Hoisted on flexible poles, a field of 150 white spheres careen, illuminate, and change hue when touched by human hands. Mirrors on all four walls extend the parabolic enclosure into infinite space. Evoking the qualities of rippling light or the experience of wading through tall grass, Sway – a recent installation mounted at the Intersect by Lexus exhibition space in New York – demonstrates many of the familiar traits of a Snarkitecture project: tactility, interactivity, drama and visual impact.

Whether developing a temporary installation like The Beach, a massive ball pit that evokes spending a day at the seaside; a fully immersive interior like the Beam nightclub in Bangkok; or objects such as the cut-in-half furniture archetypes of the Fractured series, Snarkitecture infuses every project with a distinctive approach. The New York based practice favours the analogue over the digital, the physical over the intangible, and the minimal over the maximal. Helmed by architects-cum-artists Alex Mustonen, Daniel Arsham and Ben Porto, Snarkitecture creates projects that transcend the boundaries of traditional disciplines. As such, the firm’s East River-facing workshop is a flurry of activity. Here, slightly fewer than a dozen production assistants can be found creating prototypes at a dizzying pace.

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