Interviews with ETHOSpace Pte Ltd

My first physical encounter with art was at Antelope Canyon when I was much younger. The rock formations shaped by water over many years resonated deeply within me and I aspired to become a sculptor ever since. This was unfortunately not meant to be. This permanent curiosity towards nature’s artistry led me to study architecture at Cornell University; and, over time, I eventually gravitated towards interior design.

Traveling around the globe while experiencing our planet’s cultural richness and how uniquely different the natural/built environment looked in every geographic region piqued and reinforced my interest in design. During my initial years as a young designer, I felt more could be done in the realm of interior design to invoke nature, culture and emotion. I eventually got together with a few like-minded people, including my sister, to incorporate our design firm, ethospace with the firm belief that we could make a difference in a small but meaningful way in relation to how beauty should feel and be seen.

Our creed is to design interiors that we would personally enjoy experiencing; and, we have never wavered from this simple guiding philosophy. Generally, our inspiration is often derived from abstract sculpture and stunning visuals of nature. When it comes to a specific project, we would also find inspiration in understanding the cultural and architectural context of a site, both past and present, as the basis upon which we can create something different and unique for the present and future. To bring these ideals into fruition, we prefer harnessing any instrument that frees the imagination to empower us with the means to generate the unconventional, which at this time would be 3D printing.

Within each design process, we find great satisfaction in becoming one with our clients, vendors and contractors, by virtue of our close collaboration and the sharing of knowledge and skills. This sense of fulfilment is magnified when all parties are aligned and moving toward the common objective of creating something fascinating and out of the ordinary. Likewise, it feels rather therapeutic when it comes down to working on the actual sketches and digital models with our design team.

Perhaps having worked as a part-time waiter before college helped me to better understand the critical basics of listening and delivering exactly what was ordered by our guests, at the right time and with a smile. This experience may have been instrumental in providing the foundation to develop an intuitive sense of listening with one’s eyes; and, seeing with one’s heart. In relation to my profession as a designer, this philosophy entails giving full attention to client and end-user requirements without predispositions, while invoking the emotional design aspects of a site’s full potential can help to significantly improve the final outcome of a design project.

Our hope is to continually evolve our design methodology. The quest for perfection is an endless process. As Salvador Dali said, “Have no fear of perfection – you will never reach it.” In that light, we are consistently refining and mastering our craft and processes, while nurturing our design team to continually adapt and morph with the times.

We encourage our own designers to perceive space not measured merely by scale and function, but to also go beyond these obvious requirements by placing an equal amount of emphasis, if not more, on the intangible and intuitive aspects of the end-user experience.

As designers, one of our unspoken fiduciary duties is to exercise the trust placed in us to select ecologically sustainable materials appropriate for an ecosystem that would ultimately be bequeathed to our future generations. While this is still a challenge to fully put into practice today, it ought to be the direction all of us designers should be heading towards.

It is arguably the case that design gives birth to a trend only when there is demand; and, where there is strong demand, the trend then reinforces the design. Demographic and lifestyle characteristics serve as the primary predictors of demand that inadvertently sets the stage for design trends. To stay ahead of the curve, we believe that extensive travel and seeing as many parts of the world have helped us to develop and refine our craft. Demographic and lifestyle characteristics also serve as predictors of design trends. Rather than identifying the trend itself, we strive to transcend the trend by studying demographic and lifestyle patterns of our end-users; and, formulate our design approach in response to those same behavioural patterns.

Successful design, in our view, would be a multi-faceted composition that is robust enough to pique curiosity, trigger emotion and opens the imagination by paving the way to new possibilities, while concurrently addressing the functional and commercial needs of a client and their end-users. In essence, functional and commercial purpose is what often stands in the way of a designer from becoming a pure artist. The more a designer transcends function, the more compelling the design.

Generally, the quest for perfection is a process that comes with its own beginnings without end. Fortunately or unfortunately, a client’s schedule, which could take anywhere from a few weeks to a few months, prevents a designer from continually refining his work without end. To a greater degree, there comes a time when a design team has to stop the refining process because doing more would only serve to dissolve the primary message. At this point, the process of refinement is complete for the project at hand.

We are particularly fond of our work for the interiors for the Art Rotana Hotel in Bahrain. Within this project lies the culmination of our perennial endeavours to seamlessly weave together a site’s ancient origins with the building’s modern architecture; and, how these two seemingly opposing constituents should serve as the source of our design inspiration for the present age, in relation to how our interiors might stand in future. We also explored the various types of flora surrounding the site; and, extracted relevant shapes that appealed to our aesthetic sensibilities as the basis of influence for our design language in relation to the interiors.

A great deal of my time is spent traveling and immersing myself into new environments in the hopes of looking at life from a different perspective. What is of particular interest to me are the other-worldy coral reef cities in the Maldives, Australia and Indonesia, which are great sources of inspiration. But if I had to pick an actual city as we know it, then it would have to be New York City with its rich history of attracting so many creatives from every industry and culture from around the globe. The electricity, dynamism and ambition that flows from such an environment, carries within it the creative impetus to breathe life into ideas that no one thought possible.

While there is often a design team leader to point the way in the general direction the team should be heading towards, effective and long-lasting results still come down to group effort. Nurturing a team and appropriate delegation to the persons who are best suited for specific roles help our firm generate and execute good designs consistently. I do not believe for one moment that any of our projects that have won accolades would have been possible without my team’s fervent support.

While we would prefer letting our work speak for itself, the A’ Design Award does in fact help us as designers better understand ourselves and our true purpose with greater clarity. To us, this award draws focus onto the important questions on why we do what we do and our ultimate purpose in doing so. I am most grateful to all my design team members for their tireless dedication to our craft, my sister for her relentless support on the business aspects of our company and my wife who has steadfastly remained by my side in the face of difficulty.

My first physical encounter with art was at Antelope Canyon when I was much younger. The rock formations shaped by water over many years resonated deeply within me and I aspired to become a sculptor ever since. This was unfortunately not meant to be. This permanent curiosity towards nature’s artistry led me to study architecture at Cornell University; and, over time, I eventually gravitated towards interior design.

Traveling around the globe while experiencing our planet’s cultural richness and how uniquely different the natural/built environment looked in every geographic region piqued and reinforced my interest in design. During my initial years as a young designer, I felt more could be done in the realm of interior design to invoke nature, culture and emotion. I eventually got together with a few like-minded people, including my sister, to incorporate our design firm, ethospace with the firm belief that we could make a difference in a small but meaningful way in relation to how beauty should feel and be seen.

I aspired to become a sculptor and eventually chose architecture as my degree. But time and chance led me to finally become a designer instead.

We design interiors for hotels, commercial/offices, residences, restaurants and museums. If we had to choose which works we find most fulfilling, it would likely be the projects that authorize us to break free from conventional norms, giving us the opportunity to originate designs that are uniquely different, daring and bold, regardless of scale and program.

Always be pushing boundaries and testing the limits, even when faced with scepticism. You will eventually pierce through that once unbreachable glass ceiling.

A good designer may create aesthetically pleasing work that is conservative and conventionally safe. A great designer would likely conceive designs that are bold, daring and often times unconventionally risky, opening the doors to possible criticism.

Successful design, in our view, would be a multi-faceted composition that is robust enough to pique curiosity, trigger emotion and opens the imagination by paving the way to new possibilities, while concurrently addressing the functional and commercial needs of a client and their end-users. In essence, functional and commercial purpose is what often stands in the way of a designer from becoming a pure artist. In most cases, the more a designer transcends function, the more compelling the design.

From an artistic perspective, good design inspires and paves the way to new possibilities and modes of expression, which ultimately adds richness and variety to design uniformity which is so prevalent in this present age. From a commercial standpoint, investment in good design can enhance and elevate a company’s brand.

Our creed is to design interiors that we would personally enjoy experiencing; and, we have never wavered from this simple guiding philosophy.

Sculptors like Henry Moore, Alexander Calder and Isamu Noguchi never fail to impress even till this day.

By listening with one’s eyes; and, seeing with one’s heart.

Giving full attention to clients and end-users requirements without predispositions, while invoking the emotional design aspects of site’s full potential can help to significantly improve the final outcome of a design project.

I would likely have become an artist, possibly a sculptor, engaging in abstract art

In my personal view, design is the process of collaboration to create a lifestyle with specific end-users in mind; and, one of the means in which designers are able to enhance and reinforce client vision and brand. To put it in another way, the functional end-user requirement often prevents a designer from becoming an artist.

I am most grateful to my design team members for their tireless dedication to our craft, my sister for her relentless support on the business aspects of our company and my wife who has steadfastly remained by my side in the face of difficulty

A desire to always be questioning and pushing the status quo didn’t hurt, so it appears.

Most obstacles were not too difficult to address because they simply required actionable steps to resolve. It was the inaction of having to patiently wait for the right opportunities that proved difficult. Having the right amount of patience and faith is essential.

To make a difference in our small but meaningful way in relation to how we believe beauty should feel and be seen.

Design can help to convey a certain lifestyle and attitude meant for its end-user audience; and, can also influence and shape personal mindsets and world views to some extent. In today’s context, design can be used as a vehicle to participate in saving the planet with the use of ecologically sustainable materials, which is an area that still requires more in-depth exploration.

We are particularly fond of our work for the interiors for the Art Rotana Hotel in Bahrain. Within this project lies the culmination of our perennial endeavours to seamlessly weave together a site’s ancient origins with the building’s modern architecture; and, how these two seemingly opposing constituents had served as the source of our design inspiration for the present age, in relation to how our interiors might stand in future. We also explored the various types of flora surrounding the site; and, extracted relevant shapes that appealed to our aesthetic sensibilities as the basis of influence for our design language in relation to the interiors.

Ideally, it ought to be every designer’s fiduciary duty to exercise the trust placed in him to select ecologically sustainable materials appropriate for an ecosystem that would ultimately be bequeathed to our future generations. While this is still a challenge to fully put into practice today, it ought to be the direction all designers should be heading towards.

Boundaries between our many cultures, while still distinct, are gradually in the process of blurring and becoming vague. While this does have its benefits and downsides, designs in future will likely follow similar trends, for better or worse, with a predominant theme that would prevail over other themes. Design today, it appears, is gradually distancing itself from our traditional understanding of the linear aesthetic and transitioning towards nature vis-a-vis organic forms and ethereal materials. However, even with an eventual predominant theme in place, the various degrees of cultural fusion and growth in the diversity of building and decorative materials would hopefully help to balance the scales between design uniformity and culture-specific originality.

Generally, the quest for perfection is a process that comes with its own beginnings without end. Fortunately or unfortunately, a client’s schedule, which could take anywhere from a few weeks to a few months, prevents a designer from continually refining his work without end. To a greater degree, there comes a time when a design team has to stop the refining process because doing more would only serve to dissolve the primary message. At this point, the process of refinement is complete for the project at hand.

Our process begins with developing an in-depth understanding of our client’s vision and objectives. When full clarity is achieved, we proceed to study the drawings and/or physical site, it’s cultural heritage and present day architectural context. Keeping these in mind, we then envision the interiors in relation to how we would like to experience the given space ourselves, within a perfect and idealistic setting. When the general atmosphere and feel of the space is determined, we move onto selecting the materials and lighting types aimed at triggering and amplifying the various moods and key aspects relevant to the client’s ultimate purpose. Once material selection is complete, we would then sketch the forms required to express the full potential of the site. We then go through a repetitive process of refining the forms until they resonate with our own aesthetic sensibilities. This is when we finalize the design for submission.

To pursue truth, to question convention and to always be pushing the boundaries by exploring unchartered territory even in the face of criticism and scepticism.

It is arguably the case that design gives birth to a trend only when there is demand; and, where there is strong demand, the trend then reinforces the design. Demographic and lifestyle characteristics serve as the primary predictors of demand that inadvertently sets the stage for design trends. Rather than identifying the trend or design itself, we strive to transcend the trend by studying demographic and lifestyle patterns of our end-users; and, formulate our design approach in response to those same behavioural patterns.

We rely very much on technology, which is becoming absolutely necessary to design and create the unconventional. Technology frees the imagination and empowers us to quickly and precisely generate what was only quite recently deemed highly difficult to design and construct.

Like most other designers, we often use 3DS Max and other 3D application software to conceive our designs.

Color, materials and ambience are crucial to design. They establish the mood so as to create an atmosphere relevant to the spatial program’s ultimate purpose. We gravitate towards blended colors that cannot easily be categorized into any specific genre. Depending on the nature of a project, we also have a preference for reflective materials because they inherently create visual depth and multiple dimensions to an otherwise flat surface. Ambient lighting, in relationship to its surrounding color and material, is also critical in determining the overall feel of a space. As more technological enhancements come online, the diversity of materials and ambient lighting will continue to evolve in-sync. The materials and lighting systems we are seeing today are merely the tip of the iceberg of what is likely to come.

What comes to mind are new possibilities and applications, coupled with admiration for the designer who conceived the design or product.

An ideal design partner is probably someone whom I can have unspoken understandings with that require minimal agreements and verbal explanations. Co-design can work very well if both designers are flexible and are comfortable with working as a team. Two heads are always better than one, so yes, I believe in co-design.

There appears to be no short cuts to this laborious process. We strive to always be constantly refining our designs without end, which is probably not far off from a musician who repetitively plays her instrument to master a score.

There was a client who loved his yachts and he asked to design the interiors of his home to make it feel like one of his yachts. I proposed that he simply had to down a few glasses of wine to achieve the same effect.

We find great satisfaction in becoming one with our clients, vendors and contractors, by virtue of our close collaboration and the sharing of knowledge and skills. This sense of fulfilment is magnified when all parties are aligned and moving toward the common objective of creating something fascinating and out of the ordinary. Motivation can be derived from the therapeutic experience when it comes down to working on the actual sketches and digital models with our design team.

I believed I would be a good abstract sculptor, unfortunately it was not meant to be.

Boundaries between our many cultures, while still distinct, are gradually in the process of blurring and becoming vague. While this does have its benefits and downsides, designs in future will likely follow similar trends, for better or worse, with a predominant theme that would prevail over other themes. Design today, it appears, is gradually distancing itself from our traditional understanding of the linear aesthetic and transitioning towards nature vis-a-vis organic forms and ethereal materials. However, even with an eventual predominant theme in place, the various degrees of cultural fusion and growth in the diversity of building and decorative materials would hopefully help to balance the scales between design uniformity and culture-specific originality.

My first physical encounter with art was at Antelope Canyon when I was much younger. The rock formations shaped by water over many years resonated deeply within me and I aspired to become a sculptor ever since. This was unfortunately not meant to be. This permanent curiosity towards nature’s artistry led me to study architecture at Cornell University; and, over time, I eventually gravitated towards interior design.

ETHOSpace is a boutique interior design firm based in Singapore and Indonesia.Our service coverage involves commercial/offices,hospitality,residential, food and beverageand cultural projects.

In my personal view, design is the process of collaboration to create a lifestyle with specific end-users in mind; and, one of the means in which designers are able to enhance and reinforce client vision and brand. In essence, functional and commercial purpose is what often stands in the way of a designer from becoming a pure artist.

Every design project can be likened to a child that requires shaping and nurturing, so picking favourites isn’t an effortless process. But if we had to choose which works we find most fulfilling, it would likely be the projects that authorize us to break free from conventional norms, giving us the opportunity to originate designs that are uniquely different, daring and bold, regardless of scale.

We are particularly fond of our work for the interiors for the Art Rotana Hotel in Bahrain. Within this project lies the culmination of our perennial endeavours to seamlessly weave together a site’s ancient origins with the building’s modern architecture; and, how these two seemingly opposing constituents should serve as the source of our design inspiration for the present age, in relation to how our interiors might stand in future. We also explored the various types of flora surrounding the site; and, extracted relevant shapes that appealed to our aesthetic sensibilities as the basis of influence for our design language in relation to the interiors

A boutique gift shop for a heritage hotel, which to our pleasant surprise, is still standing till this very day after 15 years.

Any instrument that frees the imagination and empowers us to generate the unconventional, which at this time would be 3D printing.

We feel most creative when we have a clear picture of client objectives and end-user requirements, without which, we would naturally be flying blind. We find that having parameters to work with from within can often enhance creativity.

We focus on Look and Feel Aspects

Within each design process, we find great satisfaction in becoming one with our clients, vendors and contractors, by virtue of our close collaboration and the sharing of knowledge and skills. This sense of fulfilment is magnified when all parties are aligned and moving toward the common objective of creating something fascinating and out of the ordinary. Likewise, it feels rather therapeutic when it comes down to working on the actual sketches and digital models with our design team.

Being able to show how our quality is the best feeling we have

Successful design would be a multi-faceted composition that is robust enough to pique curiosity, trigger emotion and opens the imagination by paving the way to new possibilities, while concurrently addressing the functional and commercial needs of a client and their end-users.

Ideally, it ought to be every designer’s fiduciary duty to exercise the trust placed in him to select ecologically sustainable materials appropriate for an ecosystem that would ultimately be bequeathed to our future generations. While this is still a challenge to fully put into practice today, it ought to be the direction all designers should be heading towards.

Boundaries between our many cultures, while still distinct, are gradually in the process of blurring and becoming vague. While this does have its benefits and downsides, designs in future will likely follow similar trends, for better or worse, with a predominant theme that would prevail over other themes. Design today, it appears, is gradually distancing itself from our traditional understanding of the linear aesthetic and transitioning towards nature vis-a-vis organic forms and ethereal materials. However, even with an eventual predominant theme in place, the various degrees of cultural fusion and growth in the diversity of building and decorative materials would hopefully help to balance the scales between design uniformity and culture-specific originality.

In general, our inspiration is often derived from abstract sculpture and stunning visuals of nature. When it comes to a specific project, we would also find inspiration in understanding the cultural and architectural context of a site, both past and present, as the basis upon which we can create something different and unique for the present and future.

We believe that design, from an artistic perspective, should be an abstract and metaphoric expression of a client’s / end-user’s inner-world. Every personality is different and it falls under our scope of responsibilities to propose the most appropriate design style or language that would enhance and strengthen our clients’ brand or persona. But if you would like us to point out that one single factor that unites all our projects, then that factor would be more of a design process rather than a design style. A design process that is firmly reliant on how we view the site’s specific cultural past and architectural context as the source of our design inspiration for the present age, in relation to how our designs might stand in future.

Our process begins with developing an in-depth understanding of our client’s vision and objectives. When full clarity is achieved, we proceed to study the drawings and/or physical site, it’s cultural heritage and present day architectural context. Keeping these in mind, we then envision the interiors in relation to how we would like to experience the given space ourselves, within a perfect and idealistic setting. When the general atmosphere and feel of the space is determined, we move onto selecting the materials and lighting types aimed at triggering and amplifying the various moods and key aspects relevant to the client’s ultimate purpose. Once material selection is complete, we would then sketch the forms required to express the full potential of the site. We then go through a repetitive process of refining the forms until they resonate with our own aesthetic sensibilities. This is when we finalize the design for submission.

To make a difference in our small but meaningful way in relation to how we believe beauty should feel and be seen

We encourage our own designers to perceive space not measured merely by scale and function, but to also transcend these obvious requirements by placing an equal amount of emphasis, if not more, on the intangible and intuitive aspects of the end-user experience.

To fully express and even sensibly exaggerate what our clients envision so as to exceed expectations brings much fulfilment. Downsides are the long and rigorous hours required to bring forth a stunning final solution, which is why it is good to love what you do because by doing so, you would never have to work a single day in your life.

Our creed is to design interiors that we would personally enjoy experiencing; and, we have never wavered from this simple guiding philosophy.

Listening with one’s eyes; and, seeing with one’s heart. Giving full attention to clients and end-users requirements without predispositions, while invoking the emotional design aspects of site’s full potential can help to significantly improve the final outcome of a design project.

The source of our inspiration would be anything natural or man-made that is visually stunning and how they fundamentally trigger interest and influence emotion. We implement our ideas using a combination of hand-drawn sketches and digital programs such as 3DS Max, amongst others, to realize a site’s full potential.

While there is often a design team leader to point the way in the general direction the team should be heading towards, effective and long-lasting results still come down to group effort. Nurturing a team and appropriate delegation to the persons who are best suited for specific roles help our firm generate and execute good designs consistently. I do not believe for one moment that any of our projects that have won accolades would have been possible without my team’s fervent support.

Generally, the quest for perfection is a process that comes with its own beginnings without end. Fortunately or unfortunately, a client’s schedule, which could take anywhere from a few weeks to a few months, prevents a designer from continually refining his work without end. To a greater degree, there comes a time when a design team has to stop the refining process because doing more would only serve to dissolve the primary message. At this point, the process of refinement is complete for the project at hand.

Perhaps having worked as a part-time waiter before college helped me to better understand the critical basics of listening and delivering exactly what was ordered by our guests, at the right time and with a smile. This experience may have been instrumental in providing the foundation to develop an intuitive sense of listening with one’s eyes; and, seeing with one’s heart. In relation to my profession as a designer, this philosophy entails giving full attention to clients and end-users without predispositions, while invoking the emotional design aspects of site’s full potential can help to significantly improve the final outcome of a design project.

Hoteliers, developers, corporate entities, residential and restaurant owners are some clients who fall under our coverage.

Unusual project requirements that often lead to unique finished results. We also particularly enjoy projects that give us artistic license to break away from conventional notions of beauty. This gives us the means to push design boundaries and travel down less explored territory.

Our hope is to continually evolve our design methodology. The quest for perfection is an endless process. As Salvador Dali said, “Have no fear of perfection – you will never reach it.” In that light, we are consistently refining and mastering our craft and our processes, while nurturing our design team to continually adapt and morph with the times.

Our ethos is to work as a team towards a common objective: To reinforce our clients’ brand; and, in the process, create stunning interiors that challenge the imagination.

ETHOSpace can be contacted through our website at www.ethospace.com.sg