Oana Stănescu is a Romanian architect, designer, writer, and educator, based in New York and Berlin, with a diverse portfolio of interventions around the world. Selected as part of 2023 New Practices by ArchDaily, the young architect recognizes the value of architecture as a discipline, but nevertheless acknowledges that architecture cannot single-handedly resolve the complex challenges of our world. “Architecture is most powerful when recognized as part of a larger system, rather than being solely self-serving”, she adds in her conversation with ArchDaily’s Managing Editor, Christele Harrouk. In this way, Oana views architecture as a key player in a broader context, working to address significant societal issues.
With several ongoing projects, from the rehabilitation of an existing industrial infrastructure in Romania, to an integrated house within its natural environment in Canada, Oana’s creative process is centered on a commitment to serve people. Watch the full interview and discover below key insights from the conversation.
“Romania is a place between the east and the West and it's neither nor and constantly reminded that it's neither nor”, states the architect. Having studied architecture in Romania, Oana Stănescu explains that she got “a second education, so to speak, by working in a bunch of offices throughout the world […] learning directly through practice”. In fact, when she first embarked on her career, she encountered an unexpected journey that started at OMA -later on transformed into Rex in New York-. At that time, the prospect of joining such an office seemed surreal, and the notion that an office would hire individuals primarily based on their portfolio or even consider students for employment was inconceivable to Oana. Around that period, she came to the realization that her portfolio and role in architecture could serve as a sort of passport, seeking, from then on, opportunities in places she was eager to explore, experience, and work in.
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Settled eventually between New York and Europe, she explains that she get to experience both sides of the Atlantic, each presenting different perspectives and possibilities. Embracing the “different discourses and different ways of looking at the world”, Oana understands that the journey from concept to a realized project is influenced by clients, economic conditions, contractors, and unpredictable circumstances. “Being directly involved in the field and gaining knowledge through real-time experiences at these remarkable offices around the world was truly invaluable”, adds Oana.
“Architecture should serve people and should not be self-absorbed […] to optimize architecture, one must grasp the program's needs and understand how people will use the space.”
Believing that architecture is spatial and that its essence lies in its service to people, Oana prefers not to limit herself in the type of projects she engages with, and prioritizes flexibility and adaptability. Her main concern revolves around the nature of the discourse, regardless of the final output. Perceiving her work as an ongoing learning process, she seeks to draw parallels between the creative processes involved in different fields. In fact, she got to experience the world of music while working at OMA. An opportunity arose when Kanye West, known now as Ye, was shooting a film for Cannes, and needed a pavilion to screen it on seven screens: This basically required identifying the physical space's location, determining the placement of projectors, and defining the position of the physical cameras. Given the technical complexities and the tight three-month timeframe for completion and presentation, the project was demanding but immensely enjoyable for the architect.
“I think that oftentimes these conversations between the different creative fields can be so productive because you can each learn from the other […] and having a bit of outside perspective can be quite useful, because ultimately you're trying to always find a unique or specific angle to a problem, to a set of issues that you're dealing with.”
Reflecting on how public spaces are inhabited, and considering our shifting needs, she embarked on a collective effort that began with four individuals, later growing to five, based in New York, with a project titled + Pool, a plus-shaped pool on the waterfront, that provides safe access to natural, un-chlorinated river water. “Originated from a simple observation that New York City experiences sweltering summers, yet many New Yorkers tend to overlook the fact that they are surrounded by water”, due to the fact that waterways became less accessible and were treated more as dividers between boroughs, this idea became much bigger than one project, to the extent that the city of New York is now in the process of revising its regulations concerning waterfront access. “This challenge of reclaiming and repurposing waterfront spaces is not unique to New York; many major cities across the world share similar issues, such as pollution and limited access to their waterways. As global temperatures rise, there is an increasing urgency to regain these spaces”, states Oana.
Educator by nature, she has a deep passion for teaching because it allows her to engage with students and foster meaningful conversations. Challenging the traditional notion of a professor she sees herself as part of a collective endeavor where everyone is working together to solve complex problems. In fact, she views her role as more of an instigator or coach, guiding and supporting students in their journey. Critical of the current state of academia, she explains in her interview that “academia has been slow to adapt and often resists change. Instead of being a leading force in addressing societal and cultural shifts, academia tends to be conservative and reluctant to embrace new ideas”.
Overall, Oana believes that architecture should adapt to be more city-focused and work on public infrastructure projects to remain relevant. Having a strong belief in the potential of physical spaces, both collective and private, Oana understands that humility and an acknowledgment of the limitations of architecture are necessary for the profession to truly address the challenges of our times.
