Interview with AE02.architects

If architecture is the silent orchestrator of our lives, then Anda Zota and Elena Viziteu of AÉ02.architects are its most persuasive conductors. They do not merely design spaces; they compose atmospheres, threading materiality, light, and memory into something that does not demand attention, but commands it nonetheless. Their work does not shout—it doesn’t need to. It lingers, undeniable and exacting, like a phrase that stays with you long after the conversation has ended.They have made their name not by self-promotion, but by setting the stage—quite literally. Last year, they transformed the Throne Hall of the Royal Palace into the centerpiece of Bucharest Fashion Week, proving that history and modernity can do more than coexist; they can elevate one another. Their exhibition design for the immersive Seen User showroom staged in the context of last year’s edition demonstrated that a retail space could feel as meticulously curated as a museum, and with the first flagship store of Ami Amalia—the luxury knitwear brand that has quietly conquered the world—they created an interior that does not rely on extravagance but on something far more elusive: restraint.Anda Zota, whose earliest aesthetic education came in the form of smuggled American fashion magazines, has an editorial instinct for composition—what to show, what to withhold, how to make a statement without excess. Elena Viziteu, devoted to slow design and the artistry of craftsmanship, understands that the best spaces are not just built; they are cultivated. Together, they are redefining what luxury means in Romania—not as a price point, but as an exercise in taste.In a city where architecture often seems at odds with itself—loud, chaotic, uncertain of its own identity—AÉ02.architects have accomplished something rare: spaces that do not need to declare their worth. This conversation will explore how they have developed their practice in relation to the idea of local identity, weaving cultural references into contemporary design. We will discuss their growing collaborations with artists, their approach to architecture as a medium for expressing branding values, and the challenges of creating spaces that go beyond the purely commercial or logistical. For AÉ02.architects, architecture is not just about shaping interiors—it is about shaping meaning.Carmen Casiuc: Your projects range from static retail spaces, such as the Ami Amalia flagship store, to highly dynamic environments, such as the Mercedes-Benz Bucharest Fashion Week 2024 catwalk in the Throne Hall. How does your approach differ when designing for display versus movement?

AÉ02.architects: Designing for display and designing for movement are fundamentally different challenges, yet they share a common goal: creating an immersive experience. When designing for product placement, as in the Ami Amalia Flagship Store, our focus is on stillness, composition, and intimacy. The space becomes a frame where materials, lighting, and spatial proportions highlight the pieces on display. The goal is to invite curiosity and a sense of discovery that allows customers to engage with the products at a natural, unhurried pace.In contrast, designing for movement – like the Mercedes Benz Bucharest Fashion Week 2024 catwalk in the Throne Hall of the Museum of Arts – demands a dynamic approach. Here, architecture must choreograph flow rather than frame objects. The space is activated by bodies in motion, and our role is to guide sightlines, create rhythm, and shape transitions. Lighting, spatial sequencing, and perspective shifts all contribute to how the audience perceives both the models and the garments in motion.

CC: What are the first considerations that shape your design decisions?

AÉ02: Each project is different. Every time we start afresh, and every beginning feels like a new opportunity to explore something new. Our approach employs a global understanding of the context – something that’s embedded in our philosophy, ensuring that every design responds to its demands. Spatial efficiency is at the core of the process, as we aim to create flexible and functional environments without compromising the character. We seek architectural clarity –clean lines, thoughtful proportions, and meticulous detailing contribute to a refined and cohesive architectural language, visible throughout our entire work.And the last but definitely not the least: as an architectural duo, we prioritize collaboration, as we make it a must to invite an artist we admire to work alongside us in designing special elements for each project – as were the Table03 and Sofa02 with Radu Abraham for Ami Amalia Showroom, or Lamp05 with Andrei Arion for MILLÓ – just to name a few.

CC: How does this process of incorporating custom-designed furniture and scenographic elements unfold, from concept to realization? What are the benefits and challenges of collaborating with artisans and manufacturers?

AÉ02: Custom design is an integral part of our approach, it allows us to shape spaces down to the finest detail. The process always begins with an idea – sometimes born out of necessity, sometimes out of a desire to push a concept further. In collaborating with artists, their craftsmanship brings depth and authenticity to designs, and in a sense, it widens and enriches our architectural language. The work itself has its own rhythm – one that values patience, dialogue, and trust. The benefits are immense: access to specialized techniques, a deep understanding of materials, and the ability to create truly unique, site-specific pieces. And there are challenges as well. Small-scale production can mean longer lead times and a huge effort in coordinating each step of the process, especially when there is more than one artist involved.

CC: What role does fine art play in your projects? How do you select artists and artworks to complement a space? Is the process driven by the brand’s identity, the architecture, or a broader curatorial vision?

AÉ02: Art is an essential layer in our projects. It is never an afterthought but an integral part of the spatial narrative. The selection process is fluid, guided by multiple factors. Sometimes, the architecture suggests the need for a particular type of intervention – something that enhances the materiality, scale, or rhythm of the space. Other times, the brand’s identity takes the lead, with artworks reinforcing its values and aesthetics. In some cases, a broader curatorial vision drives the process, where art functions as a counterpoint, adding tension or contrast. The common thread is a search for authenticity – pieces that feel essential rather than decorative.

CC: Have you noticed a shift in the expectations of brands and clients regarding sustainability in recent years? Does the concept of “local” in your practice refer to materials, craftsmanship, cultural references, or something else?

AÉ02: In recent years, even in Bucharest, there’s a growing awareness of the environmental impact of design, with more emphasis on responsible sourcing, durability, and ethical craftsmanship. Clients are increasingly drawn to materials with a story, to objects that feel personal rather than generic. This shift isn’t just about aesthetics; it’s about rethinking the value of the things we surround ourselves with – moving away from disposability and toward longevity, quality, and meaning.The concept of local in our practice is fluid. It’s not about materials or craftsmanship, though those are important. It’s also not about cultural references, ways of inhabiting space, and the rhythms of daily life. Local means engaging with context – not as a constraint but as a source of meaning. It’s about designing with an awareness of place, and responding to the social and architectural fabric of a site.

CC: Are you noticing any interesting changes or trends in interior architecture, particularly within the commercial or hospitality sectors in Romania?

AÉ02: There is a growing interest in integrating art into commercial and hospitality spaces. Clients are increasingly aware of the cultural and experiential value that art brings, moving beyond mere decoration to meaningful interventions. This shift is gradual but significant, and we think it reflects a broader desire for spaces that feel personal, layered, and engaging.

CC: When it comes to guiding how people interact with spaces—whether they’re shopping, dining, or attending a fashion show—what spatial strategies do you rely on to influence these experiences?

AÉ02: Across all projects, we use spatial strategies that intuitively guide interactions. Working within a historical setting like the Royal Palace introduces another layer of complexity, where architectural constraints become opportunities rather than limitations. The grandeur of the space demands sensitivity; we don’t impose but rather respond.

CC: How do you approach the process of transforming a brand’s universe into a physical space?

AÉ02: One could say it’s intuition, but in reality, it’s a lot of consumption: years of study, research, and a huge amount of visual information that has led us to easily read into our client’s brand identity.

CC: To what extent do you collaborate with a brand’s marketing team to align the spatial experience with its communication strategy?

AÉ02: As architects, we cannot help but intervene; and we simply cannot create a literal translation of a marketing campaign. Instead, we aim to build an extension of the brand’s essence – something that feels alive, quintessential, not staged. It’s a two-way relationship – the space reflects the brand, but in doing so, it also expands its possibilities.

CC: Looking back over the past decade, how has the Romanian market evolved in its approach to retail and event design?

AÉ02: There is a growing understanding that design is not just a backdrop but an active part of storytelling and engagement. Brands and event organizers are more willing to invest in spaces that create emotion and leave a lasting impression, moving beyond purely commercial or logistical considerations. People are looking for more than just a place to shop or dine; they seek environments that feel memorable. This shift is visible in the rise of concept stores, boutique hotels, and fashion presentations designed as full sensory experiences rather than traditional runway shows.

CC: What are the biggest challenges you face when designing such spaces in Romania today?

AE02: The biggest challenges in designing retail and event spaces in Romania today stem from the tension between ambition and infrastructure. But while the industry is evolving, there’s still work to be done in bridging the gap between vision and implementation.

CC: If you could implement one major change in the Romanian design industry, what would it be?AÉ02: That would be to foster more cross-disciplinary collaboration. Too often, architecture, design, and craftsmanship operate in separate silos. Bringing these disciplines closer – encouraging real dialogue between architects, artists, makers, and brands – would lead to more layered, original, and forward-thinking spaces.

Interview with AE02.architects

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