I. A light volume of metal panels supported by thin columns rises in the middle of a dense forest facing the sea, allowing large pine trees to pass through the structure and continue to grow, in an unusual inversion of the image of the cabin suspended from a tree.
II. A huge public building built in the 1930s is emptied inside, revealing a raw and naked space, as if it were a North African square where human action becomes the protagonist.
III. An anodyne tower from the 1960s on the outskirts of a large city is completely surrounded by balconies and glazed galleries, while its inhabitants watch in surprise, without moving from their place, how their dimmed house is unexpectedly transformed into a wider, more luminous space that looks out to the urban landscape.
IV. A zigzagging ramp unfolds and ascends from the street towards several wide concrete platforms, configuring an uncertain piece of urban infrastructure in continuous transformation under the joint initiative of the students, professors, and visitors who occupy it.
These narrative syntheses, with references to unexpected, even abnormal situations, which could resemble the start of a film plot, are actually personal impressions of four architectural works designed and built by Anne Lacaton and Jean-Philippe Vassal, architects who at some point commented on their aspiration to make a project like a film, outlining a script whose final montage could end up being different from the one initially planned... [+]