Laurent P. Berger, visual artist graduated from the National School of Decorative Arts (Paris) and Cyrille Berger, DPLG architect graduated from the National School of Architecture of Paris La Villette, collaborate since 2006 under the identity Berger&Berger. They have participated in numerous exhibitions, in Belgium and abroad, and their work is present in various public collections.

This year, they were invited to participate in the 14th biennale of Lyon Floating Worlds by Emma Lavigne curator of the exhibition.

They take part in many international architectural competitions and realized, among others, the extension of the International Center of Art and Landscape of the island of Vassivière and the extension of the Lambert Collection in Avignon.


No tears for the creatures of the night

Berger&Berger, 2013


32 globes of silvery glass, metallic structure, 24 led sources, electric programmer.


Edition of 3+1AP.


Diameter: 75 cm


Created with the collaboration of CIAV (Meisenthal)


In 1843, Braid showed that the state he called hypnosis is a particular physiological state that can be obtained using a simple method: staring at a candle flame. This new method definitively disproves the hypothesis of the fluid of Franz‑Anton Mesmer, who uses the term “animal magnetism”, and replaces it with a neurophysiological explanation. an environment that solicits the brain that regulates exchanges, sensations, and perceptions. It is related to a model of cognitive mediation that plays on the permeability between mind and body. If the psychiatric approach through medicine allows the body but particularly the mind to self-regulate, *Sommeil Nerveux* works through the more mental slant of suggestion, a resurgence of the hypnotic model. Electrically powered with a program that follows a protocol of regular switches on and off, *Sommeil Nerveux* is made of a cluster of thirty-six silver-plated and varnished glass balls. This piece formalizes a ceiling lamp hung 1.50 m from the ground, housing the sources of light in twenty-four balls so that through a multitude of associations there appear as many regular geometric forms inscribed in the icosahedron formed by this chandelier.


Credit photo :  Laurent P. Berger

Chaise Lambert

Berger&Berger, 2015

Metal, sycamore.

Edition of 30.


The Chaise Lambert is the result of a simple question. What support should be offered to the Collection Lambert's attendants which neither calls upon the works that have become classics of contemporary design, nor creates a ready-made by placing a manufactured object in the white, neutral gallery space. The Chaise Lambert is born from this ambiguity.


This simple idea determines an object with new physical properties, in which the structural complexity eschews traditional assembly patterns. This approach defines new thicknesses and proportions, emphasizing a new object, whose simplicity and precision evoke something to everyone. A thin, almost weak, steel structure is assembled from solid metal 1cm square tubes welded and worked by abrasion.


This structure is 'weak' as its assembly lacks a steel cross in its back, and bracing in its seat, to rigidify the whole and to protect against lateral movements.


The chair results from the coherent assembly of solid sycamore, the seat's thickness of 3cm and the back's 1,5cm board, with the steel structure, the legs and stiles of which are covered by a 0,25cm layer of the same wood.


The association of solid wood on a fine steel structure generates an exchange of forces, giving the finished object its stability and solidity. The wood is therefore not just a visual, aesthetic cladding, but also structural element, bracing the chair in three dimensions.


The structural approach generates a particular physical impression. The idea of a chair is there, physical, anchored formally in a certain banality, but the particular proportions of the object bestow a new, almost unreal, dimension.


This object is neither a ready-made nor a piece of contemporary design. Its ambiguity is amplified when in use, as it's apparent fragility is contradicted by the weight of the gallery attendant resting upon it.



CND Pantin

Berger&Berger, 2014 - 2016


Refurbishment of the public space - CND (Centre National de la Danse), former Victor Hugo Administrative Center building (1965-1972) built by Jacques Kalisz


CND. Pantin, France.


2014 – 2016, ongoing


Under the leadership of the artistic direction of Mathilde Monnier, the National Dance Center of Pantin opens to a new practice of its public spaces.


Its redevelopment opens the spaces of the ground floor. Projecting the Art Center for Dance on the city of Pantin and the banks of the Ourq Canal.


The vast «palace of the people», originally designed by the architect Jacques Kalisz, is transformed punctually to give to the public, artists, dancers and users a platform of invention and work, another landscape of the show.


The program includes the grouping of reception and ticketing in a wing of the building oriented towards the main flows of the city of Pantin, a restaurant, a bookstore, a flexible exhibition room, an open dance and projection area on the atrium and therefore in a direct relationship with the public.


All new programs are articulated with the monumental atrium which finds its own function of connection of the different uses. The media library has a very large amount of archives of historical and international importance.


The space devices set up by Jacques Kalisz inside the building, following regular and intelligible spaces, whose structural repercussions compose an unparalleled interior landscape, in which northern light and southern light could qualify a particular atmosphere, a complex, rich environment.


On the ground floor, it’s here story of clearance, transparency. Transparency that tends to make the birth of the staircase readable, iconic sculpture, masterful and captivating. At the same level of the building, the structure that qualifies the space in the northern part is further back than on the upper floors. This condition is interesting, it gives to the stairs a central position, as the anchorage point of the building, as the hinge point, a pivot, a circulation.


It is therefore for us, to resonate with the two sides of the story of the megastructure of reinforced concrete proudly standing between the Ourq Canal and the Rue Victor Hugo. It is about being able to dialogue with the architecture of Jacques Kalisz, in a reopening of the Ground floor of the building while bringing a new degree of richness and subtlety.

© Atelier Jespers - Erfprinslaan 149 Avenue du Prince Héritier -  Brussel 1200 Bruxelles

Contact : Jean-Francois Declercq +32 475 64 95 81- Elsa Sarfati +33 6 10 84 27 48  -