April 15, 2015

INTerview: Never Made (Francisco Reyes Jr.)

April 15, 2015/ Interiors

While scrolling through my Feedly account, I came across a print release from the artist, Francisco Reyes Jr., who produces work under the name, Never Made. Francisco is a Los Angeles based Graphic Designer and Artist currently working for Obey Giant. He had just released his print, "Creepin On A Come Up", and I was instantly drawn to the subject matter and the incredible graphics. You can visit his Online Store and his Instagram to see more of his amazing work.

In an exclusive interview with Interiors, we talked to Never Made about his art and his inspirations.

INT: When did you first realize you wanted to do Art?

NM: I always liked to draw. I didn't think much of it, it was just something I found pleasure in.

I used to try to be really good at drawing as realistic as possible. I would also try to draw my favorite characters in the exact way they were drawn on the covers of comic books and on X-Men cards. I really sucked, but I didn't care! I just liked to do it.

However thinking back on it now, my dad used to take my brother and I to the video store every Friday to rent video games movies and I would always base my choice of movie or game on the cover art. I'd look for the most catchy covers and that would be my choice. Even if i had no idea what the movie was about. The cover art sold me. Meet the Feebles by Peter Jackson is one that stands out the most. My mom flipped out when she saw what I was watching and she yelled at my dad. Google it.

I've always been into visuals but I was never that good at "Fine Art." I used to be an aspiring musician. My art teacher in high school wrote in my yearbook, "Art really isn't your thing... Stick to playing guitar." When I came across Illustrator and Photoshop and learned what Graphic Design was, that was it for me. I knew that's what I wanted to do for a living. So after high school, I enrolled into design school and got my degree in Graphic Design.

I'm fortunate enough to be doing what I love for a living. It's a tough and competitive industry and I'm thankful everyday for the job I have.

INT: Favorite Art Piece/Project that you've done?

NM: My favorite art project has been definitely developing my little homie, Crispin.

I guess my favorite art "collective" that I’ve done would have to be the graphics that I did for Obey Clothing. It trips me out when I'm out and I see people in public wearing something that I designed. It's a trip.

INT: Favorite movie and why?

NM: I have a bunch, but I'll give you two. The Fountain, for sure. It's a story of eternal life, death and love, mixed in with some amazing visuals, a great story and a fucking awesome score. It's a home run in my book, and most of Darren Aronofsky’s films are. The film didn't get much love at the box office, but it's one of those gems you have to find for yourself.

My second would a French film named Jeux d'enfants (Love Me If You Dare). The visuals and cinematography are awesome and the story is really charming. I'm a sucker for movies about love, for sure.

I also love World War II movies and all the classic mobster movies, like Goodfellas, The Godfather and A Bronx Tale.

INT: How would you describe your Art to someone? What does it mean to you?

NM: Minimal with as much visual impact as I can make using a limited color palette (almost always black and white). I try to make things as simple and iconic as possible, so people can remember it. My work keeps me sane. It gets my mind off whatever tribulations are going on in my life. If I'm not working on something, I'll get super bored and just start to think too much and give myself anxiety, of which I have enough of already. It's therapeutic for me.

INT: What's your go-to inspiration? Someone/Something that you're continuously inspired by?

NM: Shepard Fairey has always been my go-to inspiration. Even before I worked for him, I was the biggest fan boy. I would study his work and couldn’t get over how iconic and powerful yet simple his work was. It was something I had always strived for in my work and still do.

I get inspired by so much. I’m very observant and anything could spark an idea in my head. For example, if I’m listening to a song that has a certain lyric that stood out to me, I'll paint a visual picture of what the lyric would look like. Then I start to brainstorm a central icon or icons and visualize typography to go along with it. I do that with pretty much everything I hear, see, and feel. Or sometimes, I just get the urge to make cool shit with no real meaning behind it. If it's aesthetically pleasing, I’m down with it.

April 09, 2015

INTerview: Jacob T. Swinney

April 09, 2015/ Interiors

First and Final Frames is a video from Jacob T. Swinney, who edited together the opening and closing shots from fifty-five films. The shots are paired side by side and the resulting effect is a reminder of how powerful individuals shots in cinema are. In comparing the opening and closing shots of a film together, we are provided a look into how these individual shots tell an entire story.

The video consists of a wide range of films, from films such as Blue Valentine, The Godfather: Part II, Never Let Me Go, Hunger, Solaris and The Searchers. In putting these images side by side, we learn about the different ways in which filmmakers open and close their stories -- some of these complement each other, as in the case with many films, such as Black Swan, Birdman, and Raging Bull, while others are less direct, but equally thought-provoking.

Interiors spoke with the man behind these images.

INT: What is your background in?

JS: I love every aspect of filmmaking, so I learned how to do a bit of everything. But my three most prominent areas are directing, cinematography, and editing.

INT: Do you see Vimeo as a website that is more concerned with film and artistic expressions, with videos like yours that shed more light onto films, as opposed to the likes of YouTube, which is more concerned with the sharing of videos?

JS: Absolutely! The Vimeo community seems to be much more concerned with original content and artistic expression. YouTube is also very useful, but for different reasons. There seems to be a larger opportunity for "going viral" and it is a helpful resource for gathering film clips. I prefer Vimeo because all of the members seem to have an interest in cinema and filmmaking. Also, it is not likely that you will get harassed or abused through Vimeo comments. YouTube can be rather brutal in that respect.

INT: How did this particular idea come along?

JS: I was actually watching Gone Girl in the cinema and was struck by the similarity of the opening and closing shots. This got me thinking, "What other films use this 'bookend' technique?" After doing some research, I became fascinated by the significance of the opening and closing shots in so many films. This inspired me to expand from the idea of just "bookends".

INT: Can you talk about your choice of the films you included in this video?

JS: I chose films that displayed one of three types of openings/closings: very similar or identical shots (bookends), vastly different shots, and equally impactful shots. But most importantly, I wanted all of the examples to tell a story simply through two shots. Some are much less obvious than others, but I feel that each example communicates something significant.

INT: What is the process like for making a video like this? How long does it take? How difficult is to find some of these clips -- even just in terms of matching the resolution and making sure they're all as high quality as possible?

JS: My enormous movie collection is finally paying off because I own just about every film used in the video. So fortunately, I didn't have to worry too much about scavenging for clips and matching quality. But that does mean that I have to devote a rather large amount of time to the slow and monotonous DVD/Blu-ray ripping process. This is definitely my least favorite part of creating a new video. Luckily, I have recently been able to devote a computer entirely to ripping. This allows me to continue to edit as I collect footage, which is immensely helpful. For this particular video, that editing process was rather simple. Usually I have to spend a great deal of time watching the films and searching for useful bits, but in this case, I obviously knew exactly where each clip was located.

INT: The question you pose in the description of this video is, "What can we learn by examining only the first and final shot of a film?" What did you learn from analyzing the first and final frames of these films? Did anything surprise you? Did you learn anything?

JS: I learned that a whole lot more thought and theory goes into choosing an opening and closing shot than I had originally believed. This is most likely not the case with all films--I went through several films that open more traditionally with establishing shots. But I was truly blown away by the fact that so many films can communicate an entire story with just their opening and closing shots, even out of context. Punch-Drunk Love, Brokeback Mountain, and Birdman particularly stick with me. My hope is that viewers will learn as much from watching the video as I did by making it.

First and Final Frames from Jacob T. Swinney on Vimeo.

April 01, 2015

INTerview: Snarkitecture

April 01, 2015/ Interiors

Snarkitecture, a collaborative practice formed by architect Alex Mustonen and artist Daniel Arsham, is the quintessential collaborative duo. They each bring in their own expertise to their work; as a result, their projects cannot be explained as an architecture or art project, but rather, a category of its own. Their clean, minimal aesthetic mixed with their masterful sense of scale and space have allowed them to create a wide range of projects, that include pavillions, runway shows, window displays and furniture.

Their beginning started by chance in 2006, with Alex Mustonen being enlisted by Daniel Arsham to help with the architectural aspects of an installation at Dior's retail store in Los Angeles, California. If it wasn't for this collaboration, Snarkitecture may have never been born two years later. They've managed to create an incredible range of projects but it still feels that they've only just scratched the surface.

In an exclusive interview with Interiors, we talked to Snarkitecture about their inspirations, their incredible projects and their future.

INT: The spectrum between "architecture" and "art" is such a unique aspect in your projects and it almost feels as if you've created your own category. Is this or has that always been the intention?

SNARKITECTURE: Definitely. Coming from our respective backgrounds in art and architecture (but with mutual interest in each others disciplines), there was always the intention of exploring the strange space that can exist between art and architecture. We are increasingly working at larger, more architectural scales, but always with elements that push the work into unexpected places for visitors.

INT: In all of your projects, there is a distinct elegant quality. Who are some artists or architects that you take inspiration from, if any? Do you typically find inspiration from designers that have a similar methodology?

SNARKITECTURE: There are certainly artists, designers and architects whose work we admire and respect, but they don't act as a primary influence for Snarkitecture. Our inspirations are just as likely to emerge from dreams, natural landscapes, the way we saw a child interact with architecture, or the music we're listening to in the studio.

INT: There are several of your projects that are designed as distinct areas or environments (Dig,Richard Chai, Drift), which almost feel reminiscent of a film set. In fact, you could almost imagine an entire film production based on one of your projects with distinct visuals and characters. Have you ever thought about creating these environments for a film?

SNARKITECTURE: Daniel is actively working on this right now through his Future Relic film series, which is very much about creating specific environments that relate to his art work (separate from Snarkitecture). That said, I think we would be game to approach the design of an environment for film - it would be distinctly different than how we normally operate, which is to say that we are nearly always creating spaces and objects which people will physically interact with directly.

INT: You've worked on projects that include different types of performance art, whether it be a performance in the Why Patterns or a fashion runway show for En Noir. These two examples could be seen on opposite spectrums with one being very spontaneous and the other being carefully planned. Are you interested in exploring this spectrum more with future projects?

SNARKITECTURE: While Why Patterns certainly revolves around ideas of chance, it's not necessarily something I would describe as spontaneous. There is a careful and extensive amount of planning that goes into each project we do. A project that might only last 15 minutes can go through a year of design and development from the first stage to the final product. We are interested in these types of projects because they allow us to design a moment that can only really be appreciated in full by being there in person an experiencing it.

In response to your question, we are very interested in continuing to explore and push how performance can alter and manipulate architectural space.

INT: You've mentioned before that you'd like to see an entire space or building as a Snarkitecture project, where the space is designed by you, as well as the objects in the space. Is that still something that you are working towards? Do you have any additional aspirations for future projects?

SNARKITECTURE: Definitely. It's still on the list and we have a few things in mind...

The next big things for us are an immersive collaboration with COS for Salone del Mobile in Milan in April, a project with Print All Over Me at New Museum in New York in May and a massive installation opening this summer in the US that we can't tell you about yet. Stay tuned.

Snarkitecture, established by Alex Mustonen and Daniel Arsham, is a collaborative and experimental practice operating in territories between art and architecture. Exploring the boundaries of disciplines, the studio designs permanent, architectural scale projects and functional objects with new and imaginative purposes.

March 31, 2015

INTerview: Like Lambs

March 31, 2015/ Interiors

The entire landscape of cinema has changed in the past few years. The entire process of making films has become much more accessible, particularly with crowdfunding websites such as Kickstarter.

The hyperactive documentary 12 O’Clock Boys was released into theatres a year ago and was well-received. So, why then, has that same team run into so many obstacles with the making of their second feature film? Interiors spoke with producer John Kassab and writer/director Ted Marcus about their film, Like Lambs, which is seeking final funds on Kickstarter. The making of the film has been a three-year journey for them and this is their final step as the duo faces a win or go home situation.

It’s January 2014 and I’m watching the trailer of the documentary 12 O’Clock Boys. The film is opening in one of my favorite theatres, Laemmle Playhouse 7 in Pasadena, and for me it’ll end up being an entertaining film about bike riders in Baltimore. It’s full of energy and passion, an incredibly fierce film.

It’s March 2015 and I’ve come across a Kickstarter page for a film from the producer of 12 O’Clock Boys. I’m excited that he has a new project in the making, Like Lambs, this time a narrative feature film. I soon find out the production has been a three-year journey for the filmmakers and all they need is an additional $33,000 to cross the finish line.

It’s every filmmaker’s dream that they will premiere a film at the Sundance Film Festival or at the Festival de Cannes. It’s every filmmaker’s dream that their film will open in Los Angeles or New York. It’s also a myth that once one of those things happen, your career has been made. It’s never that easy.

The success and celebration of 12 O’Clock Boys is probably the furthest thing in the mind of producer John Kassab, who is now sharing a one-bedroom apartment in Los Angeles with his writer/director Ted Marcus and spends his evenings (when he has them) sleeping on an air mattress in the living room. This space has been functioning as their living space, production office and editing bay for the past several years.

Like Lambs has a gap that remains in its financing. The filmmakers’ lives are on hold until they can wrap up this passion project. John Kassab is a sound designer who also produced Ted Marcus’ short film, The End. The writer/director suggested they produce a feature film together, which seems like a logical next step for a sound designer who had some experience producing and sound designing short films, such as the animated short film Cabbit and the internet viral sensation Full Circle. John Kassab although is probably best known for sound designing the Oscar winning The Lost Thing and the Sundance and Cannes favorite Deeper Than Yesterday.

The roles are much more similar than they may seem, he says. “The role of a sound designer or supervising sound editor involves bidding for jobs and negotiating with clients, preparing schedules, budgets, employing staff (foley artists, sound editors, mixers, assistance), hiring studios and delivering a director’s vision.” In that sense, the responsibilities of a sound designer and producer sound a little more in line with one another. In addition, “because sound design is the last process and directors and producers are generally exhausted by the time they work with you, I also provide a comfortable, safe collaborative environment which leads to many directors seeking feedback on their picture edits. I also champion the films I work on and bring publicity to them, promoting them for awards and on various media.”

The natural creative drive for collaborating with a like-minded individual was a no-brainer. “The rude awakening was that feature producing has way more moving parts,” notes John Kassab.

Ted Marcus is only 25. Like Lambs is his first feature film, which he made at the age of 24, and it’s been quite an undertaking. In his opinion, there is a big difference between making short films and embarking on a feature film, as he notes, “making a feature is like taking a long sea voyage on a barnacle-encrusted frigate rather than the jaunt around a sheltered bay in a picnic-ready sail boat that is the short film experience.”

The move into a feature has also required a great deal of stamina, both personally and professionally. The writer/director notes that he had a “somewhat secure financial situation” prior to the making of the film, but he has poured everything he has into the project. “I kept thinking of how Quentin Tarantino had gone to jail instead of paying his parking tickets and how Christopher Nolan made his first film shooting on weekends with one or two takes for every shot.” In other words, he completely committed himself to the film, in every possible way.

The filmmakers, after having putting every penny of theirs into the project, spent the following year in “financial freefall.” They filmed for four weeks in a gothic New England castle. They faced another setback when a key actor dropped out of the film at the last minute. Ted Marcus himself stepped in and took on the role of the film’s villain Sebastian, preparing for the role in under a week, while also juggling his directing responsibilities. The extra work meant that John Kassab doubled up his own duties on the set. “I had never done most of these things before so we made it up as we went along, constantly testing our ability to improvise and solve puzzles,” he remarks.

Like Lambs centers on wealthy students who awake one morning and find that the United States is in crisis. The dollar has collapsed, which has led to the sudden, systematic breakdown of the economy. The narrative of the film was born when Ted Marcus was seeking funding for a project as he thought to himself, “How is it possible and acceptable in our society for politicians and corporations to unload billions upon billions of dollars on wasteful and deceptive campaign advertising while funding for films and art has never been more difficult?” That’s when he stumbled on a piece in The Economist about the missing 21 trillion dollars, where he discovered that many of the conspiracy theories were facts, and that a small and secret cabal of individuals representing under 0.1% of our global population now owns some 90% of its wealth, often by illegal means.

Ted Marcus wrote the first draft of the screenplay two weeks. The screenplay was then heavily workshopped in pre-production and on set with John Kassab, co-producer Patrick Jaewon Lee, the members of the cast and other advisors. They made sure to contain the scale of the screenplay from a budgetary perspective while expanding the scope of the picture in the way the narrative was formed and staged. They received feedback from veteran filmmakers as well as high-ranking banking officials, financial advisors and economic theorists who tested and provided feedback on the economic logic in the film. They then cast the actors, found financial support and their location, assembled the troops and went into battle.

They were rookie filmmakers who felt an urge to send a message and provoke some questions while making a film they wanted to see. They didn’t know exactly how they would make the film. They just knew that they had to start the process. They chose film over digital for artistic reasons, shooting on leftover film stock from 12 Years a Slave and The Wolf of Wall Street. They were actually quoted less for a 35mm camera package than a digital package, due to the passion in the industry for the shooting format and generosity from film and camera houses. They even filmed Like Lambs on the same camera that Jaws was filmed on, forty years ago!

John Kassab notes that 35mm became possible “because of the romantic relationship we all have with this medium, from the vendors to the filmmakers, everyone just wanted to see this project go ahead and we were all connected through this love of the medium and our insistence to keep film alive and kicking.” Ted Marcus’ cinematographer Parker Tolifson, who collaborated with him on his first short film, had suggested 35mm for the earlier project. “I’ve been a believer ever since.” The look of film, in Ted Marcus’ opinion, is “deliciously inky, deep and inviting” and was the perfect way to capture the experience of a fading social elite caught in a "gothic apocalypse”.

The filmmakers worked hard, yet they made sure to have as much fun as possible. This fun transitioned into the editing room as well. John Kassab notes that “since we wrapped the shoot in 2013, I co-edited [Like Lambs] with Ted under the moniker of Solomon Belfort, named after the protagonists of the films whose leftover stock we shot with, Solomon Northup of 12 Years a Slave and Jordan Belfort of The Wolf of Wall Street.”

The making of Like Lambs has meant that for the past several years, their lives, families and social existence has been on hold until its release. John Kassab remarks, “I don’t think I would ever make a film like this again but as a creative experience and a test of will, I wouldn’t take it back for the world.” They’re almost to the finish line and must preserve the dream they have fought this long to manifest. John Kassab is excited that “the film has finally, after all of this time, become real (again)” with the launch of its Kickstarter campaign.

Like Lambs was (and still is) a labor of love. Ted Marcus notes that “when challenges push people to the brink, we find that the key is to provide as much love and care as possible” The filmmakers are now seeking a little bit of love and care from the rest of the world, strangers who may want to help them achieve the dream that they have been fighting for these past three years and to bring awareness to the issues of financial and social inequality that the film brings into question.

Like Lambs will only receive its funding if at least $33,000 is pledged by Saturday, April 18, 2015. Please click here for more information about how you can contribute.

March 17, 2015

INTerview: John Szot

March 17, 2015/ Interiors

The area that exists between film and architecture houses a powerful, multidimensional idea. It's inevitable that a line would exist between the two subjects, but when individuals start to blur the lines between the two fields and create a new topic, something profound starts happening. We have been following the work of John Szot for many years and his work has been one of our biggest inspirations. John Szot recently finished his film series, Architecture and the Unspeakable, which is a triptych of films, produced by Brooklyn Digital Foundry, which explores architectural concepts while using cinematic techniques. The film series is revolutionary in the ways that the architecture is depicted and more importantly, explored. Interiors had a chance to catch up with him about his work and hear his thoughts about these explorations.

INT: In many of your projects, you question our preconceived notions, whether it be about graffiti and the graphic representation of a project or with the film series, Architecture and the Unspeakable. Is this something you've always been interested in or has that developed over time?

JS: Breaking down barriers is either the by-product of innovative thinking or a narcissistic act of self-conscious rebellion. I'm hoping to fall into the former category, but the historians and curators will ultimately decide.

INT: The film series, Architecture and the Unspeakable, is brilliant in the ways that it not only depicts three separate projects, but it does so in three different cinematic styles (abstraction, infomercial and music video). Did the three contrasting styles develop organically from the aesthetic of the architecture or was that something that came later?

JS: The video 'tropes' in each case developed organically with the projects as we delved deeper and deeper into the designs. They're meant to reinforce some aspect of the project they showcase.

For example, the Shibuya segment became a sales pitch out of the realization that the tower's design was inspired and guided by a premeditated act of mistranslation. Shibuya's idiosyncrasy can be traced to the rationality of its Edo-era planning, but the impression it makes on visitors reinforces Tokyo's reputation as a hyperactive metropolis. While this reading is accurate in the sense that the contextual sensitivity that originally informed Shibuya's layout has been eclipsed by the city's growth, it is not a reading that recognizes the conservative reality of the city's attempt to preserve its heritage. Even that interpretation is not wholly true; it might simply be out of convenience that the lots and roads haven't changed much in over 900 years. Regardless, we prefer the aesthetic reading that casts Shibuya as a manifestation of unbridled urban ambition since it pairs properly with the exciting intensity of its bristling buildings and complex streetscapes. With that in mind, we wrote a sales pitch for the tower in English and sent it to a Tokyo-based team of real estate marketers to translate it to Japanese, granting them license to embellish as needed to get the ideas into common parlance. Then, as a reflection of the reading described previously, we had a different team of language experts transpose the Japanese text back to English - that is, the words were interpreted at the literal level and no effort was made to bridge any cultural differences in the idioms and word choices. As a result, the subtitles occupy a similar conceptual position to the tower: both are consciously distorted interpretations of a common cultural context.

It's worth mentioning that this kind of manifold expression is only possible in filmmaking. Cinematic material provides a unique opportunity to embellish the conceptual ambitions of architectural proposal without repeating the mistakes of postmodernism - that is, obligating the product of one's efforts (e.g. the building) to make impotent rhetorical statements through its form or material makeup.

INT: The Detroit piece (music video) in Architecture and the Unspeakable is so unique and I had remembered you mentioning in an interview that you had done music videos in the past. I'm just curious if you see that as a potential new form of representation for architectural projects?

JS: I do, but first it's important to recognize that the music video format is not new to architecture. Of course I believe video in general presents great potential for communicating architectural ideas (music videos being one manifestation of such work). More importantly, I think our recent work has demonstrated that video is a lens through which an architectural subject can be studied in unparalleled detail and in such a way that the conceptual vehicles of filmmaking can shed light on its development.

That said, we ran a risk doing a music video for the Detroit segment because the bulk of architectural video work in circulation is executed in such a mode, and usually with a near-pornographic level of bombast and fetish. As a result, there is a conspicuous lack of interest in animated work in critical forums. Hindsight suggests it might have been best to distance ourselves from that association by going another route, as some notable architectural film festivals turned our video down simply because it's an animated feature, despite their unrestricted submissions policies.

INT: The three pieces in Architecture and the Unspeakable are all presented very clearly and all feel like a distinct setting. Have you ever considered using these settings as a potential film setting with characters and a narrative, or do you see the physical architecture as the character telling the story?

JS: For this feature, I preferred the suggestion of occupation and use made via subtle details. In part because using human subjects presented a whole new technical level of complexity to the production, but also because the subject (the building) benefits from some degree of anthropomorphic transference without a person in the frame to steal the show.

Of late, we've been talking a lot about the use of video to develop architecture proposals; characters and plot lines would be a digression into serious storytelling, so it's not currently on our radar, but that isn't to say it won't be part of our future...

INT: There are some work you've done, which lend itself to a larger discussion about cinema. Do you see film in the same way as you do your work? Who are some of your inspirations in the film and art worlds, if any?

JS: Despite my enthusiasm for film, I find most of my inspiration lately coming from literature and sculpture. Literature provides a richer sense of human insight being so explicit, and sculpture has more to offer in terms of formal, material, and spatial precedent. J. G. Ballard's work is remarkable in its imaginative reach and nonchalant handling of lurid subjects, which I find refreshing. In terms of sculpture, the work of Lee Bae and Michael Johansson bring compelling visions for surface and scale to light; pictures of their work hang prominently in the studio in hopes that some of its brilliance will take root in our projects.

INT: You had mentioned that the film series that you created was trying to highlight the social interactions and moments that a building contains. You were trying to emphasize that certain aspects of a project need to be represented by a film. In our current climate, everything has become digital and virtual that it almost feels like a shift is inevitable. Do you feel that you've only scratched the surface in terms of how film can be used in the field of architecture?

JS: This is an excellent question - and I'm comfortable stating that I'm not certain. I will say though that video is already a common medium for personal expression, which suggests to me that, in the future, the ability to make an emotional connection with one's audience via some directorial experience may be the competitive edge that distinguishes one from one's competition in any industry.

Our experience doing Architecture and the Unspeakable has been enlightening, but we're already pivoting to our next building proposal, and while video is certain to play a role, we're not explicitly looking to re-invent that role. It is our hope that our video work will spark conversations about bringing the projects it features into reality, but if it also inspires others to forge careers from examining film and its potential in the service of architectural practice, so much the better.

Architecture and the Unspeakable teaser from JOHN SZOT STUDIO on Vimeo.

John Szot is an award-winning architect in New York City, whose studio focuses on the relationship between technology and the locus of meaning in the built environment. Please visit his website www.JohnSzot.com for more of his work.

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Interiors