From boredom to anxiety, monotony to ennui – where is the surprise? How to disconnect?
Queuing, waiting, running, watching: everything needs to be fast, big, clear and efficient.
What about the moment? – An overwhelming need for action leading to a weak soup of sensations.
This is everything and nothing at the same time.
It is not easy to get lost anymore.
The labyrinth is a project, a multi-faced platform for experiences. This becomes a chance to escape from a context, but more importantly, from reality.
It offers the opportunity to get lost and questions the relation with our surroundings.
It aims to create and provoke physical interactions, to produce a variety of space with specific conditions. A dynamic conversation between hosts, architecture and environment is developed: a symbiosis emphasising on the benefits coming from trans-programming elements.
The labyrinth is mainly curating an experience, producing effects. Users, in a state of wonderment, will discover or determine what they want the space to become thanks to their own ability to label activities and functions
The master thesis will go through our collective memory, it will introduce fiction and narration.
The project relies on precise description as an objective tool. Thus, it generates tangible media (architectural representations such as axons and plans), projective narrative and visual interpretations.
The structure condenses confusion, entertains an immersive alternative journey where the unexpected is legitimised. It is mainly about playing with contradictory feelings, inducing emotions and exploring mystery.
The result is a labyrinth, injected in the city of Göteborg: a conflicting environment as a new territory for experiences.
Who influences you graphically?
Most of my references are not specifically related to architecture.
I’m passionate about everything that could trigger primal emotions, provoke some kind of weirdness, create something disturbing or even sometimes annoying. You can then interpret it, understand it in different ways.
I have folders filled with influences, advertisement, album cover, captions, images and a multitude of screenshots from movies that strike by their visual intentions.
To mention some important references for this project, I’d start with “Last Year at Marienbad” directed by Alain Resnais, screenplay by Alain Robbe-Grillet, 1961 – where you loose track between the truth and the fantasy with a superimposition of narratives and a non-linear script. There is also other movies and books from the Nouveau Roman movement approaching description in a literal, over-detailed and almost surgical way.
Of course, “Alice in Wonderland” directed by Geronimi, Jackson & Luske in 1951 written after 1865 novel by Lewis Carroll, where elements of reality are merging in Alice’s dream and that you can understand in so many different ways.
I also need to add to the list my favorite movie from 2017 so far, “Grave” by Julia Ducournau which wonderfully manages to depict what’s disgusting in such an erotic way. It addresses human intrinsic nature to reject animality.
What defined the format of the project?
The idea was to aim at a schizophrenic result with multi-layered identities superimposed, colliding with uncertainty.
The strict format (vertical A3) is then following this idea, working with pages, different chapters from an hypothetical book, a collection.
Each page reveals a controlled amount of informations and presents also intentional gaps (or missing elements) so that the reader has different tools to understand and get into the thesis. Narratives, literal descriptions, architectural representations (axons, plans, sections), images (or visual interpretations) together with the main model start making sense when you see the whole project.
How did the model help in revealing the project further? What defined the materiality- medium of the model?
The premises of the thesis were mainly theoretical and conceptual, I had to find a tangible way to offer an overall view of the project, a communicative and direct popularization.
At first, the CNC-milling of foam process started for practical reasons, I needed to quickly produce physical iterations. It turned out that it was fitting the logic of the Labyrinth and the strong mass and void feature.
While experimenting with the settings of the machine, I picked parameters so that the final model was meeting the expectations regarding finishing and textures. Thus, I could leave the material in its raw – orange – color. Some 3D printed elements reaching another layer of details are implemented in the Labyrinth.
And, I can’t deny that using these machines fulfills a certain fetichism for precision and order.
What dictated the color palette?
I’m not really used to work with colors, I’m always looking for the most straightforward result and don’t want to get lost into too much aesthetic considerations. To pick the blue was an early decision, and it appears to be a simple way to underline, guide through the project and create a hierarchy in the informations when it becomes necessary.
What defined the views you chose to reveal the proposal through?
The views are hints, visual interpretations (to give an idea about what the space might look like at some point). They are depicting some events in the journey, graphically representing intentions – an immersion in the variety of atmosphere encapsulated in the Labyrinth and its ambiguous relationships with the context.
They are aiming at emphasizing the conversation between user, body, culture and environment. They question the limit what is reality and fiction, what is the scenario and what kind of climatic conditions and physical interactions (might) take place.
Adrien Quennepoix holds a Bachelor Degree from l’Ecole Nationale Supérieure d’Architecture de Lyon (France) and a Master Degree from Chalmers University of Technology (Sweden).
Besides Architecture you can see and get handpoked tattoos here
or have a look at some pictures here