1_How would you describe the core values and research interests that shape Karina Kreth Office’s architectural approach?
I’m interested in thinking about architecture as scenes, as “architectural scenes.” From this perspective, our narrative stems from a specialization in design strategies grounded in research, visual culture, and collecting practices, intersecting with architecture, art, and design. Our practice analyzes architecture as a mediating force -capable of materializing history and establishing connections between space and time- while enabling and choreographing inhabitable experiences. This vision is nourished by nearly 30 years of experience, including my training as an architect, my work as a film art director, and parallel projects such as ARKHEION, KRETHAUS, and my collaboration with Amigos del Moderno, a committee led by Florencia Perotti.
2_How do you see your work evolving in response to the cultural and architectural landscape of Buenos Aires and beyond?
My work evolves through active listening and ongoing reflection on both local histories and the circulation of ideas within and beyond my context. It draws on my experience behind the camera, my engagement with architectural criticism since 2017 through my Master’s program at Di Tella, and a continuous search for material universes and perspectives that reframe tradition through contemporary experimentation. I believe this layered approach is reflected in our projects, always with the understanding that architecture is not only about addressing functional needs but also about building connections between time, memory, and identity, without betraying the spirit of place.
3_Of the projects you've designed, is there one that stands out as a favorite? What makes it meaningful to you?
Three recent projects resonate deeply: the restoration of the San Juan Tennis Club -originally designed in 1979 by MSGSSV- and two residential commissions for art collectors in Buenos Aires. The first stands out for the challenge of sensitively intervening in a bold architectural work with an unconventional program, extending its spirit without fossilizing it. The latter two are enriched by working with clients whose worldviews are shaped by art and a desire to inhabit from that perspective. Lastly, there’s the early-stage intervention at the Museo Moderno, which we’ve recently begun. All of these projects invite me to think of architecture as a complex scene, where time, matter, biography, and memory are deeply intertwined.
4_In what ways has collaborating with Najt Lix Studio influenced or enhanced the way you present and communicate your projects?
Collaborating with Najt Lix Studio has allowed us to develop a more precise and poetic visual language -one in which spatial representation becomes an extension of architectural thought. Their perspective translates the intangible: they don’t simply document a place, but capture what renders it meaningful. This approach is essential in our work, where atmospheres, textures, and spatial decisions demand a visual narrative that reveals the dialogue between history, inhabitation, and contemporary vision. The images produced with Najt Lix Studio don’t illustrate, they deepen.
5_In which projects are you currently working?
I’m currently focused on:
Completing Phase 1 of the restoration and expansión program of the San Juan Tennis Club, originally designed in 1979 by the renowned MSGSSV studio.
The full renovation of a villa in Forte dei Marmi, Lucca, Italy.
A culinary project in Tilcara (Jujuy), followed by a hospitality project in the Quebrada de Humahuaca.
Two residences in Buenos Aires for (art) collectors clients.
The renovation of the access area and functionally connected spaces at the Museo Moderno, as part of the contribution from the Friends of the Museum, led by Florencia Perotti and museum director Victoria Northoon.
Several new projects are also underway, which we’re very excited about.
6_We’d love to know, what aspect of architecture do you enjoy the most in your day-to-day work?
The way of seeing. Architecture is the language through which I choose to view the world, a conversation between past and future, between memory and experience. It’s a tapestry where simplicity becomes conceptually complex, and where the act of inhabiting structures our relationship with the world.
7_Could you share some recent influences you've enjoyed, perhaps an architectural or design piece, a book, or even a favorite local spot?
That’s a tough one, there are many! But four come to mind at the moment: Non-Referential Architecture by Valerio Olgiati, for the controversy it raises in its processes. The Eyes of the Skin by Juhani Pallasmaa, for its sensitive perspective.
The reissue of Diseño y producción de mobiliario argentino 1930–1970 by Martha Levisman, which we’re publishing in the second half of 2025 through ARKHEION and Díaz Ortiz Ediciones, to celebrate its tenth anniversary.
The work of Junya Ishigami, for how it explores the tensions between the poetic and the tectonic. His work proposes a radical redefinition of contemporary architecture, dissolving boundaries between the built and the natural, the visible and the imagined, while questioning the scope and responsibility of the architect today.
On a daily basis, I’m inspired by the constant interplay between architecture, art, and design; and by stepping outside my comfort zone to explore new ideas.
