archofficehours sessions have been advertised : starting an office, becoming a licensed architect, and becoming a creative director (Fig. 72). Follow @archofficehours for announcements on upcoming sessions - you can email architecture.officehours@gmail.com to register for a session - though they usually link in bio to register. By the way these are not and will not be recorded or made public in order to maintain a safe space in which participants can ask and answer questions comfortably - so keep your eye out!
[1] Fumo, Nicola, “Emily Weiss On Why She’s Opening the Glossier Headquarters to the Public”. Racked website. 07.17.2015.