Raw Wool Farm Stool by/par Sébastien Roy @bas.roy FR La douceur peut apparaître dans des environnements rudes. La laine en est un exemple. Elle provient de milieu agraire façonnées par les saison, les animaux et les gestes du travail agricole où une matière douce est produite dans des conditions exigeantes. Cette dualité constitue le point de départ du tabouret. La laine brute est utilisée telle quelle et comprimée entre des tubes d’acier jusqu’à devenir suffisamment dense pour supporter le corps. La typologie évoque les tabourets agricoles du XIXᵉ siècle. La laine est maintenue plutôt que transformée, permettant à ses fibres brutes de rester visibles et irrégulières. Seule la surface en contact avec le corps est taillée et soignée. L’objet demeure proche des conditions agricoles dont la matière est issue. EN Softness can be found in rough environments. Wool is one example. It comes from farms shaped by weather, animals and labour, where a soft material is produced within demanding conditions. This duality forms the starting point of the stool. Raw wool is used unchanged and compressed between steel tubes until it becomes dense enough to support the body. The typology recalls nineteenth-century farm stools. The wool is held rather than transformed, allowing its raw fibers to remain visible and irregular. Only the surface in contact with the body is trimmed and cared for. The object stays close to the agricultural conditions from which the material originates. @semainedesignmontreal @indexdesign_qc @whitewallstudiomtl Photo : @allo.audrey

Nothing Happens, Nobody Comes, Nobody Goes:
Reenacting thoughts on (Non-)Compliant Architecture A short piece in the latest issue of VOCE.A, revisiting the repetitions, frictions and negotiations that shape the making of architecture within a hyper-normative context. VOCE.A - Issue 8: Play (2025)
 The student journal of the Accademia di Architettura di Mendrisio. @_voce.a @osa.mendrisio Thanks to the editors @kayokatshiyembi

Scenography for the Brussels Architecture Prize 2025. Existing technical infrastructure minimally displaced. @brusselsarchitectureprize @urban_brussels @aplusarchitectureinbelgium

DISCOVER THE SCENOGRAPHY For the third edition of the Brussels Architecture Prize, we invited Sébastien Roy and Aïcha-Louise Wenger to imagine and craft the scenography of this year’s award ceremony — a space where architecture, light, and narrative meet. Their vision will unfold at Bozar on December 9, 2025, during a ceremony that celebrates Brussels architectural creativity in all its forms. And to keep the energy flowing all night, DJ Hysope will be setting the rhythm with a set created especially for the event. Get your tickets via the link in bio! @aplusarchitectureinbelgium @urban_brussels @aicha_louise @bas.roy @bozarbrussels @wienerbergerbelgium @finstral.official @potierstone.be @vitra #brusselsarchitectureprize #brusselsarchitectureprize2025 #architectureandcultureforthecity

20,44Watt/ft.sq for Double Entendre at Complètement Design 2025 Thank you @sarahyaorishea and @etienne__vernier for the invitation with @je.jeremie @double____entendre @indexdesign_qc @ivystudiooo

Reassembled components from the Grantham Foundation (2024) In collaboration with @je.jeremie during our three-week residency at the @fondationgrantham in Quebec.

Annotated plan composed of reassembled elements from the Grantham Foundation (2024) In collaboration with @je.jeremie during our three-week residency at the @fondationgrantham in Quebec.

In the summer of 2023, Jérémie Dussault-Lefebvre (@je.jeremie ) and I had the honour of being the inaugural residents of the architectural residency at the Grantham Foundation (@fondationgrantham ) in Saint-Edmond-de-Grantham, Quebec. This publication, 501 colonne d’acier HSS round 5x0.250 18’-3/8” 5” 1/4” pieds-pouces, represents the result of our three-week residency. Conceived as an illustrated essay, it documents our process of cataloging, disassembling, and reassembling each and every constructive elements composing the Foundation’s building. This iterative exploration informed by the contextual logics of rural architecture, resulted in a series of 1:1 proto-detail models crafted from surplus materials left over from the building’s construction. Ultimately, these models informed the creation of a proto-building — a newly reassembled Foundation. Alongside this visual documentation, a series of borrowed thoughts are gathered to reflect on themes of material, context, and care. We extend our gratitude to the Grantham Foundation (@fondationgrantham ) and architect Pierre Thibault (@atelierpierrethibault ) for offering us the time and space to explore ideas and questions dear to us. Special thanks to Sophie Dars and Carlo Menon (@accattone_magazine ) for their thoughtful contribution to the preface. Graphic design by Louise Paradis (@louparadis ) with Audrey Plante (@audeplante ) and Camille Tanguay (@camtanguay_ )

Column, Retrofitted by @abeirst.practice @je.jeremie @bas.roy Unintentional property: The foam deforms into unexpected shapes under the pressure of the column's shaft, resulting in unintended aesthetic and formal qualities. FR Les colonnes remettent en question les conventions architecturales traditionnelles en inversant leurs rôles structurels. Elles sont construites à partir de matériaux trouvés formant le fût tout en intégrant diverses mousses pour combler les variations de hauteur. Ce choix de matériaux permet un ajustement sous pression dans des conditions spatiales variées, tout en évitant délibérément les formes prédéterminées et leurs fonctions porteuses. Ainsi, ces éléments se transforment en participants passifs et stabilisés par leur environnement immédiat. Bien qu'apparentées à des colonnes, elles se présentent comme des structures sous-entendues, qui redéfinissent leur rôle en passant de la stabilité à une articulation spatiale. EN The retrofitted columns challenge conventional architectural elements by reversing their structural roles. Composed of diverse as-found materials that form the shaft of the columns, various foams are employed to bridge height gaps, enabling pressure fitting in any spatial condition while deliberately avoiding predetermined forms or load-bearing functions. Instead, the column becomes a passive participant, defined and held in place by the boundaries of the surrounding space. This interplay subverts traditional structural hierarchies, embracing formlessness as it resists formal resolution and intention. Its ambiguous form emerges from a dependency on external forces, foregrounding the agency of spatial context and shifting the structure's role from stability to spatial articulation. Photo by @allo.audrey

Trowel striations on the stucco facade of the Maison Ernest-Cormier, Ernest Cormier (1931)

All that composes the institution in its formlessness and systematic enumeration. The components laid on a red carpet and listed are fragments of a larger body of work that emerged during a three-week residency at the Grantham Foundation. « Un dictionnaire commencerait à partir du moment où il ne donnerait plus le sens mais les besognes des mots. Ainsi informe n’est pas seulement un adjectif ayant tel sens mais un terme servant à déclasser, exigeant généralement que chaque chose ait sa forme. Ce qu’il désigne n’a ses droit dans aucun sens et se fait écraser partout comme une araignée ou un ver de terre. » Georges Bataille, Informe (Documents, no 7, décembre 1929) with @je.jeremie

Process of reassembling the Grantham foundation in Quebec