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There is a new wind of “global minimalism” sweeping through the architecture scene these past few years, a trend that has found its rock star in Harry Nuriev, a 36-year old Russia native who blends Bauhaus, 80s pastels and Scandinavian simplicity into one big, Instagram-loving mash up. His distinctive approach to colour and his love of cultural references from both East and West have turned the architect and designer into a singular success story. A master of monochromatic minimalism, his democratic approach to design has even led him to create accessible deco objects he calls “tiny architecture”. In 2014, after six years at Moscow’s Architectural Institute, Nuriev set up shop right there and then, founding Crosby Studios in the Russian capital. The name, as he tells us in a recent communication with Yatzer, came about spontaneously, on a post-grad trip to America: “I’m bad at naming things. Right before I started my firm I was walking between Crosby and Mercer Streets and thought to myself ‘Crosby sounds sexy’ and so I decided to name my firm after it.” Only two years down the road, he successfully debuted his first collection during New York Design Week and moved his practice to Williamsburg. “Nowadays our clients are all over the world”, he says. “I don’t understand how the location of an office can resonate with a physical office. Good design is good design and bad design is bad design”. 
Crosby Studios Loft. Photo by Mikhail Loskutov. 
Speaking of offices, Last December, The Office, his installation at Art Basel Miami became an instant hit, proclaiming Nuriev’s love for cultural and fashion connotations. Among other office staples, it featured a wooden air conditioner carrying the Balenciaga logo, while a swivel chair totally covered in lace, echoed his childhood memories of growing up in Stravropol in the North Caucasus. “Everyone is always so curious about how my culture is referenced in my work. For me it’s just my memories”, he tells us. Growing up in 1990s Russia, the brands he fetishized are the same ones he now partners with for special projects, like Nike and Balenciaga. “As a kid that came from nothing, of course, I was obsessed with these brands”, he says. But a creative mind like his would not remain astounded for long: “When I was able to afford them I realized that who you are is more important than what you wear and clothes will never make you happy. For me, clients are all the same. I work with people - not brands, no matter the title or the name on the business card”. 'The Office' at Design Miami 2018. A fictional office where every piece is emblazoned with Balenciaga’s logo. Photo © Crosby Studios. 
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