is born (and stuck) in 1994, Arch. Dipl. EPFL (2021).

Navigates between art, architecture, illustration, furniture and web design. Tries to be imaginative no matter the field.

Develops "Moratorium." as a personal approach since 2017, researching ways to conceive an architecture that solely develops within existing buildings.

Hands-on, always happy to leave the screen and hop into modification work.

Collects swatches and dvds, amongst other objects considered as obsolete today.


is born in 1995, Arch. Dipl. EPFL (2021).

Deeply invested in the social and theoretical aspects of architecture, always trying to materialize theories into meticulous models and drawings to bridge the gap between physical and mental production.

Especially interested in the way space constructs gender and identities.

Fascinated by Swiss post-modern design and mineral patterns.
Collector of shiny raincoats and other weird things like PEZ distributors and Harry Potter Legos.

Is educated in architecture, but active in all creative fields.
Uses what's already there, before adding what's needed.
Believes in powerful, yet modest gestures.
Prefers to modify, rather than to create.
Researches architecture's constructions.
Deconstructs norms and behaviors.
Narrates unforeseen stories.
Avoids aseptic genericity.
Interprets pop culture.
Works seriously with fun, and is funnily serious.
Prefers to imaginatively fail, rather than to boringly succeed.
Has an e-mail adress:
Is on instagram:
Is also a design gallery:
Pavillon Sicli, Geneva
Bastian Marzoli
Maison de l'Architecture

AQUA was an exhibition showcasing works of the permanent collection of the François Schneider Foundation, as well as the second phase of Bref Alignement.

Bref Alignement is a 59km long performance that took place in the Swiss landscape on May 2nd, 2021, when 280 boats carefully aligned to materialize the invisible administrative Franco-Swiss border, strangely located in the center of Lake Geneva.

The second phase, inside the Sicli Pavilion, consisted of a re-enactment of the performance at a 1:2000 scale. The lake's silhouette was drawn on the concrete floor, and visitors were given a small sticker upon entrance, that they were free to place wherever they thought the border was situated.

Like the navigators confronted with the placement of their ships on this invisible line, the visitors engaged in a work of location, exploration, and translation of scale. The scale was precisely one of the primordial elements of the performance, a sail used in the way of a ready-made was there to trigger a reflection about it, by creating a direct relation to the body.

It allowed the visitors to project themselves in the extent of the performance realized by the sailors. These two moments worked in symbiosis and questioned the material representation of a concept with unfathomable dimensions.

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