For the Athens- and New York-based design studio Objects of Common Interest, sound and space share a fundamental objective: bringing disparate elements together to forge something entirely unexpected. Founded by Eleni Petaloti and Leonidas Trampoukis, the multidisciplinary studio operates fluidly across the realms of object design, immersive interiors, and large-scale spatial installations. Through their work, they continuously investigate how form, color, material, and human perception converge to redefine the ways we experience our surroundings.
This deep-rooted connection between auditory and spatial perception is vividly illustrated in the studio’s curated playlist, a sonic journey moving effortlessly between emotional melodies, hypnotic electronic repetition, and experimental soundscapes. The playlist mirrors the intricate dualities and contrasts that Petaloti and Trampoukis explore within their physical creations. It serves as both an intimate glimpse into their creative psyche and a testament to how external artistic mediums can stimulate spatial innovation.
This philosophy of sensory interplay is further realized in the studio’s high-profile public installation, Out of This World – A Field of Conditions, presented in the vibrant cultural landscape of the Miami Design District. Bringing together six distinct physical conditions that actively alter how visitors perceive and interact with their environment, the series of interactive sculptures challenges the public to experience familiar architectural and urban contexts through an entirely novel lens. Music provides a parallel point of departure for the designers. Their carefully selected soundtrack—featuring iconic acts like New Order, Talking Heads, Chet Baker, Gorillaz, Aphex Twin, and David Bowie—functions as a dynamic tool. While certain tracks evoke deeply rooted atmospheres and memories, others act as catalysts to shift perspectives, dissolve creative blocks, or sharpen focus on the minutest, most delicate details of a project.
Melodies, Electronic Experiments, and Unexpected Rhythms
When asked which song best encapsulates the essence of their creative practice, Petaloti and Trampoukis point directly to New Order’s seminal track, "Bizarre Love Triangle." For the duo, the song embodies a delicate coexistence of emotion, rigorous structure, repetition, and sudden, unexpected energy. In their view, disparate elements merge within the song in a manner that feels simultaneously calculated and entirely unpredictable. It is this exact tension that informs how Objects of Common Interest approaches the conceptualization and execution of their design work.
The process of beginning a new project often requires a specific mental reset, a way to clear the air and invite inspiration. For this initial phase, the studio turns to "This Must Be the Place" by Talking Heads. The track possesses an effortless, infectious optimism that resonates deeply with the designers. It feels both familiar and perpetually fresh, serving as a gentle yet powerful reminder that true inspiration rarely stems from an exhaustive search for the extraordinary. Instead, it frequently arises from learning to perceive ordinary, everyday things in radically different ways.
Music also holds the power to bridge temporal divides, instantly transporting the creators to specific memories and atmospheres from their past. "Let’s Get Lost" by Chet Baker achieves this through the sheer evocative power of the legendary jazz musician’s voice. Rather than tethering the designers to a precise, isolated moment in time, the song evokes a broader, pervasive atmosphere—a poignant feeling of existing somewhere suspended between the past and the present.
Amidst the demanding schedules of architectural and industrial design, certain tracks inevitably capture the collective consciousness of the studio. When asked what song is currently stuck in their heads, Petaloti and Trampoukis share a simple truth: "Coming Up Roses" by Harry Styles. Sometimes, a melody simply imprints itself upon the mind without requiring a profound theoretical justification.
Late-Night Studio Sessions and Creative Breakthroughs
As daylight fades and the demanding hours of a late-night studio session take hold, the nature of the soundtrack evolves. For those quintessential 2 AM hours when fatigue sets in but the desire to keep creating refuses to wane, the studio’s ultimate late-night anthem is "On Melancholy Hill" by Gorillaz. The track strikes a rare, beautiful balance between melancholy and understated optimism. Dreamy, slightly eccentric, and undeniably addictive, it provides the ideal auditory backdrop for the quiet, focused hours of the night.
Creative blocks are an inevitable hurdle in any artistic profession, but music frequently offers a pathway through them. When the studio finds itself at a standstill and in urgent need of a breakthrough, they turn to "Love to Angie" by Red Astaire. The underlying philosophy is straightforward: sometimes the most effective way to move forward is to halt overthinking entirely. A well-chosen rhythm can completely shift the energy within a space, allowing disparate ideas to suddenly click into place and make cohesive sense.
While ambient rhythms and driving beats fill the studio space, the relationship between music and physical form remains nuanced. Tracks dominating the speakers—such as "What Else Is There?" by Röyksopp, with its magnetic, mysterious atmosphere and slow-building tension—do not necessarily dictate the physical shapes the studio designs. Instead, they profoundly influence the invisible parameters of the workspace: the mood, the collective energy, and the emotional temperature surrounding the creative process.
Conversely, certain compositions serve a meditative purpose, helping the designers slow down and direct their attention toward microscopic details. "Avril 14th" by Aphex Twin is celebrated for its incredible simplicity and delicate touch. Every single note feels profoundly intentional, and the strategic silence between the notes holds just as much weight as the music itself. It stands as a masterclass in minimalism, reminding the studio of how much emotional and aesthetic depth can be achieved through profound economy of means.
Soundtracks for Immersive Spaces and Iconic Cover Art
If visitors were handed headphones to experience the physical reality of the studio’s latest work, Petaloti and Trampoukis suggest a soundtrack with a distinct personality: Soft Cell’s "Tainted Love." Infused with a sense of the theatrical, a touch of eccentricity, and an irresistible, driving rhythm, the track embodies a strong, uncompromising character. The designers appreciate the provocative juxtaposition of experiencing their tangible spatial creations through the lens of such an unexpected and vibrant auditory companion.
Beyond the music itself, visual culture within the music industry has left a lasting mark on the studio’s aesthetic sensibilities. When discussing favorite album cover art, Petaloti and Trampoukis highlight New Order’s 1983 release, Power, Corruption & Lies. The album cover presents a striking, unexpected relationship between a deeply romantic, classical painting of flowers and a strict, coded graphic system. By allowing two seemingly unrelated visual languages to coexist, the design successfully generates an entirely new, singular identity—a principle that mirrors the studio’s own material and spatial experiments.
This synthesis of sensory experiences finds its ultimate expression in the studio’s physical projects. When asked to name the track that best captures their favorite project to date, the designers select David Bowie’s "Sound and Vision." The song serves as an ideal conceptual counterpart to Out of This World – A Field of Conditions, their public installation in the Miami Design District. By uniting six distinct physical conditions that challenge human perception, the project constructs a temporary world where sound, color, materiality, and imagination intersect. Ultimately, Bowie’s track captures that exact spirit of unyielding curiosity, celebrating the profound human capacity to encounter the familiar and experience it as entirely new.
