This theme raises the question of the new forms of narrative driving the emergence of a new post-anthropocene aesthetic, moving towards more inclusive models of our relation to the environment.
22 April 2024
22 April 2024
For the past 3 years, PCA-STREAM has been publishing STREAM VOICES, the digital research and innovation magazine that explores the metabolic city. To share more generously the fruits of its collaborations and research, discover the new format, now published fortnightly! Contents of issue 1: — The art of artificial life” by visual artist Justine Emard — Paris at 50 degrees” by Alexandre Florentin, Paris councillor
Justine Emard is a visual artist. Her installations use AI to understand the living, exploring the boundaries between organic life and artificial intelligence. Bee swarms, encephalographic recordings and prehistoric paintings become learning supports for algorithms that, contrary to dystopian imaginations, generate new supra-hyper-organisms.
In a context of changing cultural practices that question the future of museums, the Centre Pompidou launched a competition for the creation of a new conservation center. This competition was won by the architectural firm PCA-STREAM under “La Fabrique de l'Art” (The Art Factory) project submission. Housing the collections of the Centre Pompidou and the Picasso Museum, it will offer a comprehensive collection and conservation facility leveraging an innovative approach whereby, under one building, there will be both a facility for cutting-edge research/conservation and a public engagement space. The project, which is set within a delightful park, will become a new central location for residents of the Île-de-France region.
Never once has Sissel Tolaas, Norwegian artist, chemist, linguist and researcher, uttered the word “perfume”. For the past twenty-five years, she has been collecting, inventing and breathing new life into smells, refusing to be part of the world’s aseptisation. Through her olfactory installations, she invites us to sense reality, its geography and its temporality. Most recently, she has recreated the smell of Pompeii, between sensory experience and memory of the past.
The Champs‑Élysées, History & Perspectives exhibition presents the study conducted between 2018 and 2020 at the behest of the Comité Champs‑Élysées by PCA-STREAM in collaboration with some fifty researchers, historians, scientists, engineers, artists, and economic and cultural actors from France and abroad. It traces the development of “the most beautiful avenue in the world,” analyzes its current usages, and proposes a vision of its potential evolutions in response to the challenges this area of the city faces in the present day. The Champs-Élysées is becoming a collective space to experiment with the development of a sustainable, desirable and inclusive city by 2030 through focusing on four main strategic priorities: reducing the impact of urban mobilities, rethinking nature as an ecosystem, seeking new uses, and the use of data for measurement and regulation.
For feminist geographer Leslie Kern, the urban environment is not neutral and stems from norms and power dynamics. She calls for a greater variety of urban user needs to be examined, and for physicality to be reintroduced into urban design. This translates into spatial and social interventions around mixed use considerations and taking into account marginalised voices in decision-making processes.
The new Versailles Tourist Office is intended to improve the reception of the millions of tourists to the château, while allowing them to discover the richness and variety of the city's cultural activities. In dialogue with a contemporary grove by landscape designer Nicolas Gilsoul, PCA-STREAM reinterprets the figure of the pavilion to offer a sober and minimal building, combining modernity and classicism, as a synthesis of what Versailles can offer the world.
A new institution for the arts in Montpellier, the MOCO brings together the Panacée and the École Nationale Supérieure des Beaux-Arts of Montpellier Méditerranée Métropole around the Montcalm Hotel. This headquarters for contemporary creation aims to federate the art scene in Southern France, and to break with cultural centralism, while at the same time avoiding a repetition of the “Bilbao” recipe of the spectacular object. It explores the possibilities for the transformation of the city through art in line with an organic model that rises to the contemporary challenges of regenerating historic cores and recycling existing architecture. The MoCo is in phase with a younger generation’s aspirations towards collective appropriation, co-production and the idea of making do with and together.
The Center for Contemporary Creation (CCC) of Tours occupied a dilapidated location that was devoid of identity. PCA-STREAM conducted an experimental reflection on the identity of this place of artistic production, eventually leading to an architectural project of a second skin for the façade. One hundred and fifty blades of LED-backlit Plexiglas make up an organic and shifting scenery that interacts with the street and the public. This hybrid object between sculpture and architecture has become the emblem of the CCC.
PCA-STREAM has designed a museum for the art collection of the Ukrainian philanthropist Victor Pinchuk in the heart of the historical city center of Kiev. Inaugurated in 2006, this center is a beacon for contemporary art in Eastern Europe and has contributed to the promotion of cultural exchanges between the East and the West these past ten years.
Léonie Debrabandère is the Director of the WAAO, Lille’s architecture center, and curator of the exhibition “La ville tourne en rond?” How can we get away from anthropocentric, productivist logics and create a city that self-regulates, regenerates and recycles itself? The exhibition takes us on a semantic and tangible exploration of the circular city, allowing anyone to implement re-usable solutions on all scales.
Pablo Valbuena is a visual artist. He creates rhythmic light installations to represent time and movement, altering our perceptions of space. His “illusions” distort reality and reveal imperceptible information. We collaborated together on the creation of the Modulation artwork, a series of luminous combinations evoking modularity.
Périg Pitrou is an anthropologist at the CNRS and head of the “Anthropology of Life” team at the Collège de France. He is Scientific Director of the City-Metabolism Chair, which brings together PCA-STREAM and PSL University (Paris Sciences et Lettres). The aim: to identify how interdisciplinary collaborations can help overcome the challenges of building the urban worlds of the future.
Dorcas Mabanza-Kuma is a graduate from the architectural school ENSA Versailles. In her final thesis, which won an award from the Maison de l’Architecture Île-de-France, architecture turns into a place between fiction and documentation to question the ways of dwelling that are customarily described as informal. A matter of perspective…
"Pièce Lumineuse" is both a piece of architecture and a work of art. It was developed for the Center for Contemporary Creation in Tours and the Palais de Tokyo by PCA-STREAM and Orlan, a pioneering artist and theoretician of “Carnal Art.” This work explores the sensual and experimental dimension of Orlan’s oeuvre, while at the same time illustrating the rich exchanges and artistic collaborations that PCA-STREAM promotes in order to bring some degree of “otherness” to its design work.
“ Meteorology as a Model of Thought. ”
“ Meteorology as a Model of Thought. ”
Anouchka Vasak is a lecturer in French literature. At the juncture between climate history and climate science, she elaborates a model of thinking based on meteorology, shifting like clouds. Her book 1797 – Pour une pensée météore [1797 – For Meteorology as a Model of Thought] is its “Discourse on the Method”.
Maximum is a design studio that maximizes the value of waste; its material, its form and its engineering. Some materials are transformed in a semi-industrial process while others give birth to unique pieces, such as the glass walls of the Centre Pompidou caterpillar.
Michel Blazy is a tamer artist, whose work results from collaborations with snails, mosquitoes, molds or bacteria. Exhibited at the Portique (Centre d’art contemporain du Havre) until December 18, he questions, through his living works, the temporality of art and the borders between the living and the non-living, the natural and the artificial. Extract of the article Encouraging the matter published in STREAM 04 : The paradoxes of the living
Jean-Baptiste Fressoz is a historian of science, technology, and the environment. He contributed to popularizing the concept of the Anthropocene in France with his book The Shock of the Anthropocene, which he co-wrote with Christophe Bonneuil. With Les Révoltes du ciel [The Revolts of the Sky], co-written with Fabien Locher, he traces the history of our relations to climate change to put into perspective our contemporary vision of environmental issues.
Currently a curator at Foundation LUMA in Arles, Martin Guinard is co-curator, with Bruno Latour and Eva Lin, of the 2020 Taipei Biennial of Contemporary Art. The exhibition consisted in a planetarium in which each version of the Earth reflects different lifestyles, as well as the ways in which we predict the future, and was also held, in a scaled-down version, from November 2021 to April 2022 at the Centre Pompidou Metz.
The artist, whose work is being exhibited until March 20, 2022, at the Paris Museum of Hunting and Nature, reproduces forms that history has endlessly discarded and returned to. By imitating nature in order to draw closer to it, she evokes myths both ancient and contemporary. Between rebirth and abandonment, immerse yourself in her cardboard gardens.
Lucile Viaud is a designer and “geoglass” artist. Working from salvaged materials, she crafts objects that carry within them the history of the territories from where the materials originate. Its snail or abalone shells, forgotten sands, and powdered seaweed are slices of fleeting time and result in objects that cannot be replicated.
The challenge of the Anthropocene must be addressed through cities, not only because they cluster challenges, but also because, according to Michel Lussault, their desirability will not decline in spite of various crises. The urbanity specific to the “relational city” remains crucial as an experience of otherness, and, in that respect, going full digital or generalized teleworking would represent a “counter-social” development. The increasing complexity of our global urbanization reinforces the systemic inscription of cities and drives urbanism towards ever-increasing levels of cross-disciplinarity, an approach he promotes at the École Urbaine de Lyon, in particular around the “common health” concept, intended to spatially approach issues of social justice, public healthcare, and ecosystem restoration.
Artists are contemporaries of the transformations of their time and find themselves immersed in the biosphere, in a gesture of rupture from the dualisms of Western thought. Nicolas Bourriaud views this as stemming from “inclusive thought.” Far removed from the representations of human beings as positioned at the center of their “environment,” like figures against a background, inclusive art expresses a realization of our entanglement within all living milieux. Moving beyond the “formulas of subjugation” generated by binary thought and epitomized since Aristotle by the divide between matter and form, active and passive, and nature and culture, contemporary artists cooperate with the living and compose networks of relations.
Caroline Goulard is a data journalist and co-founder of Dataveyes. She turns collected data into digital experiences to make it more understandable for everyone. Thanks to new ways of visualization, it is now possible to understand a population’s needs and to develop services that anticipate new uses.
Researcher and data scientist Stanislas Chaillou investigates how AI can enable architects to support and enhance their practice. A small sampler of a new book published by Éditions du Moniteur in March 2021.
François Taddei is a geneticist and co-founder, with Ariel Lindner, of the Learning Planet Institute (formerly known as CRI). Conceived as a school for the 21st century, the institute combines artificial intelligence and collective intelligence to reinvent ways of learning, teaching and doing research.
Hubert Beroche is the founder of the Urban AI think tank, dedicated to the field of urban artificial intelligence. He is the curator of the Eyes on the street lecture series, run together in partnership with the SCAI (Sorbonne Center for Artifical Intelligence), and explains here how urban AI can help us understand the city.
Contemporary architectural research is often fascinated by biological life but with an approach that goes beyond simple organic metaphors thanks to recent technological developments. Alisa Andrasek discusses the link between biology and her architectural practice, and her interest in the distribution of information in natural processes—a complexity that she tries to approach via big data. Her work in computational design is influenced by the convergence between information and materials, in an increasingly complex and open synthesis which enables it to go beyond the production of form and address the dynamic processes of matter itself. Alisa Andrasek is an architect, director and founder of the Biothing laboratory. She teaches at the Architectural Association of London.
Researcher Claire Lesieur works at the CNRS Ampère Laboratory on the Go Pro project, which applies a computational model developed for protein folding to urban environments. The shape-changing properties of proteins are put to use in an attempt to map out the opportunities for urban growth that don’t involve urban sprawl.
In the face of the promises of the prophets of artificial intelligence and the marketing of those major economic players promoting the smart city as a solution to urban ills, Jérôme Denis and David Pontille remind us of the irreducible materiality and fragility of cities. Demystifying what they perceive as a form of “neopositivism” of data, they point out that data doesn’t exist per se, and in fact must be generated and then maintained at a significant cost. As a result, data is never neutral and takes on a fundamentally political dimension. Understanding this framework leads them to promote a paradigm of maintenance and fragility, instead of the more common one of sustainability and resilience, when approaching urban realities.
stream voices
Eager to share more generously the results of its collaborations and research, PCA-STREAM publishes STREAM VOICES, its online magazine!