Jean Verville composed a three piece architectural symphony, where each installation is created for distinct hosts : IN 1 - the architect, IN 2 - the arts-loving couple, and IN 3 - the maestro. When tapping into architecture’s affective nature, it is clear that the discipline is as close to the arts as it is to science. After a series of research opportunities in Japan on art house projects, the Montreal-based architect tuned his focus on the artistic experience that housing can offer.

IN 1 is a studio space built on a small budget using solely OSB panels

Firstly, were the three pieces always intended to become a trio series or were they conceived independently?
Jean Verville: The three projects were commissioned in a short timeframe. Therefore, the simultaneous approach in the conceptual design led to an intertwined thought-process and uncovered correlations in the artistic vision offered by these architectural transformations.

IN 1 is built as the architect's studio space

Can you describe each one with a few key words?
JV: IN 1 - no up or below in the architect’s mind / IN 2 – optic play and domestic illusion / IN 3 – mysterious mineral procession

What do you hope that the series will say about architectural installations?
JV: The current trend of breaking down barriers between the arts leads to the emergence of new proposals. It manifests itself as a hybrid architecture where the architectural interventions allow for a permutation of the user’s experience into an artistic experiment.

IN 2 is a cottage built on a larger budget

What comes next for you? Will there be an IN 4? What would it say?
JV: I am currently working on three residential projects at a larger scale where I continue to explore the spatial and visual experience of domesticity. Unlike the three IN projects, which were installations in existing buildings, the three upcoming ones will include more reflections on interior as well as exterior envelopes as starting points of a global artistic reflection on architecture.

The choice of materials grows bolder for IN 2 as it diversifies with lacquer, tiles, and granite

There is a mystery in your images created, in part, by the unusual figure photographed in unusual poses. What made you take this approach to the photography of your projects?
JV: I infiltrated the installation, where the presence of an allegory offers a new method of appreciating architecture, in order to convey an abstract representation of what I perceive as the conceptual design process, its participants and the ambiances generated by the space.

IN 3 is a loft built as an office and living space

Finally, what do you consider to be the similarities between the three pieces?
JV: Their strongest bond is how the three installations link art, architecture, and domesticity. The three are intimate portraits displaying and celebrating the personalities that inhabit it as well as illustrates their touching collaboration with the designer.

IN 3 contrasts concrete, golden brass and immaculate white stones