APAA Client Spotlight: In Conversation with Rasmussen/Su
Rasmussen/Su is an award-winning architecture & design firm specializing in full-service, custom residential design. Working together since 1995, firm principals Kevin C. Rasmussen AIA LEED AP & Vivian M. Su LEED AP bring diverse backgrounds and a collaborative spirit to the design process. A high level of thoughtfulness, communication, and a focus on team building characterize their approach, as they transform their clients’ visions into meaningful & creative built environments.
The principals of Rasmussen/Su are committed to sustainable building practices and are LEED accredited through the United States Green Building Council.
The APAA and advisor member Christine Minas spoke with the firm, gaining insight into the ways in which working with an APAA art advisor can be critical for integrating a collection into a client's home.
Rebekah Callaghan, “Blue Works” (2021) and Bethann Parker, “Green Pastures and Stawman” (both 2020).
In what situations/for which projects do you like to collaborate with an art advisor?
It varies—from a project with a client who is just starting a collection, to one that has an existing collection but needs help curating, installing or adding to their collection. Art, like landscaping, is an essential component to making a home or project feel complete, so we will always suggest that our clients consider speaking with an art advisor if we think they might be a good fit.
In your experience, what makes a client a good fit for working with an art advisor?
Firstly, a client who appreciates art! One that has a sense of their own tastes and preferences but is open to suggestions. Hopefully one who sees their collection growing and changing over time. Many of our clients may be new to working with an architect or designer and there’s a learning curve to understanding what services we provide. Similarly, many people are not familiar with the role of an art advisor and might be unsure whether they can afford one or what value an advisor might bring to the process.
Jonny Niesche, “Burger with the light (even presence)” (2021)
Conversely, what would make a client not a good fit?
Someone who is overly confident in their own expertise may not value the opinion of an advisor. Or perhaps someone who doesn’t yet know their own tastes and interests, but is unwilling to put their trust in a professional.
Could you tell us about a favorite artwork or installation from one of your projects where you worked with an art advisor?
There are so many individual pieces that we love, but the one which probably required the most collaboration from all parties (owners, architects, art advisor, artist, and contractors), was a neon artwork by Tracey Emin for a New York City apartment that was installed above a custom-built banquette.
At what stage of the design process do you prefer to start working with the art advisor?
We like to start conversations with our clients and an art advisor after we are done with major design decisions that are time-sensitive or require a long lead time. Our clients may have limited bandwidth so we want to be sure that critical decisions have been made first.
DeWain Valentine, “Rose Portal” (1971–2012)
How involved/in what ways do you like to be involved when collaborating with an art advisor?
We love to be involved when an advisor first starts working with our clients. We can act as a bridge to help the advisor understand our client’s aesthetic preferences, as well as advise on any spatial constraints or considerations. We hope that the relationship between our clients and the art advisor will continue after our involvement in a project is complete. We are always available to consult about any new pieces being considered or can help clients to envision how those pieces may look in the space.
Have you ever brought in an art advisor to help rethink or re-install an existing art collection?
We have had an art advisor return to a project as new artworks are added to a collection, or if a client moves their residence.
