Tag Archives: CHELSEA

#213: AN INTERVIEW WITH VOYAGE LA

October 17, 2025

In progress, Anthony Poon (photo by Grant Bozigian)

VoyageLA, the flagship publication of the Voyage Group of Magazines, takes a fresh approach to media, within multiple cities across the country. With stories on artists, entrepreneurs, underdogs, and risk takers, VoyageLA states, “We respect people and organizations that take the path less traveled.” Below are edited and abridged excerpts from my interview with VoyageLA.

VoyageLA splash page

VoyageLA: Hi Anthony, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers? How you started and how you got to where you are today?

Anthony Poon: At age five, I created my first large scale work of art. As my mother prepared a meal in the kitchen, I grabbed my crayons and drew a landscape mural on the large wall that went up our staircase. This ambitious work from a young eager artist was completed in 20 minutes. My parents did not know whether to scold me for vandalism or praise me for an impressive burst of creativity.

St. Paul’s Lutheran Church, Rancho Palos Verdes, California (photo by Grant Bozigian)

I graduated from college with a Bachelor of Arts in architecture and a secondary emphasis in music, and relocated to New York City, living in Chelsea—then a mostly abandoned part of town, now one of the centers of the universe. Life doesn’t offer us very many stark choices. But decades ago, one very late night in my cramped studio apartment, I faced such a choice. I clenched two graduate school applications: one for The Juilliard School of Music and the other for Harvard University’s Graduate School of Design. I had to decide which of my passions would eventually become my vocation: music vs. architecture

The Julliard School, New York, New York (photo by Anthony Poon)

Music was my first passion. Since age 6, my goal was to be a world-class concert pianist. I spent years and years practicing piano, composing music, studying composers, and performing recitals. When I put pen to paper, it was often to mark notes, chords, melodies, and harmonies. I wanted to play for the world.

I was also one of those kids drawn to Legos. I created cars, planes, robots, and of course, buildings. As I grew older, my visions for physical structures were captured in pencil, in paint, clay, cardboard, in any form of material I could get my hands on. I dreamed of places for people to live, to grow, to fall in love, and to find meaning in their existence. I sculpted worlds of peace and progress. Of intention. I wanted to shape the world.

(photo by Xavi Cabrera on Unsplash)

On that night in 1987, I had to choose.

I pondered how many famous pianists I could name, I could only come up with a short list: Rubenstein, Horowitz, Serkin, and just a few more. The odds of my making that short list seemed slim. Yet there are hundreds of successful architects in every city. I figured that I could be a practicing architect and still practice music. But not the other way around. I could not be a concert pianist and also lead an architecture firm.

And so I chose architecture. I still play the piano nearly every day, whether it is a small bit of Brahms and Bach, or Rodgers and Hammerstein for my daughters to sing and dance. My choice of one passion didn’t negate the other. Indeed, the passion not chosen continues to inform the other.

Whitefish River Run, Whitefish, Montana, by Poon Design (photo by Heidi Long)

VoyageLA: Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?

Anthony: As an architect, author, artist, and musician—as an individual madly driven to create—the road is more akin to a roller coaster than that of a smoothly paved freeway. Besides the obvious struggles to have an income and sustain an authentic life of artistry, challenges also come from finding meaning and essence in the work, being recognized for my pursuits, wondering if I am truly talented, competition in the space, and not just finding one’s voice, but one’s audience.

FAIA induction ceremony, The American Institute of Architects convention, Chicago, Illinois (photo by Olive Stays)

VoyageLA: Can you tell our readers more about what you do? What are you most proud of?

Anthony: As an architect, one of my greatest achievements took place at the 2022 national AIA convention in Chicago, where I was admitted into the prestigious College of Fellows of the American Institute of Architects, with President Obama as keynote speaker. The FAIA medal represents “exceptional contributions to architecture and society nationally”—an honor bestowed on less than 3% of the national industry.

As an author, my published books and articles provide me a platform to voice my artistic spirit. Of all my writings, I am most proud of my debut 2022 novel, Death by Design at Alcatraz, an architectural thriller examining ego and arrogance within the creative process. Having adapted my story to a screenplay called Death by Architecture, Scriptapalooza 2025 recently honored my work in their Top 30 best scripts out of over 4,000 international projects.

Death by Architecture (screenplay), 2025 and Death by Design at Alcatraz (novel), 2021, by Anthony Poon (photo by Anthony Poon)

VoyageLA: If we knew you growing up, how would we have described you?

Anthony: I like to stay busy. I have many interests, hobbies, and fields of pursuit. I paint, photograph, collage, and sculpt. I play the piano and once in a while compose music. I write essays, publishing here and there. I even scrapbook, garden, tie dye, and make furniture.

Melrose Pink, 27 ½” x 32”, July 2025, by Anthony Poon

Podcaster Josh Cooperman once asked, “Of your various activities, what creative pursuits do you like best?”

(photo by Mikel Healey)

Akin to the challenges of identifying one’s favorite rock band or flavor of ice cream, there is no reasonable answer. Do I like playing a Beethoven piano sonata more than writing a position article on the design industry? Do I enjoy working on a large mixed-media art piece more than designing a Buddhist temple?

I don’t see any such exercises as independent from each other. Artistic endeavors are not discrete. All my investigations, experiments, and yes, failures too, fall under the shelter of a single umbrella, a simultaneous effort—that of a creative voyage with no starting point and excitingly, no end in sight.

When one plant species pollinates another, the cross pollination creates new varieties of plant life. So too should all forms of artistic study and all mediums of imagination and expression. Music, painting, writing, architecture, and so on. For me, it is all one artistic gesture—interconnected, intertwined, inseparable.

#147: TRIBUTE: RICARDO BOFILL (1939-2022) AND THE ARCHITECTURE OF THE FANTASTICAL

January 28, 2022

La Mazanera, Calpe, Alicante, Spain (photo from ricarobofill.com)

A titan amongst us architects has left this world: Ricardo Bofill. In the zeitgeist of art, design, and individualism, it feels as if Atlas finally shrugged.

In 1986 New York City (here and here) I, a young architect bravely stomping the granite cobblestones of SoHo streets, came across one of those suspicious card tables selling random artifacts. The seller and his temporary setting, appearing ready to pack up and run in an instant, had me wonder if his goods were stolen, fake, or both.

Les Espaces D’Abraxas, Marne-la-Valle, France (photo by Ricardo Bofill)

A large coffee table book, 12 inches square and one-inch thick, stood out from the scatter of tarnished jewelry, etched dishware, and stacks of art books, old postcard, and dog-leafed magazines. My eye caught, Ricardo Bofill: Taller De Arquitectura, published by the then-giant Rizzoli. I did not know this architect, yet I was drawn to the cover image of a fantastical project (pictured above). I negotiated with the seller a price that fit the few crumpled dollars I had in my big boy pants.

La Muralla Roja, Manzanera, Calpe, Spain, by Ricardo Bofill (photo by Paul C Lee from Pixabay)

Back at my third-floor, walk-up, Chelsea studio, I devoured the architecture of Barcelona-born Ricardo Bofill—ambitious, utopian, revolutionary. Even controversial. Sometimes called dystopic. His global fame rose in the 70s and 80s with housing designs in France, several blocks large for neighborhoods like Marne-la-Valle. But much of his visionary creations in Spain preceded this recognition, and such earlier work established Bofill as an imaginary and puzzling thinker, akin to countryman, Antoni Gaudi.

El Parque de La Marca Hispanica, Le Perthus, Franco-Spanish border (photo by Ricardo Bofill)

His company name, Taller de Arquitectura, literally meant “architecture workshop.” This collaborative enclave of talent explored works of fantasy, concrete classicism, hyper Post-Modernism, organic forms, unprecedented sculptural forms and colors, and prefab concrete system construction—and did so beyond Spain and France, contributing to the urban fabric of the United States, Russia, India, Africa, and China.

Much like “The Factory,” a culture and workplace of Andy Warhol’s making, Taller de Arquitectura was a cross disciplinary atelier comprising skills beyond architects, interior designers, and contractors, to include psychiatrists, philosophers, mathematicians, and poets. Akin to the makeup of his personnel, Bofill’s influences were eclectic: Wright, Barragan, Kahn, Aalto, Archigram, Japanese Metabolists, as well as artists like de Chirico, Escher, and Magritte. These lists of design references, geography, various philosophies, alongside his 1,000 completed projects indicate a man beyond measure.

Interior of Walden 7, Sant Just Desvern, Barcelona, Spain (photo by Ricardo Bofill)

Bofill’s influence spanned across pop culture, films, TV shows, and video games, as his work is seen in movies such as The Hunger Games and in TV like Westworld and the recent Korean hit, Squid Game. In 1975, the President of France, Valéry Giscard d’Estaing, labeled Bofill, “the greatest architect in the world,” later embellishing, “the greatest architect since Michelangelo.”

The Sanctuary of Meritxell, Andorra (photo by Ricardo Bofill)

Few architects have established themselves as an artist with such heroic and audacious ideas—drawings that leap out from the pages of Bofill’s sketchbook into the context of major cities as iconic and colossal built work. His courage and creativity will be missed. Like his 30-silo cement factory turned headquarters and home, Ricard Bofill saw the world differently, shaped it to his will, and left monuments scattered around the globe for the rest of us to be humbled.

The adaptive reuse of an abandoned, turn-of-the-century, cement factory. La Fabrica, Sant Just Desvern, Barcelona, Spain (photo from thisiscolossal.com)
© Poon Design Inc.