Drawing on the tradition of communal dining, the “Line” dinner transforms the Île de la Cité with a 3.14 km-long continuous table. On the night of 14 July, 1,800 guests will gather side by side to break bread and forge new connections. Along the line, parks, forecourts, public squares, and bridges shift into bespoke atmospheres from cosy, intimate settings to larger communal tables.
Avoir.ig
Today, the office is no longer merely a piece of furniture or a fixed location. It has become a condition, a projection space and a mental structure as much as a physical one. We work everywhere and with anything: at home, in transit, on a table, a screen or a repurposed object. Our exhibition concept stems from this reciprocal contamination: anything can become an office, and the office, in turn, becomes a world unto itself.
Victorine Le Roy · Elise Phuong · Tristan Rittimann · Marie Capitaine · Manolo Costa
The rave is a temporary autonomous zone, a site of political suspension within the grid of the metropolis. SIG. is conceived as an architectural response to this imperative. Here, the dancer, the modern heir to Homo sapiens, returns to the zero-degree of expression. The architecture strips away all cultural signifiers to create a mute substrate, a blank surface for the inscription of movement. It is a space of radical withdrawal, allowing the ephemeral trace of the body to become the only law.
Juliette Jung-Lorain
The exhibition questions how scenography, like Paul Poiret in his time, can return to essentials. Freeing form to rediscover the precision of the gesture. A central element structures the journey: tension, restraint, then opening. Geometric rigour becomes a tool of perception; the rectangle, a founding principle, organises the space and reveals the works in their purest form.
Ariane Mazières
In 2100, architecture can no longer operate through impermeability; it becomes a porous interface. The modern matrix has failed by creating boundaries disconnected from this continuity; it now acts as an incubator of toxicity through the thermal outgassing of synthetic polymers.
A conflict of desires: the biological imperative for solar exposure versus the social imperative for withdrawal. The modern dwelling, in its pursuit of «transparency,» frequently collapses into a condition of total exposure a domestic panopticon where the inhabitant is consumed by the gaze of the exterior. The project investigates two distinct typological strategies to negotiate this friction between the photon (light) and the optic (sight).
Sigurd Larsen
Fashion represents the shortest metabolic cadence of the environment. In the fashion system, birth, death, and rebirth are not distant stages.
The high-altitude condition is not defined by beauty, but by the indifference of physics. It is a zone of high-velocity thermodynamics where the human body is a thermal anomaly and the landscape is a system of kinetic potential.
Every received photon is a metabolic signal that triggers or inhibits hormonal production. The contemporary condition is defined by endocrine desynchronization. Constant exposure to synthetic spectra saturates the cortex and disrupts the circadian clock.
The platform is an absolute reference plane allowing the human organism to extract itself from the chaos of the ground. Established at a precise elevation, the platform does not merely support; it reveals. It becomes the geometric index of the lagoon.
Paul Morin
Hegelian aesthetics rely on a categorical error: the classification of music as a superior, transcendental art form, while architecture is relegated to an inferior status due to its dependence on gravity and opacity. Contemporary physics and biology render this dualism obsolete. Sound is not a spiritual abstraction; it is a physical extrusion of matter.
The concept of the «standard user» is a statistical fiction. Neurodivergence manifesting in approximately twenty percent of the demographic—is not a pathology to be corrected, but a distinct biological modality of processing reality. The traditional educational environment, designed for the neurotypical median, functions as a sensory antagonist. It imposes a rigid norm on a divergent population. The project redefines the school as a mechanism of cognitive regulation.
Rue du Faubourg Saint-Denis is a high-pressure artery, a mineral canyon where density has reached a critical saturation point. With the ground exhausted, architecture must operate a vertical translation to discover the only remaining deposit: the fifth façade.
Chloé Abbou
The intervention abandons furniture to construct a symbolic monolith. The thickness of the block is not merely a geometric value; it is an anchoring strategy. By fusing the table and the seats into a single, continuous mass, the architecture materializes the unity of the human group.
Mathis Rattanavong
The human organism does not perceive cultural categories; it reacts to gradients of physical stimuli. The distinction between the space of contemplation (art) and the space of catharsis (party) is not a question of form. The project deploys a single material syntax functioning as a physiological processor. The architecture remains static, but its metabolic calibration shifts according to two entropy regimes: Regime A: cognitive stasis (art / museum) Regime B: neural entrainment (party / club)
Sigurd Larsen
Architecture is historically defined as a shelter, a thermal device aimed at maintaining a differential between interior and exterior. However, this model relies on the stability of climate systems. In the condition of 2050, where global thermal inertia is broken, the typology of the dwelling becomes a tectonic obsolescence. The project operates as a critical fiction.