Sensual City Studio

UMBRELLA I’m walking in the sunlight, most probably under the shade of the umbrella I’m carrying. I look up and down from the pedestrian bridges. [ + ]

UMBRELLA

I’m walking in the sunlight, most probably under the shade of the umbrella I’m carrying. I look up and down from the pedestrian bridges. I push my bike along, and linger a while on the bridge, breathing the air carried down from the top of the creek, or simply looking down, surrendering my attention to the red lights on one side and the white lights on the other. How many people are travelling in each direction? I feel secure above all of them, following my own rhythm.

[ - ]

ANCESTORS 1 In the past – and in rural China today still – the most important item to be acquired, and an essential item at that, was the coffin. The coffin is intended to be the home of the body, whose soul is not completely detached but rather in the perpetual afterlife. [ + ]

ANCESTORS 1

In the past – and in rural China today still – the most important item to be acquired, and an essential item at that, was the coffin.
The coffin is intended to be the home of the body, whose soul is not completely detached but rather in the perpetual afterlife.
The afterlife is the life in which one remains forever, in the spiritual world. There is therefore no absolute detachment of the deceased from his or her family. After one’s death, a transformation will occur – usually within one to three days, sometimes longer, depending on the tradition – as a result of which one becomes an ancestor. As an ancestor, a person’s social continuity is ensured, even after biological death.
The coffin would be placed in the ground, and on top of it the ancestor’s treasures and cherished items, and then it would be covered by earth, creating a little mound, a tumulus  . Around the tumulus, the tomb takes on the form of a womb, as death marks one’s birth into the afterlife. In addition, it can be seen as a kind of “alpha” sign, symbolizing that the end is the beginning.
It is said that the higher the grass grows on top of the tumulus, the greater the fortune of the ancestor in the eternity of the other world.

[ - ]

WORKING SHOES As we came out of the classroom, I couldn’t help noticing my Western friend’s shoes. They looked very comfortable, and pretty, too, in nice, soft colours. [ + ]

WORKING SHOES

As we came out of the classroom, I couldn’t help noticing my Western friend’s shoes. They looked very comfortable, and pretty, too, in nice, soft colours. She told me that she had found them somewhere in a small shop in a lilong. She fell in love with them and bought them. However, she also mentioned the awkward way the shopkeeper looked at her. Later on, our Chinese colleagues saw them and started whispering among themselves, then smiling. We asked them what was going on. They told us that these shoes are meant for the “working class” on construction sites, and that only workers wear them. It’s like the different colour codes that exist in the urban fabric: blue buildings tend to be factories, for example – not hospitals, not housing, not shopping malls – and everyone is aware of this trend.

[ - ]

COLD MEAT 2 It was a sunny morning, but I seemed to be suffering from stomach problems. I still don’t know if it was because of the excitement, or because of the extravaganza of a dinner I had last night with my Chinese friends. [ + ]

COLD MEAT 2

It was a sunny morning, but I seemed to be suffering from stomach problems. I still don’t know if it was because of the excitement, or because of the extravaganza of a dinner I had last night with my Chinese friends.
I arrived at the piazza in front of Shanghai Railway Station: a huge, bare piazza. I turned my head to the left, and there was a clock; I looked further to the left still, and there was a huge electronic billboard, displaying everything from advertisements for watches to the weather, as well as the departures and arrivals of trains. The rest… was just people – people everywhere – and a selection of their belongings.
I thought I might need water and something to eat for the road. I decided, for the first time in my life, to buy a Coke. My dad always said that  in case of stomach troubles, the best solution was to drink some Coke and relax;  cola is even good for repairing cars. In the store, I found the Coca-Cola; however, finding something to eat was proving more difficult than I thought. I just couldn’t find something I was able to, or wanted to, eat. In most cases, this was because I simply couldn’t understand what was inside the plastic wrappers containing edible material.

[ - ]

SEARCH

Le Sensual City Studio est conçu comme un lieu de réflexion où se fabrique la pensée, long cheminement nécessaire au travail de conception et de réalisation des projets. Approcher l’espace dans sa complexité physique, fonctionnelle, sociologique, nécessite un décloisonnement des disciplines et un travail collectif : c’est ce que reflète la composition de l’équipe, étoffée par un riche faisceau de contributeurs. Cette démarche, à la croisée des savoirs et de la création, permet la rencontre des regards : une  démarche de co-construction ouverte qui enrichit la compréhension des enjeux et donne un sens à la conduite des projets menés au sein du Studio. Cette posture de recherche et d’approfondissement s’inscrit dans la tradition humaniste du studio, cabinet d’étude de la Renaissance où sciences et arts convergent et se nourrissent de leurs apports mutuels.

Cette interface est la matérialisation métaphorique de notre démarche : elle propose de partager une série de projets conçus dans des cadres variés et des logiques de recherche ponctuelles ou récurrentes. Que cela soit en déplaçant les cadres d’une commande ou en se créant des opportunités de réflexion, le projet reste le même : celui de la ville sensuelle.

Édition │ Publication du site
Le site www.search.sensual-city.com est édité par Sensual City Studio, 24 rue Dareau, 75014 Paris, France.
Directrice de la publication : Pauline Marchetti
T +33 (0)143 132 020
F +33 (0)143 132 021
communication@ferriermarchetti.studio
SIRET 52860142000029 – code APE 7410Z

Conception │ Réalisation du site
Design : © Olivier Lebrun
Code : © Ahmed Ghazi

Hébergement du site
Le site www.sensual-city.com est hébergé par Gandi, 63-65 boulevard Massena, 75013 Paris, France.
Pour contacter cet hébergeur, rendez-vous à l’adresse https://www.gandi.net/fr
L’accès au site ainsi que l’utilisation de son contenu s’effectuent dans le cadre des mentions d’utilisation décrites ci-après. Le fait d’accéder et de naviguer sur le site constitue de la part de l’internaute une acceptation sans réserve des précisions suivantes.
Sensual City Studio s’efforce d’assurer au mieux l’exactitude et la mise à jour des informations diffusées sur ce site, dont elle se réserve le droit de corriger, à tout moment et sans préavis, le contenu. Toutefois, le Studio ne peut garantir l’exactitude, la précision ou l’exhaustivité des informations mises à la disposition sur ce site.

Droit de propriété intellectuelle
L’ensemble du site et chacun des éléments qui le composent (tels que noms de domaine, textes, arborescences, images, photographies, illustrations, logos) sont la propriété exclusive de Sensual City Studio (ou des tiers qui sont référencés), qui est seule habilitée à exploiter les droits de propriété intellectuelle y afférents.

TXTIMGVID
AMBIANCE
[72][134][15]
CIEL
[41][97][35]
CLIMAT
[43][80][33]
COMMUNAUTÉ
[44][45][9]
CORPS
[54][86][27]
EAU
[35][51][31]
ÉCHANGE
[106][148][20]
ENVIRONNEMENT
[31][95][17]
ÉQUILIBRE
[74][123][22]
ÉVÈNEMENT
[47][68][20]
EXPÉRIENCE
[58][101][9]
IDENTITÉ
[48][59][3]
IMAGINAIRE
[37][85][7]
INTIMITÉ
[17][33][7]
LUMIÈRE
[43][97][12]
MATIÈRE
[26][66][11]
MÉMOIRE
[32][52][1]
MISE EN SCÈNE
[57][97][38]
MOUVEMENT
[59][64][36]
MULTITUDE
[41][72][17]
MYSTÈRE
[25][57][8]
NUIT
[11][19][4]
PARCOURS
[38][59][5]
PAUSE
[40][26][22]
POROSITÉ
[31][62][1]
RÉCIT
[51][76][2]
REFLET
[8][25][10]
RYTHME
[16][26][4]
SEUIL
[46][70][8]
SIGNE
[55][72][13]
SITUATION
[58][71][23]
SON
[34][26][15]
TERRITOIRE
[47][67][6]
TRAME
[15][41][0]
TRANSPARENCE
[13][46][0]
VERTICALITÉ
[24][27][12]
VIDE
[15][35][5]
VIVANT
[64][91][34]
VOYAGE
[21][30][4]
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