Living in a space, an object, or a work of art is what creates character for ATRA.
“You have to come to the studio to realise what kind of a firm we are. We are extremely fortunate to have access to thought, action, experimentation and execution.” For the first edition of Schön! alive, we sit down with designer Alexander Díaz Andersson, the Director and Founder of ATRA. He’s currently in Paris alongside his partner in both work and life, interior designer Gabriella Kuti, as well as Jeremiah Joseph, a partner at the firm.
Established in 2014, ATRA is a multidisciplinary studio that blends experimental design with artisanal craftsmanship. The firm also includes an interior design studio and an architectural division. Based in Mexico City, where its workshops and studios operate closely together, ATRA thrives within a vibrant local creative hub that extends its influence worldwide. “It’s like Disneyland for a designer,” Diaz continues. “I think of something, I call the team and tell them I want to do something in metal, and then we go to the metal workshop for five hours, and start burning, oxidising, hammering; and then all of a sudden you have a concept that later becomes a product.”
Diaz, Kuti and Joseph are sitting on one of the signature ATRA designs, the Beluga Sofa, in a special SKIN edition, a formfitting, silicone cover created specifically for the exhibition. Joseph – who has curated the art in the gallery space with pieces from David Hammons, Jason Rhoades and Andreas Díaz Andersson – explains the inspiration behind the piece: “Growing up, I spent a lot of time in spaces that you’re too scared to live in: friends’ spaces, my own. We played with this memory of ‘80s/’90s grandmothers’ plastic covers, on a slightly worthless paisley couch, that they’re super worried about preserving, for whatever reason. For me, it’s what you feel and hear that speaks loudest: the crinkle of the textures as you sit in it.”
Although ATRA’s contemporary version—crafted in white alpaca and requiring hours of meticulous work—is far from inexpensive, it perfectly embodies the brand’s core philosophy: “If you’re going to buy it, you have to live with it. It’s a question of form meeting function.” This principle is deeply embedded in ATRA’s practice, with the artisanal expertise of local craftsmen and women in Mexico City bringing each piece’s functionality to life. Díaz takes great pride in the community of workers, designers, and architects who collaborate under the ATRA umbrella. “We have five ateliers, which are in a three-block radius in Mexico City. Mexico is known for craftsmanship and artisanal works. I think what we tried to do is harness that inherent capacity and put parameters on it,” he explains.
The design element is an added value that years of work, relations and research have perfected. Díaz elaborates on the journey, explaining how their approach has evolved. Rather than simply working with artisans, they have cultivated a team of master craftsmen. He highlights the distinction between the two, noting that while artisans often function like artists, using various mediums for self-expression, their work can sometimes lack consistency. The demands of this project, however, require a high level of precision and uniformity. By integrating design thinking and structured processes, they have helped individuals from more informal backgrounds refine their skills and elevate their craft.
He emphasizes the significance of their location in Mexico City, which necessitates a socially conscious approach. Historically, the work of skilled labourers who create by hand has not always been fully appreciated. However, through this initiative, they have gained recognition as true master craftsmen, an aspect Díaz finds particularly compelling. At its core, the process is about building a community united by a shared vision while embracing the diverse backgrounds and experiences of its members. The social dimension plays a crucial role in shaping the way the team operates.
He poses a thought-provoking question: when a craftsman is expected to produce high-quality objects, how can they do so if they haven’t been exposed to quality in their own environment? Defining and instilling a deep understanding of quality has been an essential part of the project, reinforcing its social impact. Alongside the human element, materials serve as the foundation of ATRA’s designs. Their work often incorporates lesser-used materials like onyx, travertine, brass, and alpaca, with an emphasis on specialized craftsmanship in areas such as woodworking, stoneworking, metalworking, and upholstery. Over the years, the brand has evolved into a more distinct entity with a clear design language. What began as a focus on creating individual objects has now grown into a large-scale operation, with 130 artisans working across Mexico City, handcrafting every piece.
Joseph expands on this evolution, describing the shift towards a more cohesive brand identity. Díaz agrees, emphasizing that materials are at the very core of what they do. The company’s structure fosters collaboration, with a workspace that integrates both design and production. The architecture and design teams work directly within the factory, creating an environment where drafters, carpenters, and metalworkers share the same space. This continuous dialogue between artisans, designers, and architects fuels the creative process. Díaz finds this dynamic particularly fascinating, as each contributor brings their unique perspective to the table, forming the essence of ATRA’s work.
Reflecting on his own career path, Díaz recounts his transition from car design to furniture and architecture. His first creation was a sofa called Air, a piece with perfect proportions and a minimalistic aesthetic that subtly echoed the front of a car. His early chair designs also bore traces of his automotive background, featuring bent legs that conveyed a sense of motion. He explains how car design is all about capturing emotion—whether it be movement, aggression, or tranquillity—which has inevitably influenced his furniture.
This design philosophy remains deeply embedded in ATRA’s work today, drawing inspiration from both aerodynamics and organic forms found in nature, such as flowing water, stones, and minerals. Gesturing toward a sleek, dark chair in the showroom, Díaz jokes that if someone were to fall off a building while sitting in it, they would descend at great speed. This, he says, is the essence of the tension he strives for in his designs—balancing weight and lightness, solidity and fluidity. Finding that delicate equilibrium, where an object feels almost unsettling, is central to ATRA’s creative approach.
At its heart, this interplay of contrasts, along with the continuous exchange of perspectives, defines the brand’s philosophy.
ATRA thrives on the convergence of diverse perspectives, a dynamic that influences multiple aspects of the firm’s work. Joseph explains that each viewpoint contributes something essential to the creative process: “We see the world in similar and different ways at the same time,” he says of the partners. “It creates a wonderful way to work, there’s very different influences. Alex is half Mexican, half Swedish. I’m a New York City rat. Our life experiences are really different, so the crossover brings a good foundation to start, and then opposing opinions that push things further.”
This blend of influences—Mexican culture intertwined with Díaz’s Scandinavian heritage—gives ATRA’s creations a distinct dual identity. “Our collection is divided, I would say,” Díaz explains. “When I started, it was more referential work to Scandinavia, but over the past five years, our narrative has shifted. I was bored out of my mind. I had been doing that for 12 years, and I was like, ‘What am I doing? It’s so boring.’ Then, I remember reading an interview with Junya Watanabe about approaching design like children. That became an inspiration for me, to create something like a sci-fi project. At Design Miami, we did a little spaceship, and that became one of the best-selling shows in Miami, and we realised, ‘We have something going on here.’ I love the idea of opening narratives; you create the base narrative; you create the universe. The spectator’s projection into the world of the work makes them part of that narrative. You draw the lines, and they fill in the blanks. It’s the principle of art.”
At the heart of ATRA’s philosophy is this fusion of the tangible and the almost spiritual—the ability to rethink how we experience space while redefining the relationship between design and art. It’s about freeing space, creating moments for contemplation, and fostering a deeper connection with the environment. Kuti expands on this idea: “It’s not just pretty furniture, but the way we live, our ideas about the world. Our values really come through the brand,” she says.
Discussing the collaborative process, she highlights the balance between differing perspectives and shared principles. “We see things from a different angle, but the same core brings us together, and I think that’s what people gravitate towards more than just furniture. This collective approach—a school of thought—is key.” With Joseph’s involvement in the company, ATRA’s work also opens up new conversations around the perception of art. “What is art? How do you live with it?”
Joseph illustrates this idea by referencing the classic New York stoops, a familiar and meaningful part of the city’s landscape that he and Díaz often reflect on in their creative process. “A stoop for me is safety. It’s what I know. I grew up in New York walking around the city with friends and family. You sit on a stoop, you chill, and then you move on to the next one. I think it speaks to the notion of really good design and conception of space. It makes you feel comfortable and safe. That basis of comfort and safety is what allows someone to allow their mind to run,” he explains.
Díaz describes the shared ritual that strengthens his bond with Joseph—watching him smoke as they eat bagels and stroll through New York, exchanging ideas about future projects. At its core, ATRA’s design philosophy prioritizes an ergonomic approach, ensuring that the body is supported in a way that enhances daily life and interaction with the world.
“Art and its influence are the same – it comes to you through the comfort, the clean lines. The natural influences [like the stoops] create a safety and a comfort that allows your mind to go into these spaces. Seeing art in a home is warm. It has a comfort to it. You can have a glass of wine, move around, approach it in different ways,” Joseph reflects. He emphasizes the power of environment in shaping one’s experience of art and design. “The mental inception of whatever that art gives is totally different. Being able to create that setting and having the ability to have an object and design according to how you’d want that space to be. That’s what it’s all about.”
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Learn more about ATRA at atraform.com.
words. Patrick Clark
