Maxime Prananto runs an artistic design and production practice. It intervenes in the domain of architecture and infiltrates art spaces. The practice consists of public and private commissions as well as autonomous work. It sometimes functions as a production studio for other artists and makers.
The practice deals with the simultaneous conception and production of objects, scenography, furniture, exhibitions and sculpture. While its output is varied, each undertaking relies on a voluntary set of conceptual and physical boundaries. This practice attempts to reserve a substantial portion of its efforts for theory and reflection.
Underlying themes of the practice include manufacturing, logistics and iconography in the built environment. The attempt within the practice is for work to materialize intelligently within certain circumstances and references without the result of a self-intelligent work. In this sense, the aim is to be neutral and to propose a matter-of-factness about the conditions in which work is being made. Nevertheless, all interventions reflect a sensitivity to the beauty of constraints and gather meaning throughout the entirety of their process.
This practice is linked to several courses and studios in architecture and interior architecture at the University of Leuven.
Flemish Architecture Institute - Arst Centre DE SINGEL
Commissioned by Vai and DE SINGEL
Design and full execution
Stainless steel, galvanized steel
Due to rapidly increasing energy and running costs the arts centre's exhibition programme had come under severe pressure during 2022, meaning two possible strategies presented themselves. Either less programming would be allowed overall, leaving the exhibition hall in intermittent periods of non-use or the available space ought to be used more efficiently and facilitate a double schedule. As the main user of that space, the Flemish Architecture Institute proposed to explore the second option in close collaboration with the arts centre. A commission was given to propose a scenographic structure which allows for multiple exhibitions to be held in the same space. The ambition lies in a multitude of options for spatial configurations, maximum re-usability and display options.
The project first defines a base structure. This singular frame, built from stainless steel rectangular tubes, remains compatible with standardized materials and logistical systems, while being highly specific in its internal form. The frame uses deliberate asymmetries to achieve higher stiffness and lower weight. Each frame provides extensive connection patterns for shelving, grids, flat and angled surfaces and display cases. Those additional display elements are produced according to the needs of new users. Both the add-ons as well as the base frames are designed to be easily reproduced, expanded upon, repaired and broken down into recuperable elements with no cross contaminated base materials. The project does not use a single welded connection.
Multiple base frames can be joined, both shoulder to shoulder and in corners to divide the exhibition space or even enclose a small niche. The frames can be used with a basic steel facade or remain naked. This leaves plenty of possibilities for future scenographers and technical crews to create the exhibition space as needed.
While the project is ultimately born from a necessity to cut costs, it managed to provide an opportunity to properly equip both the institution and more crucially its exhibition makers to think ahead. In its eventual form, the modular structure expresses a nuanced neutrality, meaning it plays with conventions of standardization and flexibility while refusing to adopt a generic form. A proper scenography is not meant to be bland nor autonomous, but holds a delicate balance between specificity and serviceability.