Maximilian Jencquel
Born in Venezuela in 1978, Maximilian Jencquel founded Studio Jencquel in Indonesia in 2010 to pursue his passion for vernacular architecture and tropical landscapes inspired by his childhood in Venezuela.
In order to maintain a sense of harmony between the physical and social elements of the world around them, Studio Jencquel makes a deep personal journey through each part of the creative process by drawing on the principles of slow design.
- Architect: Studio Jencquel
- Photos: Tommaso Riva Robert Rieger Iker Zuñiga / Pempki
As a judge of the "Nature" theme of YIN 2023, what do you think is the positive significance of the discussion on "nature" in contemporary design?
My personal understanding of the word “Nature” reflects a holistic view that sees humans as an integral part of the natural world, rather than being separate from it. This notion challenges the traditional dichotomy between humans and nature, suggesting a more interconnected relationship where anything and everything designed by humans is intrinsically always part of nature. The importance of discussing nature in contemporary design is of an utmost relevance because it raises a fundamental existential question: Are we humans part of Nature or are we a separate category?
By acknowledging that everything humans create is inherently part of nature, contemporary design can strive for a more harmonious integration of human-made creations with the broader natural world. This perspective has implications for various fields of design, such as architecture, urban planning, product design, and sustainable practices.
Engaging in conversation about nature in the context of design can provide opportunities to explore innovative solutions that prioritize sustainability, ecological well-being, and the preservation of natural resources. It encourages designers to consider the broader environmental impact of their creations, promoting responsible and mindful practices.
Integration with context of the site and the use of local materials have always been your design concepts, when was it formed and what factors led to its gradual development?
I grew up in Venezuela where I spent much of my youth outdoors. I developed a belief that engaging with the natural environment fosters a deep connection to the physical space surrounding me. Not dissimilar to setting up a tent on a campsite, analyzing a site for one of my projects, requires considerations for safety, weather patterns, orientation, and accessibility, all which are crucial factors that can influence my decisions.
By being immersed in outdoor experiences and engaging with nature, I developed an appreciation for the natural elements and their impact on our daily lives. The firsthand understanding of the environment strongly influenced my perspective on design and the importance of considering the natural surroundings in the built environment.
From the previous single interior design to the current integrated design of interior and architecture, how does the relationship between different volumes and scales as well as the collaboration between disciplines re-conceptualize your project practice?
I’m an interior designer by education, so entering the discipline of architecture sideways in a later stage of my life has given me a unique perspective that combines both fields. Collaborating with well-known architects during my time as an interior designer has likely enriched my understanding of the profession and offered valuable insights.
It’s interesting to note that the volumes and scale of projects have not significantly changed for me, even with the shift from interior design to architecture. This can be attributed to the fact that the projects remain within the field of hospitality design and are mainly residential. This continuity suggests that my focus on creating functional and aesthetically pleasing spaces remains unchanged, regardless of whether my involvement is primarily in the interior or the overall architectural design.
I believe that my tendency to conceive designs from the inside towards the outside, influenced by my background as an interior designer, adds a valuable and unique perspective to my architectural approach. Considering the interior experience as a priority can lead to thoughtful spatial arrangements that enhance the usability and comfort of a building. This emphasis on the user’s perspective and the human experience within the built environment can greatly contribute to creating engaging and meaningful spaces.
Furthermore the amount of time spent inside inhabiting a space versus outside contemplating it is something that I would like to consider. As humans, we do spend a significant portion of our lives indoors, whether it be in our homes, workplaces, or public spaces. Designing interiors that cater to the needs and well-being of occupants is therefore crucial.
In your design works, nature and art are integrated, how do you understand this ambiguity between the two?
I’m not certain that I see ambiguity between art and nature. I consider art as a creation of humans and view humans as an integral part of nature, herewith suggesting that art is inherently connected to and part of nature itself. From this viewpoint, one could argue that art is nature, and nature is art.
This perspective aligns with a holistic understanding of the natural world, where human creations, including art, are not seen as separate from the broader natural environment. Instead, they are recognized as products of human creativity and innovation within the larger context of the natural world.
This concept challenges the traditional separation between art as a human endeavor and nature as an external environment. It implies that the creativity and expression found in art are deeply rooted in the same natural processes that shape the world around us.
In this view, art can be seen as a form of human engagement and expression within the broader ecosystem of nature. Artists may draw inspiration from the natural world, using its elements, patterns, and aesthetics to create their works. By doing so, they can reflect and reinterpret the beauty and complexity of nature through their creative expressions.
Moreover, this perspective blurs the boundaries between what is conventionally considered “art” and what is perceived as “nature”. It emphasizes the interconnectedness and interdependence of all things, suggesting that art does not exist outside of nature, but rather exists as a manifestation of nature’s diverse expressions.
Collaborating with a diverse range of clients, how do you fulfill their needs while maintaining creativity and uniqueness?
My client’s needs are my creativity!
The distinctive chemistry that emerges from my interactions with my clients makes each project unique and offers an opportunity for creative adaptation. I consider that adapting my approach to accommodate the diverse personalities and requirements of my clients is one of the skills required to successfully do my job. It is crucial that I understand their vision, goals, and preferences, hence allowing me to tailor my creative solutions specifically to their needs. This flexibility in adapting to different client dynamics fosters effective communication, trust, and collaboration throughout the design process.
By recognizing that each client has distinct requirements, I create a space for innovation and exploration. My capacity to embrace varying perspectives and integrate them into my design approach contribute to the development of unique and personalized solutions for each project. This adaptability helps ensure that the final outcome aligns with my client’s vision, while incorporating my creative expertise.
Additionally, engaging in a collaborative and client-centric design process can lead to new insights and fresh ideas that might not have emerged with a rigid or predetermined approach. The exchange of ideas and the dynamic interaction between me and my clients can spark innovative solutions that cater to their specific needs, while pushing the boundaries of my creativity.
