Revitalsh had a need for an exhibition stand to meet their updated and elegant branding as it is the first touch-point for many to experience Revitalash products and needed to reflect their positioning and POV.

Besides fitting the Revitalash brand, the modular exhibition stand needed to fit 20’x20’, 20’x10’ and 10’x10’ dimensions and be reconfigurable to fit the needs of unique exhibitions.

When creating a modular environment that is assembled and disassembled multiple times a year many considerations need to be taken into account including: ergonomics, storage, transportation, weight, internal storage, meeting spaces, assembly/disassembly, durability and refurbishing.

Keeping in line with the brand the inspiration was from the elegant Steel Frame collection for Herman Miller designed by George Nelson with it’s “L” profile frame. To add functionality there are reconfigurable light boxes which attach to the frame creating areas for branding and artwork while keeping the environment open and inviting to visitors.

For visual excitement and as a focal point in the booth a desk was created with a flowing facade evoking healthy eyelashes and brows. We added a video wall behind and above the desk for dynamic content to catch visitors eyes and it is flanked by 2 lit storage areas to showcase products.

As a visual contrast to the frame and brand colors, specified are Le Corbusier LC3 sofas which welcome visitors to rest and learn more about the Revitalash brand and products.

Client - Revitalash
Designed at - Chris Granneberg Studio
Fabrication/Engineering - Bemis Design

Days after relocating to open my Los Angeles design studio I met with the Mockett team to see if I could assist on new product design as we previously collaborated together when I was the winner of the annual Mockett competition.

The team let me know there was a need for "purse hook" designs which could be fastened under surfaces to hold: coats, bags, headphones etc.

When designing architectural components the aesthetics cannot be polarizing, they must be something that will compliment a multitude of interiors. At the same time, it's great to think of a design language that can be translated into complimentary products to be specified for projects.

"Hitch" the first of 3 planned hook designs aims to drive sales in the product category for the brand with its simple fabrication, effortless/intuitive form and durability.

Client - Mockett
Designed at: Chris Granneberg Studio

The design process for the "Balloon" lamp was seamless resulting in production lamps in less than 2 months from our initial introduction manufactured in California.

For the lighting design of the "Balloon" lamp the focus was to produce an approachable and monolithic design utilizing Gantri's 3D printing production that could be produced quickly and efficiently without the use of support material.

I wanted to develop something neutral that could fit in multiple interiors, from mid-century to modern. I was inspired by Achille Castiglioni and George Nelson’s lamps and applied some of those ideas into a modern zeppelin form. I hope it has a warmth and neutrality that’s a calming presence in any kind of room.

Client - Gantri
Designed at: Chris Granneberg Studio

Decanters are quite elaborate and ornamental not fitting today’s lifestyle. The Vie decanters subtract decorative elements with a focus on elegance through function, form and materials which compliment both modern and traditional environments.

For my first Nambe collaboration, we developed a family of barware in glass and acacia wood.

The decanters have a soft square base with angular forms and chamfered bases. The pouring element of the decanters is covered by a wooden closure keeping spirits clean and fresh.

Currently the collection includes a 10" and 12" decanter and a cocktail shaker with more items to come.

Client: Nambe
Designed at: Chris Granneberg Studio

How is Pepsi's brand language communicated through form?

Through dozens of models and iterations, we developed the form of the bottle that best fit Pepsi's brand values and could be manufactured and filled in the PepsiCo system.

Developing a project for a global market involves many considerations, from our consumers and food service needs to production and filling.

Collaborating hand in hand with the brand design, marketing, R&D and procurement teams we developed a form that fit Pepsi's business and brand needs.

Client: Pepsi
Designed at: PepsiCo Design Center

Sancal gave our team a thoughtful and concise brief asking for something quite particular. The melding of Karim Rashid's brand and Sancal's was done carefully and deliberately.

The idea was casual comfort, "Float" has a high back to rest your head with spacious proportions and an inviting visual design language from 360 degrees.

Karim added his own sketch to the Float family which was a taller version that acted as a room divider with hooks and asymmetric cushions.

Client: Sancal
Designed at: Karim Rashid Inc.

Designed at: Chris Granneberg Studio

Experiments creating functional objects in 3D printed porcelain.

Designed at: Chris Granneberg Studio

7Up needed one formal design language to fit each regions internal volume and filling line constraints for both single-serve and multi-serve. At the time each region would use different structures which did not embrace 7Up's brand philosophy. 

Working closely with the branding design, marketing and R&D teams as well as our many vendors, the Industrial Design team embraced 7Up's classic "champagne" inspired silhouette and created structural unity.

Client: 7Up
Designed at: PepsiCo Design Center

Orrefors had only worked with one other outside designer in their entire history, Karl Lagerfeld. I approached the team at Orrefors about a collaboration and sparked our project.

The collection consisted of well over a dozen products which I developed from sketch to production working closely with the Orrefors US team.

Client: Orrefors
Designed at: Karim Rashid Inc.

In February 2013 the PepsiCo Design Center opened and the VP of Product Design was pushing for a launch of Pepsi Perfect for October 2015.

As the only Product Design team member at that time it was my responsibility to develop the data and content to sell the idea but there were many other priorities at the time. After a year and many wins for our team, the corporate culture began embracing Design and the project was picked up for production.

It was integral to develop a design that would stay true to the film and fans but also embraced the future and was an update not a repackage. Many factors played in developing the form of the bottle and overcap, from preform design and weight to carbonation.

I managed the Industrial Design component sketching and developing the primary and secondary packaging for the US launch and also bottle/tumblers with integrated straws for some of our South American markets.

The project was a huge success not only in media attention, but also in helping shape PepsiCo's new internal culture while staying relevant to our consumer. We showed how a small investment combined with strategic design could bring the brand more attention than advertising.

Client: Pepsi
Designed at: PepsiCo Design Center

An exercise in aesthetics, I designed the Hellraiser collection based on a style of drawing I was doing at the time. Integrating the spontaneous sketching into a crafted object through 3D data was an interesting design journey.

To quote Alberto Alessi "harsh and metropolitan, an interesting contrast to his (Karim Rashid's) usual soft and rounded language, as soon as I saw them, I spontaneously called them Hellraiser".

Client: Alessi
Designed at Karim Rashid Inc.

Inverso is the result of a collaboration between Riva 1929 and San Patrignano, Europes largest residential treatment center in Europe. 

Most "barriques" or French oak wine barrels are destroyed after 3 years. To bring them back to life, we looked at new ways to reuse them alongside 30 other design studios, the designs were then produced at the San Patrignano wood shop.

My approach was to celebrate the beautiful stained material while hinting at it's origins. 

Client: Riva 1920
Designed at: Karim Rashid Inc.

The monolithic but light Halo desk was sketched and designed for the home or executive featuring two drawers for storage.

Client: Dune
Designed at: Karim Rashid Inc.

Sometimes a blend of simple friendly geometry and the right materials yields unexpected results. Bruno was conceived from my sketch exploring glass forms.

The base allows down-light while the polished diffuser reflects and also allows up-light. 

Client: Verreum
Designed at Karim Rashid Inc

Working closely with our clients team, we developed a family of TV stands and accessories with a mid-century feel.

Client: Omni+
Designed at: Karim Rashid Inc.

Slice approached the studio with a strong vision for their new brand utilizing ceramic blades as a longer lasting and safer alternative to metal.

To set the collection apart I developed an approachable design language utilizing an ergonomic handle form which allowed each to stand. This new function keeps the blade off the prep surface while giving the user new storage possibilities.

Client: Slice
Designed at: Karim Rashid Inc.

Our team designed the solar powered cart to empower local entrepreneurs in economically disadvantaged areas bringing cold PepsiCo beverages and food products to remote corners of the world where there is no reliable power grid.

The mobile carts also offer “light at night,” and electrical charging stations – all powered by solar energy - encouraging additional community engagement and benefit.

In line with PepsiCo’s commitment to not only “environmental sustainability” but also “human sustainability”, the vending carts were designed to meet local fabrication capabilities using readily available materials and resources with a focus on: usability, safety, functionality and aesthetics. 

(Shown are 2 carts, the first was the testing model for Pakistan and the rendering is the cart used in the US for various activation's). 

Client: PepsiCo
Designed at: PepsiCo Design Center