It comes, however, with its own problems. The Fondation Cartier has been notably welcoming to architects: recent shows have included the outrageously enjoyable and colourful buildings of Bolivian Freddy Mamani and the sinuous, almost ghostly work of Junya Ishigami. But those were exhibitions about a built oeuvre: this is something else, something that transgresses the delicate border between architecture and art. And with that, although not explicitly stated, comes this architect’s desire to be seen as an artist. The result is a succession of installations and objects from bamboo space-frame sculptures to bowls, chunky chairs and more enigmatic things. (The show also features the work of two others, Chinese artist Hu Liu and Danish/Turkish ceramicist Alev Ebüzziya Siesbye.)

The problem when an architect veers uneasily into the territory of art is the inevitable attempt to reinterpret the practical and imbue it with the extremely personal. Architecture is not a personal pursuit but a collective endeavour and, in fairness, Jain credits his studio with the making of the things in the installation and was keen to include artists, perhaps to bridge the apparent gulf between building and art.

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