With House of Jealous Lovers, the “body” is at the root of all design decisions, across all scales. Through the strategic sequence of environments and spaces—the body moves through different moments of body/subject reconciliation and estrangement—leaving the subject not questioning the architecture for its meaning or reasons, but instead himself.

The architecture focuses on these moments of reconciliation and estrangement, moving through a difficult whole in which the fragments of the building are always completely manifested. But the boundary and influence of any given one is affected by another — blurring inside and outside, before and after, and conflict and resolution.

As the individual travels through program trajectories, their body is met with different impositions, from dropped ceilings to pinched stairs to bisected reflections. In order to avoid becoming a funhouse of spectacular sensation, the body impositions are devised in relation to specific contextual situations—linking experience to place. Through the use elements such as the pre-existing architecture, Parisian weather conditions and expected formal flows, the body becomes the device needed to register these tensions.

For resolution is not something that cannot be found within a representation, this understanding can only be found within the space of one’s own body.