When Art and Architecture Meet

We have both worked in major international offices, such as BIG, Kengo Kuma, and Jean Nouvel, collaborating on large-scale projects involving people from diverse backgrounds. Although we experienced projects at various stages of development, we were consistently drawn to the more conceptual and theoretical aspects of the practice, where there seemed to be greater creative freedom. When we met at Sou Fujimoto, we quickly realised that this shared inclination made it remarkably easy for us to communicate and collaborate. With similar visions of architectural practice, we began developing our own projects under the name EX FIGURA. 

Despite our past experience, we were driven by an inherent desire to explore more, to broaden our references and sources, allowing us to design and control every aspect of our work. With both of us having educational backgrounds in the arts, EX FIGURA was born from the intention to combine architecture with other art forms. With every new project and commission, a creative process began to emerge. Rooted in an experimental approach—always open to new methods—it became a way to continually discover and learn new things about the world. It expressed our desire to create without constraints or limitations, fulfilling what we had always aspired to from the start.

Collaboration in Motion: Designing Beyond Boundaries

Mixing architecture with other art forms is a fundamental aspect of EX FIGURA. This integration is not only reflected in the references that inform our process but also in the spaces and experiences we create. In a way, it stems from a certain naivety that defines our vision, where we intentionally merge ideas to explore their potential, often before considering their feasibility. This approach provides a level of creative freedom that we believe is essential for designing something truly impactful. In all our projects, there is a constant spirit of experimentation, using various methods—whether drawing, painting, writing, collaging, or making physical models—which allows us to explore ideas more rapidly, always with a focus on delivering a high-quality final product. This openness to experimentation also enhances our ability to collaborate with other creators. We view each collaboration as a learning opportunity and a chance to enrich the project. In this fluid and dynamic process, everyone is encouraged to contribute their knowledge and skills to elevate the work.

Inverted Columns: A Stage Revealed

One of our first built projects was a stage design for a lecture by AMA, of the University of Mendrisio, in Versailles. This was one of the earliest opportunities to test our design process, from conception to installation. We based everything on the site itself—considering the event was to be held in the palace gardens, we explored several historical documents to better understand their intent and design. Inspired by the iconic water fountains that feature prominently in many of Versailles' gardens, we envisioned a design that could be a repeatable architectural element, yet dynamic and surprising, like a water jet. The stage was conceived as a series of tall columns that, rather than rising from the ground up, had their structure inverted. Drawing inspiration from art and fashion, we used air to push the columns upwards, with their fabric surfaces kept under tension, creating the appearance of moving columns. This required extensive research, not only into the site itself but also into the physical properties of each element involved. With so many variable conditions integrated into the design, the final outcome was still surprising, as the columns reacted to the weather and the material shifted between transparency and opacity depending on the sunlight. The project revealed the potential complexity of such a process, where the vast amount of information fed into the design led to an unexpected result—one that was, at times, daunting but ultimately extremely rewarding.

Remix, Merge, Create

Every project is unique—not only in its development but also in its social, historical, and geographical context. One starting point is always the historical tradition of a particular context, as it reveals the design principles perfected over centuries or millennia. Each local design tendency is based on the specific conditions of the site, including geography, available materials, and their assembly processes. From this foundation, various sources converge in the conception, generating alternative possibilities to traditional principles. By adding new elements or replacing or removing others altogether, the process becomes experimental, akin to sampling in music. We are not concerned with creating something that qualifies as “new”; rather, we combine and remix existing ideas to produce objects and experiences that foster meaningful interactions for people. Although the roots of the idea and the materials themselves are local, the multitude of references and sources often culturally dilutes the locality of the project. As a result, each project becomes something distinct, a culmination of many thoughtful contributors who have laid the groundwork.

Challenging Conventional Limits

We tend to incorporate other art forms into our process with the aim of maximising existing conditions and enhancing the overall spatial experience. One such project was an installation in Canada during winter, where we created a temporary pavilion in Winnipeg on a frozen lake. The highlight of the site was the extreme temperatures, averaging -10 degrees Celsius during the day and -20 at night, causing everything to freeze instantly until the sun rose again. We began with this concept and pushed it to a point where nature itself sculpted a different object each day. The pavilion was constructed from a lightweight, transparent fabric capable of absorbing humidity, suspended from a single central 12m column that would freeze into various shapes each night.

Every project is distilled to a basic principle, which we then explore to the extreme. Another project, still in the early development phase, is a treehouse in France, where we prioritised the residents' experience to guide the design process. After studying historical examples of wooden tree constructions worldwide, we drew upon the experience of climbing trees as a foundational model for the structure. Embracing the surprises that such an approach might yield, we designed a house that repeated the same floor plan at every level but allowed for four ladders leading up and down at different points. This design meant that residents could navigate the house through various paths, mirroring the unique experience of climbing a tree.

Empowering Creative Freedom

We have always had an inherent interest in all forms of art, and with each project we undertake, the fluidity between these different domains becomes increasingly intrinsic. In a sense, this approach is liberating, as it removes the constraint of believing that designing spaces can only reference other spaces—anything becomes possible. We strive to convey this message in several of our theoretical approaches, as we believe there should be no limitations during the conception phase. Regardless of the diverse places and contexts in which we have designed and built in recent years, our goal remains the same: to create unique and meaningful experiences for those who encounter our spaces. Ultimately, we aim to encourage people to feel free in their design processes, allowing their inner expressions to flow. Through our lectures, workshops, and publications, we advocate for the importance of inspiring one another, motivating individuals to use their unique personal experiences as a foundation for new designs—so that others can be inspired for future creations, and so on.