Every architect cultivates a unique approach, and for Benjamin Aranda, co-founder of the innovative firm ArandaLasch, his process is a captivating fusion of fundamental principles and intricate methodologies. “At the studio, we relish the challenge of breaking complex systems down into simple automated logics and then using these strict recipes to push the limits of physical craftsmanship,” Aranda explains, offering a glimpse into their design philosophy.
ArandaLasch, established in 2003 by Benjamin Aranda and Chris Lasch after their graduate studies at Columbia University, operates from vibrant hubs in New York City and Tucson, guided by the trio of Aranda, Lasch, and Joaquín Bonifaz. Their work transcends traditional architectural boundaries, encompassing everything from fine art installations to sophisticated software development. The team masterfully navigates both material and digital realms, consistently honoring historical wisdom even amidst the rapid advancements of the Agentic Era.
A profound influence on their practice has been ArandaLasch’s two-decade-long collaboration with the late Terrol Dew Johnson, a revered Tohono O’odham weaver. Johnson imparted a crucial lesson to Aranda: to perceive traditional native knowledge not as a relic of the past, but as a dynamic framework for tackling contemporary challenges – a perspective Aranda embraces to this day.
Aranda’s daily commute, a challenging bike ride from Jackson Heights, Queens, to the Brooklyn Navy Yard, serves as an unconventional but effective transition from professional intensity to personal reflection. “No one, and I mean no one, obeys traffic lights,” he quips. “My commute is less of a transition and more of a harrowing, near-death experience. It works every time.”
Join us as Benjamin Aranda unveils the five unexpected inspirations that shape his world, presented in his unique “Friday Five” perspective. (Photography courtesy of ArandaLasch)
The Friday Five: Benjamin Aranda’s Unconventional Inspirations
1. Pigeons: The Unsung Architects of Algorithmic Design
Pigeons, often overlooked urban dwellers, hold a special significance for ArandaLasch. “We like pigeons because, like us, they inhabit cities and pair for life,” Aranda shares. More profoundly, these birds are foundational to the studio’s very existence. Their earliest defining project, funded by a film grant, involved studying the fading art of pigeon flying in New York City. This endeavor, which bootstrapped the firm, saw them film the birds and utilize code to model their intricate flocking formations. This experience was transformative, teaching them to view the world through an algorithmic lens and opening their architectural approach to decentralized, non-human perspectives. Aranda explicitly credits these pigeons for launching their unique trajectory, echoing Darwin’s sentiment: “Everyone is interested in pigeons.”
2. The Tohono O’odham Basket: A Symbol of Enduring Wisdom
An unfinished basket by the late Terrol Dew Johnson, a master weaver of the Tohono O’odham Nation, occupies a deeply personal space within the studio. Johnson was not only a long-time collaborator but also a cherished mentor and friend. This particular piece, a simpler, traditional Tohono O’odham basket adorned with the distinctive squash blossom pattern, embodies a profound lesson. Working with Terrol instilled in ArandaLasch a deep respect for traditional practices and a philosophy that design can honor, protect, and even advance cultural traditions. Though physically unfinished, for Aranda, the basket is “entirely complete” in its symbolic resonance.
3. The Eames Chair: Celebrating Design’s Finer Points
It’s hardly a revelation that architects appreciate chairs, and ArandaLasch’s studio boasts an impressive collection. However, it’s not the quantity but the nuanced details that captivate them. Among the myriad variations of the iconic Eames Aluminum lounge chair, their preference lies with the original swivel joint version featuring the distinctive “moon landing” base – a testament to their appreciation for precision and classic design.
4. My Kids’ Art: A Humbling Source of Creativity
As a devoted father to a five-year-old and an eight-year-old, Benjamin Aranda’s office and home are vibrant galleries of his children’s artistic endeavors. “In architecture, I spend my life overthinking things so when they make these effortlessly, I am completely humbled,” he confesses. These spontaneous, unburdened creations offer a refreshing counterpoint to the meticulous complexities of his professional world, reminding him of the pure, uninhibited joy of creation.
5. Piranesi: The Master of Ephemeral Grandeur
Giovanni Battista Piranesi’s drawings, meticulously detailed in a cherished book, represent a timeless wellspring of inspiration for architects, and Aranda is no exception to this shared obsession. There’s an undeniable allure in Piranesi’s etchings, extending beyond his technical mastery to his extraordinary ability to render the ephemeral. “Look at those clouds,” Aranda encourages, highlighting the profound depth and atmospheric quality that continues to captivate designers centuries later.
Featured Works by ArandaLasch
We:sic ‘em ki: (Everybody’s Home)
This remarkable family home, situated on the Tohono O’odham Nation, is a living testament to Indigenous knowledge of building and desert living. The culmination of a 20-year collaboration with master basket weaver and activist Terrol Dew Johnson, We:sic ‘em ki: serves as a collective dwelling for the Johnson family, supporting their farming and basket weaving traditions. Its design draws inspiration from traditional O’odham homes, ingeniously pairing a wa:ato – a whole-tree mesquite shade structure – with a ki:, an earthen enclosure, creating a harmonious blend of ancient wisdom and contemporary needs. (Photography courtesy of ArandaLasch)
The Baskets Project
Terrol Dew Johnson (1971-2024) was a prolific Tohono O’odham artist, weaver, educator, and activist whose influence deeply shaped ArandaLasch. For nearly two decades, their collaboration on various basket projects fostered a profound interest in craft and traditional wisdom. The Baskets project, initiated in 2006 at Artists Space in New York, continues to evolve and has garnered significant acclaim, with works exhibited at prestigious venues such as the MoMA, MOCA Tucson, the Chicago Biennial, Sarasota Museum of Art, Volume Gallery, Heard Museum, and the Institute of American Indian Arts, among others. This ongoing series exemplifies their commitment to exploring the intersection of art, craft, and cultural heritage.
For more details, visit our website.
Source: Link
Leave a comment