For this week's Studio Snapshot, we talk with Monika Haefelfinger about her practice, XTEN and explore the various aspects of a firm whose name and ethos is inspired by the film, Powers of Ten (by Ray and Charles Eames). In the movie, the observer can see how zooming in and out of an object will give you a completely different perspective. The X factor, or unknown variable, is their discovery of a sustainable solution that is very simple but yields very high results for the inhabitants.

How many people are in your practice? 

XTEN is presently a highly talented team of 10. I hire quality architects, from great architectural schools, to work under the direction of my partner Scott Utterstrom (who has been with XTEN for 10 years) and myself. 

Why were you originally motivated to start your own practice?

From the time I first entered architectural school, it was my goal to run my own firm.  I initially worked for Sarah Graham and Marc Angelil.  Their office was a model on which I could build. They created an atmosphere similar to what one would find in a laboratory setting.  In their studio, theory and art were synthesized, collated, developing into concrete projects. My motivation was crystallized when I worked for Herzog & De Meuron where I observed what could be done at a great architectural firm and where we had the responsibility and architectural freedom to control projects. Who doesn't want to design a building of striking beauty, win awards for them and have clients who appreciate so much they put up plaques in your honor or commission artwork in their likeness? As a woman, this is even more profound. Every day, it pushes me to be better to prove myself to the world.

What hurdles have you come across?

The collapse of the construction industry resulting from the recession was challenging but turned out to be a wonderful learning experience, during which we crystalized what and how we intended to achieve our goals.  Projects were canceled or put on hold.  We intended to survive that crisis and did so, becoming all the stronger for it. One of those projects, the Madison House in La Quinta, moved forward because we built a model of the house for the client presentation.  

The more the client looked at it, the more mesmerized he became.  So he committed to moving forward with the project at some risk to him and his family (no one knew how deep the recession would be and how long it would last).  So we were an architectural firm that survived and this project allowed us to thrive.  The unexpected death of my husband and partner hardened and focused me further, with the result that the firm continues to design award-winning projects. Hurdles test your determination and commitment. Luckily, I have a strong foundation.

Is scaling up a goal or would you like to maintain the size of your practice?

XTEN's primary goal is to maintain high-quality projects and scale up, as needed, with ultra-talented individuals. We respect and appreciate each member's contribution to the whole. If someone is doing good work, we want to support that in every way possible to promote loyalty and encourage career maturity in male and female architects. XTEN was founded as and will continue to support the 50/50 movement. 

What are the benefits of having your own practice? And staying small?

Having your own practice allows us to focus, direct the work, and commit to the high quality for which XTEN is known for. We spend a great deal of time on research and development, which adds to the quality and depth of design. It is like our own laboratory where we explore and meld the old and the new, testing each element of design along the way. XTEN is precision:  Precise aesthetics. Precise practice.

How do you find yourself splitting time between your various pursuits in the field?

I like to work in an ordered environment. I follow a clear schedule. It must be the Swiss in me. This system allows me to devote time to the organization of architects working on various projects, establish meeting times for creative dialogue which enhances the quality of the product and educates the junior members of the firm. It allows for a clearly established framework so that I can personally devote time to the creation and greater development of projects. It allows me time to interact with other creative people to raise the architecture voice in the community, interact with the artist to bring their creativity and expertise to projects to bring art into the core of the built environment, thereby enriching the lives of those using the buildings, whether public or private. 

Who doesn't want to design a building of striking beauty, win awards for them and have clients who appreciate so much they put up plaques in your honor or commission artwork in their likeness? As a woman, this is even more profound. Every day, it pushes me to be better to prove myself to the world.

What other mediums of implementation does your office pursue?

We focus exclusively on architecture, which allows XTEN devote all of our attention to this pursuit. 

How do you balance theory and production in your office?

Design competitions are one part of the equation of R&D in our studio. The other and much larger part of the equation occurs in our daily work. This is in large part due to the fact that we have some very remarkable clients. They choose XTEN because they recognize that we will design and build a project that will be unique, all while developing the most harmonious and flowing living environment. This is why our clients recommend XTEN to their families and friends. They all want to move and live in this heady atmosphere, all above standard, all outside the box.

What is 5 / 10 / 15 years down the road?

Our five-year plan includes new offices for Los Angeles and then Switzerland. XTEN has acquired property on Melrose Avenue just east of Vine in Larchmont Village where we are building our own XTEN-designed offices and retail space. After that, we will focus on Switzerland to align with our continuing global expansion. In Europe, we just completed a Villa in Madrid and now we are designing a house on the island of Mallorca.  There is a project in my hometown of Sissach, Switzerland. Construction has just started on a project in Muscat, Oman. We shall grow with interesting and challenging projects, branching out into meaningful public projects which will bring our expertise, skill, and creativity to improve the architectural dialogue in the public space. We strive to raise the quality of life for those using the spaces we imagine. Museums have always been a fascination for me. I was raised in Europe, where museums of historical importance graced both the everyday and artistic landscape. It is an important element in XTEN's vision to bring art and life into the architectural edifice and to integrate the public into all buildings. The thriving street dynamic has shaped history through architecture from time immemorial, whether in ancient Rome, Asia, Africa and in the Americas. Our vision and future encompass all of these elements.

How does academia make its way into your work?

We are constantly studying and improving.  We are constantly bringing in new, highly qualified and educated young architects from great schools. I recently gave a lecture at Cal Poly Pomona, which had the added benefit of sharing ideas with their faculty.

What project would you most like to be remembered for? 

Up to this point, Nakahouse is the project most associated with XTEN. It is actually one of my personal favorites and a great example of our use of juxtaposition in design but I believe the standout XTEN project we will be remembered for has yet to come our way. 

What is the thesis of your office, your work and how has it changed?

Gather, simmer and reduce. Our work is complete when all that is left is solely what is essential, necessary and harmonious. Growing up in Switzerland, I learned order equals harmony. In our projects, the grid is a key organizational device. We put a very strong emphasis on creating super-rational plans - A strong set of plans is paramount in all of our projects. 

Our goal is to leverage control over the quality of concept and craftsmanship in order to create a body of work that lends dignity to the architectural experience. 

How did the office start and what was the first 2 years like?

The first two years of XTEN were a lot of fun. I returned from Switzerland where I had worked for Jacques Herzog and Pierre de Meuron when a friend approached us with the opportunity to design a ground up residence on Linnie Canal in Venice. The first XTEN office was located at the Crossroads of the World in Hollywood. This 1920's mall took motives of buildings from all corners of the globe. Our particular building was located on Las Palmas. It looked like a Munchkin house straight out of the Wizard of Oz.  We are interested in shaping our environment in a way that will consider not only its immediate surroundings but also its larger context --- Place and people. For our projects to be successful, the final projects must "fit" its context like a glove. And by this, we do not mean the building needs to mirror or blend into its surroundings. We aim to design projects that are strong sculptural forms at the scale of the landscape.