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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. 

Designer Resources

Pacific Sales Kitchen and Home. Where excellence meets expertise.

Design Hardware – A stunning and vast collection of jewelry for the home!

TimberTech – Real wood beauty without the upkeep

LOME-AI.com, simple, inexpensive, text to video harnessing the power of AI to grow your firm, beautifully.

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, enabling the sculpture to finally achieve its original goal of synchronizing light and sound in real time. For YACHT, the Triforium became more than a restoration project—it was a living metaphor for their own artistic ethos: finding new meaning in old technology, and using experimentation to transform limitations into possibilities.

The project reflects YACHT’s broader philosophy: music isn’t just something to listen to, but an evolving experience shaped by design, technology, and cultural context. Just as the Triforium has been reimagined for today, YACHT continues to show how creative vision can turn the discarded or overlooked into something vibrant, communal, and new. Be right back

Breathing New Life Into LA’s Triforium

In the heart of downtown Los Angeles stands a curious six-story structure that has puzzled, frustrated, and fascinated Angelenos for decades. It’s called the Triforium, a 60-ton public artwork created by artist Joseph Young in 1975. Designed as a “polyphonic musical instrument,” the piece features nearly 1,500 colorful glass prisms synced to a 79-note carillon. At its debut, it was billed as the future of civic art—an interactive sculpture that would respond to music and even the movement of passersby.

But the reality never quite lived up to the promise. Plagued by cost overruns, balky 1970s technology, and a skeptical public, the Triforium quickly earned nicknames like “Three Wishbones in Search of a Turkey.” The interactivity never fully materialized, the lights often failed, and what was supposed to be a beacon of futuristic optimism was mostly ignored.

Fast-forward a few decades, and the Triforium has found unexpected champions. A grassroots team—Tom Carroll, along with Claire Evans and Jona Bechtolt from the band YACHT—launched the Triforium Project to restore the work to its original vision. What began as a curiosity sparked by Carroll’s 2014 short documentary turned into a mission. With fundraising, public events, and a $100,000 LA2050 grant, the group has started planning a full restoration.

The updates won’t erase its quirky history but build on it—replacing bulbs with LEDs, updating the computer system, and even developing a smartphone app so visitors can program their own light and sound sequences.

For the project’s leaders, the Triforium isn’t just a relic. It’s an instrument, once played alongside the likes of Stevie Wonder and John Cage, waiting for a new audience. Reviving it isn’t about nostalgia—it’s about giving Los Angeles back a piece of its artistic imagination. You can’t learn more at triforium.la because that domain is now for sale. So, it’s probably safe to say it’s languishing again, but it’s still there so go check it out

Thank you, Scott. Ibiza sounds nice. Thank you Triforium Project for the refresher. Thank you for listening. If you liked this episode, share it with a friend or colleague who loves design and architecture like you do, subscribe to Convo By Design wherever you get your podcasts. And continue the conversation on Instagram @convo x design with an “x”. Keep those emails coming with guest suggestions, show ideas and locations where you’d like to see the show. Convo by design at outlook.com.

Thank you to my partner sponsors, TimberTech, The AZEK Company, Pacific Sales, Best Buy, LOME-AI and Design Hardware for supporting the publication of over 650 episodes and over 3,000,000 streams, downloads and making Convo By Design the longest running podcast of its kind. These companies support the shelter industry so give them an opportunity on your next project. Thanks again for listening. Until next time, be well, stay focused and rise about the chaos. -CXD