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 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
Fashion represents the shortest metabolic cadence of the environment. In the fashion system, birth, death, and rebirth are not distant stages.
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 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.