NextPrevious Replacing The Raw With A Suggestion

Project

“By immersing myself in the turbulent waters of the Architecture, I noticed that the architectural representation was progressing against current.

My retina, damaged by the blue light screen, witnesses an obvious step backwards through a digital, seductive and attractive hyper-realism. Yet, in the Arts world, the image has surpassed the realism barrier for a long time now. This is a reason to believe that the construction domain isn’t ready yet to gulp down this reality at the risk of throwing it up.

This verisimilitude of actual images allowed by the digital seduces all the players of the profession, including the client. But the daily practice of it, keeps me believing that to deal with the present-day challenges, the Architecture has to move to other unexplored domains, and provoking upheavals.

I proceeded to come up with an other reality, by reintroducing an imaginary part in the project comprehension. By replacing a raw image by a suggestion.

Behind this radical attitude, I think that there are alternatives to the hyper-realistic illusion by transforming what generally works within the method, the device, and the appetence aesthetics. “

Interview

Who influences you graphically?

From Disney universes I grew up watching to the techno-surrealist setting design of TV-reality show, as well as the fake primary-color and omnipresent-logo universe of big company like McDonald’s, Nike and Coca-Cola, everything of my time is a source of inspiration. For me, this daily reality can be a material rich enough to question the chaotic beauty of the consumerism excesses architecture.

Could you expand a bit more on the idea of replacing the raw with these speculations?

The majority of architecture images are produced with the seductive and attractive software hyper-realism. This type of images entices all the construction actors including the client, as well as the architecte itself. In my opinion, the real issue of this type of representation is that, most of the time, it is used not really to express an idea but to tease people. I tend to abstract myself from the realism and the superficiality that can came with it. I try to reintroduce some imaginary in the understanding of a project by replacing the raw image by suggestion.

What is your take on colour? what defined the articulation of this within your images?

Body and architecture have a privileged relationship. The architecture encourages the body to move, and the moving body makes the architecture vibrates. When a window drives us to look throughout, a door make us stop when it’s closed and enter-in when it’s open. The materiality impacts on our unconscious and encourages us to explore our memory constantly.  When the brick reminds us of ground and fire, the metal brings us to an hard and cold place. Inox and plastic aren for example, associated to a stuck temporality. Shapes, whether it’s a square, a circle or a triangle, have symbolic features that we inevitably link to architecture. In some ways, those elements establish the syntactic signification of buildings. I see them as a series of words, that we can articulate to make a sentence. In my work process, colour has the exact same role. It’s integral to the langage I use in order to reach an instinctive type of emotion which exist in our personal sensorial experience.

What is your work process? From the inception of an idea to the final speculation?

Most of the time, I work for Architecture and drawings contest, so there is a specific subject I have to work on. When the idea became an image which start to materialize, I draw a coarse sketch which set the colour code, the principles of composition and the depth of field. When the whole seems consistent, I create the outline on a CAO software, then all the post-production is completed on Illustrator

If you could narrate your project through a set of tools what would these be? what tool can you not live without?

In La désobéissance de l’architecte, Renzo Piano said « architecture is not just the art of making buildings; it is also the art of trekking stories ». I take this literally and I’m using writing as an other tool to make architecture, especially the novel format. Whether it’s for my drawings, my texts or my architecture, I consider myself as a story teller. Unfortunately today, the rules and regulations are so binding that the architecte is often reduced to a facade designer. We are surrounded by so much rules that we have to deliver a profitable and pragmatic response, and can hardly fully explore the romantic dimension of this profession. It’s one of the reasons that makes me believe that the novel form is a way to explore a new type of architecture : chimeric and free from any injunctions. I’m actually questioning this idea of a relation between the architecture and the literature in my novel « Baston de regards », which will be published by Editions Parentheses.

What is your take on the velocity through which we consume images nowadays. Where does your work sit in relation to this thematic?

I think that this consumer system is integral to our lifestyle and I endeavor to adapt myself to it in order to regurgitate it in the most interessant way. Architecture is a matter of ambiguity, that’s why I think it’s essential to accept the crude concept we are inflicted to by the 21st century aesthetics because it symbolize the transcription of an History fragment we are the actors of.

About

Anthony Authié (born in 1992) is a graduate architect of ENSAP Bordeaux, France. He is currently living and working in Paris, at SRA Architectes.

In 2017 he became entitled to exercise architecture under his own name and he is now carrying out in-depth personal research as Zyva Studio. He is processing many statements by disguising images and exploring the representation’s boundaries. Using architectural material as a pretext, he questions the reminiscences of a youth spending time outdoors. Everything resurfaces. Crude language, witty absurdity, vivid poetry and Disney imaginary.

He describes himself as a maximal architect, an ornement worshipper and a lover of disavowed terms like decoration. He is seeking to popularize the architecture by replacing it in its true context : the street. People’s street, the one which is all about spontaneity and impulsivity.

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