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:
Lausanne, CH
Claire Logoz, Bastian Marzoli
Lausanne, CH
Claire Logoz, Bastian Marzoli

La vitrine laisse passer le regard, mais reste souvent imperméable aux autres sens. Les enfants collent parfois leurs deux mains sur sa surface lisse, afin d’admirer un objet de désir. Les adultes pratiquent souvent une curieuse activité, le lèche-vitrine. Mais c’est avant tout avec les yeux que la vitrine interagit.

La vitrine de THANKSSS n’est plus seulement transparente, mais aussi transperçable et transformable. En faisant passer ses mains de l’autre côté de la vitre, un·e artiste non-déclaré·e peut renouer avec un souvenir d’enfance, une passion constructive ou une créativité ignorée pour contribuer à l’élaboration collaborative de l’exposition. THANKSSS transforme ainsi les spectateur·ice·s et acteur·ice·s de l’espace public.

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