The success of the first place proposal lies in its careful selection, organization, and representation of autonomous archetypes, liberating the pavilion from politically biased signifiers oft assumed through architectural form. The positivity of the architecture and representation creates a sense of no-place (Utopia), allowing the pavilion to proclaim itself in any environment, culture, and situation as a platform for liberated speech.
The easel is the principle component of the pavilion. Organized in a striated, but ordered field condition, the easel provides canvases for individual expression. Nodes of concentrated activity are carved out of the field to create larger social platforms for collective discourse and dialogue. Despite the openness of the relative field, the easel is deployed as a series of walls without ceilings. These barriers simultaneously enclose the individual while relating them to the whole. Tectonically, and through representation, the project embodies a virtue of innocence, inherent also to the ideal of free speech. Instead of memorializing imagery as an archive, the architecture itself embodies and perpetuates the spirit of expression Charlie Hebdo fosters.