By T-Square Staff
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| Pushkinsky Cinema, Moscow, Russia. |
Hend AlMatrouk was born in Kuwait
and is a graduate of the University of Sharjah where she got her bachelor’s
degree and has a master’s degree from the Universitaet feur
Angewandte Kunst (University of Applied Arts Vienna), both in the field of
Architecture. She's been involved with a range of architectural offices in USA,
Europe and the Middle East.
Gijo Paul George is from Cochin,
India and is a graduate of the University of Kerala with a bachelor’s degree in
Architecture, and also has a masters degree
from Universitaet feur Angewandte Kunst. He has experience working with
architectural offices in Europe, the Middle East and India. Together they
founded s[toggle]. in 2011.
Can you tell us about the house you
grew up in?
H.M.: I grew up in completely two
different houses. Before the war, my house was not too spacious, but it had one
big terrace and several small balconies where I used to play with my brothers
and take care of my pets. I remember one huge tree in front of the main balcony
that looks on the street, which shaded all that space; it was a pretty special
space. After the war we moved to a bigger house where the garden was the major
space that embraced most of our activities. More than the specifics of the
house, it's the memories which made the spaces special.
G.P.G: My family moved around a lot
until I was ten; that was when my father built our house. I was at the site at
the time, and the architect he hired had just recently graduated from
University, so it was the first house he built. He went for circular forms
rather than rectangular spaces. We had spiral staircases, which would lead up
to the roof, and there were cones like there was in castles. As children, that
was exciting for my siblings and I, because we could hide up there. The roof
was also unusual because he took inspiration from foliage; there would be
leaves on the roof. But the roof was the place where we used to play and hide,
so it was fun. But the trouble for my parents was when the time came to put the
furniture, they couldn’t put it against the wall because the walls weren’t
straight, they were all curved. But even as kids, we were proud that our house
was unique.
What influences your current
designs?
H.M.: I believe inspiration can be
found all around us. I admire haute couture and works of designers like
Alexander McQueen and Iris Van Herpen. I think fashion and architecture feed
each other and the relationship goes beyond mere aesthetics. On the other hand,
cellular systems and systems or organizations have an impact on how we approach
some of our designs.
G.P.G: We are a theoretically driven
studio. We believe theory and practice should go hand in hand, contrary to what
many people think. It’s not always about sterile functionality or on the other
end of the spectrum, egotistic self-expression. We draw inspirations
from other disciplines, whether it’s filmmaking, fashion or typography. One
thing that never ceases to amaze us is the emergent complexity we find in
nature at the cellular level. At s[toggle]. we explore these relationships and
attempt to apply the lessons learnt to everyday design solutions.
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| Cloverfield |
What do you feel is the greatest
challenge when designing?
H.M.: It depends. If I’m
designing something based on inner urges or whether I’m experimenting, the
challenge is taking that idea or what I have felt in a specific moment out on a
paper. I always find the start of something difficult but when you break it
down it gets easier.
G.P.G: The thing to avoid at all
costs is to start with the baggage of the previous design that you did. But
this is easier said than done. The challenge is to start with a blank canvas,
explore multiple iterations, simplify and simplify till you capture the essence
of what you are trying to do.
Was there a decisive moment in your
life that led you into the design profession and where you are today?
H.M.: There wasn’t a specific moment
in my life where I realized I wanted to be an architect. I’ve always wanted to
create something that will express people and social issues, be more sensitive
towards human conditions, and not just create something beautiful that people
will talk about.
G.P.G.: Ever since I was little, I
always wanted to design everything around me. Be it buildings, streets, cars,
clothes etc. So I guess mine was a natural progression.
What is your ultimate goal when it
comes to your work?
H.M.: I want my practice and vision to matter in the world of
architecture, and keep experimenting with new
things instead of sticking to one type of work.
G.P.G: Design meaningful buildings,
and inspire others to do the same.
How do you see architecture having
changed these past five years?
H.M.: The advancements in computer
aided design and production has changed the way buildings have been designed
radically. The fluctuations in economy and emphasis on sustainability are the
other 2 factors, which I believe have changed the industry by forcing it to
look for innovative solutions.
G.P.G: In terms of Architecture,
there’s been a huge leap forward in the fields of digital design and
fabrication. Technology has made that which was previously unthinkable,
possible. We have clients who are more aware, thanks to the internet. I think
the biggest development that has happened is the explorations into the
seamless integration of design, structure and materials by way of fully
automated computer controlled fabrication. We see it now maybe in a smaller
scale, but it's a matter of time before larger buildings are designed and built
this way. The future according to me is one in which each of us designs and
fabricates their own space from their laptops. Just like photoshop made
everybody a graphic designer overnight.
Why did you choose to study and
receive your master’s from the Universitaet feur Angewandte Kunst in
Vienna?
H.M.: Gijo went to this university
before me, and he encouraged me to apply there because of its strength as a
multi-disciplinary art school and because of the exposure I will gain from
it as a whole. As I looked at the people who are associated with the
school, and the fact that the school promotes interdisciplinary exchange, the
decision was not too difficult.
G.P.G: At the Angewandte, you might
get into the elevator and find yourself alone with Zaha Hadid, you might grab a
coffee from the machine to see Peter Eisenman stroll by;
or you can attend just another lecture by Wolf D Prix. Being around these
greats overwhelms you but right there is an opportunity to see how they do what
they do. I knew I wanted that when I chose the Angewandte to do my master’s.
There are no rules, and they don’t tell you what to do. It’s a casual and
artistic atmosphere in one hand, but on the other, it is also extremely
aggressive. You have no time to rest. The feeling is that you can do anything,
create anything, boundaries can be broken, and you can imagine anything,
nothing is too far-fetched. The people you work with are some of the best in
the world, be it structural engineers, fabricators, etc. While looking to do my
master’s, these were my primary concerns, and the Angewandte was the perfect
choice.
Where do you see yourself in ten
years?
H.M.: In 10 years I see s[toggle]. expanding
internationally, and at the same time being academically involved.
G.P.G: In 10 years we see ourselves
evolving into a research-oriented studio working with a highly motivated
multi-disciplinary team and closely associated with the academia.
What do you want to be remembered
for in the future?
H.M.: Honest Designs.
G.P.G: I want to be remembered for
the activism, and good design.
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| Arena Venom Opera House, Vienna. |
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| Pushkinsky Cinema, Moscow, Russia. |
