Today, together with Quim, I’m interviewing one of those people who lives and breathes architecture. Albert Tschechne is a 30-year-old architect who once pursued mathematics, has an unusual academic background, and now works with the renowned and eclectic Berlin-based studio Raumlabor. He’s a humble character whose story keeps surprising you as it unfolds. I have a feeling I’ll be playing moderator between him and Quim with all this shared passion for building and design.
A. I started studying mathematics but switched to architecture during my first year.
Q. Wow! What prompted such a quick change? Was there a turning point?
A. Not exactly. There wasn’t one single moment that changed everything. I signed up for a few architecture classes out of curiosity and realized it combined the three things I was looking for: the technical and logical aspect of math and physics, the creative side that lets you imagine and design spaces, and the practical, human-oriented part, because in the end, those spaces are made to improve people’s lives.
Q. And Berlin is such a unique city for architecture.
A. Without a doubt! Berlin is one of those cities where architecture is a priority: balancing functionality, creativity, and a strong sense of style.
P. I can tell you’re very focused on meeting social needs through architecture.
A. Yes, for me, architecture should first and foremost be a translator of social needs into spatial solutions, while of course maintaining a strong aesthetic. Function and beauty don’t have to be at odds.
Q. How did someone your age manage to collaborate with big names like Ryue Nishizawa?
A. Honestly, it’s almost impossible to get an internship with firms like that. I was lucky! My mother is Japanese, and my father is a journalist who writes about architecture. Thanks to my cultural background, I was given the chance to collaborate with them.
P. How long were you there?
A. I spent two years at SANAA, the studio led by Sejima and Nishizawa. I loved learning how they conceptualize buildings and how they maximize space while always aiming for harmony.
Q. When did you decide to leave?
A. Well… COVID decided for me! When the pandemic started, I returned to Europe. Sejima was teaching at the Polytechnic University of Milan at the time, which led me to finish my studies there.
Q. That’s one of Europe’s top architecture schools. Did you enjoy it?
A. I did, very much.
P. So, you studied in Berlin, went to Japan, then Milan… How did you manage to transfer credits and pass exams?
A. I spoke with my professors, explained the situation, and helped them understand that what I was learning was valuable. They allowed me to sit for the exams directly.
P. And your final degree project?
A. I proposed a theoretical design for an inflatable pavilion. That’s when I really immersed myself in the world of inflatable architecture. There are several projects like this in Berlin, and I was very drawn to the idea.
Q. What do you value most about inflatable architecture?
A. My approach to architecture aligns closely with this way of thinking: it’s bold, alive, breathable, and still has so much unexplored potential. Its pursuit of perfection through minimalism and its need for precise calculations are things I really identify with.
“I don’t see inflatable buildings per se, but I do see rooms, museum spaces, offices… There’s a whole world of possibilities where inflatable architecture can complement more traditional forms”
Q. Do you see inflatable architecture as a continuation of any classical architectural school of thought?
A. My education and influences combine SANAA and Raumlabor. I see SANAA’s work as a kind of gentle, innocent modernism, focused on flow, light, transparency, and materiality. Inflatable architecture, to me, is the radical edge of those same principles. I know Sejima appreciates inflatables, too. And in the experimental work of Raumlabor, inflatable structures are an ideal way to create flexible, spontaneous, mobile, adaptable, lightweight, and responsive spaces. In many ways, it feels like a natural evol…
P. Do you think inflatable architecture could replace traditional architecture?
A. No, I think they’ll coexist and serve different functions. I don’t see inflatable buildings per se, but I do see rooms, museum spaces, offices… There’s a whole world of possibilities where inflatable architecture can complement more traditional forms.
P, Q. Thank you so much, Albert!
A. Thank you!