TATLIN NEWS #48

Кофейный столик Brazilia | Brazilia coffee table, 2002

in any significant way. Do you agree with the epithet «emotional modernists» that some people apply to you? it is quite ok. However, two words are not enough to pinpoint any person. or three persons. Your projects are dominated by straight lines, simplicity, moderation and harmony. Is this an intentional move or do you try to emphasize the life that is going on inside or around your building with this kind of shaping? What possibilities are revealed by using this minimalist technique? We like to expand space and lines of vision. We work with spatiality. the same tools that architects have used since Palladio or vitruvius. it is not a minimalist technique. Which space is more difficult to work with – private or public, urban or natural? creatively speaking there is no difference. What was your first project (in design and architecture)? How did your creative views change since then? We are more confident in the potential of our creativity. We know today that we can come up with a good solution if it is not right in front of us on day one. Could you tell us about your favorite project? How about a building in russia. We are geographically really close to each other. But we still wait for our first project in your country. What is the history behind the Amazonas table? it was inspired by aerial views of the rain forest where dif- ferent «rooms» or «platforms» are created by the massive tree canopies at different levels. What means do you use to achieve lightweight and airy ap- pearance of the interiors? light, space and sightlines. Your work is extremely multisided, you create furniture, light- ing, textile, work with the interior, design private and public structures. What else would you like to do? anything that we have not done before is very challeng- ing.

claesson koivisto rune | rationality rules! | in- terview by tatyana Zhemukhova | Photo courtesy of Judith de Graauw You came into the design sphere from architecture and now you combine both in your work. How did it happen and what do you think are the differences and similarities between them? We started by making furniture for our architectural projects. (the first piece was a chair named «Bowie» for David design.) the products found a life as production models beyond the specific projects. But we have really felt all along that product design and architecture really are the same. Building houses may just be a little more complex in regards to spatiality and process. You do not like to define your work, the rules you work accord- ing to. What life principles unite you three? We are quite different personalities but share ideals. What designer tradition is close to you? What’s your attitude towards traditions and creative achievements of the past? We are scandinavians and believe in combining form with function. But we also strongly believe in the importance of poetry in architecture, an artistic ingredient that doesn’t necessarily follow function.

What design and architectural principles are you ready to break? We break all principles except the principle of not having a principle. and sometimes that too. What is the aim of your work, its utmost goal?

Operakallare restaurant & cocktailbar

to improve, invent and to build up creates a sense of meaning to life. When you went from theory to practice, what proved the most unexpected or perhaps the most difficult? architecture in reality is a constant struggle to make it happen. Quality is the result of fighting. What is the starting point when you create your projects – the form, the function, the idea, or spiritual value? What is it connected with? these things are always intertwined. that is the beauty of this profession. Should the objects bring joy, discover something, help put new questions? yes. Do you have any specific requirements to the material or to the shape? no. What is your attitude to the trends that are in? trends are signs of time moving forward. interesting to study but not to follow. What share of your work is defined by chance and experi- ment? 27%. Could you tell us about your projects presented at the Venice architectural Biennale in 2004? Did anything change in your work after that? our work has always evolved and our output expanded. to be the first swedish architects in history to be selected for the international section of the Biennale made us personally very proud. But i can’t say it affected our work or progress

дом werner house, Швеция | Werner house, Sweden, 2003

How strong is the influence of the Swedish mentality on your projects? Or do you believe that design and architecture have no ethnic boundaries? ideas and quality are universal. the expession is influenced by culture. We do not try to do our projects «swedish». But we are swedish, so somehow it tends to show anyway. Do you know the works of Russian architects and designers? What attracts you and what would you disagree with? i don’t believe that creative quality is tied to any na- tionality. it is tied to mankind. a larger population should produce more creativity. We would like to know more about your russian talents. What traits should the ideal project have? What should be excluded from the field of design and architecture? Most important is a good relationship with the client. a cooperation with mutual respect.

дом Folded Roof, Швеция | Prefab house Folded Roof, Sweden, 2008–

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