The founders of Studio Non Stop: Sanja Galić-Grozdanić (b.1962) and Igor Grozdanić (b. 1962). Sanja Galić graduated from the Faculty of Architecture in Sarajevo in 1984; Igor Grozdanić graduated in 1987. Their first work experience was with the Sarajevo firms, Dom SPI and Arhiform. During 1993 they worked in Studio Rondina in Lucca. From 1993-1998 Grozdanić worked for Henn Architekten, and Galić for Ebe + Ebe, both in Munich. Upon returning to Sarajevo they founded Studio Non Stop in 1999.
Hans Ibelings: Does the name of the office reflect a programmatic intention you had when you started, and if so, is it still functioning as such?
Igor Grozdanić: We tried to find a name that somehow expresses our ideas and our understanding of the social, cultural and economic conditions of architecture. We were looking for the smallest common denominator for these conditions, and we decided that 'non-stop' fitted the bill. Non-stop is omnipresent, both in nature and in culture. Almost everything in nature is a kind of non-stop system, the oceans and the continents are uninterruptedly connected. Energy and matter are non-stop and only change their form.
HI: Is everything non-stop?
IG: Certainly there are things that are not, but in general we think that most things are non-stop. We are inspired by this concept and we try to understand and define everything as a non-stop process.
HI: Does it also mean that for you a building is part of continuous process, instead of a finite object?
IG: There is always the question of what is more important, the building in its physical form or the processes that go on inside, and we tend to believe that the physical building is just the outer clothing for the processes inside. Sometimes those processes are not very dynamic and that means that the clothing doesn’t have to be dynamic either. But sometimes they are both quite dynamic.
HI: You spent many years in Italy and Germany, but you finally decided to come back to Bosnia. Why?
Sanja Galić: Germany in particular was a very interesting experience for us, in terms of learning a totally new organization of work, with new design methodologies, and a level of detailing which is very refined. We came back to Bosnia because we wanted to do something for the future of our society, combining the high German professional standards with a typical Balkan temperament.