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.


        T X T

        Competition │ Paris │ France │ 2015

        with Jacques Ferrier Architecture, Terrell Ingénierie, Franck Boutté Consultants, Structure Production and Town Partners

        “Imagine the dream of rediscovered fluidity and porosity. Something built on the transformation of time, objects, bodies, and not based on permanent confrontation. On the contrary: a sense of permanence, yes: a contemporary place for bartering. A place for making ‘deals’, where knowledge is traded for lack of knowledge. Material is traded for the immaterial.
        Imagine spending time in a ‘mixer’ where, for example, you come across performances the moment you come out of work. Or before getting to work.
        Writing workshops during a lunch break, which continue in private during ‘working hours’ and finish in a group of 200 in the public space. Imagine that a poem could be used as currency. Or ten minutes of dancing.
        The spaces where we eat should be participative. 20 minutes peeling vegetables would earn you a free soup.
        We must draw inspiration from the pawn shops of old: deposit something which can be used for a short time in exchange for a small sum of money. This small sum of money can be used to acquire something else. Drop off a drill to acquire a sandwich.
        We must take inspiration from sociologist Marcel Mauss and his study on gifts and counter-gifts. I give you something and you give something in return with a slight surplus. This surplus enables me to give the next person slightly more in exchange for a little less. Etc.
        We need to imagine other economies not strictly based on the exchange of money. Watching a show and helping to clear up afterwards. Visiting an artist’s studio and making them something to eat afterwards. Inviting a philosopher, a scientist, a journalist, an athlete over and making them something to eat. Or singing for them. Food and thought go hand in hand.
        Kitchens should allow all artistic forms to permeate through them: poetry, performance, theatre, dance, art, music, cinema, revues. Breakfast, lunch, dinner.
        Art needs to be part of everyday life. Part of social life.
        We should be able to rest, take a nap, in a space where artists are working.
        We should be able to sleep in a sculptor’s workshop. Or a choreographer’s.
        We should be able.
        We should be able to do things that aren’t the done things. We should do everything that seems impossible.
        We need to open up. Open up. Open up. We now need to find another way of ‘plugging into’ the networks of life.
        And, in charge, we should have women, young people, and all the diversity of France.”
        Pascal Rambert, author, stage director, film director, choreographer and Artistic Director of Gennevilliers theatre.

        I M G
      • 7.1.3.


      • 7.1.4.


    • 7.2.


    • 7.3.


  • 8.

    The materiality of cities

  • 9.


  • 10.


  • 11.