Dark sky
matali crasset
Paseo del Espolón – Concéntrico 08
Dark sky, simulates an owl that has just landed in the middle of the city. The intervention will make the Paseo del Espolón an intergenerational space that integrates the whole city in a dialogue with the Concha del Espolón, a kiosk in the form of an auditorium created in 1954.
The large yellow metal structure stands out for its curved contours and wooden cladding which, like the enigmas surrounding the myth of the owl, shows us a symbolic space that transforms between day and night:
During the day, the installation has an almost maternal presence that invites us to create intergenerational situations around three cohabiting spaces:
– a double tunnel for children’s play in which, as in the famous Tragantua, they are invited to enter the nose of the owl;
– a double inclined plane offering the possibility to lie down informally;
– a high plane, at the back, which invites to settle down, to exchange and to look at life through a visor.
At night, the owl wakes up and its eyes light up, inviting passers-by to settle down on its sloping surface to gaze at the stars. A work that appeals to the senses and reaffirms that the sky is above all a space of imagination and freedom where everything is in eternal movement.
matali crasset
matali crasset is an internationally renowned French designer. She has been advocating design as an artistic, anthropological and social practice since she graduated from ENSCI-Les Ateliers.
She focuses on her dedication to creativity, people and everyday life: how can design contribute to our community and help us navigate the contemporary world? This is the simple but committed premise from which he thinks and sets everything in motion.
Over the past 30 years, he has invented his unique path, realising hundreds of projects in the fields of architecture, stage and furniture design, public spaces and urban planning.
His works have been exhibited in France and abroad. They are part of major museum design collections, such as the MoMA in New York and the Centre Pompidou in Paris.
His design without borders expresses his deep conviction that every creative process is first and foremost human, social and ecological. The purposes of any project do not depend on its realisation alone, but on the process it implements and its capacity to forge links, to create a system of exchange and reciprocity between individuals within a given environment. From this perspective, all projects ultimately become a collaborative effort.
With the collaboration of
