Interview: Marta Armengol -Curiosity is magic-
Marta Armengol ( Marta Armengol is a Spanish architect and artist known for her work with a variety of materials, including glass and fabric. Drawing on her background in architecture, she explores the limits of materials and brings a unique perspective to scale and form. Her work is a perfect blend of functionality and beauty, fusing an architectural approach with artistic creativity.
How does your architectural background influence your work with glass and other materials?
My studies in architecture introduced me to a methodology that focuses on scale and materiality. My first project with glass was the construction of a "folly". I was determined to explore glass, typically used for small-scale objects, in a large-scale, structural context. Although I have created functional and domestic items, my early dialogue with new materials is often on a more architectural scale. This approach allows me to test the technical limits of the material in terms of form and size.
When choosing a particular material (e.g. glass or fabric) for a new project, what draws you to it?
I always start with a sense of curiosity about the material. I am interested in materials that I am completely unknown to, or have little knowledge of the technical capabilities or production methods. In many cases, the material is the starting point when developing a project. In other cases, I have an idea and then decide on the material and we develop it together. In the case of glass and textiles, I am fascinated by their versatility and the almost magical qualities they contain.
Can you walk us through the creative process of your latest project, from concept to execution?
In the project "My Shame in Soft" I aimed to explore the relationship between textiles and the human body. This was inspired by my exploration of movement and rest in the Chair project. I started by studying clothing patterns and basic geometry, then worked on cutting and folding techniques to produce a small collection. I initially tried to understand the ideas through drawings, but found it difficult to visualize the final outcome, so I moved to origami model making. This allowed me to understand the design better. After the initial 2D prototypes were completed, I made small models using textiles and stuffing to see how the pieces functioned in 3D. Several design adjustments were necessary during the prototype stage. I worked with the artisans involved in the production to refine the design, and also explored how to use natural materials from the region. The final pieces are closely related to the human body and movement, and their human-scale proportions allowed for bodily transformations and interaction. To capture the essence of this project, I worked with a photographer and a dancer to produce a small image book.
What kind of music do you usually listen to? Does it influence your creative work?
I have a diverse taste in music and I often choose songs depending on my mood. The type of music I listen to can have a big impact on my mood and vice versa. Therefore, the music I listen to also influences my creative process. When I need to concentrate, I prefer ambient music. When I'm in a more structured stage in my creative process, I enjoy more energetic music to boost my energy. Sometimes I mix both to keep things balanced. I also have a lot of musicians in my family and friends, so music has always been important to me in many ways.
The Cargo Chair is a perfect blend of functionality and creativity. How did you come up with the concept of a chair that doubles as a puffer jacket and sleeping bag?
At the time, I was living a nomadic life and did not have a fixed residence or studio. I was invited to an exhibition and had to design a chair, so I started thinking about a chair that would fit my mobile lifestyle. I sketched and designed a chair that I could carry with me every day and that would be versatile in any situation. Since I had already been interested in textiles for a long time, I collected old fabrics and fabric scraps from past projects and bought a sewing machine. It was my first time using a sewing machine, so with the help of a friend, I started to create the chair I designed. I reused old cushions and quilt stuffing. It is a functional chair, but it is still more of a prototype. I would like to dig deeper and develop it further. I especially like that it has a trendy feel and can be used as a puffer jacket. From this approach, the pieces of "My Shame in Soft" were born.
You have collaborated with several fashion and footwear brands. How have these collaborations influenced your work and what have you learned from them?
With many members of my family involved in the fashion industry, a keen sense for brands and clothing has always been a part of my life. I choose brands to collaborate with that resonate with me and share a similar brand philosophy. Working with a brand requires me to meet their specific requirements from a personal creative perspective, and this dynamic creates an interesting dialogue between the brand and my creative process.
How did growing up in a family involved in textiles and fashion influence your artistic vision and methodology?
Being immersed in the world of fashion since childhood nurtured my sensibility. I was always interested in brands that created practical clothing with a special character and beauty in their simplicity. I then studied architecture and now find both disciplines particularly connected in pattern making. For this reason, I approached the world of textiles from an architectural perspective. It's fun to approach the things that fascinated me as a child from a new perspective.
The work at Casa de les Punxes involves movement and assembly. How does your approach differ between designing a public installation and a smaller personal piece?
My studies in architecture have influenced my design of objects and spaces, and whether I'm creating a small home object or a larger project, I dedicate the same level of care and attention to the design process.
What new materials or techniques would you like to explore in future projects?
Currently, I want to continue exploring the possibilities of textiles, which still feel like a material with limitless possibilities. I am also very interested in the possibilities of blown glass and would like to see how far I can push its limits. As I work on different projects, I am often guided to use certain materials, so I look forward to being surprised by where my work will take me.
What advice would you give to young artists and designers who want to innovate and experiment in their work?
My only advice is to do what you love and create what you love. Whatever it is, believe in yourself and don't care what other people say, just keep doing it for yourself. This is the best way, you can learn, grow, connect and inspire other people. 
Marta Armengol
