The practice of design is synonymous with quality of life. At the SC COLLECTIVE, design is perceived to be the bridge between art and science, the conceptual and the pragmatic, and between practice and education. We are fundamentally structured to help support an improved quality of life for all involved with the thinking, conceiving, strategizing, developing, implementing and using design. Designing is a creative and inventive act which requires the intentional combination of both the imagination and cognition to consistently provide usable supportive results.

The SC COLLECTIVE strives to practice at the highest level of creative intelligence possible to examine existing issues and challenges in an effort to produce and deliver projects and outcomes that achieve more than the goals stipulated by our clients or industry. With a studied examination of industry and societal research, both historic and present, we rewrite the design brief to demand smarter, more efficient, and inventive solutions.

To keep a high level of originality, innovation and variety in our work, the continuance of education is an essential component of the SC COLLECTIVE’s practice

In order to accomplish this goal, our team members are curious, open-minded and interested in the design world at large and current affairs. We are smart, talented and, above all, fearless. We are provocative and willing to try the untried. We understand issues as presented, as well as exploring them by turning them inside out and asking a multitude of intuitive, intellectual questions. To keep a high level of originality, innovation and variety in our work, one essential component of the SC COLLECTIVE’s practice is the continuance of education. This fundamental commitment results in a consistent focus in research and rigorous inquiry which continues to “push the envelope” and produces better results and happier people…this is our aspiration.

Education and research are, therefore, our mantras. Along with being involved with various educational institutions in the act of teaching and personal learning, we continuously engage in the identification and participation of research and development which we conduct in our practice. With experimental and innocent questioning, we explore questions at the root of the cause or process. No stone is left unturned. Sometimes, these can be uncomfortable areas of inquiry.



Culturally today, it is commonly accepted that design is more than simply a well-functioning product or space. Design requires a very finely balanced sense or aesthetics, meaning, function, and support for an improved quality of life (changes happening today).

Design can represent our time and shape our existence. It can improve our commerce, as well as our appreciation of self and our world at large. It inherently means to “un-sign” that which has been done before – to make it more personalized while functioning and appealing to many.

Design requires a very finely balanced sense or aesthetics, meaning, function, and support for an improved quality of life.

Our almost hundred-year-old dictums such as “less is more” or “form follows function” which espouse intellectual points of view and result in stylistic interpretations are exactly that, almost a hundred years old. These ideas need to be re-assessed. We know that in most cases “less is more” has led to a depth of deprivation which is detrimental to our humanity. It could be said that more often than not, our environments are designed from the neck up and ignore the rest of the body. However, our design aware public is demanding a greater expression for their holistic selves. We need to explore new approaches which are more than simply our intellect. “Balance” is certainly the cry for fulfillment in this era.


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