Interactivity is at the heart of the installation, as it invites wanderers to get lost in the maze and play. Mirrors and elaborate light patterns will increase the immersive experience and contribute to a sense of journeying down the rabbit hole. The very life of the installation depends on interactivity, asking citizens, artists and camps to participate in the project by consigning their containers, providing in turn a sense of inclusivity, at the heart of Burning Man’s ethos, and ownership.

Daedalus is decommodified art at its core: ephemeral, like BM, it cannot be sold. On Labors Day, its modular components cease to exist as an artwork, becoming again a utilitarian, working-class object: the shipping container, one of the most abundant and iconic items of BRC's landscape. The installation itself depends on participation and collectiveness, and will produce little-to-no discard. By repurposing containers already on playa, it will avoid transport from/to the deposit, decreasing traffic and CO2 emissions.

The maze epitomizes the necessity of losing oneself to discover one's true identity. While immediately recalling Carroll's famous episode in the visitor's mind, the installation links this widely known rendition of the maze to its Greek mythological roots—the Labyrinth of Daedalus. Inside, 4 communal areas recreate 4 chapters of the myth, each merged with an episode in Alice’s journey.

The visitor is required to let go of certainties, lose themselves, and find the way out through exploration and creativity, metaphors of learning and growth. In T.S. Elliot’s words: “We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” 

The escape routes symbolically align with those of the sole survivors of Crete’s labyrinth: Theseus, tracing Ariadne’s Thread as a metaphor of love, and Daedalus, who, with his son Icarus, took flight (symbolized by ladders at the maze's core) leaving behind the past and its demons.

Martini Design Co. is a collective of designers with experience in building stages for multidisciplinary art events in remote locations, coordinating the construction of large-scale installations, and designing some of the world's most iconic buildings. 

Martini Design Co. is bringing Daedalus to Burning Man 2024. Massive-scale maze made of shipping containers, coated in a mirror film in/outside to evoke a sense of perdition and infinity, and amplify the neon lighting. It is the ultimate symbol of exploration and curiosity, the need to get lost to find oneself, referencing Lewis Carroll and Greek mythology.

The installation will span 190 x 190 feet (~ 58 x 58 meters). There will be 2 entries, and 2 internal & 2 external ladders to climb on the containers. To avoid damage, the roof will be covered in wooden planks and coated in artificial grass. Inner and outer walls will be coated with a mirror film: from the outside, it will look like an infinite extension of the playa, from inside it will contribute to the immersive experience. 4 communal areas will have different themes and feels. An “Ariadne Thread” rope will help confused Black Rock Citizens find their way out. At night, neon lights will display coordinated patterns, amplified by the reflective surfaces. 

Containers will be sourced in coordination with the owners (camps, honoraria artists) and with Brad Peik (or the Org?), who will transport them. Strict planning will optimize the layout and drop-off/pick-up dates.

Interactivity is at the heart of the installation, as it invites wanderers to get lost in the maze and play. Mirrors and elaborate light patterns will increase the immersive experience and contribute to a sense of journeying down the rabbit hole. The very life of the installation depends on interactivity, asking citizens, artists and camps to participate in the project by consigning their containers, providing in turn a sense of inclusivity, at the heart of Burning Man’s ethos, and ownership.

Daedalus is decommodified art at its core: ephemeral, like BM, it cannot be sold. On Labors Day, its modular components cease to exist as an artwork, becoming again a utilitarian, working-class object: the shipping container, one of the most abundant and iconic items of BRC's landscape. The installation itself depends on participation and collectiveness, and will produce little-to-no discard. By repurposing containers already on playa, it will avoid transport from/to the deposit, decreasing traffic and CO2 emissions.

The maze epitomizes the necessity of losing oneself to discover one's true identity. While immediately recalling Carroll's famous episode in the visitor's mind, the installation links this widely known rendition of the maze to its Greek mythological roots—the Labyrinth of Daedalus. Inside, 4 communal areas recreate 4 chapters of the myth, each merged with an episode in Alice’s journey.

The visitor is required to let go of certainties, lose themselves, and find the way out through exploration and creativity, metaphors of learning and growth. In T.S. Elliot’s words: “We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” 

The escape routes symbolically align with those of the sole survivors of Crete’s labyrinth: Theseus, tracing Ariadne’s Thread as a metaphor of love, and Daedalus, who, with his son Icarus, took flight (symbolized by ladders at the maze's core) leaving behind the past and its demons.

Martini Design Co. is a collective of designers with experience in building stages for multidisciplinary art events in remote locations, coordinating the construction of large scale installations, and designing some of the world's most iconic buildings.