DATE
2005
ENTASIS
In the heart of Paris, a structure leans into the wind—not to resist, but to remember motion. Its form coils upward like breath held before release, a gesture caught between tension and grace. Light slips through its translucent skin, tracing the arc of imagined velocity, the echo of a body once poised to throw. This is not a monument to movement—it is movement, paused. A spatial reverie where architecture becomes choreography, and the city watches from below as time pirouettes in silence.
An ancient greek sculpture by Myronas captures the entasis (intensity) of the movement of the discobolus.
The ancient greek spirit of the age ‘aiein aristevein’ (translation Homer: always be excellent) , is not a matter of quantity but about achieving and maintaining excellency.
The Paris bid for the Olympics embraces this gesture: always being excellent: a city with a brilliance of past and present bid is the starting point of a great future. The intensity just before setting off (Myron’s discobolus, Paris olympic bid) is depicted in the project. The project becomes an emblem, an icon.