ANTONY GIBBON IN CONVERSATION WITH SHALINI PASSI

Antony Gibbon is a British innovative, creative designer from Liverpool, England. Educated in North London before exploring his creative journey in Architecture and Design. Antony later launched his studio Antony Gibbon Designs shortly afterwards, working on residential projects worldwide.

SP: Could you describe your creative process and methodology, starting with a project in Sussex, UK, and moving on to your most recent designs?

AG: The process starts with looking out for any key features in the chosen landscape before any designing begins, as this often plays a significant role in the early creative development and may very well set the tone for the project, for example the terrain maybe constructed of stone, contain a lake/river which can become a key feature and bring the design to life.

A large volume of time is then dedicated to the conceptual development based on any particular specifications, layout and budget.

This process involves brainstorming these early ideas in sketch form before it is then refined in more detail using cad. The overall methodology to the design process is to create a space that works in harmony with the surrounding area which I believe plays a vital role in setting the overall atmosphere of the space.

SP: How do you balance innovation and practicality in your designs, ensuring they not only look impressive but also function effectively?

AG: This is generally down to the detail and how it is implemented with the building team involved. New alternative innovative ideas require more time and therefore more cost to execute practically so careful consideration to the project management is crucial to this balance and incorporated into the budget and timeline efficiently.

SP: Can you explain the significance of spatial design in your work “Twine”?

AG: One of the main driving forces in the creative process of this particular concept was to design a continuous hempcrete form with a pair of undulating surfaces that mirror each other as they twist up from the ground to generate interstitial interior spaces that then forms the structural support and roofed area. This configuration creates large arch ways to each side as it peels back down to the ground. A playful use of light and space is created from this particular formation that defines the layout and atmosphere of the interior space, determining the layout and its function.

SP: Your work often incorporates a strong connection with nature. How do you integrate natural elements into your designs, and what role does sustainability play in your creative process?

AG: As humans we possess an innate tendency to seek connections with nature. I like to see nature as the architecture and the building as a platform to help integrate this into the living space the best way possible by combining each unique, bespoke structure and its individual habitat and to develop harmony, so they grow together. This is the key role from the early stages of the design to the finished build. This is emphasised further with the choice of materials and finishing touches to the interior and furnishings with sustainable materials and appliances to the energy consumption being driven through the design process.

SP: Most of your projects have a soft and tranquil feel to it, integrated with nature. Could you walk us through your creative process when you approach a project like “FLUX SERIES II”?

AG: Flux was designed to be surrounded by a circular body of water that mirrored the entire structure. This modern take of a moat creates a divide without interfering with the views from the surrounding landscaping. A series of foot bridges connects you to the mainland.

The reflection of the slatted timber beams into the water play an important role visually. These angled timber beams surrounding the exterior form the privacy and tranquil feel to the space as they allow the light to move through these divisions and glass windows which are behind the timber beam formation setting the tone and mood of the space.

SP: Your designs often exhibit a sense of minimalism. How do you decide what elements to include or exclude to achieve a balance between simplicity and complexity?

AG: I always resonate with the philosophy “less is more” by Mies van der Roh. I mainly apply this to interiors as I feel less objects in a space allows more order with the attention drawn to those selected objects which I feel enhances the impact they have in their given space.

SP: Along with the architecture, your works also include Table series, Stools, benches, and Hexad Pendant Lights. How do they reflect your design philosophy?

AG: I follow the same sculptural approach to my furniture as with my architecture. Always seeking ways to integrate the functionality into the form allowing that function of each piece to not be compromised but enhanced by its new shape. The aim is to create a form that is not only beautiful to look at and enhance the interior space around it but also to function in a new way. Changing its form allows its function to operate differently creatively connecting the two, whether it’s emitting light or creating a structural form such as a bench or table for example.

SP: How do you stay updated on current trends and emerging ideas in architecture and design? What advice would you like to share with the young architects and designers?

AG: I am mainly updated with the various architectural and design platforms I engage with through my practice, this is either through social media as well as attending events, visiting venues, cities and various commercial buildings on my travels.

The best advice I would recommend to young architects and designers of today would be to not be too influenced by the current trends, it’s important to be aware and updated however in a world that’s been ‘p-interested’ in almost every possible shape and form, then it’s crucial to step aside and find your own style that comes from within!