Could you tell us briefly about your design background and how you came to lead Snøhetta in Asia?

After graduating from studies in London my curiosity got the best of me, I wanted to search beyond the reference book and decided to explore something different. This led me to Istanbul and then to Hong Kong. In both bustling cities, I had the joy (and occasional chaos) of helping to set up offices with teams comprised of (most importantly) incredible people from wonderfully diverse backgrounds.

My journey with Snøhetta began with close friendships with many fantastic individuals whom I’m proud to call colleagues and even closer friends today. These friendships seamlessly grew into part of our collaborative pursuits in Asia.

Don’t miss: 10 beautiful Michelin-starred restaurants by acclaimed designers worldwide

Snøhetta’s projects in Asia range in scale from small, like Aesop store in Raffles, Singapore, to large, like the Shibuya Upper West Project in Tokyo. What is it like managing such a diverse portfolio of projects across different scales and cultural contexts in Asia? How does Snøhetta adapt its design approach to suit these varying needs while maintaining its distinctive architectural vision?

In all honesty, I don’t think we should adapt the overall approach. Fundamentally, it’s a pursuit towards a great collaboration. Big/small/tiny... we’re working in teams to create visions that coalesce when we gather around a table. I try to take photos of this process, the candid moments and smiles... because ultimately, it’s ‘the architecture’… or at least it’s ‘the design’… the ‘architecture’ is also, of course, the use and the life of the building after its completion.

Of course, different projects require a unique ‘focus’; you could say we collaborate with the team to generate the necessary energy to propel the project forward. The team's ‘lens’ then channels this energy into the project in various ways, with professionals around the table asking the right questions. When the process, including its components and pace, is perfectly aligned, it becomes seamless—the management of the design phase happens naturally, and ‘the people’ shine through. 

Read more: 10 most beautiful Aesop stores around the world

In your upcoming discussion at the FIND Global Summit, you’ll explore how Snøhetta’s transdisciplinary approach integrates various design disciplines to create meaningful spaces. Could you elaborate on how this approach has been specifically adapted or challenged by Asia’s unique cultural and environmental contexts?

Our transdisciplinary approach has been a key part of our identity since the company’s beginning. We’re incredibly proud to be able to undertake unique projects with a diverse mix of perspectives. In this way, each design reflects the unique contributions of our entire team, not just a single individual.

About meaningful places - there is a lot written on ‘meaning’. Derrida, the French philosopher, states that meaning is always in flux since it transcends so many layers through time that there is no real beginning. It is a little deep, but I say this because, ultimately, the idea of meaning for Derrida is defined by comparison. This idea of trans-disciplinary, trans-cultural, and trans-programmatic is somehow relevant to our work. Great buildings need to be specific to a time and place; they need to capture the imagination of a moment that somehow lives on in the future, trans-momentary.

See also: 10 iconic home brands that became household names

Can you discuss a project in Asia where Snøhetta’s approach to transdisciplinary collaboration led to particularly innovative solutions?

Essentially, all our projects are designed as a wider collaboration. There are, of course, specific examples. The Shanghai Opera that we’re currently building is perhaps an obvious reference. We developed some ideas from the Oslo Opera, where the plaza became the roof itself, truly giving the project to the people of Norway.

Building on that idea, the structure evolved into a grand, fan-like spiral, with the theatres tucked beneath it. The initial concept wasn’t centred around the opera halls themselves but rather focused on the public space. Our process always begins with a concept, from which we distil the essence and core message we aim to convey. It’s hard to envision this without harmoniously balancing architecture and landscape.

Earlier, you mentioned the Shibuya Upper West Project. In the wonderfully dialectic city of Tokyo, the site sits between a quieter district called Shoto and the renowned Shibuya Square. We developed this project from a series of vectors in the city that we experienced, moving the form of the building to suit a series of spaces, both internal and external. It is a very vertical yet landscape and interior-driven project. 

Don’t miss: 9 luxury resorts in China with breathtaking natural surroundings

Placemaking often involves balancing functionality with cultural and environmental sensitivity. What strategies have you found most effective in ensuring that Snøhetta’s projects in Asia not only meet the needs of their users but also resonate with the local communities and contribute to their long-term sustainability?

We are deeply committed to designing buildings that resonate with the community—buildings with ears, so to speak. Our Bangkok project, Cloud 11, began with conversations with local residents about how they use the neighbourhood. This led to the creation of a vast inner courtyard garden, a concept born from collaborative discussions with the client and future users, envisioning a green lung for the city. Similarly, Singapore stands as a beacon for this kind of cultural dialogue.

However, for placemaking as a tool to be truly successful, it must become invisible. The acts should seem effortless and, over time, dissolve into the existing place. It sounds simple, but to achieve this, any new space must be accepted fully by the people; it is this that the complexity is borne. Creating new urban environments must contend with history, identity and future… so to reconcile all of these, the design of new places must almost always be daring… and I hope our projects are always a little daring.

Read more: Ultimate Malaysian Home Tours guide: 7 stunning homes in Penang

Sustainability is a key focus for Snøhetta. How do you balance this commitment with the rapid urban development occurring in many Asian cities?

I really enjoy the word balance. Essentially, it lies at the heart of everything. With this, there is an understanding that we contend with different issues in different parts of the world. Of course, we deal with the elements that we can, and we push to design buildings that we can look back on in the future and be proud of for pushing the boundaries of environmental solutions. I often think we do more than we even showcase.

As you say, it’s a global focus. The company began at a time when ‘sustainability’ was just starting to be recognized as a global issue. In the same year the company was founded, Gro Brundtland, then Prime Minister of Norway, released the study ‘Our Common Future,’ which highlighted the interconnectedness of these issues. I think the world is only now beginning to experience this interconnectedness fully. It’s clear that we need to be aligned to address the current challenges effectively, in this we have set up global task forces that meet regularly across all our studios to share strategies and tools.

See also: Inside 7 sumptuous Peranakan restaurants across Southeast Asia

Snøhetta is known for its focus on public spaces. How does this emphasis play out in densely populated Asian urban environments?

We firmly believe in a holistic approach. It’s about values, content, performance, inclusivity, a sense of unity, place, environment, technological advancement, and more. All these elements converge in a complex tapestry. In Asia, there are often additional layers to consider, making public spaces even more intriguing, relevant, and vital.

From a broader perspective, we don’t just design buildings or spaces; we create spaces that are then interpreted by users and later reinterpreted for future lives. In densely populated areas, with more voices involved, we must be prepared for diverse interpretations.

I love visiting our Airside project in Hong Kong at weekends. It’s wonderful to see so many people... and now dogs enjoying the space! Whilst we designed the landscape to be integral to the project, we never anticipated it would become such a popular spot for our canine friends, another level of interpretation perhaps, we need to allow space for this interpretation.

Ultimately, we see architecture as a powerful societal tool. It must extend into broader contexts of social responsibility and be embraced by those with the capacity and means to benefit the many who will use it.

Don’t miss: Paola Navone: A design visionary shaping modern creativity and innovation

What role does technology, particularly in areas like digital fabrication or smart building systems, play in Snøhetta’s Asian projects?

Perhaps it’s a cliche, but things do seem to move quicker in Asia, and so I would say our work is a little more contingent on being efficient through technology than in other places. It’s an interesting question, though, because I might answer this differently in a few years... in that our tools are changing rapidly, so the profession needs to adjust frequently. We try to amplify this constant state of reinvention in the office. Of course, we use all manner of digital techniques and fabrication for our design work, but we also try to stay connected to the roots of physical handmade craft.

This is important as tools change how you perceive things, what you do, and how you work with them. You must reinvent yourself continuously to suit these or even neglect them. So these tools shape our work, in essence, things look like they do because of the tools that made them, a rock looks like the forces that formed and chiselled it. We try to stay connected to different tools to the same extent that we stay connected to various people, institutions, inspirations, music, physical, digital, and all things that craft the final project, which is invaluable.

Recently, we worked with a local craft team in Okinawa called Tituti on a momentary installation on a beach. We learned about their craft techniques, and they learned about our methodologies. It was a beautiful occasion for sharing. It was more about the process of exchange and learning itself than anything else.

Read more: Explore the ingenious architecture of Shishi-Iwa House in Karuizawa, Japan, by Pritzker Prize laureates

What emerging trends or challenges in Asian architecture and urban planning will most significantly impact Snøhetta’s work in the region?

We’re excited to discuss and work on more refurbishment projects. We have a lot of experience in this typology, some in Asia already but really only in Europe, and to see this being a driving force for new urbanism and design in our region is really encouraging.

We’re also beginning many new landscape-focused projects, which is a very welcome and somewhat obvious direction for our work here. All the projects are multidisciplinary; however, driving with landscape as a focus is very interesting. Landscape in a way is typically the binder of all other urban elements, in this way it has the liberty to flex and be a meeting ground for the people, it has a greater openness and potential as a catalyst and in Asia, there is in general just so much potential.

NOW READ

Award-winning Malaysian architect Lok Wooi: Architects must be optimistic for sustainable design

Zaha Hadid Architects unveils first Malaysian project: Sustainable design for Discovery City in Johor

Prof Robert Powell reflects on resilient tropical modern architecture