A synergy of wit and exquisitely rendered materiality serves as the through line of Shanghai-based architectural firm Four O Nine's products and projects. Consider "Urban Fabric," a series of rugs that render satellite views of human settlements in woven virgin wool. Whether you've studied architectural terminology or simply enjoy plush threads underfoot, the rugs are stylish and inventive. "Urban Fabric" is the kind of concept that's not only easy to visualize, but desirable to behold. Similarly, there's the Zero Waste Coffee Table, which favors bold, clean geometry. The table attains more than a cinematic super-villain level of chic; it also has a minimal environmental impact, right down to its highly efficient shipping process (the support structure is stackable, which saves on packaging materials).

When it comes to their architectural projects, The Studio Box leaps out from an otherwise jumbled, clichéd streetscape in Shanghai, and demands passerby attention. Most of the rest of the streetscape favors an unmemorable mish-mash of classical facades and "big design moves" hastily transposed on traditional Shanghai storefronts, creating a kind of footnoted mediocrity. The irregular and individualized shape of The Studio Box announces that this is not an imitation of this milquetoast design trend, but rather one that possesses its own vision. The jut and materiality of The Studio Box is purposeful; it signals that the client, a furniture showroom, has a firm sense of self that is interdependent of existing styles and trends.  This is Four O Nine's specialty: creating environments that exude top-tier design in a visually innovative manner.

Whether you've studied architectural terminology or simply enjoy plush threads underfoot, the rugs are stylish and inventive.Unsurprisingly, their unique sensibility has attracted considerable international press attention in publications like Dwell Asia and Vanity Fair, creating a buzz which has generated new clients and even more new projects, including several new residences and restaurants in Shanghai, Beijing, and Hong Kong.

Of course, eye-catching design does not always guarantee business success. The business-side of architecture is one of the profession’s most complicated and mysterious. How does a designer transform an idea into a profitable reality? Most importantly, how do professionals who are trained primarily to think about abstract concepts develop the interpersonal skills needed to maintain both client and coworker relationships?

Before jointly founding the firm in 2011, Lukasz Kos and Andrei Zerebecky spent years designing projects independently, such as Kos's Treehouse, an airline-cable suspended, dramatically illuminated, multiple-story venue for chillaxing. Zerebecky and Kos also worked for architects including Frank Gehry and Bruce Mau, where they were exposed to the intricacies of business and large-scale studio logistics. When the two men found themselves working in Asia, they began moonlighting together and designing furniture. Their widely praised furniture debut quickly escalated to distribution in the U.K., Canada, and Asia, an impressive accomplishment and one that makes them a notable UpStart. 

As they continue to attract more work and accolades, I asked co-founder Lukasz Kos about the realities of forming a successful architectural business, from the role of press coverage, to his relationship with his co-founder, to the process of running a studio.

Why did you decide to launch Four O Nine? Did you already have the products you wanted to design in mind before you created the company, or did you formulate those after you launched?

We had a “if you build it they will come” type of start. Andrei and I were both working as senior design architects in large multinational offices in Asia, he in Saigon and I in Shanghai. While at our jobs, we had been fiddling with prototypes for a series of chairs, a mirror, a coffee table and rugs. An opportunity arose to show the pieces in Shanghai at 100% Design in 2011, which originated in London a couple years prior. At the time of our submission we had not yet formed Four O Nine, we were simply co-exhibiting as Lukasz Kos and Andrei Zerebecky. It wasn’t until we received genuine interest from design publications in Shanghai We had a “if you build it they will come” type of start.and Hong Kong that we decided to formalize a company. We then moonlit for several months developing and exhibiting the pieces internationally. We caught our big break when Nienkamper picked up the chairs to be manufactured in Canada and distributed internationally. Additionally, we now have agents for our Urban Fabric rugs in London and Shanghai. 

Your furniture has a distributor in the U.K. How did that relationship develop?

We developed our relationship with Ruth Ainger at Brands Ltd in London in two ways. Firstly, she is Nienkamper’s agent in the UK, which allowed us to introduce her to our Urban Fabric Rugs. Secondly, it helped that the rugs were finalists in World Interior’s product of the year competition in 2013 (hosted by the Saatchi Gallery in London). That combination allowed for a close-knit relationship to develop with her. 

Four O Nine has been featured in a wide variety of publications. Do you have a sense of how much of this press interest came from journalists familiar with your previous featured solo work (such as Treehouse) and how much of it was due to exhibiting in various fairs/workshops/etc.?

Admittedly, a lot of the press is for the treehouse, which is now 12 years old. However, we have recently started getting more attention for the work of Four O Nine. Azure, Surface Asia, Knstrct.com, Interior Design Magazine have featured us. But, we have to mention Perspective Magazine out of Hong Kong, they were our first big supporter, publishing us twice in one year, then awarding us their annual 40 Under 40 Award in 2012, and most recently asked us to judge the 2014 A&D Trophy Awards in Hong Kong.

The furniture design provided us great exposure, which allowed us to market ourselves as the architects we areWe’re also switching our focus back to architecture now. We have three restaurants in Beijing under construction, two residential projects in Shanghai (one in design, the other in construction), a restaurant in Hong Kong in concept design, and a couple small restaurants in Singapore in concept design. The furniture design provided us great exposure, which allowed us to market ourselves as the architects we are, not to say we will not keep developing new furniture pieces. 

How would you describe you and Andrei's working relationship? Do you split the business and design roles evenly?

Thankfully our strengths and weaknesses are complementary, which avoids us stepping on each other’s toes. In terms of the design process, we work together during the concept phase and create a direction for the project. Once the direction has been set, we split the rest of the project up based on our strengths and use each other in a checks-and-balances manner to make sure we don’t stray too far from the original idea. 

We’re often impressed by the chaos of Asian cities, which can influence either sympathetic or contrarian reactions.Both of you worked for Bruce Mau, and you worked for Frank Gehry. Did these experiences help you formulate your own approach to the business of architecture, or did they serve as examples of what not to do?

I will speak to my experiences at Frank Gehry’s office. Despite what you may or may not think of Gehry’s work, for me it was an incredible learning experience in how to manage client and contractor expectations. Despite the seemingly chaotic language of the architecture, the office itself was rigorously organized, almost militant. The lesson there was that any design idea, approach, technique that a designer is interested in exploring can be achieved with a well run studio. I touch on the experiences from that office to this day. They are lessons I will value for the duration of my career. 

Four O Nine's portfolio, especially the Urban Fabric rugs, seems to combine visual playfulness with a dry wit. How do you develop new products/items? Is it a matter of pure inspiration, or are you responding to a perceived need in your environment?

There is no one germ for our ideas. We’re often impressed by the chaos of Asian cities, which can influence either sympathetic or contrarian reactions. The Twins boutique in Saigon is an example of being inspired by context. The Studio Box project is an example of a contrarian approach to its context.

A note about our personalities: Andrei’s the one with the playful dry wit, and I’m the grumpy ostensibly-contrarian one. It’s a potent combination that we rely on more and more as we move forward with our projects.