MEET OUR TEAM: Daniela Beraún
Why did you join SKOLNICK?
SKOLNICK is a studio that cares about creating meaningful projects across the board, with a strong conceptual base, whether it is a big cultural compound or a small residence. I feel very aligned with that mission. I am grateful and appreciative of SKOLNICK’s approach to design, which is based on discussion & collaboration. I feel this stems from the motivation to make great projects, but also from the overall respect and consideration everyone shows for each other on a human level at the studio.
Do you have a mentor? If so, tell us about them.
I was lucky to spend 6 years working with Reynaldo Ledgard in Lima (my hometown). He is, in my opinion, one of the best architects of his generation in Peru, and someone who has been for more than 30 years deeply committed to make the city – the neighborhood, the community – better through architecture.
I am deeply inspired by how he approaches every project with the pragmatic optimism of an idealist who has always found a way through tough economic and political situations. Also, I admire and learned a lot from his sharp attention to detail, and his way of thinking about architecture from a constructive point of view - in all senses, but also literally from how you would build something. I think that comes from both, a very tectonic Latin American architectural tradition, and his dedication to the craft.
Tell us about your career path.
I did a bachelor’s in architecture at the Catholic University of Peru, and a Master’s in Advance Architectural Design at Columbia University, plus a year of studies in Venice, at the IUAV.
In Peru, I got to work mostly in cultural and institutional projects. During my time with Reynaldo Ledgard, among other things, we built two big state-of-the-art theatres within new mixed-use buildings (offices, classrooms, leisure spaces, etc.).
During COVID, I worked as a supervisor for the Peruvian Ministry of Education, in a country-wide project to rehabilitate public school infrastructures. I also supervised architectural proposals to use passive strategies for the thermal conditioning of public schools in extreme weather/ high altitude.
Here in NYC, I’ve been enjoying continuing working with real communities & their needs through SKOLNICK. Also, I’ve been on and off teaching at Columbia University, and writing.
What’s the coolest or most interesting thing you’re working on right now?
We are working on a public amphitheater, as part of a city center redevelopment. It’s a super interesting project because it requires a lot of communication between moving parts, including members of the community. We are also working on the interpretive masterplan of a center for kids on the autistic spectrum, which includes an architectural, experiential & exhibition proposal. We have been committed to learning from this community, and engaged with educators and designers who have experience working with neurodiverse children.
We also just completed the renovation of two apartments – combined into one - in Brooklyn Heights. We worked in close relationship with the owner to tailor the space to her needs, and the result is a space full of light, warm wood, and nice details.
What is your favorite SKOLNICK project?
As for the residential projects, I think the Bridgehampton house. A traditional shingle house was converted into a supremely original creation, by means of “deconstructing” the old house to allow for light and individual identity, among the collective unity of the whole. This project in my opinion elevates some postmodern themes and is also dynamic and bold in the resolution of a very clear concept, which makes it a great example of SKOLNICK’s approach and process.
Of the public projects, a crowd favorite (including us at the office!) is the Church, in Sag Harbor. Originally built in 1835, this structure was converted into a community and art space. SKOLNICK’s approach to this project was to free/expose the wonderful existing space, enhancing its structures and achieving maximum flexibility for use. I would call this true minimalism, which has nothing to do with architectural styles and white spaces, but the idea of what’s the least we can do to achieve maximum affect. I also like this project because it shows that adaptive-reuse projects can be as good as building anew, with the added environmental & resource-saving benefits of giving old buildings a new life.
What is the best piece of professional advice you’ve ever received?
How important it is to be present on site, and to build good relationships with builders, contractors, etc. so that everyone has a sense of ownership and care for the project.
Tell us a surprising or a fun fact about you.
I can hold a handstand for about 2.5 seconds – it is not much, but it is not nothing.
What do you like to do outside of work?
I enjoy having slow weekends, going to lectures/museums/galleries, reading a book & having coffee, playing volleyball with my friends, and going into internet rabbit holes that most likely lead nowhere.
What is your favorite building of all time and why?
Aldo Rossi’s Teatro del Mondo, which was a temporary floating theatre built for the 1980’s Venice Biennale (the very first one dedicated to architecture). This incredibly quirky building was built on a floating barge and its structure was literally made of scaffolding (speaking of the impermanence of it), but it was clad with wood to appear or communicate monumentality. This building embodies so well a moment in time where there is a shift from functionalism towards “communication” in architecture. In other words, more important than its circulations, seating distribution, stage size, etc., this building can be seen as a big billboard of events happening in the biennale. I love it also because it is very contextual in the material sense: every piece used was part of Venice’s construction repertoire.
