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In Conversation with Vince Stroop: the values of contemporary high-end and all the answers for a successful project

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Having started in the finance sector, Vince Stroop eventually entered the world of design and here he remained to cultivate his love for architecture, art and photography. Since 2021 he has opened the studio that bears his name, and with his team shares the values of collaboration, environmental and social responsibility. Each of his projects is based on these foundations, to which must be added aspects of inspirations coming from different fields, from gastronomy to fashion. Based on his experiences and diverse background, Vince Stroop has made us part of his work and creative process. 

One&Only, Papagayo, Stroop Design <br />Image copyright: @Stroop while at JBI
One&Only, Papagayo, Stroop Design
Image copyright: @Stroop while at JBI
One&Only, Papagayo, Stroop Design <br />Image copyright: @Stroop while at JBI
One&Only, Papagayo, Stroop Design
Image copyright: @Stroop while at JBI

How did your career start? What elements of those early years can we still find in your work?

It all started when as children my brother ­– also an architect by profession today – and I used to spend our time building imaginary cities in our parents’ living room. We made use of everything that we could find: Lego, blocks of various materials, scraps of wood and all sorts of things that could help us create these mini worlds. And this curiosity, this way of building, experimenting and taking things that are typical household items and trying to imagine them as something else, has always remained with me. It definitely influenced my later decision to become an architect.

As for my professional history, I started in the corporate finance sector, and after five years of soulless and mundane work, I decided that I needed to come back to my original passion for design and creative endeavours. I have been practicing architecture for almost thirty years now.  I am an avid traveller, and it was fate that I fell into the hospitality realm of design.  It is the exposure to how different cultures, customs and human interaction are all so different and yet at the same time are all so similar, that fuel me and allow me to do what I love. 

What are the principles of your studio's manifesto?

I was previously a partner at several larger firms in New York, however the lessons of the pandemic, allowed me to realize that I need to make some changes and it was time to create my own design studio with people that shared my design and creative ideals. We are a small and flexible group.  Today there are eight of us and what unites us and defines our projects is collaboration. We believe that the project’s success requires input from different perspectives and talents. The latter not necessarily concern architecture or design, but can also come from photography, fashion, wellness or sculpture. All the creative endeavours that somehow shape things are involved, and this is the reason why the whole is always greater than some of the parts. This allows us to be more responsive to our clients, whom we always try to bring into the design process.

Raffles Hotel, Boston, USA, Stroop Design <br />Image copyright: @Stroop while at Stonehill Taylor
Raffles Hotel, Boston, USA, Stroop Design
Image copyright: @Stroop while at Stonehill Taylor
Raffles Hotel, Boston, USA, Stroop Design <br />Image copyright: @Stroop while at Stonehill Taylor
Raffles Hotel, Boston, USA, Stroop Design
Image copyright: @Stroop while at Stonehill Taylor

What meaning do you attribute to the term "high-end"?

'High-end' is a curious term, which most people associate with luxury in the traditional sense. Of course, we talk about a product that has a high cost and an extremely good quality. However, in my opinion we should go beyond these simple definitions. I consider it a high-end project when it is defined by a deep, full and thoughtful narrative. It could be a small object with a simple design, provided it has a strong story. There are several questions to ask to understand the character of a project. Have the spaces been carefully thought out? Are the materials used honest? Are there special or unique details? I am generally a minimalist, but even in a maximalist context, simple detailing, can lead to a bespoke design and, therefore feel high-end.

What are today the essential elements that every project must possess in order to be sucessful? 

I think there are mainly three key concepts that a successful project should be endowed with. These come from the world of hospitality, but they are applicable to almost every area today. Firstly, a project should have a sustainability and environmental trait. Today it seems almost a watchword, and when you mention it people roll their eyes. However, I think we need more awareness and to ask ourselves: Does my project have a regenerative quality? Does it have an adaptive reuse concept involved? Has the life cycle of the building been considered? 

The second aspect that I consider fundamental is that of social responsibility. One has to ask themself: does the project involve the local community? Does it respect it? Are there aspects of inclusion? These are the elements that help build social responsibility and a sense of community. Finally, the last element I would mention is of experiential nature. By this, I mean that the project should foster curiosity and participation, as well as provide a form of education. This can occur with a simple connection to the natural world. An environment built on the basis of a dialogue that has a seamless conversation with the surrounding place can produce that emotional connection that makes people say “here I felt good” or “this place left me something”.

Architecture and environment: how is this relation defined in your design approach? 

The best way to achieve this is through materiality. However, first, it is important to really understand the design and nature of what surrounds it. This will then help inform the type of decisions made on the project. In fact nowadays, whether you are in a city environment like New York or Milan or in the middle of a forest, you have to reckon with the natural habitat, and you have to respond to it. This can be achieved through a conscious use of materials, regionalism, the respect for the context and the cultural aspects of the area you are in.

JW Marriott, Nashville, USA, Stroop Design <br />Image copyright: @Stroop while at Stonehill Taylor
JW Marriott, Nashville, USA, Stroop Design
Image copyright: @Stroop while at Stonehill Taylor
JW Marriott, Nashville, USA, Stroop Design <br />Image copyright: @Stroop while at Stonehill Taylor
JW Marriott, Nashville, USA, Stroop Design
Image copyright: @Stroop while at Stonehill Taylor

How and to what extent do you incorporate your projects with external inspirations? 

The main fortune of my job is being able to travel, and one of the most basic activities is that I stop to try the local food. I think the whole culinary aspect has an influence on me. I often look at how the spaces are designed inside a restaurant because I see it as a visual and design presentation of the chefs’ work. Then there are other areas, perhaps more obvious, such as fashion, with its creativity, colours and textures. Architecture also has a fashionable and stylistic expression, and it is beautiful to understand how the colours and textures that come from these micro environments can be applied in a macro environment.

Who are the masters, both from the present and the past, you most look at?

The name that first comes to mind is Carlo Scarpa. I particularly appreciate his adaptive reuse projects. It is wonderful the way it was able to take historic properties and ruined buildings and introduce into it elements of modernity. And he did it with such subtlety that when you look at them it is hard to really understand the difference. Another master of which I really appreciate the work is Refik Anadol, a Turkish-American visual artist whose works, although made in 2D, reproduce movements that take you to the third dimension. I find him particularly stimulating at the moment.  

What could we find in your sketchbook?

In addition to drawing layouts or details for existing projects, I also sketch daydream projects. With this I intend to say that I always think of ideal projects, of things that I would like to do and that are aspirational for me. This happens when I look at a random building or a site that is sitting empty, and then I wonder: what could I do about it? If this was my site, what would I do to create something new, expand or revitalize it?

Vince Stroop <br/> Founder of Stroop Design
Vince Stroop
Founder of Stroop Design
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