As a young child growing up in a village in the French Alps, I remember getting home when night had already fallen. The lights from the village would gradually appear, an invitation to rejoin the warmth of my home.
This seemingly trivial memory captures for me the essence of winter : the feeling of approching the warmth of home when out on a cold night. The sight of light pillars brought back this feeling that I wish to crystallize in the installation Warmth Pillars.
The light pillars are the manifestation of the disruptive power of the household : a beacon in the distance as a promise of warmth and shelter. By combining the monumentality of this phenomenon and the intimacy of the household, Warmth Pillars seeks to capture the experience of coming home.
Light pillars are an atmospheric optical phenomenon which appears during extremely cold nights : an interaction of light with ice crystals, in which vertical bands of light appear to stream off light objects. I want to show how the natural elements such as extreme temperatures, in contact with artificial light, can provide beautiful sceneries.
THE WARMTH OF THE HOME
What better place to escape the coldness of the outside world than in the warmth of one’s own house? The winter night envelops the entire landscape and the only bright light is the one which come from the shelter, through the window. The exhibit shows how the home can reveal the beauty of winter nights, acting as a disruptive element.
My work has always been motivated by a deep-seated desire to open up new perspectives, always in line with my convictions as an architect, aware of the evolution in architectural practice and wishing to re-examine its potentialities. I don’t regard architecture as an object, but rather as an ongoing story, made up of human beings, knowledge, places and materials.To my mind, such an approach enables men’s and women’s active appropriation of reinvented programs, worn-out models rethought, materials transformed, knowledge exchanged, a recomposed constructive grammar, and projects that are laboratories.
I have a special interest in the conceptual aspects of the projects I work on, and my artistic approach has often orientated me towards their emergence, whatever scale they happen to be on. The idea behind each project is to give the site meaning by highlighting what is already omnipresent, in particular through its living components. This approach sharpens our eye and whets our appetite for sites to come in the wake of social change. The site’s poetic aspects seem to me to be indissociable from the way we interpret landscape ; they run through us and the memories we retain have a direct effect on our senses and the way we see things.
Over my five years’ experience working at international agencies (including Dominique Perrault, Shigeru Ban, AREP and Wilmotte et Associés) – years that made me the architect I am today – I wanted to develop my relationship with architectural production while exploring such new fields of action as artistic installations and landscaping. After the completion of two projects in France – one for the International Garden Festival of Chaumont sur Loire and an installation for the Cité Internationale Universitaire de Paris – my participation in the Winter Light Exhibition is very much a part of this dynamic