Every material possesses its own temperature.

Some surfaces appear distant, smooth and almost immaterial. The restrained geometries of Mario Tsai, the monumental austerity of Rick Owens, the polished steel compositions of Pietro Franceschini and Pol Quadens, the reflective brass forms of Tan Zhipeng, the translucent acrylic and resin works of Saerom Yoon, or the delicate balance between metal and stone explored by Lee Sisan, all evoke a quiet form of coolness—one rooted in precision, clarity and restraint rather than emotional distance. Even the atmospheric photographs of Thomas Devaux seem to dissolve matter into light, extending this sense of silence beyond the object itself.

Others retain the memory of the hand, the weight of the earth and the irregularity of time. The black quarry stone sculptures of Andres Monnier, together with the works of Morghen, Pierre de Valck, Kar, Laura Pasquino and Jérôme Pereira embrace patinated bronze, clay, stone, wood and handcrafted surfaces, revealing a different sensibility in which warmth emerges through tactility, craftsmanship and the slow passage of time.

Bringing together designers from different generations and cultures, this exhibition unfolds between these two sensibilities. It is not a confrontation between styles but a spectrum of emotions: from the quiet precision of minimal forms to the tactile richness of organic ones.

Rather than opposing warmth and coolness, the exhibition suggests that they are complementary qualities through which matter acquires presence. Sculptural design unfolds precisely within this shifting temperature, where precision meets tactility, and restraint gives way to emotion.

Curated by Ygaël Attali