Category Archives: realisations

Construire / Patrick Bouchain et Loïc Julienne, in Beaumont, Ardèche

Les Bogues du Blat

Rural Social Housing in the Ardèche Cévennes

The Drobie valley, like the whole of the Ardèche area, has undergone a slow process of agricultural abandonment for more than a century, its steep slopes being too restrictive for mechanized agriculture. This change engendered a major rural exodus that reached its peak in the 1970’s. Recently, the valley has experienced new residential and tourist interest, which has created numerous amenities, not always adapted to the challenges of local development.

The Beaumont commune has embarked on construction and development projects to support sustainable development in the face of growing demand for building land or traditional housing. The Blat hamlet was chosen to accommodate a new residential zone and the commune entrusted an architect with the project of creating a rural social habitat based on the house as a basic unit, all the while giving the opportunity to the hamlet’s social group.

The Construire team’s response made it possible to go further than initial intentions, to open up the commission to their experimental approach and to question the possibility of different ways of building. Entrepeneurs, future residents, architects and artists were consulted throughout the project in order to make the construction a cultural act.

Each house is located astride several restanques[1] and is served by a private road, but parking spaces are grouped together and kept away from the dwellings. The faïsses[2] that are not privately owned may be used for common gardens.

Initial construction consists of an arched frame, its cladding and the layout of the ground floor alone (with living room, bedroom, kitchen and bathroom). After that, two options are possible: simple rental with the possibility, among others, for the tenant to extend the living area into spaces left free; or progressive acquisition of the property as part of a set-up defined with the client.

[1] Restanque is a term used for drystone retaining walls built on steep slopes to establish cultivating terrasses.

[2] Land in strips used for agriculture on steep slopes long deforested.

First batch of 3 houses and 4 dwellings/ lodgings: September 2013

Second batch of 3 houses: January 2017

Patrons: Members of Beaumont’s municipal council and Pascal Waldschmidt, mayor of Beaumont, Jacqueling Nielle and Jean-Remi Durand-Gasselin, mayoral deputies.

Funding: Fondation de France, Rhône-Alpes region, General Council of Ardèche (Cap Territoire), Monts d’Ardèche Regional Nature Park (European Agricultural Fund for Rural Development – Leader.)

+ book link:

The Bogues de Blat experiment was the subject of a publication including the story of the commission and Patrick Bouchain’s study book. Captures éditions, 2018

presentation folder, September 2013 – pdf pdf


crédits photographiques Loïc Julienne et Phoebé Meyer

Giuseppe Gabellone in Lyon

Memory Monument

Eager to honour the memory of the under-privileged that they care for on a daily basis, Les Petits frères des Pauvres asked an artist to design a memorial monument in a cemetery. At the time of death, these destitute people are sometimes entitled to a burial plot granted by the city council for a period of six years, but their graves are rarely cared for when they have one. By dedicating a place for collective memory to them, Les Petits frères des Pauvres wanted to signify their belief in the unique value of each life.

Although it is a classic subject in art history, the funeral monument is unusual for artists of Guiseppe Gabellone’s generation. He chose to produce a secular monument that evokes death without resorting to sacred iconography typical of funerary statuary. At the same time he wanted to respect the atmosphere of the place, specific to 19th century French and Italian cemeteries.

The monument consists of two abstract glass modules placed on a white stone plinth that covers two vaults. The plinth is designed to retain rainwater and produce the effect of a mirror. The names of the deceased will be written on the front corner blocks.

The idea is to use the earth as a mold for the glass sculptures, “To make a solid form out of a cavity…as if to capture memory, translate the idea of memory.”

credits: Guiseppe Gabellone

Presentation folder: August 2012 – pdf

Commissioned by Les Petits frères des Pauvres
commission on hold
credits: Guiseppe Gabellone

Lani Maestro in Bataville , Lorraine


Le site de Bataville est né en 1931 à l’initiative de Tomáš Bata, fondateur du groupe industriel du même nom. Il compte 2 700 ouvriers en 1939, 840 en 2001. La délocalisation des activités en 2002 débouche sur le licenciement de 800 personnes. Au moment de la commande quelques entreprises étaient implantées sur le site qui accueillait aussi l’ancienne Communauté de communes du Pays des étangs, installée dans l’ancien magasin d’usine.

En 2010, Bataville entre dans une phase intermédiaire de son évolution. L’association La Chaussure Bataville, en collaboration avec les collectivités locales, a souhaité développer un projet culturel et économique qui accompagne cette mutation. Comment faire coexister la mémoire encore vive d’une cité organisée autour du travail à l’usine et la possibilité d’autres usages ?

Lani Maestro envisage sa proposition comme l’«antithèse du lieu et du travail industriels» et comme un espace collectif. Limen — mot latin qui signifie « seuil », «passage d’un état vers un autre » — est le titre de cette sculpture. C’est une structure ajourée composée d’une longue plateforme surmontée d’une charpente de bois. Elle évoque le tunnel et le pont par le rythme régulier de ses travées et sa fonction de passage.

L’œuvre invite à la promenade et au repos comme « manière d’être avec soi-même », s’anime de notre présence et de celle des autres. Elle est installée entre l’ancienne cantine et le site de production, près d’un

communiqué de presse, avril 2014 – pdf

commanditaires : Commune de Moussey, d’anciens salariés des usines Bata et association La Chaussure Bataville

soutien : Parc naturel régional de Lorraine dans le cadre du programme européen LEADER (Fonds européen agricole pour le Développement rural), Fondation de France, Drac Lorraine, Région Lorraine, Département de la Moselle


crédits photographiques Phoebé Meyer

Liliana Motta in Bataville

In pursuit of the Paysage industriel (Industrial landscape) programme carried out in partnership with Lorraine Regional Nature Park and the commissioning of a guide plan by Notre Atelier Commun, the former Pays des Étangs Community of Communes wished to reflect on pollution issues at the Bataville site.

A phytoremediation studio has been set up with the Le Laboratoire du Dehors (Outside Laboratory). Its approach consists in particular in experimenting with “economical management solutions capable of gradually building an original structure by transforming the premises through gardeners’ gestures.” The action goes beyond the site and opens up onto big landscape, up to the canal. For her research, the artist wished to connect with the Lorraine University Soils and Environment Laboratory – UMR 1120, under Geoffrey Serré’s direction: Doctor, Geological Engineer, ENSAIA lecturer.

The way through Bataville’s polluted lands

 “Many of these sites are considered polluted because products that alter or compromise their quality and proper use have been identified in the soil, the subsoil and possibly in the groundwater…(…) This pollution is likely to become a nuisance or a long-term risk for people and the environment, it is important not to forget these polluted lands, not to hide them from contemporaries and future generations. And this is why we have to experiment, take care of this land, make it alive again (…).”

A path was built along the meadow following the alignment of the willows in parallel, and crossing the woods to reach the Canal. This construction was accompanied by spatial analysis, traces of the past, soil quality, visible and invisible pollution, of the vegetation in presence. 

It is by looking towards Bataville that we see the Canal. This landscape setting establishes a link between the Bataville site, the ponds/ lakes, the canals and the forest.

The ambition was also to restore the old factory landscape with a new identity built from its geographic and sensitive territory.

The path can be maintained by school groups or technicians from the commune.

Read: Report and conclusions/ Bataville landscape as experience – The way.

Bataville, le paysage comme expérience – le cheminement – juin 2017 – pdf


soutien : la communauté de communes du Pays des étangs, Fondation de France


Notre Atelier Commun in Bataville

As part of the Industrial Landscape programme led with the Lorraine Regional Nature Park, the Pays des Étangs Community of Communes and different local associations wished to continue their reflection on the industrial memory of the Bataville site in Moselle. After an initial commission awarded to Lani Maestro, whose work Limen was inaugurated in 2014, Notre Atelier Commun was commissioned to develop a guide plan.

How can Bataville survive without Bata? Aside from the necessary reconversion of the old working class city, a whole model of society needs to be reinvented. Aware that the site’s evolution had to be based on a finer understanding of values inherited from the past and on new uses, the Patrons wanted to conduct a prefigurative study to secure the transition of patrimony between past, present and future.

Notre Atelier Commun’s response first took shape during the working process. Convinced that one must live in a place to understand it, and that one cannot imagine a future at a distance without the residents and the territory’s protagonists, NAC settled in Bataville for a year and initiated about ten public meetings with the Fairground University between October 2015 and September 2016.

The guide plan, submitted in September 2016, builds on these discussions to propose three major directions: making Bataville a space of freedom and innovation favourable to new emerging systems; creating connections between people (newcomers, residents, former employees) and between activities so that the site becomes a common, shared space; reclaiming know-how by reconnecting with the craft industry and promoting small-scale production.

Plan guide plan’s conclusion et des mains

Financial Partners: Natural regional Parc / Lorraine, communauté de communes du Pays des étangs, la Fondation de France / New Patrons Program

Jessica Stockholder in Toulouse

Los Pès del parpalhòl (The butterfly’s feet)

At the request of the associative school Calandreta Còsta Pavada (Occitan-French bilingual school), Jessica Stockholder created a practical work, a play and living space.

In 2007, in association with the teachers and activity leaders, the parents of pupils commissioned a work for the school yard to promote sensory experiences, meeting and exchange for children between three and ten years old. The sculpture should be capable of embodying some of the school’s founding ideas: a spirit of tolerance, curiosity, openness to foreign languages and cultures.

Jessica Stockholder’s proposal comprises a “workable” sculpture made in bright colours and varied materials: marble, wood, Corian, concrete and brick. It is composed of a set of geometric forms of low height that unfold and are organised around a central point covered by a rectangular structure in plasticized sheet metal. This structure can act as a space for play/ self-staging, and shows volume and passage. The floor drawing in aluminium near the red marble disc, as well as the shape of the larch planter, take elements from the Occitan cross. “The Occitan cross is quite abstract in the work,” writes Stockholder. “I’m responding to the fact that it wasn’t present anywhere in the school when I visited it (…).”

The Calandreta Còsta Pavada school could not finally accommodate the work. It was agreed to donate it to the town of Toulouse and to install it in the Musée des Abattoirs hemicyle, near the educational workshops/ studios.

dossier de presse, avril 2013 – pdf

commanditaire : association Calandreta Còsta Pavada, Toulouse

Soutien : Fondation de France / Nouveaux commanditaires, ministère de la Culture et de la Communication (DGCA, DRAC Midi-Pyrénées), Ville de Toulouse,

Patron: Calandreta Còsta Pavada association, Toulouse

Funding: Fondation de France / New Patrons, Minister of Culture and Communnication (DGCA, DRAC Midi-Pyrénées), the town of Toulouse, Syndicat mixte des Abattoirs


crédits photographiques Jessica Stockholder (toutes) sauf Jean-François Peiré–Drac Midi-Pyrénées (9)

Investigation of the/our Outside – Valence-le-Haut, 24th April 2012

Alejandra Riera with neighbourhood users and residents. 

The Fontbarlettes quarter is part of the Valence-le-Haut complex, known as a coherent new city project in the 1960’s, though ultimately the scheme remained unfinished. The patrons, noting a stigmatisation of the neighbourhood, wanted to give the locals a voice, understand how they appropriated the space and their perception of a bigger “outside” likely to invite different interpretation.
Alejandra Riera made several visits to Valence during which she spoke at length with neighbourhood residents, proposed meetings, projected films and organised communal “actions” in different places. With these residents she conceived the filming sessions for her “film-document”. The result is a film and a publication, thought and produced simultaneously, but which function in an autonomous and complementary manner.
The film combines different images such as archives, text images and mises en scène with the residents. In her practice, Alejandre Riera calls “film-documents” a singular manner not only of making films, but of “exceeding” them, that is to say, “thinking of film-documents (…) as outside the scope of film itself, which would constitute a document of its time, adding to its own space the more uncertain space of historical, temporal, affective discontinuities.”
The publication presents itself like an investigative report. It is composed of retrieved pages ¬– the first notes on conversations with the residents – accompanied by footnotes written by Alejandra Riera and image plates with captions inviting new thought for reflection.
Throughout the film and the report, in the dialogue between plates and text, sounds and images, witness accounts, comments and citations, multiple passages become visible or probable, beyond the separation established between the supposed centre and its periphery.

press release, April 2012 – pdf

légende image : Vue partielle, 11 novembre 2008. Gare de Lyon, Paris, palmier en pot, «Butia Yatay, origine : Argentine, Brésil»

Investigation of the/our outside (Valence-le-Haut)) (2007-…) on the 24th April 2012, an image of collective thought on the place in which we live. Alejandra Riera with residents of the Fontbarlettes district.
Twelve Exchanges, “Footnotes” and thirty-nine images and captions
21 x 29.6cm, stitched notebooks, hardback, 352 pages.
800 copies
ISBN 978 2 953391275

Captures éditions   Captures éditions in partnership with art3, Valence.

commanditaires : des habitant(e)s de Fontbarlettes avec l’association Le MAT

L’Enquête sur le / notre dehors a été initiée dans le cadre de l’action Nouveaux commanditaires proposée par la Fondation de France.

médiation–production : Valérie Cudel / à demeure, en partenariat avec Imagine / Issy-les-Moulineaux et art3 / Valence

soutien : Fondation de France, ministère de la Culture et de la Communication, Centre national des arts plastiques (Image-Mouvement) / DRAC Rhône-Alpes, Région Rhône-Alpes, Département de la Drôme

Michel Aubry, Vercors Regional Nature Park

The 72 593th Part of the world

Commissioned within the framework of the inter-parks cooperation project Paysage Industriel (Industrial Landscape): Monts d’Ardèche, Lorraine, Pilat, Vercors

The 72 593th Part of the world

Traditional crafts hold an important place in Royans-Vercors’ history. The production of wooden tableware especially, boomed during the second half of the XXth century, with some fifty companies employing more than six hundred workers. Today only four workshops are in operation. The work requested here must draw on the threads of the past to think of the future and account for the territory’s plural realities.

Straight away, Michel Aubry chooses to decompartmentalize his subject and associate the Vercors project with the one taking place in parallel at the Pilat park. His research is based on three works that evoke the industrial landscape and the relationship with natural resources: Paysage avec travaux de la mine (1544) (Landscape with mine work) by Herri met de Bles, Le Feu (1606) (The Fire) by Jan Breughel the Elder and La Sixième Partie du monde (1927) (A 6th Part of the World) by filmmaker Dziga Vertov.

Michel Aubry’s proposal for the Vercors park is inspired by a sequence from La Sixième Partie du monde showing a Siberian shaman who dances “in a costume laden with symbolic objects, both protection and a conductive jacket linked to natural elements.” He rethinks the shaman’s costume and associates it with the sound tubes designed in the turnery tradition. “Like the shaman, sound connects elements coming from the forest to material objects.”

On the 27th September 2014, Marianne Baillot initiated the work with a choreographic performance.

Today The 72 593th Part of the World is part of the Conservation of the Drôme Department collection and is on permanent display in the municipal council room of Saint-Jean-en-Royans. Other variations of the dance are scheduled for the Vercors region.

Press release, September 2014- pdf

Patrons: Members of the Arbre and Engivane associations and the Vercors Regional Nature Park

Funding: Fondation de France/ New Patrons programme, Vercors Regional Nature Park, European Agricultural Fund for Rural Development: LEADER, Department of Drôme, the town of Saint-Jean-en-Royans


crédits photographiques Phoebé Meyer

Michel Aubry, Pilat Regional Nature Park

La 213 429th Part of the World

The 213 429th Part of the World is Michel Aubry’s response to a commission given by the Iguerande association and the Pilat Regional Nature Park. It covers an area that retains few architectural traces of its metallurgy activity. All that remains is the notion of a dirty job in contact with black dust. There is a real working culture, however, in the manufacture of the finished object, as well as small companies whose specialization stems from ancient skills in the foundry and precision mechanics and locksmithing industries. How then to restore the place of an industry on the scale of a landscape whose resources have contributed to its development?

Michel Aubry’s proposal echoes the changes in Pilat’s sound environment with the installation of numerous forges, stones used for nailsmithing and subcontracting workshops for the valley’s main industry. Michel Aubry questions this sound footprint by making sound recordings inside the companies. These recordings lead to editioned vinyl records and the manufacture, by the Trouillet company in Saint-Julien-Molin-Molette, of a metal case intended to accommodate an instrument that integrates a pair of turntables and a mixer. It allows you to create compositions from engraved sounds and premixes from the samples.

The records are published in seven examples and assembled in two boxes. The work was performed during a concert performance by hip-hop scratcher Matthieu Crimersmois and dj artists on the 4th July 2014 in the Sainte-Julie factory at Saint-Julien-Molin-Molette.

press release, July 2014 – pdf

Patrons: Éric Perrin, historian and member of the Iguerande association, the Pilat Regional Nature Park
Funding : Fondation de France/ New Patrons programme, Vercors Regional Nature Park, European Agricultural Fund for Rural Development: LEADER 2014


 Photographic credits: Marc Domage (2,3) and Emmanuelle Boccou


Joëlle Tuerlinckx in Cransac

The Cransac Triangular
“Memory Museum – Universal Property®”

Before it was a mining town in the 19th century, Cransac was a village known for its hydrotherapy. After the mines closed in 1961, the city became a spa town again, but collective memory remains tied to its mining past. Changes in landscape and social behaviour are thus essential ideas in Cransac’s recent history.

By using an artist, the patron wanted to go further than commemoration. If the consideration of industrial and mining history remains important, the articulation of past and present must show new concerns related to thermal activity and the evolution of the urban landscape.

The town chose internationally renowned artist, Joëlle Tuerlinckx. From the outset, she became interested in the context of the intervention. Her meetings and discoveries (human, geological, architectural) were recorded in notes and are the subject of audio and visual recordings, the ensemble constituting the genesis of the work.

Joëlle Tuerlinckx develops a project that evokes the entire museum structure and its function: the collection, conservation, inventory, presenting successive exhibitions. But she overturns its schemes and proposes a “museum turned inside out like a glove” based on a triangular of places.

The Cransac Triangular, “Memory Museum – Universal Property ®” consists of the Memory Monument, 34 metres high, erected on the old mine pit head, near shaft No. 1 (the monument represents one 10th of the shaft’s depth) and of two sites designated by the artist as the Memory Museum Vitrine Historique and Vitrine Contemporaine (Historic Window and Contemporary Window).

The title given to the work pays homage to Jean Jaurès: “Universal education, universal suffrage, universal property, that is, if I may say, the true postulate of the human individual.*” The artist retains the universal spirit and utopian dimension of Jaurès’ words.

*“Socialism and freedom” article published in La Revue de Paris, December 1st, 1898.

Press folder, September 2011- pdf

‘Monument-Mémoire’, ‘Vitrine Contemporaine’ et ‘Vitrine Historique’

réalisation et inauguration, le 15 octobre 2011

Patrons: Cransac Municipal Council

Financial Partners: Town of Cransac-Les-Thermes, Fondation de France New Patrons in partnership with the Minister of Culture and Communication (DGCA, DRAC Midi-Pyrénées), Région Midi-Pyrénées, Department of Aveyron, with the participation of Bassin de Decazeville-Aubin Communauté de communes, Forum des associations, Crédit agricole Nord Midi-Pyrénées, Umicore, Chaîne thermale du Soleil–Thermes de Cransac



)Photographic credits, Joëlle Tuerlinckx, Christoph Fink (except 25, 26 and 27)