The Flon hasn`t had an easy trajectory; after arousing fear and disgust, carrying diseases, it was finally covered over. A former sculptor of the city, the Flon has partly shaped the spaces in which we live today: squares, new districts… giving it a new vitality, winding beneath our feet. The alchemy here embraces water in its entire movement, and set to the rhythm of these 12 plates, all linked by this winding blue path, an underground narrative can emerge in the form of regeneration, so that we never forget what precedes us and builds us.

Our ideal street

During the summer of 2023, Ville en tête occupied shop windows in the center of Lausanne. Passers-by were invited to “try their hand” at the art of building, and to work with Ville en tête to create the street of their dreams in miniature!

Three windows, three visions: all ages were welcome to take part in this workshop.

The program included building collage and coloring, soil management, planting and landscaping.

Emma writes: “From the intimate notebooks I’ve kept since I was 15, to the photos I’ve snapped of the fantastic people in my life, from the support I’ve given to great collective projects to the hundred or so cinema tickets I’ve collected, from the books that have made my heart grow fonder with their wonderful stories to the gourd that has seen many stars in my company… These are the sparkling memories that I treasure.
In this retrospective, I’ll take you on a journey of discovery through my wanderings”.

The window lets the eye in, but is often impervious to the other senses. Children sometimes stick both hands on its smooth surface, to admire an object of desire. Adults often engage in the curious activity of window shopping. But it is above all with the eyes that the window interacts.

The THANKSSS window is not only transparent, but also pierceable and transformable. By placing their hands on the other side of the glass, an undeclared artist can reconnect with a childhood memory, a constructive passion or an ignored creativity, and contribute to the collaborative development of the exhibition. In this way, THANKSSS transforms spectators and actors in the public space.

She proposes, at Vitrines du Petit-St-Jean, to create a group exhibition. Everyone is welcome∙e to come and draw, together on long drawing rolls. The result of this collective work will then be exhibited in the vitrines.

Humans of Lausanne is a photo project by Arthur Schaefer, which aims to meet strangers in the streets of Lausanne and initiate an exchange.

anthropie is a writing collective that gives other material existences to the texts published on its site. The data installation is a plastic adaptation of an extract from Extinction Piscine.

An exhibition by ceramists Nathalie Baumeler and Marie-Prune Reymond Yoshikawa, from the Les pieds dans le plat workshop.

The pieces created by the two artists followed the theme of the color blue, exploring different modeling and firing techniques.

A series of collages of different sizes, combining photography and painting. In the course of the creative process, these collages responded to a text in gestation and became a series. Some of them are published at the end of the book in Eva s’entête, a story published in 2014 by Editions G d’Encre.

It’s the story of Eva, a woman exiled on the shores of Lake Geneva who lost her memory after a food accident. In search of memories, she gathers snippets of images, snippets of stories, in collages also composed of disparate elements.

You’re an alien living in a galaxy far, far away. You’re on your way to the exhibition “L’art de vivre humanoïde” organized by the Musée d’ethnographie des civilisations passées at the Centre des Exoplanètes.

You’re given access to a wealth of information about this strange biped called “human” and its habits in the 21st century – an era characterized by the industrial, capitalist and digital boom.

What did this species spend its days doing? How did they inhabit their spaces? How did they interact with other members of their environment, as well as with non-humans?

The data is collected with the utmost accuracy by our scientific research communities.

The office’s 2019 Christmas card was produced in the form of a poster printed in risography, depicting the bridges over the Paudèze, whose modernization work had just been completed. In fact, after 7 years of project work and 3 years of work carried out under traffic, the roadways were released at the end of 2019. The most visible work involved reinforcing the deck with inclined UHPC crutches, as if cut from a veil, to give rhythm and modernity to the image of the structures.

Risography printing, a semi-artisanal process that superimposes layers of color, ensures that each piece is unique.

photo & design © INGPHI
risography © mme pastèque

Kupferschmid creates installations of sculptural objects. Made of metal, stone and wood, these pieces of industrial material are meticulously transformed to change their status. These objects move between relics of the past and relics of the future, with words, signs and symbols sometimes written on their surfaces, like an erased, almost forgotten language. The contrast between day and night is their aesthetic.

Remnants of an era of incredible optimism and determination to use architecture as a means of transforming society, Brutalism had its genesis during the reconstruction and reconfiguration of cities damaged in the Second World War. However, its downfall in the 1970s was as sudden as it was complete. Grégoire Dorthe wanted to capture the graphic quality and raw delicacy that defined these imposing masses before it was too late.

We walk. We fly. We swim. We discover a jungle. Assorted geometries and variants. Architecture without function. The reader and author stumble over their meaning. Turn around. They’re alive. A foreign continent within oneself. Levitating fruit, sliding stones, fire and water. By dint of peregrinations, an inventory emerges. There’s the danger of falling into a dark well; of being slightly blinded by the changing light. This universe is mute. Its elements are inhabited. Their force extends in a muted, evolving way.

With LED, Erri de Bello questions the social bond developed by the Internet as a medium for new communication practices. The social bond is altered by exogenous tools that radically modify its codes. Notions of gaze, contact, temporality, place, uniqueness and space-time have been turned upside down. New rules of communication and sharing are established. The relationship between individuals is profoundly transformed.

For an entire afternoon, Adrien Chevalley invited passers-by, friends and the curious to create sculptures. Neither a course nor a workshop, the idea was to let everyone express their ideas through modelling. At the end of the day, the sculptures were brought together and displayed in the showcases. In this way, a common work of art was created over the course of an afternoon, according to the whims of the participants.

Hélia Aluai’s drawings revolve around an eccentric, imaginary baroque universe of black and white. It’s populated by solitary female figures, emerging from the darkness to gaze out at the world. They stare at us with a neutral expression, but sometimes observe the world (of which they will never be a part) with a critical expression.

The “when I grow up, I’ll be an engineer” exhibition is a follow-up to the 2017 Dare to Do All the Jobs Day (jom). The aim of this day is to enable people to discover a profession outside the clichés, without limiting themselves to traditionally feminine or masculine sectors. The engineering workshop was organized by the INGPHI office, which joined forces with the femme et sia network.

2LEUZE is a project involving the accumulation and collection of objects. At the outset, it was pure material chance that led to a personal association with the dolphin. From this fortuitous association, a work of accumulation, collection and exploration of various objects or images representing one or more dolphins developed.

The artist questions the interaction between space and light, and observes the contradictory feelings that these two elements inspire in us. By photographing trees at night, lit only by street lamps, she observes the lit and unlit space that surrounds the photographed tree. The tree is a tool, like a buoy for the viewer: moving in and out of the shadows, it is the only object that can help identify the space present.