Jan Lorenc is dedicated to making the world a better place through design. He believes in the power of understanding diverse cultures and integrating these insights into his international projects.
His mission extends beyond architecture; he seeks to inspire others to reach their full potential, fostering a sense of connection and empowerment in every endeavor. By embracing the richness of various cultures, Jan aims to create designs that resonate on a global scale, enriching lives and uplifting communities.
In essence, Jan Lorenc's work embodies a commitment to excellence in design, cultural understanding, and personal inspiration, creating a legacy that aims to uplift individuals and communities alike.
Helena Costa: Your mission is to make the world a better place through design. How did this philosophy shape your career, and how does it influence your approach to projects at Lorenc Design?
Jan Lorenc: My design philosophy began with my education at the IIT Institute of Design, where Bauhaus-inspired experiments in photography, graphic design, and industrial design taught me how to truly see. These experiences instilled an appreciation for craftsmanship and the idea that design can be both timeless and transformative.
A pivotal concept I embraced is the redefinition of projects. For example:
• Client Definition: Design a sculpture to hold a new cell phone.
• Redefinition: Design the essence of the cell phone as part of our human spirit.
For Samsung, this approach led to a sculpture embodying their philosophy, “The World in Your Hand.” Inspired by the form of a Greek column, the design reduced the hand to its anatomical essence, rising to a grasping hand holding a phone—a symbol of global connectivity. The silver finish reflects technological roots, while red accents capture energy and spirit.
Redefinition opens possibilities for innovative, meaningful design.
HC: With over 47 years in the industry, what continues to fuel your passion for design, and how do you keep your creativity and vision fresh and innovative?
JL: I’ve been fortunate to have a diverse journey that continuously fuels my passion for design. Born in Poland and moving to the U.S. at age 8, I’ve lived in a country that deeply respects design. Watching Poland reclaim its cultural identity after Communism reminds me of Portugal’s revival in the 1980s, and I feel grateful to have witnessed much of the world through both personal and professional travel.
Travel is a constant source of inspiration. I always carry a camera to capture the essence of a place, creating photo books as resources to revisit what moved me and why. During my first visit to a location, I wander freely; on subsequent visits, I focus on specific sites—museums, historic buildings, and cultural landmarks. For example, next week I’ll visit Poland and spend time in Vienna to delve deeper into the work of my favorite architect, Otto Wagner. Though I’ve been to Vienna six times, I’m eager to experience it alone again.
In the U.S., I regularly visit cities like New York, Los Angeles, San Francisco, and Chicago to explore art museums and immerse myself in their energy. My extensive design library helps me research the culture of new project locations, but nothing compares to firsthand experiences of how people engage with spaces.
Over the past 47 years, I’ve continually redefined who we are and what we do, evolving through trust-filled relationships with passionate clients. Each new project brings unique challenges and opportunities to grow.
HC: You emphasize understanding different world cultures and incorporating them into your work. Can you share an example of a project where this cultural integration was particularly impactful?
JL: My project called Fish in the Garden was a resort north of Guangzhou, China. The architecture was modern along with the landscape however I wanted to create a brand experience for this resort that is anchored in Chinese culture. The logo was inspired by Chinese Iconic symbolism, the entry sculpture used local stone material of the region all focusing on the jumping fish, that brought a sense of humor to this . We devised a pattern language that is fish scale like as pounded metal patterns on the signage elements.
Our projects respond to the context, they may be modern or traditional depending on the context. We strive to create timeless elements that are built of the best quality of materials and craftsmanship. In China some handcrafted projects are possible where in the US and Europe it less available.
HC: How do you navigate the balance between maintaining cultural authenticity and meeting the demands of international clients in your projects
JL: Not all projects have cultural authenticity, some have context authenticity based on where they are located. Our intent is to respond to the context. In our Cool Springs project in Franklin Tennessee we were inspired by the rough stone walls referred to as slave walls and the limestone that is textured in traditional architecture capped of with a contemporary lantern. We took in the black rail fences as elements from the context that were used throughout the project.
In our Jack Nicklaus project in Incheon Korea we created an experience using local stone with the idea of incorporating water at the entrance since the project is on the ocean side.
In our work for Metropolitan Riverside in Shanghai we responded to the beautiful classical design of Robert A M Stern architecture. Here we created custom light standards, doorways, sculpture, and the sales center and all of its custom furniture. We also integrated poetry in the garden in the paving.
In our design for the Georgia Gateway we used Georgia white marble and Georgia granite however since it was located at different points in the state we designed iconic elements that spoke of the area in which they were located. Its design was transitional which incorporated classic and modern.
HC: Lorenc Design is renowned for its work in experiential and exhibition design. What are the key elements that make an exhibition truly memorable and impactful for its audience?
JL: Following my graduate studies in architecture I approached experiential and exhibition design a different way. Immersion is critical. Creating focus on the narrative.
A. Understand the client history and project narrative.
B. See if any artifacts are available to tell this Story.
C. Integrate written and interactive media as best supports Story.
D. Is it best to be a prescribed path or open to discovery.
In our work for Delta Airlines we used two original hangars from the foundations of the airline, the oldest hangar had the propeller age and the passage to the jet age was a journey of sound and surrounding. The Jet Age hangar had a full jet engine that allows for their current story as well as a social space for the airlines staff.
HC: In your book, What is Exhibition Design, you explore the fundamentals of this field. How has the landscape of exhibition design evolved since the book’s publication, and where do you see it heading in the future?
JL: In my book I introduced the reader to the field of exhibition design starting with the static exhibit case that today it has evolved greatly into multimedia with the use of computer technology that in some cases are virtual experiences. Clients are wanting to do multimedia since the public is entranced by their experiences at Disney theme parks, however it is expensive and it needs to be updated regularly since technology moves quickly.
I am sorry to see that the computer technology has been so embraced by the public since some museums do not need this to be successful. One needs to be selective on what is best for your vision. Even art museums are now loosing out to traveling virtual immersion shows for like the recent Van Gogh experience etc.
As you can see in this image its from a health club where the graphic design can be a pice of art in the exercise floor and the far circular element can be a target for the heavy balls. Engaging the audience is key.
HC: Environmental graphics and public art play a significant role in your portfolio. How do you approach the creation of site-specific public art that resonates with both the space and the people who interact with it?
JL: In terms of public art, it has a narrative that speaks about the area, the district, or the storyline for the place. It is of course much more about emotion than experiential graphics that has a way finding and branding goal.
HC: "Design is the silent ambassador of your brand.” How does this quote resonate with your approach to environmental graphics, particularly in creating visual identities for global brands?
JL: This is a great quote. As we work on a project we know that the client cannot promote the project brand like a Fortune 500 can so DESIGN is that ambassador, it permeates the brand narrative throughout the project with unique architecture and the supporting interior design and art that all uniquely showcase the brand through its immersive experience.
HC: As a designer with a global influence, what legacy do you hope to leave through your work at Lorenc Design, and how do you hope it will inspire future generations of designers?
JL: I have been fortunate to have been involved in many amazing projects that have stood the test of time. I am most proud of my work in China where we have improved the design of every part of the project. I try to learn something from each project and see how this allows me to think differently about the next one. My career has come full circle since starting where I began focusing on product design and now I have touched architecture, interior design, furniture design, branding, public art as well as experiential graphics. Taking chances along the way, reinventing one self, responding to the context, has allowed me to be where we are today.
I hope that energetic designers can be more curious of the world around us and to see why some places inspire you while others are just part of the boring world.
HC: You’ve mentioned the importance of inspiring others to achieve their potential. How do you incorporate mentorship and leadership into your practice, and what advice would you give to emerging designers looking to make a meaningful impact in the world?
JL: I have felt this way with young designers that have worked for me, urging them to see the world around them differently than before, taking in inspirations from talented creatives internationally, honing their craft and attention to detail.
We trained our best designers by letting them understand and respect the contractors who build our work. Understanding processes is critical so when one designs something they also understand how it can be achieved. Creating dreams that cannot be built is just a great rendering and no more.
I have had some great teaching experiences where I opened the students up to the creation of narrative environments, and I have had terrible experiences where the students just did not want to push themselves, they wanted guaranteed ways to get an A and no more. As students you should be curious and flexible.
My own background at the Institute of Design taught me that design is a matter of opinion and can be judged differently. It is critical to have a project narrative not a stylistic approach that is taken from design journals.
Jan lorenc has incorporated a Sculpture Atalier in his Design Studio to explore more organic forms in the built enviorment.
