Sensual City Studio

KITCHEN 1 No matter how delicious Chinese food is, and how keen you might be to learn how to make it yourself, DO NOT GO INTO THE KITCHEN! The Shanghainese say that heaven has Chinese food but hell is its kitchen. [ + ]

KITCHEN 1

No matter how delicious Chinese food is, and how keen you might be to learn how to make it yourself, DO NOT GO INTO THE KITCHEN! The Shanghainese say that heaven has Chinese food but hell is its kitchen.

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UNDERWEAR Buying a bra was a conscious decision. Getting new clothes, shoes, going to the tailor, could all have happened to me at any moment, as spontaneous decisions. [ + ]

UNDERWEAR

Buying a bra was a conscious decision. Getting new clothes, shoes, going to the tailor, could all have happened to me at any moment, as spontaneous decisions. Going to buy a bra, somehow, was different.
I went with a friend of mine. We saw some amazing bra systems. Truly ingenious systems. Some seemed to attach to your back with just a single strap, while others featured elaborate patterns of straps that would transform into another, different pattern in order to support the breasts, almost like a piece of origami.
Others didn’t seem to need any breasts inside them, as they were already satisfied with the cotton, gel or water pads contained within them.
I decided to try one of the origami bras, which would subtly tattoo my back with a kind of butterfly motif. Inside the changing-room cubicle, however, I realized that trying on this bra would be more than a simple choice; it would be a major challenge.
I stood there, thinking I had understood the system, only for everything to fall apart when I opened it. I tried to put it back together in every way imaginable, recomposing its intricate form and attempting to fit myself into it, but things didn’t quite work out as I had hoped… and by this time, quite some time had passed. The woman in the shop decided to ask how I was doing. Hearing my answer in bad, breathless Chinese, she decided that she had to come into the cubicle to help me. She looked at me, and then, with a series of almost computational movements, she solved the problem, and I had the bra in place, with everything exactly where it should be. She looked at me and asked if I would like the bra; I simply couldn’t believe what had happened, that someone could just walk in and do that.
Once my friend and I had bought these masterpieces, we both came to the conclusion that this had been a perfect Shanghainese experience. Back in the West, no one would have ever dared to do this – to barge into your cubicle and dress you, essentially – and I wouldn’t ever have allowed it, not by a long chalk. But here, in a city where the borders between public and private aren’t really fixed, in a city whose inhabitants feel at ease everywhere they go, where pyjamas can be deemed the perfect outdoor attire for the day’s activities, where my kitchen is everyone’s kitchen, it seemed normal. The boundaries are drawn differently here.

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FEELING SPECIAL 3 We started walking through the lanes, past the many shops. And then, at the junction between the compound and the lilong, a man took out a microphone and started singing. [ + ]

FEELING SPECIAL 3

We started walking through the lanes, past the many shops. And then, at the junction between the compound and the lilong, a man took out a microphone and started singing. Some people nearby started singing along, too, while others continued to play mah-jong or folded their arms and just listened. We decided to go to the park. It was a hard decision initially, as so many unexpected things were happening in the street and it seemed that even looking away for just a second would mean missing something amazing. I took him by the hand, and we entered the park. He didn’t have to wait long to experience more of Shanghai.
There was a big group of Shanghainese people dancing in couples, and after a while my dad joined them. He was dancing with a woman to music he had never heard before. This became our ritual: we would sit down to eat and then go to the street corner or the park, and then sometimes someone would take my dad’s hand and offer him a folding chair, so that he could sit in the first row and hear that night’s singer more clearly. Othertimes, he would be distracted, and someone would ask him (us) to come back to their home, in one of the lilongs, so that they could explain to us the beauty of the wooden staircase, the spiritual and material value of it, and for how many generations it had served the family. We couldn’t speak Mandarin or Shanghainese, but that was never an issue.
He became like Shanghai: sleepless. And when he had to leave Shanghai, he left behind a whole city that had become a home.

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MIMICS It is remarkable how you can have long conversations “just” using hand movements, facial contractions, bodily contortions and so forth… You find that there is always a way to communicate… well, maybe… actually, no, not always. The way Westerners represent drinking with a hand gesture, for instance, might turn out to be the gesture for the number six in Chinese; the number eight might be used for indicating a person or object; and the number ten might mean to be close to someone. [ + ]

MIMICS

It is remarkable how you can have long conversations “just” using hand movements, facial contractions, bodily contortions and so forth… You find that there is always a way to communicate… well, maybe… actually, no, not always.
The way Westerners represent drinking with a hand gesture, for instance, might turn out to be the gesture for the number six in Chinese; the number eight might be used for indicating a person or object; and the number ten might mean to be close to someone. Most of these hand gestures correspond to the way we learned to make shadow animals on the walls, with our parents, before going to sleep. The way Westerners usually represent eating doesn’t mean anything to most Chinese people… but you can always keep trying… until the person on the receiving end gets bored and leaves, that is.

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BLUE DRAGON One of my happiest days in Shanghai was actually the saddest for many children.   On this day, I passed through urban corridors, where the city sometimes becomes a village – a village full of recollections, memories, and rituals   to improve people’s lives. [ + ]

BLUE DRAGON

One of my happiest days in Shanghai was actually the saddest for many children.   On this day, I passed through urban corridors, where the city sometimes becomes a village – a village full of recollections, memories, and rituals   to improve people’s lives.
In a country where farming is fast declining, many children in the city, on this day, had to sacrifice their appearance in some way – for example, by having their   hair cut off – in order to ensure that a faraway region – where they have never been, that they don’t even know exists, but where their parents used to live happily – will receive abundant rain and be forever rid of insects. Houses are cleaned, popcorn is eaten, and women do not sew, so as to prevent any needles puncturing the eyes of the dragon, who raises his head on this day. Once the house has been cleaned from top to bottom, some people spread plant ashes throughout and around their home, so that the dragon will feel welcome, inciting him to provide plenty of rain for good harvests.

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THREE-DIMENSIONALITY Every turn you make, every step you take, however fast or slow you travel  , you cannot fail to notice that Shanghai, despite being flat, is a highly three-dimensional city. When you take a taxi at night, you climb up and over and down so many bridges, flyovers and junctions, some as high as a ten-storey building. [ + ]

THREE-DIMENSIONALITY

Every turn you make, every step you take, however fast or slow you travel  , you cannot fail to notice that Shanghai, despite being flat, is a highly three-dimensional city. When you take a taxi at night, you climb up and over and down so many bridges, flyovers and junctions, some as high as a ten-storey building. All the buildings display a cross-section of their living innards to the outside world. The light flooding in and shining out of their windows exposes the lives of their occupants to the random passengers of a car, just for an instant. I, sitting in the back of the taxi, get a glimpse of these lives, and it is then up to me to either abandon these memories or imagine the possible lives that these people lead.

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INAUGURATION Happiness is not silent in Shanghai. When a boy is born, or when a happy couple gets married, or when a couple moves into the new home they have bought together , or when a shop opens its doors for the first time… all these events are good reasons to show one’s happiness to the entire neighbourhood and beyond. [ + ]

INAUGURATION

Happiness is not silent in Shanghai. When a boy is born, or when a happy couple gets married, or when a couple moves into the new home they have bought together , or when a shop opens its doors for the first time… all these events are good reasons to show one’s happiness to the entire neighbourhood and beyond. Rows of red firecrackers are set off, red ornaments adorn the street, and photographs galore are taken.

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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)954 013 567
F +33 (0)143 132 021
studio@sensual-city.com
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
[61][120][15]
CIEL
[33][75][35]
CLIMAT
[31][67][33]
COMMUNAUTÉ
[25][26][9]
CORPS
[44][66][27]
EAU
[26][41][31]
ÉCHANGE
[80][130][20]
ENVIRONNEMENT
[21][82][17]
ÉQUILIBRE
[55][108][22]
ÉVÈNEMENT
[40][56][20]
EXPÉRIENCE
[45][90][9]
IDENTITÉ
[37][48][3]
IMAGINAIRE
[25][69][7]
INTIMITÉ
[11][21][7]
LUMIÈRE
[36][89][12]
MATIÈRE
[16][45][11]
MÉMOIRE
[18][41][1]
MISE EN SCÈNE
[48][74][38]
MOUVEMENT
[52][57][36]
MULTITUDE
[34][56][17]
MYSTÈRE
[13][47][8]
NUIT
[8][18][4]
PARCOURS
[33][54][5]
PAUSE
[35][17][22]
POROSITÉ
[24][54][1]
RÉCIT
[34][61][2]
REFLET
[5][21][10]
RYTHME
[6][20][4]
SEUIL
[37][64][8]
SIGNE
[43][62][13]
SITUATION
[40][54][23]
SON
[30][24][15]
TERRITOIRE
[36][59][6]
TRAME
[7][36][0]
TRANSPARENCE
[6][42][0]
VERTICALITÉ
[12][13][12]
VIDE
[7][30][5]
VIVANT
[47][74][34]
VOYAGE
[11][20][4]
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