Could you give us a brief overview on yourself; your tools; and your journey so far into architecture, both practically and artistically?

Of course. I am an architectural intern currently working as a designer for a midsized firm in Vancouver Canada. Originally from the Canadian prairies, I completed both my undergraduate and graduate degrees in architecture from the University of Manitoba.

My journey into architecture really began with the abrupt and unexpected decision to pursue my undergrad. It shocked a number of people in my life, as I never showed interest in the subject prior.

Unexpectedly, I did well in school and found myself passionate and in love with the philosophical nuances of the subject. A happy accident that changed the course of my life.

What role does drawing play in your creative process, and how do you envision this evolving into other mediums like sculpture?

Drawing for me is a critical pursuit of the unknown. When I draw, I generally begin with an inquiry that has no solution, the seed that allows germination to begin. I then find myself exploring the relationships between things, ideas, objects in order to exorcise a work of architecture into being.

Naturally, I do think the way I find myself  working through drawing as directly translatable to the sculptural process. The struggle for me is when I draw, I draw for myself as a means to better understand what my relationship to architecture and to space is, leaving me to question, who is my audience? By moving to physical or spatial mediums like sculpture at a small scale or architecture at a larger scale, the work becomes less about myself and forces me to decide who else is this work for.

You previously mentioned the potential of revisiting your ideas in model medium. Could you explain what you imagine this transition would entail?

Furthering upon my response to the transition to physical mediums, I do believe that the architectural model is a natural extension of the drawing, and in fact is a method of drawing an idea into existence. Pivotal to my own work, which as it stands primarily exists only on the page or screen, moving to modeling would allow for a new level of understanding. To use some metaphysical terms, through the performance of 2D drawing, you can see the entire world that is constructed, all its rules and parameters. Modeling is the manifestation of those concepts but now in our physical world, which we have a limited understanding. You no longer are in complete control, which poses a new set of questions and inquiry.

Do you think that the line between architecture and art is blurred in your work? If so, how do you interface with this intersection?

I ask myself this almost every day. Am I an artist, or am I an architect? As an intern pursuing professional licensure I am caught within the complex relationship between the two. In the practical sense the difference can be summarized with whom the project is for. A lot of architecture is a result of the bureaucratic process where an architect finds themself checking a client's boxes and providing a service for the benefit of another. Whereas art is about creating something emotionally powerful. Despite this, for myself I want to define architecture as an extension of natural philosophy, in which architecture is a practice that allows us to explore our existence.

Based on this, with certainty I can say that not all architecture is art, but all art is architecture.

Are there philosophical frameworks or theories that influence your approach to architecture?

Oh yes, if I have not made that obvious by now. I find myself constantly dipping in and out of existential crises, which is evident in all my work. In grad school, I was heavily influenced by Martin Heidegger and how we define machines (technology) in relation to Corbusier’s famous quote “Machines for Living”. I proposed that architecture by their definitions is in fact a living thing. This resonates with me today and heavily influences the way I see and interact with buildings and places. Tandem to this, Siegfried Gideion is hugely influential.

I do wish I read more philosophy, and in practice would love to implement it more within my own work. More recently, I am becoming slightly obsessed with Aristotle and Natural Philosophy. My next body of work will likely pursue topics related to our physical existence which interestingly (to me) ties into both Philosophy and Physics, which predates modern science. Much like Natural Philosophy, Architecture exists at the intersection of philosophy and science (engineering). Down the rabbit hole I go.

Do you draw inspiration from any particular architectural movements or artistic styles that are unconventional in the field of architecture?

Perhaps unconventional within today's contemporary practice, I do find myself continually drawn to the sublime and characteristics of the Romantic Movement. Within my practice, I keep a daily sketchbook for thoughts and ideas, often paired with quotes that resonate [with me]. One I continually ensure to rewrite and refer back to is the 3 characteristics required to achieve romantic perfection, Beauty, Horror, and Immensity. Which now have inevitably become the criteria for which I practice.

What challenges do you encounter in your work?

My first thought would be conventional practice and the definition of architecture. My passion lies within unrealized paper architecture, although this is the road less travelled and success is difficult to measure if at all achievable. Some would even argue that if you don’t build buildings, you cannot call yourself an architect.  A part of me would love to go the safe route and join the leagues of bureaucratic architects, but internally I know that I will only find fulfillment in defining what architecture is, for myself

How do you perceive the spatial dynamics in your works? What is the message you’d like to send?

I think this might be the most difficult question for me to answer. A lot of my work is less about defining spaces, and more about telling stories with buildings. Spatially, I think what this means is, I’d like people to question their relationship to space and to buildings, and try to understand the nuances of buildings over time. How they are life forms that co-exist and define how we live our lives. For good and for bad. Buildings themselves are in fact complex organisms that by definition may be considered alive, therefore how we should listen to what they have to say?

To make a weird analogy, think of when someone much older than yourself shares a story from their own life. In turn, this allows for introspection and growth within the listener. As a result, we see growth amongst the community. Somewhere amongst there I would like architectural spaces to live.

Do you see any practical applications for your experimental work, or is the objective more exploratory in nature?

This depends on how you define practicality,  I think the inquiry and questions that I pursue can easily be applied to any design scenario as a type of manifesto or set of ideals that inform a real design proposal. Further to that, I do have an interest in industrial design and would love to encapsulate moments from theoretical projects as objects. Light fixtures particularly I find to be powerful motifs that can be imbued with symbolism.

Any other artists in this space you’re inspired by, right now?

My absolute favorites that continue to practice are Bryan Cantley and Perry Kulper, Nat Chard and Bea Martin. Who in themselves are driving an experimental architectural movement based in inquiry and theory that profoundly resonates with me. I also have to mention Lebbeus Woods, his writing specifically influences me daily and shaped my definition of architecture more than anyone/anything else.

That's amazing, thanks for the chat today!

Be sure to check out https://conneryfriesen.com/