• 规模化生产或为AI发展方向 2019-09-17
  • 在生产力水平低下的时代,农业税是国家税收的重要来源之一。当工业发展到一定阶段后,国家就取消了农业税,并适当给予农民补助,对农业基础设施进行了一定的投入。 2019-09-17
  • 2017年度杭州城研中心法人年度报告公示公告 2019-09-15
  • 中华人民共和国“友谊勋章”首次颁授仪式 2019-09-14
  • 溃疡恶变也会腹痛 这些肿瘤最容易被误诊 2019-09-11
  • 探索日本静冈茶园转型发展 2019-09-11
  • 中国共产党人的初心和使命 2019-09-08
  • 北京市北京新兴翔悦4S店【在线咨询】 2019-09-05
  • 中超BIG4创造亚冠新纪录 三队出线追平2017赛季 2019-09-05
  • 我国核电四十年走出逆袭之路 2019-09-03
  • 阿呆,那是你家远祖啊,还不跪拜?[哈哈] 2019-09-03
  • 老祖宗留下的热水养生方 2019-08-27
  • 沿汾河 一览众桥雄姿 2019-08-26
  • 国务院任免国家工作人员 秦宜智任国家质检总局副局长 2019-08-23
  • 权威!个税起征点提至每月5000元,财政部最新解释来了 2019-08-23
  • PAPER People 2018

    天津快乐十分前二和值走势图: PAPER People: Harry Nuriev

    Story by Shyam Patel / Photography by Ben Hassett

    辽宁快乐12前三直选跨度走势图 www.xqkq.net PAPER has always been a place of opportunity, a place that spotlights new talent and people who are doing tremendous things. We've spent over 20 years bringing you the Beautiful People issue, which identified amazing people who were doing things differently and using their creativity, ideas and success to transform culture and create new opportunities for artists, audiences and fans. This year, we have decided to rename the portfolio and call it exactly what it is: PAPER People. — Drew Elliott, Editor-in-Chief

    Harry Nuriev — the Russian architect and designer behind Brooklyn-based firm Crosby Studios — has been dubbed an Instagram-era creative by The New York Times. While his buoyant take on minimalism makes for attractive social media fodder, his furniture, objects, interiors, and installations are created for more than fleeting digital moments. With deep-rooted memories central to his process, the 33-year-old endeavors to create spaces that become abiding memories for those who pass through them.

    Nostalgic vignettes from Nuriev's childhood in Stavropol, Russia — a city in the Northern Caucasus nestled between the Black and Caspian Seas — inform the New York transplant's mirthful approach to color and soften his streamlined aesthetic. Sinuous shapes and the juxtaposition of rough and refined elements bring warmth to his function-first practice, while influences from contemporary art, music, film, and fashion punctuate his designs with exuberance.

    From his Williamsburg home studio overlooking the East River, Nuriev delves into his formative years, his mission to create new experiences, and the relentless pace of the Instagram age.

    What was your upbringing in Russia like? It seems to play an important role in your work.

    I grew up in a very simple family, in a small city called Stavropol. My father is a handyman, my mother is a homemaker, and I have two younger sisters who both still live there. I have lots of warm memories from my childhood that I use in my work every day. The colors I use for example, come from my childhood.

    What specific memories are the colors you use rooted in?

    My grandmother's outfits. I was always around my grandmother, tugging on her skirt. She wore these funky mismatching colors. Some were super ugly, and others were bright and quite nice. Also, architecture. Russian architecture is very grey, but in small Russian villages super vivid shades of green and pink are popular. These vintage pictures of my childhood have become my references.

    Sweater Calvin Klein Jeans

    Pants Telfar

    A lot of designers are focused on the future, but the past plays a big part into your practice. Why look back?

    I think everything in life repeats. When we try to create something for the future, we're just lying to ourselves. Everything already exists. I'm focused on using my design language to transform my memories into a completely different reality and make them beautiful and timely.

    For example, Demna Gvasalia [founding designer of Vetements and creative director of Balenciaga] uses a lot of memories from late-nineties Soviet clothing. It's close to my heart. I remember these outfits — leather jackets, chunky sneakers, and large sizes. These low-income looks were our everyday reality in Russia. The Russian aesthetic was asleep for years because no one cared about it. Now, it's a fresh way to talk about design.

    What are you looking to for inspiration now?

    Strangely enough the aesthetics of punk have become a strong reference lately. In the Soviet Union, it was forbidden. That's why I find it so sexy. I can really feel the freedom in the music and in the images of people in the subculture.

    Your references are really stimulating. Is your design process just as dynamic?

    I like to be alone in my workspace without talking or music. It's important for me to catch my gut feelings in the first three to five seconds of sketching. I try to stick to those initial ideas and not give up on them. My colleagues will try to turn down the first idea because they think it's too simple and want to think about it more. They'll go miles away from the first feeling and always come back. I don't waste my time on that.

    So, you don't get caught up on anything?

    If I'm really inspired by a specific material, it gets tricky. It can take my freedom away. All my ideas end up getting stuck on that material. Even if it's not working, I can't give it up. It's a game I like to play with myself.

    How long will you give something before you abandon it?

    We don't have that much time in this industry. So, usually a day, sometimes a week. I hate being on two designs at once. It's a disgusting feeling.

    How does traveling between Moscow and New York impact your perspective?

    It's really like traveling between two different worlds, Europe and America. But no matter where I go, I like seeing the dirty areas of a city. If I'm visiting somewhere new, I always ask friends to take me to a local market or a bar where their grandfather would go. I don't want to see fancy spaces. They look the same all over the world. I want to see real life.

    And watch people interact with the environment they're in?

    That's the most interesting part. It helps me create new experiences in my spaces. Do you remember the first time you held an iPhone in your hand? I'm trying to create new experiences like that, something that you've never had before.

    I remember when the first, large multi-level store, like a Barneys, opened in Stavropol. Before that, there were just small shops. I was fifteen and I'd never experienced a store of that size before. It was a totally new idea. It's like the feeling you get when you visit another country for the first time, but on a smaller scale. I never forgot that feeling.

    Do you try to recreate that feeling in your projects?

    Yeah. For example, I recently completed a yoga center in Moscow. I've practiced yoga for ten years. Every studio I've been in, different as they are, has the same flavor. I wanted to do something new in a yoga space, so I referenced shaker houses. It's a weird reference, but they're super organized and clear, like your spirit is after practicing yoga. When people come into the studio for the first time, they're shocked that there's no Buddha or orange [walls].

    Your work is about creating spaces that become long-lasting memories, but a lot of the press you've received fixates on the Instagram-able nature of your work. Does that bother you?

    I do want to create spaces that make people curious and get their eyes off their phones, but Instagram is the new TV. In a way, it's become even bigger than TV. You can't ignore that fact. The way I see it, Instagram is a pretty great tool for becoming successful today. Only someone super successful like Angelina Jolie can afford to not be on Instagram.

    Keeping up in the Instagram-era requires a constant churn.

    It's a lot. My team and I are usually doing twenty to thirty projects at the same time, interior design, pop-ups, art, and exhibitions. We're also currently working on our first fashion collection. It's not just t-shirts, it's a more substantial, unisex line.

    Does it ever get overwhelming?

    Honestly, by May I had already closed my 15th show of the year. Usually, designers do three max. On top of that, I have my day-to-day practice to deal with. I'm human, so I felt empty. I needed a week or two to recover, but I couldn't just disappear. I've chosen this life for myself, so I have nothing to complain about.

    How do you re-energize?

    The best thing I can do is return to the basics — go to job sites, speak with my contractors, play with materials, and be present without any ambitious plans for tomorrow. And eat plenty of ice cream, of course.

    Photography by Ben Hassett
    Styling by Mia Solkin
    Grooming by Abraham Sprinkle
    Digital Tech: Carlo Barreto
    1st Photo Assistant: Roeg Cohen
    2nd Photo Assistants: Eric Hobbs and Chris Moore

    Subscribe to Get More

  • 规模化生产或为AI发展方向 2019-09-17
  • 在生产力水平低下的时代,农业税是国家税收的重要来源之一。当工业发展到一定阶段后,国家就取消了农业税,并适当给予农民补助,对农业基础设施进行了一定的投入。 2019-09-17
  • 2017年度杭州城研中心法人年度报告公示公告 2019-09-15
  • 中华人民共和国“友谊勋章”首次颁授仪式 2019-09-14
  • 溃疡恶变也会腹痛 这些肿瘤最容易被误诊 2019-09-11
  • 探索日本静冈茶园转型发展 2019-09-11
  • 中国共产党人的初心和使命 2019-09-08
  • 北京市北京新兴翔悦4S店【在线咨询】 2019-09-05
  • 中超BIG4创造亚冠新纪录 三队出线追平2017赛季 2019-09-05
  • 我国核电四十年走出逆袭之路 2019-09-03
  • 阿呆,那是你家远祖啊,还不跪拜?[哈哈] 2019-09-03
  • 老祖宗留下的热水养生方 2019-08-27
  • 沿汾河 一览众桥雄姿 2019-08-26
  • 国务院任免国家工作人员 秦宜智任国家质检总局副局长 2019-08-23
  • 权威!个税起征点提至每月5000元,财政部最新解释来了 2019-08-23
  • 福利彩票短信投注指令 17500福彩3d走势图 六和合彩特码资料 南粤36选7网上投注 精准合数单双中特公式 福彩中奖怎么领奖 斯诺克中国公开赛 彩票平台租一个月 彩票查询双色球 可啪真人游戏 超智能足球第三部什么时候出来的 赛车pk10永久稳赢技巧 电子游件地址怎么申请 永辉彩票 大乐透走势图下载