The scenography created occupied the two current events galleries of the Cité de l'Architecture et du Patrimoine. It was organised in two sequences. The official one, the ‘IN’ sequence, intended for itinerancy, and the ‘OFF’, which is freer, more intimate and specific to the first performance.
The ‘IN’, the itinerant sequence
We designed an exhibition highlighting a collective dimension that was in opposition to the individualism of our daily practices. We wanted to simulate the best of all worlds by imagining future exchanges between agencies: a system of interdependencies forming a chaotic and indomitable universe. The jumble of informative luminous sticks created a landscape of intertwining. The result was a gigantic game of ‘pick-up sticks’, each one corresponding to an architectural or landscape design agency. These translucent polycarbonate strips were printed with portraits and agency projects, all backlit. An inlaid digital photographic frame provided additional information, integrating projects, a world map and a sequence expressing the working environment of each of the winners. The system allowed for a variety of arrangements based on an assembly variation adapted to each location that made it possible for the exhibition to travel, giving it the opportunity to be shown in several French cities.
L’exposition sera ensuite itinérante dans 10 sites atypiques
The OFF, the ‘Désirama’ (Desirama)
On the lower floor, we created the ‘Désirama’ a territory of free expression offered to the NAJAP 2007-2008. These sensitive landscapes were projected onto floating surfaces, superimposing silhouettes on passage ways, revealing depth. Following the same rules of duration and format, the twenty NAJAP teams were invited to produce an independent visual digest, under their own artistic control, projected in a loop one after the other, using media of interest to each team. This was an opportunity for the visitor to discover the respective identities of each team. These immersions revealed discoveries, encounters, emotions and dreams, as well as a certain look at the contemporary world in which this young generation lives. In the same space-time, an autonomous soundtrack, also concocted by each agency, filled the space with personal compositions, not synchronous with the images, in the manner of Roland Barthes’ The Empire of Signs; the text did not explain the image, nor did the image illustrate the sound. An invitation to travel that is multiple and plural.
