SPOTLIGHT
I explored a greatly expanded definition of function in my early sculptural work and form, function and meaning entirely coalesced when I hit my stride. Fabrik: In the Los Angeles Times Magazine May 2010 article, it mentions your diverse influences such as couture fashion, roadside burials, military hardware and evil corporate modernism. What is the common thread? Robert Stone: I think there is a strange distrust of anything individualistic or personal in the culture of architecture right now – the corporate model is leading the avantgarde now because the whole “starchitect” trend was led by very thoughtless, whimbased work. So I have to admit with some hesitation, the common thread is simply a reflection of my personality and experiences. It's very out of style I know - but I have to explain this, because it isn’t the “starchitect” model of practice. My work is not about me at all. I use my own experiences to make work that is about everything else outside of me. I think great architecture has to start with some individual truth rather than the quasi-scientific approach that architecture firms present - but that is just the starting point. If I am honest and open in my search for that truth, then my work becomes much bigger than myself, which is when it gets interesting. Fabrik: You refer a lot to the Latino culture in interviews about the Joshua Tree houses and it can be seen in your houses with heart symbols, metal roses, etc. Were you raised in that culture? If not, what draws you to it? Robert Stone: I never get asked that question, thanks for asking that. It’s as simple as this - I want to make meaningful work: deeper, smarter, and more interesting in the long run. You can’t do that if you ignore the time, place, and culture. I live in Southern California, and I’m not a racist, so I don’t ignore nearly 50% of the culture that is Latino. We are all right now making the culture together. I am not even into "multiculturalism" as a topic - I am just into reality. Fabrik: Your homes are vacation rentals under the name "Pretty Vacant Properties" but you have a clear idea of who can stay there and who cannot. Can you explain your vetting process? Robert Stone: The idea is just to share my work directly with people who connect to it. I just have these two small houses and not much free time out there. I put a lot of effort into making these places available and so I steer it towards people who make an effort to connect with my work. Those are the people who enjoy it most; so that is
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