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:
Catalogue non exhaustif d'altérations performatives
Lausanne / CH
Claire Logoz

Catalogue non exhaustif d'altérations performatives is a research for a less (hetero)normative and more inclusive domestic space focusing on the typical Lausanne typology of the urban villa. The project disrupts this normative typology with a series of performative alterations.

These alterations propose an architecture rich in literary and constructed references. They aim to include different actors, different families, different sexualities, different ways of living. They seek to include domesticity in public space, and public space in domesticity, by blurring boundaries. They seek to include the city, to include the context.

The alterations borrow the language of the site in construction, or rather, in de-construction. Walls, slabs and facades are pierced in Matta-Clarkian gestures. The normative domestic space is disrupted and deconstructed, while new choreographies emerge.The domestic space, a site of constructions, is now also in transformation. The vocabulary of the stage and backstage, with its curtains and metal structures, is also used, presenting the performativity of the interventions as intentional.

The alterations induce behaviors and choreographies, but also agency. They constitute a new subversive language. Like words, they function and make sense on their own, but can also be superimposed to create an alternative poetry.

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