Over the course of some four years that followed, several intensive research trips landed her in the park, studying the network of defined pathways and physically measuring each one, ultimately detecting 212 distinct paths. It was back in Paris, where she lives and works, that the work came to fruition alongside an extensive series of preparatory works. While the sculpture was initially conceived as a cast object, logistics drove a change of plans, forcing her to employ found and readymade objects; to make the final installation, Trouvé sourced industrial spools and ropes. The latter include natural waterproof cord—the type used on ships—but are mostly synthetic, composed of braided cord realized in a rich palette of colors, most of which Trouvé had dyed in custom hues, from royal blue to mint to fuschia. She cut cords according to the lengths of the paths, choosing colors intuitively and winding them around spools that range drastically in size, from handheld to just larger than a small child. Together, the 212 spools form an archive of the park, an atlas recording its spaces and distances.