La Mécanique de Noël is a 20-meter interactive installation designed by Hellène Gaulier and Gwénolé Gasnier of Agence GG for the refectory of Fontevraud Abbey, in France. Conceived as a large communal table, the project explores the sensory and mechanical dimensions of festive gatherings through an assemblage of interactive devices, blown glass elements, lighting, sound, and scent.

The installation draws reference from both lived and imagined Christmas meals, translating familiar rituals into a spatial and mechanical composition. Rather than focusing solely on food, the table incorporates the broader environment of a festive dinner, including decoration, movement, sound, and atmosphere. A series of mechanical systems animates glass objects, triggers light sequences, and releases scents, creating a layered sensory experience distributed along the length of the table.

Visitors are invited to engage directly with the installation through buttons, levers, and handles embedded within the structure. These controls activate different elements of the table, producing variations in sound, light, and motion. The interaction introduces unpredictability, allowing the environment to shift continuously as multiple participants contribute to the sequence of events. The installation thus operates as a collective mechanism, shaped in real time by visitor participation.

blow a name into the microphone to light a candle | all images courtesy of Agence GG

Blown Glass and Mechanics adorn the festive table by Agence GG

Set within the historic context of Fontevraud Abbey, the project establishes a dialogue between contemporary mechanical design and the architectural setting of the refectory. References to traditional winter imagery, such as fireplaces, festive lighting, and ceremonial table settings, are abstracted into mechanical and sensory cues rather than literal scenography. Blown glass components play a central role, functioning as both decorative and interactive elements within the system.

Developed by Hellène Gaulier and Gwénolé Gasnier of Studio Agence GG in collaboration with the Abbey of Fontevraud and the CIAV of Meisenthal, the project is the result of a year-long process involving partners across several regions of France. By combining mechanics, glassmaking, and interactive design, La Mécanique de Noël constructs an immersive environment that examines collective rituals through participation, material experimentation, and controlled sensory complexity.

overview of the 20-meter table in the heart of the refectory of the Royal Abbey of Fontevraud

blown glass Snowstorm to be operated with cranks

grilled chicken odor diffusion device

crane for micro glass fly feast

blown glass Snowstorm to be operated with cranks

sand lock carafe, making life gluttonous

machine to toast glasses

take a seat to put on the suit

Hellène Gaulier and Gwénolé Gasnier of Agence GG with La Mécanique de Noël Christmas table

project info:

name: La Mécanique de Noël – Interactive Christmas Table
designer: Agence GG | @agencegg
lead designers: Hellène Gaulier & Gwénolé Gasnier

location: Fontevraud-l’Abbaye, France

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Chaume Sublimé is an ephemeral installation by COAT – conditions atmosphériques d’espaces, created for the Festival des Architectures Vives 2025 in Montpellier, France. The project investigates the spatial and sensory potential of reed grass, using the material to form an atmosphere-driven architectural intervention that examines craftsmanship, sustainability, and the transformation of everyday resources.

The installation is composed of two opposing walls placed within the courtyard of the Hôtel des Trésoriers de la Bourse. Each wall presents two contrasting sides, interpreting both the external street-facing facade and the internal courtyard facade. This duality parallels the relationship between plate and food in contemporary haute cuisine, where the support and the content form a unified composition. The exterior faces form a minimal, monochrome envelope, while the interior faces carry the textural and sensory expression. The arrangement defines an intermediate zone that becomes a focal exploration space for visitors.

Reed grass forms the primary material. It is deployed in distinct configurations to articulate the contrast between exterior and interior. A regular grid of thatch-filled pillows establishes a controlled facade, punctuated by circular openings that offer partial views toward the interior and encourage interaction. Stacked sheaves of thatch introduce varied textures and colors. Natural dyes, such as coffee grounds, turmeric, and root-based pigments, add chromatic shifts and subtle olfactory qualities that extend into the surrounding street. The lightweight bundles respond to air movement and visitor passage, producing temporary sensory effects. Recognizable architectural elements from the courtyard context are incorporated subtly into this inner surface, establishing a direct connection between installation and site.

all images by Paul Kozlowski – photoarchitecture unless stated otherwise

Two opposing walls frame the reed-based installation by COAT

The design facilitates an open-ended exploration of smell, touch, and visual variation. Openings in the exterior layer frame initial glimpses, while the interior’s flexible thatch components allow for close engagement. Movement through the installation results in slight displacement of the reed bundles, generating short, individualized spatial moments. Children in particular may engage with the structure intuitively, exploring textures, scents, and views. Reed is sourced from the Camargue region near Montpellier and from Lake Neusiedl near Vienna, where the installation was developed. The material’s ecological qualities, compostability, renewability, and local availability, frame the project’s environmental approach.

Two self-supporting walls form the structural system, designed by studio COAT – conditions atmosphériques d’espaces. The wooden framework uses standard beam lengths to minimize waste and relies on mechanical joints for disassembly and reuse. Scaffolding feet allow adaptation to various site conditions, facilitating potential reinstallation at future events. The stacked reed sheaves are held within a 13.5 cm-deep frame and stabilized by vertical metal cables, while shredded reed offcuts are repurposed as infill for the exterior pillows.

the installation’s exterior face articulates itself as a monochrome grid of thatch-filled pillows

material duality shaped by culinary and architectural sequences

Responding to the festival’s theme of gourmandize, the pleasure of tasting, interpreted through the lens of haute cuisine, the installation explores how an ordinary ecological material can be reworked and presented to reveal new tactile and atmospheric properties. The structure introduces two contrasting conditions: a restrained, uniform exterior and a textured, sensory interior. This duality encourages passers-by to enter, observe, and experience the material at close range. Compostable and reusable components support circularity and material awareness within architectural practice. The project draws parallels between the sequential experience of tasting in haute cuisine, presentation, anticipation, and tasting, and a spatial journey through architectural space. Reed grass becomes a parallel to a culinary ingredient that is transformed through technique to expose latent characteristics.

This conceptual structure is paired with a reinterpretation of courtyard typology. The courtyard, positioned between public street and private interior, traditionally provides a gradual transition and a moment of sensory shift. The installation adopts this principle, offering glimpses from the outside and a full experience only once inside. Its internal surface references the architectural language of the Hôtel des Trésoriers de la Bourse, whose courtyard facades display the layered contributions of architects Gallières, Sartre, Daviler, and Bonnier. These references are integrated into the installation’s inner face, encouraging close visual inspection of details.

the installation’s sober exterior contrasts with an intriguing, tactile, and sensory interior

playful exploration leads children and adults alike to intuitively interact with the installation | image by COAT

the installation’s configuration invites everyone to engage in a sensory exploration | image by COAT

the circular perforations offer glimpses of the interior, sparking curiosity and the desire to discover

the exterior face is punctuated by circular openings

thatch-filled pillows form a regular grid across the exterior facade

children search for smells, textures, and views, being physically immersed in the soft thatch

as visitors move through the installation‘s interior, the thatch envelopes them and creates intimate moments of interaction

the installation creates an olfactory atmosphere extending beyond the courtyard into the nearby street

the stacked sheaves of thatch are partly colored with natural dyes such as coffee grounds and turmeric

the installation’s interior is a sensual expression of texture, color, and materiality

recognizable elements of the courtyard are subtly integrated into the design | image by COAT

project info:

name: Chaume Sublimé
designer: COAT – conditions atmosphériques d’espaces | @studio_coat

event: Festival des Architectures Vives 2025 | @festivaldesarchitecturesvives

location: Montpellier, France

photographer: Paul Kozlowski – photoarchitecture | @photoarchitecture.co, COAT

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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MVRDV advances a series of projects for the Plum Village Buddhist Monastery in southern Dordogne, France, where construction approval has now been granted for the first components of a long-term collaboration. The work spans two masterplans for the Upper and Lower Hamlets, along with a new nunnery, four guest houses, and a renovated book shop.

Developed with Bordeaux-based co-architect MoonWalkLocal, the proposals reflect the monastery’s emphasis on circular materials and sensitive intervention in a rural landscape.

The collaboration emerged from extended stays by the design team, who joined daily routines in both hamlets to understand how visitors and monastics experience the site. This immersion shaped an architectural direction grounded in serene spatial organization, timber construction, and attention to seasonal rhythms.

Nunnery | image © MVRDV

mindful architecture that benefits nature by mvrdv

MVRDV‘s masterplans for the Upper and Lower Hamlets of the Plum Village study atmosphere, and ecological conditions at close range. Paths are reconfigured to ease arrival, with vehicle routes shifted away from communal areas to foster uninterrupted circulation on foot.

Areas with distinct characters are outlined with care, ranging from contemplative gardens to working zones that accommodate deliveries with reduced intrusion. Strategies for climate resilience are integrated through landscape measures such as bird habitats that limit mosquito populations, along with planned placements for solar panels.

In each hamlet, the new arrangements respond to pressures created by annual retreats, which can draw up to 800 participants. The current strain on sleeping quarters and shared spaces is addressed through expanded accommodation and a clearer spatial hierarchy that supports everyday monastery rhythms.

Nunnery | image © REDVERTEX

the new nunnery

At Loubès-Bernac, MVRDV and Plum Village are preparing a new nunnery organized around a central courtyard on a sloping site. The building will house 76 monastics and aspirants, offering dormitories, a zendo, a library, and classrooms. A continuous veranda encircles the courtyard to connect living areas and frame views toward the wider landscape.

The structure adopts a prefabricated timber system with straw insulation, reducing transport and material impacts while allowing steady construction progress. The courtyard typology supports collective life, giving the residents a sheltered outdoor room that mediates between interior and terrain.

Nunnery | image © REDVERTEX

the guest houses

Four guest houses for the Upper Hamlet will be more design-minded, and will each have a distinct relationship to its immediate context. All are built in wood, arranged across two stories with rooms set around shared living areas sized for Dharma circles. Circulation occurs through exterior staircases, balconies, and shaded verandas.

The Gate House, positioned at the entrance square, includes reception spaces and work areas on the ground level with sleeping quarters above. Two Garden Houses flank the vegetable garden, each accommodating 31 guests. A third building, the Veranda House, sits deeper in the Son Ha area and extends outward with an expansive veranda that engages the surrounding landscape. Material finishes vary from one structure to the next, allowing the architecture to settle into its specific setting.

Book Shop | image © MVRDV

the book shop

In the Upper Hamlet, the existing book shop will be expanded from its current stone enclosure into a more open and welcoming sequence. A covered terrace introduces an informal gathering space for reading and conversation. Widened openings draw visitors inside, where modular wooden shelving arranges books, calligraphy, and monastery items with greater legibility.

The renovation maintains the barn’s character while adjusting its interior for circulation and display. The result strengthens the building’s role as a social meeting point for monastics and visitors.

Book Shop | image © MVRDV

Book Shop | image © MVRDV

Guest Houses, Veranda House | image © MVRDV

Guest Houses, Garden House | image © REDVERTEX

Guest Houses, Garden House | image © MVRDV

project info:

name: Plum Village Buddhist Monastery

architect: MVRDV | @mvrdv

location: Dordogne, France

visualizations: © MVRDV, © REDVERTEX

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At a moment when independent cinemas across Europe are dimming their lights for good, Louis Denavaut breathes new life into the historic venue of the Elysées Lincoln in Paris, France. The architect creates a sequence of atmospheres for this project, reflected in three distinct interior worlds that are clad in various materials and colors, from hushed velvet greens to saturated pinks and soft pastel tones. Hints of Wes Anderson–like palettes, precise geometries, and textures surface across the three rooms, as a way of heightening the sensorial charge of the cinema experience.

The hybrid cultural and event space gets a new identity, one where color, texture, and atmosphere set the stage for the act of gathering to watch stories together. Across L’Audito, Le Studio, and Le Club, Denavaut treats each room almost like a film genre, establishing a different mood, a different palette, and a different tempo, all contributing to a renewed sense of cinematic presence.

images courtesy of Paris Society Events, unless stated otherwise

three chromatic worlds for contemporary cinema in paris

Part of the Multiciné network of independent Parisian theaters, art-cinema Elysées Lincoln operates as both a cultural venue and an event platform. Louis Denavaut’s renovation reorganizes the space through three spatial typologies, featuring an auditorium for large shared screenings, a small-format premium room for intimate projections, and an adaptable lounge for social or professional gatherings. Technical upgrades, including 4K laser projection, a fully equipped catering office, and a customizable LED facade visible from the avenue, support this expanded program. Through his revamp, the French architect suggests that the survival of independent cinemas may no longer lie in competing with big-chain comfort but in crafting atmospheres that feel specific and sensorially rich.

The main auditorium, L’Audito, establishes the quietest atmosphere of the three. Rows of deep olive-green velvet seats sit within walls patterned in a muted pink harlequin motif, giving the room a steady visual rhythm. The carpet, a dense botanical print, hints at the past of the cinema without sliding into nostalgia. Oversized black wall-mounted speakers punctuate the geometry, becoming sculptural elements rather than concealed equipment. A thin LED line washes the lower wall in green, producing a soft underglow that subtly floats the seating volume. The overall effect is enveloping and slightly retro, a room tuned to calm the viewer’s attention before the film begins.

Le Club is bathed in baby-pink tones | image via paris.fr

hot-pink immersion and pastel curves

The walls, ceiling, and floor of Le Studio shift between reds and hot pinks, creating a monolithic chamber. Plush magenta seating introduces a softer layer, almost domestic in scale but heightened through repetition. The space is designed for small audiences, private screenings, or strategic meetings where light, comfort, and acoustic clarity operate as a single system.

The third room, Le Club, is bathed in baby-pink tones. The space uses arches, rounded wall niches, and glowing circular sconces to create a softer, more social environment. A grid of circular relief panels, echoing speaker cones, turns one wall into a glowing sculptural surface, while round ceiling fixtures amplify the spatial rhythm. It can shift between cocktails and seated events, supported by a bar area and a separate entrance. Reflective surfaces catch the soft lighting, introducing subtle golden highlights that echo the festive, lounge-like character of the room.

By dividing the cinema into three moods, Louis Denavaut offers an argument for why independent cinemas remain culturally vital. They can become anchors of atmosphere, places where people return not only for the film but also for the sensorial environment that frames it. Set within one of Paris’s most commercial districts, the revamped Elysées Lincoln asserts that intimacy, texture, and careful design can still draw audiences into shared darkness and maybe even keep these kinds of spaces alive.

arches and rounded wall niches complete the room

the space can shift between cocktails and seated events

reflective surfaces catch the soft lighting

glowing circular sconces create a softer, more social environment

a thin LED line washes the lower wall in wood

L’Audito establishes the quietest atmosphere of the three spaces

rows of deep olive-green velvet seats sit within walls patterned in a muted pink harlequin motif

the carpet, a dense botanical print, hints at the past of the cinema

the overall effect is enveloping and slightly retro

the walls, ceiling, and floor of Le Studio shift between reds and hot pinks

designed for small audiences

plush magenta seating introduces a softer layer

Louis Denavaut offers an argument for why independent cinemas remain culturally vital | image via paris.fr  

art-cinema Elysées Lincoln operates as both a cultural venue and an event platform

project info:

name: Elysées Lincoln cinema renovation | @elysees_lincoln

architect: Louis Denavaut | @louis_denavaut

location: 14 rue Lincoln, 75008 Paris, France

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In the historic courtyard of Montpellier’s Hôtel de Rozel, Studio Deng unveils The Tasting Tongue, an installation for the 2025 Festival des Architectures Vives (FAV) that imagines what happens when every object holds an invisible tongue. A metallic foil form drips from a windowsill into the small stone courtyard, carrying 130 pink felt ‘taste buds’ that sway in the breeze and invite visitors to insert, bend, and rearrange them. By encouraging this gentle interaction, the piece becomes a shifting archive of shared flavor memories and turns the intimate site into a playful experiment in collective sensory fiction.

the entrance of the historic courtyard | images © Studio Deng, unless stated otherwise

a reflective ‘invisible tongue’ and its field of 130 taste buds

Studio Deng’s project begins with a simple provocation: ‘What if built elements could taste their surroundings?’. The New York-based design team envisions columns, windows, and flowerbeds each extending their own quiet sensorium, capable of perceiving the wetness of grass after rain or the crackle of popping candy carried on the wind. Selected as one of the winning teams for the Festival des Architectures Vives, the designers sought an intervention that could activate the compact residential courtyard without overwhelming it. Their response was to materialize this imagined ‘invisible tongue’ as a reflective, flowing sheet of metal that catches shifting light and weather while offering a surface for collective participation.

From this shimmering form sprout 130 playful taste buds in four types (sweet, sour, bitter, and salty) modeled after micrographs of human taste receptors. Crafted from soft pink felt typically used for hamster nests, they add a humorous and tactile dimension to the installation. Visitors are invited to choose a bud and place it into the tongue’s surface, a simple gesture that transforms the act of tasting into a spatial, collaborative ritual.

the imaginative associations came directly from the public | image © Paul Kozlowski

FROM FESTIVAL INSTALLATION TO ART-EDUCATION LEGACY

Over the course of the festival, the courtyard evolves continuously: children twist the buds into new shapes, neighbors return to observe its transformations, and passersby compare the ‘flavors’ they contribute. The result is a living, communal map of sensory impressions, blurring the boundary between observer and object.

The Tasting Tongue later traveled to the chamber room of a 14th-century monastery for Architecture en Fête, where the reflective form adapted to a new historic environment. After both exhibitions, Studio Deng donated all the metal sheets and felt components to Children’s Relay for use in art-education programs—extending the installation’s speculative tongue into future hands and contexts.

visitors pick their own taste buds | image © Paul Kozlowski

the Tasting Tongue glides and dances across the courtyard wall

kids interact with the taste bud | image © Paul Kozlowski

a metallic foil form drips from a windowsill into the small stone courtyard | image © Paul Kozlowski

in the daytime, the tongue captured changing reflections of the sky and courtyard | image © Paul Kozlowski

children’s hands bend and place the pink felt taste buds onto the reflective tongue | image © Studio Deng

tasting is both personal and shared — a way the body perceives space and time | image © Paul Kozlowski

an elder’s hand inserts a soft taste bud into the shifting field of pink forms

at night, the tongue catches the warm orange glow spilling from the residents’ windows | image © Studio Deng

plan perspective | image © Studio Deng

project info:

name: The Tasting Tongue

artist: Studio Deng | @studio_deng_

lead designers: Meichen Wang, Qicheng Wu

location: Hôtel de Rozel courtyard, Montpellier, France

festival: Festival des Architectures Vives (FAV) 2025

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: myrto katsikopoulou | designboom

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As Paris marks forty years since Christo and Jeanne-Claude activated the Pont Neuf with The Pont Neuf Wrapped, a landmark installation that elevated the bridge from an infrastructural icon to an ephemeral work of art, French artist JR prepares his own large-scale activation for the historic bridge. After many years in development, La Caverne du Pont Neuf will be on view from June 6th to June 28th, 2026, extending this lineage of temporary transformations into a new generation.

The original project, executed in 1985, wrapped the city’s oldest bridge in 41,800 square meters of fabric, secured by thirteen kilometers of rope and twelve tons of steel cables. This vision took a decade of planning and negotiations before it came to life. The wrapping remained on the bridge for two weeks, during which three million visitors engaged with the installation. True to Christo and Jeanne-Claude’s philosophy, the project invited the public‘s individual interpretation, embracing the transient nature of art. ‘I wanted to transform it, to turn it from an architectural object, an object of inspiration for artists, to an art object itself,’ Christo explained at the time. ‘I wanted it to become a sculpture for the first time, but an ephemeral one.’

Christo and Jeanne-Claude, The Pont Neuf Wrapped, Paris, 1975-85, photo by Wolfgang Volz © 1985 Christo and Jeanne-Claude Foundation

jr’s homage to christo and jeanne-claude

To commemorate this anniversary, contemporary artist JR will reimagine the Pont Neuf with Projet Pont Neuf, a large-scale installation inspired by Christo and Jeanne-Claude’s groundbreaking work. Collaborating with the team at the Christo and Jeanne-Claude Foundation, JR’s vision will transform the iconic bridge into a stone-like cave for two weeks in Summer 2026.

Drawing inspiration from the quarries that provided Paris with its historic stones, JR’s design juxtaposes the city’s refined elegance with raw, untamed textures. The installation will serve as a reflection on Paris’ evolving relationship with nature and architecture.

‘I’m very inspired by the artistic vision of Christo and Jeanne-Claude, and I share their idea that the mission of art is to make the public think,’ JR notes. ‘The debate that a monumental project in the public space can provoke is of equal value to its artistic realization. Art is a transformation, and a way of renewing the way we look at the world around us.’

JR, Projet Pont-Neuf (collage préparatoire), Collage 2024, paper cutout on paper, photo courtesy Atelier JR © 2024 JR

paris Continues its Legacy of Public Art

The project has received enthusiastic support from Paris Mayor Anne Hidalgo, who recalls her own experience with The Pont Neuf Wrapped. ‘In 1985, I was fascinated by Christo and Jeanne-Claude’s wrapping of the Pont Neuf… It was an unforgettable moment of poetry and beauty,’ the mayor says. ‘What a wonderful idea to revive this artistic gesture thanks to JR’s universe and immense talent!‘

JR and his team, supported by the Christo and Jeanne-Claude Foundation, are working with local officials to carefully plan the installation, ensuring that it resonates with the city and its residents. As with its predecessor, Projet Pont Neuf will be privately funded.

JR, Projet Pont-Neuf, Edition 2024, limited edition of 50 numbered and signed copies, photo courtesy Atelier JR © 2024 JR

Reflecting on the enduring impact of Christo and Jeanne-Claude’s work, Vladimir Yavachev, Christo’s nephew and director of projects for the late artists, highlights the evolution of public art in Paris. ‘It’s really beautiful to see how much Paris has increased its commitment to public art in the past 40 years,’ Yavachev says. ‘Knowing JR’s dedication to public art, he’s an ideal artist for this tribute to Christo and Jeanne-Claude.’

Projet Pont Neuf will invite Parisians and visitors alike to engage with the city’s beloved bridge in a completely new way, celebrating the timeless dialogue between art, architecture, and the urban landscape.

Christo and Jeanne-Claude at The Pont Neuf Wrapped, Paris, 1985, photo by Wolfgang Volz © 1985 Christo and Jeanne-Claude Foundation

The Pont Neuf Wrapped (Project for Paris), Collage 1984, pencil, wax crayon, enamel paint, photograph by Wolfgang Volz, and masking tape, private collection, photo: Archive © 1984 Christo and Jeanne-Claude Foundation

Christo and Jeanne-Claude, The Pont Neuf Wrapped, Paris, 1975-85, photo by Wolfgang Volz © 1985 Christo and Jeanne-Claude Foundation

Christo and Jeanne-Claude, The Pont Neuf Wrapped, Paris, 1975-85, photo by Wolfgang Volz © 1985 Christo and Jeanne-Claude Foundation

Christo and Jeanne-Claude, The Pont Neuf Wrapped, Paris, 1975-85, photo by Wolfgang Volz © 1985 Christo and Jeanne-Claude Foundation

project info:

name: Projet Pont Neuf

artist: JR | @jr

artist (Pont Neuf wrapped): Christo & Jeanne-Claude | @christojeanneclaude

location: Paris, France

dates: June 6th to June 28th, 2026

The post JR to sculpt stone-like cavern across paris’s pont neuf in homage to christo & jeanne-claude appeared first on designboom | architecture & design magazine.

Located in the northern districts of Marseille, France, Les Fabriques is a school complex by Brenac & Gonzalez & Associés designed as a compact, climate-responsive structure built from solid stone. Positioned on a constrained plot within the Littorale urban development zone, the project integrates a nursery school and an elementary school, each with dedicated reception areas, circulation routes, and naturally lit and ventilated classrooms.

The design adopts a vertical strategy that consolidates program elements in order to free ground space for the preschool playground. Additional outdoor areas for the elementary school, like playgrounds, gardens, and educational terraces, are arranged in a stepped configuration rising to the roof. At the request of the City of Marseille, the rooftop accommodates a sports facility that includes half a basketball court, an athletics track, and a tensile mesh structure reminiscent of a catamaran sail. This upper-level program extends the building’s public role by serving as a neighborhood gathering space outside school hours.

stone volumes form the school’s compact urban massing | all images by Sergio Grazia unless stated otherwise

Thick Stone facade and Terraced Volumes Form School Landscape

BGA’s design team defines the complex as a ‘landscape building,’ composed of interlocking mineral volumes that follow the site’s topography. The massing generates sheltered interstitial spaces used as open-air classrooms, performance areas, and gardens. These spaces contribute to climatic comfort while supporting biodiversity, including bird habitats. The overall morphology responds to local environmental conditions, like strong mistral winds, high solar exposure, and recurrent heatwaves, by creating a sequence of protected, navigable zones throughout the school.

The building envelope is constructed from solid stone sourced from the Beaulieu quarry. Blocks measuring 20 to 45 cm thick provide thermal inertia and long-term durability. Deep overhangs and the stone’s material density moderate heat gain, stabilizing interior temperatures across classrooms and corridors. Stone and concrete are used together as a hybrid structural system, balancing mass with structural efficiency.

tiered outdoor terraces connect learning spaces across levels

Daily Function and Public Access organize School’s Spatial layout

Attention to daily use is reflected in design details such as a continuous line of coat hooks inspired by Osvaldo Cavandoli, which introduces a clear and legible orientation device for children. Circulation is organized to support calm movement and supervision within the school, addressing both functional and safety requirements in this part of the city. Brenac & Gonzalez & Associes’ project was carried out in close coordination with Euroméditerranée and the City of Marseille, who supported program adjustments, including the integration of the rooftop sports facility, and facilitated experimentation with construction methods. The building also participates in the city’s ‘À nous les toits’ initiative, allowing use by local associations and residents outside school hours.

Les Fabriques demonstrates how solid stone construction, compact massing, and tiered outdoor spaces can be combined to achieve climatic resilience within dense urban conditions. The project establishes a protective and adaptable environment for education while contributing a durable architectural presence to Marseille’s northern districts.

deep overhangs in solid stone provide passive solar protection

the preschool playground occupies the site’s open central area

interlocking blocks create sheltered courtyards and passageways

stone facades emphasize durability and thermal inertia

the stone cores were reused in the construction of the wall

Les Fabriques’ solid stone construction and tiered outdoor spaces achieve climatic resilience

project info:

name: Les Fabriques

architect: Brenac & Gonzalez & Associés | @brenacgonzalezassocies

area: 3575 sqm

location: Marseille, France

project architect: Jean-Pierre Lévêque

project managers: Julien Gonin and Arnaud Ladauge

landscape design: MOZ Landscape

client: Euroméditerranée – Établissement Public d’Aménagement – Marseille

engineering: ACV/AGS (VRD) / ALTO (Electrical Engineering, Fluids & Climate Engineering, Environmental Engineering) / Bollingher&Grohmann (Structure) / ENVISOL (Pollution Control)/ – F BOUGON (Eco)

construction: Eiffage

stonework: PROROCH

photographer: Sergio Grazia | @sergio.grazia, Stefan Tuchila | @stefan.tuchila

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Installed above the Caen peninsula in Normandy, Molecular Cloud is a suspended kinetic sculpture composed of mirrored stainless-steel spheres arranged in a cloud-like formation. Designed by French artist Vincent Leroy for the Millennium of the city of Caen, the project introduces a reflective structure that interacts directly with its urban and atmospheric surroundings.

Positioned between the city’s new peninsula district and the historic Abbaye aux Dames, the installation establishes a visual link between the area’s historical and contemporary layers. The spheres form a constellation-like cluster that reflects the city, sky, and movement of passers-by, generating continuously shifting visual conditions. As viewers move beneath the suspended elements, the mirrored surfaces multiply and distort their surroundings, producing a perceptual field that changes with angle, distance, and light.

all images courtesy of Vincent Leroy

light reflects upon the kinetic installation’s mirrored form

Artist Vincent Leroy’s work relies entirely on natural illumination. Without integrated lighting, the installation responds to variations in weather, sunlight, and time of day, creating different tones and reflections throughout the day and across seasons. This dependence on ambient conditions positions the piece as a dynamic component of the local environment, rather than a fixed visual object. Visible from a distance, Molecular Cloud functions as a new marker along Caen’s waterfront while also operating as a pedestrian-scale intervention. The structure defines a space for gathering and observation, offering an accessible encounter with reflective geometry and spatial distortion.

The project continues Leroy’s investigation into movement, perception, and the interplay between form and environment. Here, the mirrored spheres serve as a device for reframing familiar urban and natural elements through repetition, reflection, and spatial suspension.

Molecular Cloud floats above the Caen peninsula as a suspended cluster of mirrored spheres

the installation reflects the sky and city, creating shifting visuals throughout the day

from within, the cloud frames a suspended window opening onto the sky

viewers walking beneath the cloud see their surroundings multiplied and distorted

the installation acts as both a large-scale marker and an intimate pedestrian space

reflections of the city and sky animate the spheres’ surfaces in constant motion

Molecular Cloud installation rests beneath the Abbaye aux Dames

the piece transforms familiar urban scenes through repetition and spatial suspension

natural light drives the installation’s changing tones and atmospheric effects

mirrored stainless-steel spheres form a cloud-like composition over the waterfront

the structure introduces a reflective landmark to Caen’s evolving urban landscape

project info:

name: Molecular Cloud

designer: Vincent Leroy | @vincent_leroy_studio

commissioner: Ville de Caen / Le Millénaire de Caen

manufacturer: Blam / Nantes

engineering monitoring: Ingé-Infra / Hérouville-Saint-Clair

dimensions: 11,50m x 8m x 8m

materials: Stainless Steel

location: Caen, Normandy, France

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edited by: christina vergopoulou | designboom

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Located along the RER A railway line at the end of Avenue des Murs du Parc in Vincennes, France, Bureau FORME’s project introduces a combined sports facility integrating urban wheeled disciplines with a multi-purpose court. Positioned beside the Vincennes ‘Dôme’ swimming complex, the site represents the final stage of a broader redevelopment of former railway land. Initially reserved for a pedestrian bridge, the plot remained unused until the PEMB authority assigned it for a neighborhood-serving sports program.

The primary design challenge was to incorporate three distinct functions within a limited footprint while maintaining coherence with the surrounding urban context. The response is organized through three spatial strategies. First, the sports court is aligned with existing building frontages, completing the urban sequence of the street. Raised three meters above ground, it generates a sheltered open-air area beneath. Second, a perimeter ramp provides universal access to the elevated court and defines a continuous wheeled-sports circuit, integrating features for roller skating, skateboarding, and BMX riding. Beneath the upper platform, a protected bowl, uncommon in the area, allows for year-round use. Third, the building’s setback creates space for a rain garden, improving ecological performance and supporting on-site water management.

all images by Giaime Meloni

Integrated Ramp Connects Skatepark and Cantilevered Court

Site constraints necessitated the vertical stacking of two programs: a multi-sports court above and a skatepark below. This arrangement produces a specific spatial condition, including the sheltered bowl. As the only element visible from the cul-de-sac, the elevated court extends the street’s frontage and forms a cantilever that signals the identity and entrance of the facility. The design by architectural practice Bureau FORME aims to create a functional yet adaptable environment, where lines, slopes, and volumes support a range of uses, from intensive physical activity to resting or viewing. Features such as low walls, stepped platforms, and the ramp itself provide opportunities for circulation, gathering, and informal occupation. These elements allow the facility to accommodate varied practices and patterns of use over time.

The project also connects to Vincennes’ network of local associations involved in cultural and sporting activities, providing an additional venue for everyday participation and community events. This relationship embeds the facility within its immediate social context rather than treating it as a standalone structure. Accessibility requirements are addressed through the continuous ramp, avoiding the need for an external lift. This route links the ground level to the court while integrating skatepark elements into its geometry. Along the ascent, users encounter different configurations: guardrails that function as coping bars, openings for rest points, and surfaces that support riding. The gradual rise offers views of both the multi-sports court and the skatepark below. Beyond its technical components, the project contributes to the organization of public space by establishing clear routes, shared vantage points, and collective activity areas. Through these strategies, the facility supports mixed use, overlap between different user groups, and flexible patterns of occupation within the urban setting.

combined wheeled-sports and multi-purpose court in Vincennes

the facility sits alongside the RER A railway line

elevated court positioned three meters above ground level

a former railway plot transformed into a neighborhood sports site

sheltered open-air space created beneath the raised platform

facility extends the local network of cultural and sports associations

vertical stacking of a multi-sports court over a skatepark

lines and slopes support both active use and moments of pause

weather-protected bowl located under the elevated structure

continuous circuit designed for skating, skateboarding and BMX

the bowl offers a rare, year-round wheeled-sports feature

overlapping activity areas support mixed and flexible use patterns

project info:

name: Skate Park and Streetball Court Alice Milliat
architect: Bureau FORME | @forme.archi

lead architects: Clement Maitre, Robinson Neuville

client: EPT Paris Est Marne-et-Bois

location: Vincennes, France

area: 1,000 sqm

photographer: Giaime Meloni | @giaimemeloni

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Populous introduces a striking environmental innovation to Strasbourg’s Stade de la Meinau, repurposing sections of decommissioned Airbus A340 fuselages to form the facade of the stadium’s new south stand. The project marks a world first in sustainable architecture, transforming aviation waste into a sun-shading system that glimmers across the 4,050-square-meter surface of the stand.

Located in the city’s La Meinau district, the 11,712-seat South Stand, designed by Populous in collaboration with local architect Rey-de-Crécy, incorporates fuselage panels sourced from 30 retired aircraft. These are cut and adapted into 196 aluminum segments, arranged as a continuous brise-soleil to temper sunlight and lend the structure a shimmering skin. In use since September 2025, the stand is already hosting Racing Club de Strasbourg Alsace matches while the rest of the stadium continues its phased transformation. ‘The idea for the facade sunshade was originally conceived during the Covid-19 pandemic, when planes were almost entirely grounded and airlines resized their fleet and flight operations,’ says François Clément, President of Populous France. ‘Our design concept sought to make use of decommissioned aircraft, using upcycled architecture to deliver the innovative concept at the heart of an environmentally sustainable design for the revamped stadium.’

all images courtesy of credit Rey de Crecy and Populous, unless stated otherwise

stade de la meinau in strasbourg embraces circular design

The project aligns with Strasbourg’s broader goals for climate-conscious urban development. ‘Faced with the challenges of climate change, we must develop a circular economy that respects the resources at our disposal,’ notes Pia Imbs, President of the Eurométropole of Strasbourg. ‘The reuse of the fuselages was decisive in our choice of project—it is a world first of which we are proud; it is the signature of the new face of the stadium.’

Expected for completion in August 2026, the full renovation will expand Stade de la Meinau’s capacity from 26,000 to 32,000 seats. For the south stand, the French team of Populous introduces a glass-fronted five-story atrium with bars, lounges, and two open ‘party decks’ overlooking the pitch. Future phases will redevelop the north, east, and west stands and introduce a public fan zone, another first for a French stadium, intended for community use throughout the week.

Populous repurposes sections of decommissioned Airbus A340 fuselages | image courtesy of Populous and Getty Images

incorporating fuselage panels sourced from 30 retired aircraft

transforming aviation waste into a sun-shading system

the stand is already hosting Racing Club de Strasbourg Alsace matches

expected for completion in August 2026

the project aligns with Strasbourg’s climate-conscious urban development | image courtesy of Populous and Getty Images

future phases will redevelop the north, east, and west stands | image courtesy of Populous and Getty Images

project info:

name: Stade de la Meinau renovation

architect: Populous | @wearepopulous

location: Strasbourg, France

local architect: Rey-de-Crécy | @reydecrecy

client: Eurométropole of Strasbourg with Ville de Strasbourg, Région Grand Est, Collectivité Européenne d’Alsace, and Racing Club Strasbourg Alsace

completion: expected August 2026

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