When I spoke with Scott Richler, co-founder of Gabriel Scott, I quickly realized his design journey wasn’t linear but layered. With a background in architecture, jewelry and fashion Scott brings that same sense of structure and detail into furniture and lighting design. He explained how the precision of jewelry—where every small move influences the whole—mirrors his architectural training, allowing him to think critically on both macro and micro scales.
Lighting was a major theme. Scott and I discussed how LED technology has completely shifted design possibilities, freeing designers from the limitations of older systems. No longer about blasting a room with light, the new approach is about using illumination strategically—whether it’s enhancing a hospitality experience or subtly shaping a residential atmosphere.
We also tackled the often-overused labels in design—“modern,” “traditional,” and everything in between. Scott pushed back on the idea of rigid categories, noting that Gabriel Scott’s pieces live comfortably in both sleek penthouses and classic homes. The goal, he said, is timeless versatility, not chasing a label.
Scott also opened up about his creative process. His team of artisans develops intricate parts that are refined enough to feel bespoke but adaptable enough to be assembled by everyday people—a kind of design language built for universal assembly. It’s jewelry thinking applied to lighting and furniture.
Of course, no conversation about product design is complete without addressing knockoffs. Scott acknowledged the frustration of seeing his work duplicated but emphasized the importance of strong contracts, local representation, and participating in trade shows like Milan Design Week to establish authenticity.
We wrapped up talking the Triforium project in Los Angeles, reflecting on how lighting has evolved from mechanical systems in the 1970s to today’s AI-driven adaptability. For Scott, it’s less about chasing technology for its own sake, and more about how design—whether jewelry, furniture, or lighting—creates lasting experiences.
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And that is where I lost the connection with Scott. He was in Ibiza. And the WI-FI dropped, so I thought it would be fun to conclude this conversation with a brief chat with the founders of the Triforium Project.
YACHT, Experimental Pop, and Reimagining the Triforium
The Los Angeles-based band YACHT (Young Americans Challenging High Technology) has built its reputation on pushing the boundaries of music, technology, and performance art. Founded by Jona Bechtolt and later joined by Claire L. Evans, YACHT blends electronic pop, punk energy, and conceptual art into a body of work that often doubles as cultural critique. With albums like See Mystery Lights and Chain Tripping—the latter created with the help of AI-generated lyrics and sounds—the band has consistently explored the edges of where music meets innovation.
One of their most intriguing projects is their involvement with the Triforium, a massive 1970s public art installation in downtown Los Angeles. Originally envisioned as a “polyphonoptic” sculpture, the Triforium contains 1,494 glass prisms designed to light up in sync with computer-generated music. Despite its futuristic ambitions, technical limitations of the era kept the piece from reaching its full potential, and it was largely dismissed as a failed experiment in civic art.
Enter YACHT. Alongside a group of artists and technologists, the band helped spearhead efforts to restore and reinterpret the Triforium for a new generation. They worked on updating its outdated systems with modern technology,