En Fr
  • 1.

    The Sensual City path

  • 2.

    The climate

  • 3.

    Built landscapes

  • 4.

    On the waterside

  • 5.

    In the sky

  • 6.

    Movement and balance

  • 7.


    The incessant activity of contemporary urban civilisation has changed our perception of the night. City nights are no longer moments of silence, rest and darkness. In movement 24 hours a day, today’s cities have no time out … This stockpiling of night time has been made possible by the development of urban street lighting, a measure that has pushed darkness back into the countryside, far from urban areas. As a result, daytime economic activities are being progressively extended and the time temps devoted to leisure increased. Some people, with good reason, believe that the urban night has lost its enchantment. Light is the indispensable auxiliary of surveillance and control systems. It reinforces the powers of the eye, already very powerful during the day, and leaves little place for the other senses. But we perceive the night in another manner, as a shaping of light. Night-light is quite different from day-light because it is not a light from a single point, that of the sun. It comes from a multitude of different sources introduced by mankind. And it is the glittering random interplay of artificial light on the city’s surfaces that give the urban night all its poetry through flashing signs and glowing neons. Nothing remains the same once night has fallen: well-known spaces (parks, roads and buildings) take on a new and sometimes strange appearance, and these transformations awaken our senses. We become aware of other sounds, other smells. The night stimulates our perceptive capacities and allows us to reinvent what is around us, to experience the city in a new way.

    • 7.1.


      • 7.1.1.

        LENS 108

      • 7.1.2.


      • 7.1.3.


        T X T

        Competition | Avignon | France | 2012

        with Jacques Ferrier Architecture

        “For a collector’s attitude toward his possessions stems from an owner’s feeling of responsibility toward his property. Thus it is, in the highest sense, the attitude of an heir, and the most distinguished trait of a collection will always be its transmissibility.” Walter Benjamin

        For us, the Lambert collection in Avignon is much more than a contemporary art museum. It is, first and foremost, a place that tells a story: the story of an encounter between one of the greatest gallery owners and collectors of contemporary art and one of France’s greatest cities. What the visitor should feel entering this museum is not only the wealth and the beauty of the 450 works it holds. They must also feel the passion of a collector. Very early on, this passion drove Yvon Lambert to discover great geniuses of contemporary art and to introduce them to a wider audience. This collection also reveals a mirror image of its author. It shares with us his choices and his vision of art.

        We believe that the great collectors are those who contribute to major cultural policies. They are those who have put their talent at the service of the common good. That is why this collection must now be understood through the lens of its donation to the city of Avignon, with its buildings steeped in history and light. The collection also tells the story of these listed buildings, their conservation and transformation. Their ability to open their doors to the present. This is the encounter that our project aims to reveal, making this space one of the most important contemporary art museums in the region, just as the Fondation Maeght Pour l’Art Moderne or the Fondation Beyeler in Switzerland have been.

        In terms of the programme, a contemporary art museum raises the issue of the status of not only the artworks but also the space they inhabit. It must be able to showcase works in a wide variety of media, all needing to be displayed and conserved in very different ways. We believe that gallery spaces should be at the service of the artworks. So, we have designed the galleries as ‘exhibition machines’. The 2,600 m2 of exhibition space, spread over three levels, is made up of flexible spaces – open or partitioned depending on the nature of the works. This organization of the space will create an architectural promenade, guiding visitors through a range of atmospheres and moments. Write a few words about the construction of these flexible spaces.

        I M G
      • 7.1.4.


    • 7.2.


    • 7.3.


  • 8.

    The materiality of cities

  • 9.


  • 10.


  • 11.