10 Questions With… Maritza Lara Cáceres and Daniel Cruz Maldonado

This article features an interview with Daniel Arsham, a Miami-raised, New York-based artist known for his large-scale installations that manipulate perceptions of space and architecture. Arsham's artistic journey began at Cooper Union, where he met architect Alex Mustonen, leading to the formation of Snarkitecture in 2008. Snarkitecture is a collaborative practice that blends art and architecture, recognized for its inflated scale and monochrome aesthetics, with projects including KITH boutiques and flagship stores for brands like Valextra and COS. Alongside Snarkitecture, Arsham maintains an individual art practice focused on structural experiments, often featuring crumbling walls and decaying cultural artifacts, challenging conventional architectural norms. Arsham's 2018 solo exhibition, “3018,” at Galerie Perrotin in New York, showcased pop culture icons, such as the Delorean from *Back to the Future* and the Ferrari from *Ferris Bueller’s Day Off*, rendered in materials like crystal, volcanic ash, pyrite crystal, selenite, and quartz, appearing where mechanical components would typically be. These works illustrate his exploration of a dystopian future where contemporary culture undergoes erosion. The year 2018 was particularly eventful for Arsham, encompassing “3018,” Snarkitecture’s retrospective “Fun House” at the National Building Museum, the release of Snarkitecture’s monograph, his own upcoming book through Rizzoli, and an exclusive sneaker design for Adidas. In the interview, Arsham discusses how his upbringing in Miami, a city built on a swamp with a fabricated sense of fantasy, influenced his artistic sensibilities. He elaborates on his fictional archaeological works, which involve degrading contemporary objects to appear ancient, emphasizing the importance of materials in conveying his concepts, such as using crystal to suggest a geological timeframe. Arsham reflects on 2018 as a year of introspection, with his Rizzoli book covering two decades of his work, tracing back to his thesis exhibition at Cooper Union, where he first used architecture as a medium for manipulation to create unsettling, uncanny spaces. He identifies stage design, particularly his work with choreographer Merce Cunningham, as one of his most exciting and challenging commissions. This experience, despite his lack of formal training in dance or theater, profoundly impacted his practice by teaching him to translate sculptural methods to a stage environment with fixed audiences and crucial lighting. The discussion also delves into the origins of Snarkitecture, which arose from Arsham's need for architectural expertise to execute larger-scale public art pieces, leading to a partnership with Alex Mustonen. Their collaboration thrives on the interplay between Arsham's chaotic, experimental artistic approach and Mustonen's ordered, precise architectural background, embodying an ethos that balances precision with chaos. Arsham shares a key business lesson: recognizing failure as a vital tool for learning and avoiding repetition. He cites Hurricane Andrew's devastation of his Miami home 24 years prior as a pivotal experience that shaped his understanding of architecture in flux, decay, and rebuilding, significantly influencing both his personal art and Snarkitecture's work. Ultimately, Arsham finds the best aspect of his profession to be the freedom inherent in not having a conventional "job." #DanielArsham #Snarkitecture #ArtAndArchitecture #ContemporaryArt #Sculpture #ArchitecturalInstallation #Exhibition #Materiality #DesignProcess #CollaborativePractice

This article features an interview with Norwegian designer Daniel Rybakken, who discusses the trajectory of his career, from his childhood influences to his current projects in lighting, furniture, and electronics. Rybakken highlights a consistent vision across his work, despite evolving into various design disciplines. He attributes his early exposure to fashion and graphic design, through his parents, to shaping his aesthetic and compositional interests. Rybakken emphasizes that his primary motivation is the act of creation and inventing new products, rather than financial gain, a perspective he believes is supported by Scandinavia's robust social safety net. The interview delves into specific products that have marked significant milestones in his career. The Counterbalance light for Luceplan is identified as his first industrial piece and a particularly memorable design, pioneering the slender, graphical, and geometric silhouette that later became prevalent in lighting. He also discusses his recent forays into furnishings, including the 124° wall-mounted mirrors and the Kiila collection for Finnish manufacturer Artek. Rybakken notes the unique challenges of designing for Artek, given the company's rich heritage with Alvar Aalto, and his approach to balancing contemporary design with modernist principles. The Kiila collection, consisting of functional "domestic helpers" like a bench and coat tree, marked his initial venture into wood as a primary material, where he aimed for a logical and sober aesthetic, distinct from traditional Danish woodcraft. Rybakken also introduces the W172 Bokeh floor and pendant light for Wästberg, explaining his exploration of transparency and 'not transparency' using frosted glass to create a blurred effect, referencing the photographic term "bokeh." He reveals that he is currently engaged in collaborations with multiple furniture companies and a Japanese technology company, exploring new territories beyond his established work in lighting and furniture. The designer shares insights into his decision to live and work in Gothenburg, Sweden, explaining that it offered more opportunities for designers compared to Norway at the beginning of his career, and now serves as a retreat from the competitive design scene in Stockholm. He stresses the importance of avoiding common influences like design blogs to maintain originality in his work, finding inspiration instead through travel, particularly to places like Japan. Rybakken expresses admiration for designers like Dieter Rams and artists like Donald Judd, appreciating their minimalist approaches and the conceptual layers in their work. Finally, he discusses his interest in photography, considering the image—rather than the physical object—as the ultimate result of his design process, echoing his admiration for artist Thomas Demand, who creates stylized, strange images from cardboard models, blurring the lines between reality and artifice. His approach underscores the belief that design is fundamentally about communication, and the image is the primary medium through which this communication occurs, outliving the temporary nature of physical objects or installations. #DanielRybakken #ProductDesign #LightingDesign #FurnitureDesign #ScandinavianDesign #Artek #Luceplan #Wästberg #IndustrialDesign #DesignPhilosophy #InteriorDesign

Architects Noam Dvir and Daniel Rauchwerger, founders of the New York-based firm BoND (Bureau of Noam and Daniel), share insights into their design philosophy, creative process, and the unique challenges and inspirations behind their projects. Having met in 2010 at the Venice architecture biennial and later forming BoND in 2015, the duo has become known for their nuanced approach to physicality and use in design, particularly in New York City and Fire Island. The discussion highlights the specific considerations for working on Fire Island, a narrow stretch of land susceptible to environmental factors like climate change and sea-level rise. Dvir and Rauchwerger explain how these environmental realities, combined with the island's rich Modernist architectural legacy, necessitate innovative design solutions. They detail how new ground-up constructions must be elevated significantly, prompting questions about the aesthetics of the house's base when typically seen nestled within dunes. The architects also touch upon the increasing sophistication of buildings and the challenge of incorporating technology without making it part of the problem. Material choices are also evolving; for instance, the rising cost of traditional cedar has led them to explore alternative wood materials, such as a silvery-toned wood from Texas that offers easier assembly and application. BoND's approach to renovating existing Modernist homes on Fire Island involves viewing the house as a cohesive whole rather than focusing on isolated areas. They aim to unify design elements, such as extending cedar siding where it wasn't originally present, and infuse utilitarian spaces like bathrooms with humor and sexiness. Custom furniture design plays a crucial role in re-imagining social conditions within these homes, creating spaces for various interactions, from pre-dinner gatherings to intimate conversations on a rainy night. The architects emphasize the intentional orchestration of social situations in their designs, creating platforms for living and socializing that encourage interaction and engagement. They strive for openness and connectivity between spaces, maximizing the dramatic interplay with the surrounding landscape. Their client relationships are deeply integrated, often stemming from personal connections and shared communities. Many clients are younger, having acquired homes post-Covid, and have specific priorities, such as cooking, which BoND meticulously addresses in their designs for these often smaller spaces. The firm's background in architecture journalism significantly influences their project approach, with a strong emphasis on narrative and storytelling. Each project is seen as an opportunity to create a unique story or fantasy that captures the imagination of their community. BoND does not differentiate significantly between commercial and residential projects, applying a consistent "style of thinking" that seeks unique elements within each program. They find excitement in New York City lofts, particularly in understanding and integrating the existing character of a space into new designs, distilling its core attractive qualities. Art serves as a major driver in BoND's work, viewed as a reflection of cultural attitudes and a source of aesthetic inspiration for color palettes and contextual contrasts. They often select art for their projects, maintaining relationships with artists to stay attuned to cultural trends. While they consider architecture a beautiful craft rather than an art form, they acknowledge art's role as an emotional and personal component of a home. Dvir and Rauchwerger also share insights into their partnership, highlighting their complementary strengths and the collaborative nature of their work, with Noam as the managing partner and Daniel as the creative director, though both are deeply involved in all project phases. Finally, they discuss the concept of "sexiness" in architecture, defining it as a cultural construct and an integral part of their clients' desire topology. This manifests in design decisions, such as the placement of an outdoor shower or views within a house, aiming to create a sense of "flirty intrigue" that makes people look and feel great in their spaces. #BoNDArchitects #NoamDvir #DanielRauchwerger #FireIslandDesign #ModernistArchitecture #SustainableDesign #InteriorDesign #CustomFurniture #ArchitecturalJournalism