I wanted to start this article with the simple statement, that I believe Daniel Yabar’s skateparks are some of the most beautiful in the world.
Whether this is from an innate sense of space, transition and the requirements of skateboarding today, or from an obsession with accuracy and architecture, I cannot say – but in this interview Daniel told us about the unique perspective he has on his livelihood: a true craftsman.
What was the first thing you remember building?
Daniel Yabar: The first memory I have is playing with my sister in my bedroom. I believe I was ten or eleven years old. We took all the chairs and tables we could and we covered it with bed sheets to create a kind of tent. We played inside until we got bored or our mum told us to pick up everything. We needed no planification or autocad plans. Just some chairs, tables and sheets. It was really fun.
Was it love at first build?
Not at all. We were not aware that at some point this could be related to architecture. It was just a game. At that moment my true passion was drawing and painting. I spent all day drawing.
I guess at that age all kids build stuff.
When did things get more serious?
I used to design skatepark models just for fun and made some projects at university. But things turned more serious when I got my first job in an architecture office. I realized how ignorant I was and how many things I needed to learn. I discovered the difference between drawing and projecting architecture.
At what point did you realise the architecture and skateboarding could go hand in hand for you?
While I was finishing my university studies in Sevilla, I met Diego Garteiz, an architect from Bilbao. I worked at his office for four years. He was developing interesting projects such as winegards, bullfighting arena, offices, etc. Being part of his team, I had the chance to help design some skateparks. At this point I realized that I could combine my work with my passion for skateboarding. I now have my own architectural studio.
You use patterns a lot (tiles, colours, etc) in your park design. This makes them incredibly striking – when did that start?
I have always believed skateparks should be part of the city and not just sport facilities. Skateboarding for me is feeling textures of the city (among other things) and I try to reflect that on designs. Sometimes space or budget forces you to be more pragmatic.
I try to create a singular identity for each skatepark and a texture experience.
Do you think this “naturalism”, you might call it, toward skate park design has made your process easier or harder? How?
Maybe the easiest way to design skateparks is to make them standard. But I don’t want to go that way. I try to face each project with a fresh eye. During the whole process I consider local skaters demands and listen to all the voices involved. But decision making must be done with independence. I believe this is the best way to fight against corruption and low quality construction.
What struggles have you faced with this? Have you had to sacrifice anything?
Many of them: ignorant local authorities, crazy local demands, etc. Many times the needs are: “we want a skatepark for everybody (skate, bmx, etc) with a little bit of everything”. This is not a realistic scenario most of the time, At Logroño Streetplaza there were stakeholders who demanded a ramp & street skatepark. Space and economic conditions were not suitable for a ramp & street skatepark. I didnt want to design a small bowl and a street course without lines. The city of Logroño has two private indoor parks with amazing ramps. So I decided to design a street course instead. I know some people were not happy with this. But on the other hand, street skaters (and also street bmx and rollers) love the spot.
Where would you like to see your designs go in the future? What have you always wanted to try?
There are so many issues that I can improve further. I would like to keep researching on new materials and shapes. Improve quality construction and management model. And of course, I would love to work abroad.
Also I want to make local authorities aware of maintenance and management. In Spain there is no culture about this. After six years since Seville’s Plaza de Armas skatepark opened, the place is completely abandoned. It’s a shame. Fortunately the skatepark is still alive for people like Gustavo Parrilla, Hector Bidón and David “Acid”. They are fighting to reclaim local authorities a properly maintenance and they are doing the city’s job for them.
What’s the thing you’re most proud of?
Generally speaking, I’m proud to push the skateboarding scene each time I work on a skatepark project. Right now I’m so happy to see La Granja skatepark opening in Santa Cruz de Tenerife. Kids are stoked on the new skatepark and that gives me so much energy.
What’s something that’s really inspired you recently?
It’s been inspiring working in such an awesome place as La Granja Park. It’s a dreamy place surrounded by palm trees and rocks.
Do you think the recent inclusion of skateboarding in the olympics (i.e. more interest commercially) could affect what you do?
Now that skateboarding is an Olympic sport, this will be positive for skateboarding as there will be more awareness about the need for skateparks. I guess any changes brings positive and negative things.
On the negative side there exists a risk of having standardized skateparks and rules at skateboarding. So at this point Olympics could affect what I’m doing right now. I believe there are no rules in skateboarding and skate park design should reflect that reality, otherwise it could be similar to something like a football playground.
It’s amazing to get such a fresh perspective on this, Daniel Yabar. Keep pushing…
Skatepark photos: Ian Cazorla Rodriguez
