In a recessionary / depressionary climate, with work load at an all-time low, we offered our services to a leading European kitchen fabricator to instigate a new product line. With no background in industrial or product design, we parlayed our experience in museum casework to tackle the project.
Once the kitchen design passed an early programming phase the Pennisula System, as we called it, was tested against the human body to produce scale analysis and to develop the increments of the design vocabulary. From this we developed a design based on convex and concave curves on the vertical axis to create the paneling forms and surfaces.
From McCall came the "tear-drop" forms of the upper glass cabinets. From the sculptor Anish Kapor, came the concave base cabinets, that respond to the curvature of the body, as well as efficiently responding to how we lean against forms, reach above, and arch ourselves. Both artists inform our approach to how forms and surfaces are viewed, defined by projected light and in the reflected weight of monolithic materials.
In a sense this design, viewed in a drawing section, is a projected image of the body and efficiently responds to our movement and posture. From a design perspective the inward curve has the added benefit of slightly off-setting the front faces of the cabinets, so that they are less susceptible from springing open by their release mechanisms. (The hands-off hardware, now offered on most high-end kitchens, provide a smooth (and stealth) assistance for all drawer openings, lift and door sliders).