Interviewe mat Amarist Studio

I graduated from my Masters in Architecture at 25yo and had the great opportunity to fly to California to design a house for a private client. I spent a year there and I then was hired by an Architecture+Urbanism firm in Zurich, Switzerland, where I worked on a urban planning competition to design a whole new neighborhood in Marseille, and we won! So by 27yo I could say I had designed, along wonderful teams, a house and a neighborhood. It was very fulfilling, but I felt the need to start my own venture and that is how I joined Aran Lozano to build Amarist Studio. Since then it has been a rollercoaster ride, a great journey of learning and growth, a path full of difficulties but also with big achievements.

I never had a clear idea of becoming an architect/designer, I think it was a process of maturation in which I discovered that I liked three fundamentals: art-creativity, functionality-engineering, and business.

My top priority is making designs that have a soul, that are able to inspire and make people reflect. I don’t stop working on a project until it is an entity as a whole, where nothing can be added or subtracted. The ultimate goal is to make the user/observer fall in love with the piece (concept + aesthetics).I don’t have a specific technique, but more or less I go through the same cycle when designing: 1. Research2. Hand sketches3. Digital modeling4. Physical models5. Repeat/revisit steps 2-3-46. Development in detail7. Fabrication tests8. Final product.

At the creative peak of idea generation, it’s kind of weird, I connect with the subconscious of my mind, and time and space disappear for that precious moment. It is a great feeling!During the production process I go through a big spectrum of emotions in which all kinds of feelings and moods circulate at every stage of the process.At the end, when the work is finished, in general I feel great happiness and realization. Sometimes, depending on the work and how long it has taken to design and to build, even my eyes get wet of excitement.

Love for nature, philosophy and art. Big observer of things and surroundings.Attention to detail, search for (non-existent)perfection.Being organized.

Our goal is to expand internationally and start working with top international galleries. Exhibiting in museums and the prominent art and design fairs. We are working on our first public architecture-sculpture design which is a huge milestone for us and we hope to have more opportunities like this one.

I think I am still at the beginning of my career … hahahWhat I would recommend to anyone is that if you have an idea, a vision of what you want to do/become, you have to pursue it, communicate it, trace a plan of how to make it happen, and work work, work, persevere, and work more. Make people fall in love with your vision. The journey is difficult and the only way to make progress is being passionate, working hard and efficiently.

I don’t consider myself as a successful designer just yet, I am young and just getting started.What I would recommend to everyone is to take the time to educate their clients.

I generally wake up and do a little exercise, meditate and have a big breakfast while reading the news.I usually save the morning for the most creative work and the afternoon for emails and meetings. I finish the day planning what is important to get done on the next day.After work I try to do activities to clear my mind, like sport, going to an art opening or hanging out with friends.

I keep up with latest design trends through yearly art and design international fairs, exhibitions in galleries, online and printed publications and social media.Trends matter to measure what the market is demanding and what is selling. But rends can be creativity killers, if you want to make a difference you shouldn't base your work on trends.

A design is good when it has a soul. When the different elements that configure the piece (shape, materiality, usage, light/shadow, rhythm, etc) become a unique entity where nothing can be added or subtracted, with a soul that makes you fall in love with it and touches you something inside you.

Ha! Good question, in art and design a work is rarely ever complete, you can always change, improve, develop further details, etc. A good rule of thumb is when a piece become a unique entity as a whole, where nothing can be added or subtracted.

Our biggest design work at Amarist Studio is probably the collaboration with UNHCR – United Nations Refugee Agency - for our first philanthropic design project: the “Welcome” Jewelry Collection. Because its social component is a project of special importance and responsibility for us.In addition, our most important work-in-progress project that we have right now is a sculptural canopy for a public plaza; which is a great challenge and a huge responsibility for us too.

I don’t have an exclusive favorite architect/designer. There’s so many good creators in the world and through out history to be able to choose one.As an architect I specially admire Peter Zumthor, his buildings have something truly special; they have the ability to touch your soul.

I live between Barcelona and New York. Each city has a rhythm, a culture, and generates different influences that affect one’s design, as it does the political, economic and social momentum.

At Amarist Studio we work as a team, we design together and grow on each other ideas. Our goal – and business - is to create designs that stimulate the thoughts of the viewer, that invites them to experience and reflect on the world around. We try to make the users fall in love with our pieces.

This last year at Amarist Studio we created our first solidarity project to raise awareness and funds for refugees. Deeply touched by the current Syrian refugee crisis we wanted to get involved. Inspired by the razor wire installed along the southeastern European borders, we designed the “Welcome Jewelry”, a solidarity collection with all proceeds donated to UNHCR – the United Nations Refugee Agency. We want to create a universal symbol with the razor wire spikes, a symbol of respect and support for the war-displaced people around the world.

Design competitions like the A’ Design Awards are important as a platform for the field, winning an award brings exposure and opens new doors and opportunities.

CLARA CAMPO: I graduated from my Masters in Architecture at 25yo and had the great opportunity to fly to California to design a house for a private client. I spent a year working there and I then was hired by an Architecture+Urbanism firm in Zurich, Switzerland, where I worked on a urban planning competition to design a whole new neighborhood in Marseille, and we won!

So by 27yo I could say I had designed, along wonderful teams, a house and a neighborhood. It was very fulfilling, but I felt the need to start my own venture and that is how I joined Aran Lozano to build Amarist Studio.

Since then it has been a rollercoaster ride, a great journey of learning and growth, a path full of difficulties but also with big achievements.

ARÁN LOZANO: I did not carry out a specific academic education in design, it was a self-taught process, experimenting with materials, techniques and technologies.

CLARA CAMPO: I like to create and build experiences, buildings, objects…. Solve problems and functionality challenges.

I never had a clear idea of becoming an architect/designer, I think it was a process of maturation in which I discovered that I liked three fundamentals: art-creativity, functionality-engineering, and business.

ARÁN LOZANO: I never thought I wanted to be a designer ... I think I became one without wanting to, chasing my curiosities and satisfying my concerns, I discovered that I was happy when creating.

CLARA CAMPO: I don’t think anyone can be forced to be a designer. As any field you have to love what you do otherwise it is impossible to do great work.

ARÁN LOZANO: I do not think anyone can devote themselves to being creative by being forced to do so ...

CLARA CAMPO: Because of my Architecture foundation, I design anything from buildings to urban plans to furniture. Despite the differences on these fields I think they have a lot in common, and there are multiple examples of architects through out history with works in all of these three disciplines.

At Amarist Studio we currently have a good balance of different type of projects, and that is very fulfilling.

ARAN LOZANO: I like conceptual design, works that are able to shake minds, provoke and with a big visual power.

CLARA CAMPO: I don’t consider myself a design legend. I am just at the beginning of my career…

I would recommend young designers should study history of art, architecture and design to have a good foundation. Work hard on their vision and dreams of who they want to become.

ARAN LOZANO: Hahaha I do not think I am a design legend. If one day I am, maybe then I can save everyone work and explain the secret recepie...

For now I can only say that you have to work hard, visualize the top you want to reach, be bold in the decisions you make and prepare a large dose of perseverance.

CLARA CAMPO: The ability to give a soul to their designs, when is able to touch and move the users.

ARAN LOZANO: A good designer is able to create a product that solves the need in the most efficient way. A great designer I think that also breaks with the established, surprises, and sets new limits.

CLARA CAMPO: Observing how the different elements that configure the piece (shape, materiality, usage, light/shadow, rhythm, etc) become a unique entity where nothing can be added or subtracted, with a soul that can touch you.

ARAN LOZANO: A design is really good when you fall in love with it.

Good design makes people and society better, in every single way.

CLARA CAMPO: Not having the time is an excuse. I would go to areas affected by natural disasters and help the community design and build everything they need.

ARAN LOZANO: I would design my country-side house. Since I was a child I have been imagining it and making sketches. As I mature, travel and discover new influences I evolve the ideas. If I had made a sketch of each idea during these years, it would be a great visual diary of the experiences that have impressed me during my life, I imagine that the final project will gather all those moments.

CLARA CAMPO: A dream project would be to be part of Google X team and design the perfect city.

CLARA CAMPO: There is no secret recipe for success. There’s a long journey of work, perseverance, trip overs and getting up back to work more.

The secret ingredient is love, to be passionate on the work you do.

CLARA CAMPO: I think my “legends” are basically architects, also with projects spanning from urban planning to buildings and furniture. Masters like Frank Lloyd Wright, Mies van der Rohe, Louis Kahn and Peter Zumthor.

CLARA CAMPO: I don’t have an exclusive favorite design. There’s so many good works in the world and through out history to be able to choose one.

ARAN LOZANO: If I had to choose a design, I would keep the "schiphol-clock" clock of Maarten Baas, it is a piece that surprises, makes think about important issues in a nice way.

CLARA CAMPO: With Amarist Studio, the greatest project we have done to date is “Welcome Jewelry”, a solidarity initiative to raise awareness and funds for refugees.

Deeply touched by the current Syrian refugee crisis we transformed the razor wire installed along the southeastern European borders into a symbol of respect and support for the war-displaced people.

All proceeds are donated to UNHCR – the United Nations Refugee Agency.

ARAN LOZANO: The Welcome Jewelry solidarity collection. Although it is not in our usual field of action (collectible furniture) is a very special collection for us.

Our work consisted in changing the meaning of a cruel element like the concertina installed in the borders. With a few small changes, we reconverted a physical border of wire into a beautiful collection of solidary jewelry to raise awareness and funds for the Refugees.

CLARA CAMPO: Studying history of art, architecture and design. You can learn a lot going through the works of the great masters.

ARAN LOZANO: You have to question yourself every day, it's the way to evolve. It is very important to not stay in the confort zone.

CLARA CAMPO: I would be working in the fields of innovation and business.

ARAN LOZANO: Possibly I would have set up another company in some other creative area.

CLARA CAMPO: Design is making ideas come to life.

CLARA CAMPO: My team and my family.

ARÁN LOZANO: The team that surrounds me and with whom I create the studio and also the family that decided to support me from the beginning of this adventure.

CLARA CAMPO: Love for nature, philosophy and art.

Observation, attention to detail and search for perfectionism.

Being organized.

ARAN LOZANO: Energy, ambition, passion and certain nonconformity, are the tools that push me to keep growing.

CLARA CAMPO: I don’t consider myself a design master. The difficulties when creating your own design firm are building the name and client base. The first years are financially difficult.

ARAN LOZANO: “When you are inside the school you are warm, but in the street it is cold.”

This sentence summarizes the experience of practically anyone who decides to start a career as a professional or an entrepreneurial project. You realize a harsh reality, you have practically everything against you: experience, contacts, money, realism, etc. Your energy and talent are the only tools to make your way between them.

CLARA CAMPO: In the best way possible. Communicating the design is almost as important as the design itself.

ARAN LOZANO: Many times I still do not know how to present ours ... hahaha, but always with passion.

CLARA CAMPO: our most important work-in-progress project that we have right now is a sculptural canopy for a public plaza; which is a great challenge and a huge responsibility.

ARAN LOZANO: In Amarist studio we are always proposing new projects;

Now we are producing the first public work of the studio, a project that combines art, design and architecture to give rise to a large illuminated sculpture in a medieval village in Spain, together with the urban development of the whole environment.

On the other hand, we will continue to work on a line of provocative design that explores the beauty of objects with politicial, social or economic symbolism.

CLARA CAMPO: Create great designs that people fall in love with.

ARAN LOZANO: I do not have a fixed final goal, every day you have new concerns, for which the goals may vary ... I think this can answer the question by ensuring that we like to explore different fields, so we will presumably expand the type of projects we address.

CLARA CAMPO: To keep working and realizing innovative designs able to surprise and amaze.

ARAN LOZANO: It is not something that I ask myself or worries me, the question I ask myself is: “What do I expect from me?”

When you have had an idea that you think is good, sometimes you think that it will be the best one you will ever have, that has been the top of your ideas. Then you realize that ideas are infinite, that it is like an algorithm that learns more as you do more....

I hope to continue surprising and I hope that people continue to be surprised with our creations.

CLARA CAMPO: Design is such a broad word and discipline; it comprises so many different fields, from UX design, to industrial design, to cities and buildings for example.

Therefore design as a whole has the power to improve every single aspect of people’s life, from happiness to efficiency. And in consequence, has the power to create a better society.

ARAN LOZANO: Before I talked about our collection of solidarity jewelry “Welcome”, I think it is a clear example of how design can be an important actor to build a better future.

In our scope of work (collectible design) we try to provoke with our designs, generate debates around ideas of the current social, economic, technological, etc. Design along with art, has the power to provoke emotions and reactions in people, a society with awakened minds is the only one that can evolve towards a better model.

In the most technical aspect, the pieces that we make are like prototypes, limited units, where regardless of the costs or the times that are demanded in the most industrial design, it allows you to experiment with new design methodologies or in the implementation of new materials and techniques, which can mark a path of the future.

CLARA CAMPO: At Amarist Studio we are working on our first public work. It’s a sculptural canopy for a town’s central square.

ARAN LOZANO: We have started working on a new design collection within the studio, especially focused on furniture, a very conceptual line that will experiment with the latest 3D printing technologies, along with natural materials to establish a dialogue between the existing and the future.

CLARA CAMPO: Our “Welcome” solidarity jewelry project. We are raising awareness and funds for refugees.

ARAN LOZANO: Currently the public project that we are developing in Boltaña, Spain. We do it with special love because it is the town where we spend a lot of our childhoods.

CLARA CAMPO: The unpaid competition system to grant projects.

ARAN LOZANO: If it refers to the INDUSTRY of design and not to the art of design:

I would not like to see € 2 shirts in stores produced by humans.

Now it seems that there is a fever for new technologies and for everything that is made with new digital production methodologies....

It is clear that in the next 5 years 3D printing, robotics and AI applied to production will take a very important leap and expand the fields of action. This, together with open source, will accentuate the democratization of production.

CLARA CAMPO: It depends on the project, the technical challenges, innovation, dimensions, materials, etc. It’s impossible to set the same timeframe for every design.

From experience, never less than a year.

ARAN LOZANO: According to the experience in our studio, it usually takes at least a year since you start a project until it is executed.

CLARA CAMPO: I first reflect on what the project needs to achieve, the goals, and then I start sketching ideas, brainstorming, and doing research on references, materials, techniques…

ARAN LOZANO: I run for 1h and then helped by the endorphins I start visualizing ideas, drawing. I let the sketches sit and revisit them again a few days later to see if they make sense or are not worth anything ... If they are worthless, I repeat the process until the opposite happens ... hahah

CLARA CAMPO: “God is in the details”

ARAN LOZANO: Provoke

CLARA CAMPO: Trends set the designs.

ARAN LOZANO: This is like the egg or the chicken dilema, I think neither egg nor chicken, is evolution.

The trends establish the designs of the mass market as a general rule, but the trend must be established, and I think that is decided between daring proposals of people who put themselves on the edge of the cliff to be caressed by the breeze every morning and the reaction of society.

CLARA CAMPO: Depending on the project. We usually use design software on the development phases, and new digital production machines on production.

ARAN LOZANO: It is getting bigger and sometimes it makes you want to start carving stones ... LOL

CLARA CAMPO: We can use software like Rhino, AutoCad, Photoshop, etc. and equipment like laser-cut machines, CNC, 3D printing, etc.

ARAN LOZANO: Mostly Rhinoceros, but we use others if necessary.

Depending on the project.

CLARA CAMPO: I never really had that thought. I wish my designs can make people fall in love, make people think or reflect…

CLARA CAMPO: “How it has been made?”

I try to analyze what makes it great.

CLARA CAMPO: Yes I believe in co-design. The ideal design partner is one with complementary design skills, open-minded and flexible.

ARAN LOZANO: We are a clear example of Co-Design in Amarist studio, where I work with my partner Clara Campo. Collaborating has good things and bad things, but I keep with the good ones. I think you can be more complete to tackle projects, since each one contributes from its nature value to round up the final work.

CLARA CAMPO: This early on in my career, I guess my bigger influencers are still my professors at University.

CLARA CAMPO: Atmospheres, Peter Zumthor.

CLARA CAMPO: I don’t consider myself a master designer. I have developed my skills through hard work, willpower, and long nights of design marathons.

ARAN LOZANO: One part I owe it to genetics, each one is born with some skills, and then there is the development you make of them. I was fortunate to grow up in a creative environment, my parents either for leisure or for profession have always had a lot space and workshop with machines where since I was little I started creating things that I always left unfinished.

Traveling and growing in different environments also helped me to stimulate my curiosity and to ask many questions, but since I was shy, I did not express them and that gave me a very active inner world .... Then I grew up and I learned that it was easier to ask and that no one was eating me ... But a very reflective personality remained inside me.

CLARA CAMPO: Difficult question. I would love to meet and talk to a lot of people; from great politicians, to philosophers, artists and entrepreneurs. Mainly from XXth century.

ARAN LOZANO: I think I would choose a conversation with the main galerists and curators of design, often it seems that there is a barrier between the creators and them.

CLARA CAMPO: It has been great to receive the Forbes 30 under 30 nomination and the A’Design awards, it makes you realize that you are working on the right direction…. but these recognitions don’t make you famous, so I haven’t had that problem yet ;)

ARAN LOZANO: It seems that in the last few months all of them are arriving at the same time, it is always gratifying to receive back slaps, you feel that you are working in the right direction, although the awards are not the mission of the job.

CLARA CAMPO:

Color: blue

Place: Barcelona

Food: Chocolate

Season: Summer

Thing: Love

Brand: I don’t have a favorite brand.

ARAN LOZANO:

I do not have favorite colors

I try to get the most out of each season of the year, in winter it is a lonelier and more reflective time, in the spring ideas come up and begin to materialize, this is usually the work calendar.

I practice adventure sports all year round, in each season a different sport: I ski, hike, rock climb, etc.

And better not to talk about food... I love food!

CLARA CAMPO: A funny moment at the Studio was when a Chinese client called and we tried to communicate through google translate’s speaker. It didn’t work haha

ARAN LOZANO: I remember that in our first international exhibition, Design Days Dubai, I had a piece of lighting in our suitcase, and when we arrived at the fair to set up our booth and get off the taxi, amazed by the Burj Khalifa, I forgot my suitcase in the taxi. It was not until after more than 1 hour later that I realized that I had left the suitcase with the piece that we were exhibiting.

Fortunately the management of the fair made some arrangements and two hours later the taxi driver appeared with the suitcase intact.

CLARA CAMPO: What makes everyday great is being able to unleash creativity.

I motivate myself having a vision on who I want to become and what do I want to achieve.

CLARA CAMPO: No. I didn’t even know I wanted to become a designer.

ARAN LOZANO: No, I had the skills to create things, it was imaginative, but I never knew that I would be a designer.

CLARA CAMPO: If humans are still around, they will coexist with AI and potentially be living in other points of our galaxy.

CLARA CAMPO: Creativity, as any other ability, is a skill that you work on and improve with dedication and effort. Don’t believe it’s innate.

ARAN LOZANO: The life of the creator is lonely.

We never had a clear idea of becoming designers, I think it was a process of maturation in which we discovered that we had a good time designing and we had curiosity and restlessness for this world, so in 2014 we started to create what today is Amarist Studio.

Amarist is a creative studio based in Barcelona, Spain. Created in 2014 by Arán Lozano and Clara Campo.We are mainly dedicated to contemporary art and design, focusing our work on the creation of functional pieces, with great visual power and capable of stimulating the observer's thoughts through works that invite to reflect on the world around us.In our last year we have focused our attention on observing the imbalances and gaps that we produce as a species in the different cultural groups.A work that explores the shocks and contradictions that society produces in its evolution, in this aspect we have become involved in projects more linked to social activism, such as our collection of solidary jewelry for Refugees "Welcome".We are young and with many concerns so we are always embracing new opportunities for growth and development within the studio, so our fields of action are increasing.

Design is making ideas come to life.

Pieces that have a soul, that are able to inspire and make reflect people. In our studio generally unique pieces of furniture, with a very important conceptual emphasis and a bold character.

We don’t have an exclusive favorite design. There’s so many good works in the world and through out history to be able to choose one.From our personal work, we always say that our favorite design is always the one that is to come when we start a new project.

The first piece we designed in the studio was “Cupiditas” table made of Alabaster Stone and retro-lit by LED lights, we wanted to use a very special material from our region.

We don’t really have a favorite material, platform or technology. But we do give a lot of value, and in our pieces are always present, to noble materials, marbles, woods, metals...We do like to work and experiment with different mediums, from traditional work techniques to new technologies and new digital fabrication methods. And we always stay open to new innovations.

When we visit new places, quarries, factories, shows, where we see chaos of materials, tools or new work techniques. From the workshop of an artisan, to an R+D+I center where we can discover new metholodogies.

First we focus on the meaning or message behind what we are designing; the soul and visual power of the piece. And then the technical aspects like the proportions, dimensions and materiality.

At the creative peak of idea generation, it’s kind of weird, we connect with the subconscious of our minds, and time and space disappear for that precious moment.During the design and production process we go through a big spectrum in which all kinds of emotions circulate at every stage of the process.

Depending on the work, how long it has taken to design and to build afterwards. In general we feel great happiness, realization and sometimes even tears in our eyes.

It’s soul. When is able to touch the users.

How the different elements that configure the piece (shape, materiality, usage, light/shadow, rhythm, etc) become a unique entity where nothing can be added or subtracted, with a soul that makes you fall in love with it and touches you.

Design has the power to help improve society and help people be the best versions of themselves. In our area of work, collectible design, we try to provoke with our designs, generate debates around challenging ideas.Design along with Art, has the power to provoke emotions and reactions with which to think and reflect. A society with awakened minds is the only one that can evolve and improve.And of course, as designers we should all draw a red line to protect the environment, taking into consideration the materials that we use and their process of fabrication.

Now it seems that there is a fever for new technologies and for everything that is made with new digital production methodologies ....Actually in our new collection we will try to reflect on where we are going as a field, reflect on the new technologies and where the traditional materials and artisans will remain.It is clear that in the next 5 years 3D printing, robotics and AI applied to production will take a very important leap and expand the fields of action. This, together with open source, will accentuate the democratization of production to the non-professional public. We hope it doesn’t happen as with photography, that since the emergence of the latest generation of mobile phones, everyone has taken on the role of photographer, in deterioration of the profession.

Our last exhibition was in Art New York, in May 2017, it was an installation that we made for UNHCR, addressing the issue of borders and refugees.Our next exhibition is in Venice Design 2018, in the framework of the International Biennale of Architecture, opening next May for six months. We are very excited!

There’s a common believe that we just create an evolution of things that we have already seen. We think the sources of inspiration are an intertwined combination of history, detection of problems/opportunities, new tech and materials, and context. Sometimes an emotional experience, like a trip, a concert or a movie also help to shake and awake ideas.We feed our creativity immersing ourselves in nature, letting our minds and bodies disconnect from daily life. Also, reading books, visiting museums and art/design fairs.

We think we still don’t have a design style defined. Although in all of our collections you can see pieces with a deep visual power making the observer think and reflect, we are in a constant process of evolution and we do not like to be pigeonholed in a specific style. What we designed 3 years ago has little to do with what we do now, and in the medium term we are planning new collections that will be quite different from the current ones. We value the reinvention capacity we have.

We live between Barcelona and New York and we also spend seasons in our small town in the Spanish Pyrenees.So as you can imagine it generates a quite broad spectrum, this is very positive for the design, maybe that's why our style evolves constantly and we are capable of doing things that a priori can be very different.Each city has a rhythm, a culture and generates different influences that of course affect your design, as does the political, economic or social moments of our environment.

At the moment we do not usually design products for other companies, we are focused on our collections or on projects that are commissioned to us by private clients.

We have never worked for a company in that sense, we guess we would recommend to not set too many constrains on the designer and preconceptions on the design, let the designer’s creativity free and then work and evolve from the first ideas generated.To select a good designer, the company has to know first what they want to achieve, what message they want to transmit through the style of design, and then select accordingly.

More or less we go through the same cycle when I start a new project: 1. Research2. Hand sketches3. Digital modeling4. Physical models5. Repeat/revisit steps 2-3-46. Development in detail7. Fabrication tests8. Final product.

We are quite minimalist, a large dining table along with comfortable chairs and a sculptural lamp are elements that we highly value.

We generally wake up and do a little exercise, meditate and have a big breakfast while reading the news.We usually save the morning for the most creative work and the afternoon for emails and meetings.After work we try to do activities to clear our minds, like sport, going to an art opening or hanging out with friends.

We think we are still on an early stage of our career to be able to give that type of advice. And each design field is different, but what we would recommend to anyone is that if you have an idea, a vision, go for it, communicate it, trace a plan of how to make it come to life, and work work, work, persevere, and work more. Make people fall in love with your idea.

The positive is the personal realization of unleashing creativity, of making ideas come to life. The negative is the economic instability that often comes with creative professions.

We can’t mark a design as finished if it doesn’t make us fall in love.

Knowledge, creativity, communication, challenging assumptions, flexibility of mind, and ability to stay updated on design new tools.A balance between the freshness of creative ideas and the ability to technically carry them out.

Research on books and internet, hand drawing, digital modeling, building physical models, making fabrication tests…

Ha! Good question, time is always a problem. We are still in the process of learning. It’s important to set the limits and know when to stop, in art and design a work is rarely ever complete, you can always change, improve, develop further details, etc. The best time manager is a deadline, and to plan the different stages of the design accordingly.

It depends on the object, the technical challenges, innovation, dimensions, materials, etc. It’s impossible to set a same timeframe for every design.

Wow, how have you done this?

Perhaps the collaboration with UNHCR on our solidarity jewelry collection. For its social component is of special importance and responsibility for us.Also, we are currently working on our first public project; it’s a great challenge and a huge responsibility.

Our clients are mainly private art and design collectors, museums or institutions.

To design not just based on functionality but based on emotions and experience as well. To not fall into the routine of working always on the same, reinventing ourselves and addressing new challenges.

We are working on our first public sculptural design which is a huge milestone. Our goal is to expand internationally and start working with top intl galleries.

We work in tandem - Clara and Aran - in the studio to mark the creative lines and develop the projects technically, supported by a small technical team if the project requires it.

We are designing a new collection of furniture that is defined as a look into the future, the collection composed of a series of pieces with very futuristic aesthetics, combining traditional materials together with 3D printing, representing a kind of struggle where the pieces will seem to be evolving.We also have a surprise prepared to create the first Clock with AI, which will mark the starting point of this new design line.

Through our website www.amarist.com, by social media @amariststudio and by email at info@amarist.com