Page 1

CONVERSATIONS


Conversations

Mapping Conversations

Halima Benaissa & Maisanne Walles

Patrick Chaimovitch

Julien Beller

We used various mapping techniques to record our conversations that took place in Colombes. These conversations will form the basis for a series of key actors that may exist within some of our project work.

Sebastian Eymard


Halima


This mapping shows the conversation with Halima, her daughter Maisanne and her friend Raimond. Life in social housing in the suburbs as an immigrant was discussed as was the new community garden initiative, which Halima and others in the community are trying to initiate. They hope to address some of the issues of living in an area where there is a lack of community and people little interaction. Also living in high rise housing does not allow for individual gardens so it is hoped this community garden will provide a shared green space for the inhabitants.


Conversations

parents

Halima’s daughter

€€€

+ house

Avenue Audran, Colombes

HALIMA

aged

our e nc

ALGERIA

want self- organisation

personal history

GARDEN INITIATORS

garden

CONFLICT

Cost: €500 per month 80 sqm 4 bedrooms

FRANCE

immigration, 1950s

MAISANNE

HLM

RAIMOND statute

friend of Halima’s is an artist like her

civil war in Algeria

51 years old has 2 daughters works in the area

want to be organised and want a statute legal definition

key actors

60 USERS OF THE SPACE including middle class, working class & retired

wants more cultural integration than food production

manage

planted in the garden without permission

current flat 1983 Paris

house with a garden is too expensive to afford therefore a community garden is the only way for Raimond to have access to a garden.

ounters

community garden

a place

aims & objectives

OR

FIELD TRIP VISIT Meeting with Halima flyers

CONVERSATION MAPPING - Halima

CITY HALL

a sp ace for e nc

roduction for food p

garden

owns land

community garden

meeting space

external actors

not visited garden yet

encourage integration

the only barrier for this development

MIDDLE CLASS

wants the land from them

WORKING CLASS

presentations and flyers to encourage people to participate

neighbours don’t talk to each other

current situation

social

bring people together

- potential exchange systems and alternative economies - giving back a sense of community


Patrick Chaimovitch - Colombes Deputy Mayor


The Dep. Mayor is from the green party; he sees the ecology as an important issue. Others who are not from this party have priorities in other domains.


Conversations

DEPUTY MAYOR

immigration

ing d n fu

industry

fo

?

economic crisis

Conversation 17/11/09

ial c o rs

Should we allow population to gr ow or stabilise it?

singhools u o h d sc an

It would mean investing in housing and schools

communist mayor

?

using Many of the ho s have em support syst e the nc si disappeared HLM were built

NGO organisatio ns work with the im migrant community. Mosaic magazin e celebrates cultu ral diversity in Colo mbes.

We want to establish community managed gardens, supported by the city hall.

?

How can we densify private housing to attract more commuters?

Eco-quatier car share scheme and shared gardens.

?

tegrate How can we in s of new inhabitant with er ti ar the eco-qu existing community?

?

r If we achieve ou ng ci target for redu n we ca car use, what es? do with car spac

New legislation enforces new builds to install insulation above the national minimum


Sebastian Eymard - Patrick Bouchain Architects


This mapping portrays Patrick Bouchain’s approach when embarking on a project with a specially developed focus of High Human Quality; where the human aspect is considered during the design and construction process. A few examples are explored in detail, including a housing project in Tourcoing which enabled existing and new inhabitants to become involved in the design and construction of their homes; subsequently avoiding the homogenous buildings often associated with social housing.


Conversations

learnt skill used on many houses

cultural/social centre

ing us ho

global effects

APPROACH

only include what is necessary

leave out: false ceiling, double walls, materials hiding pipes

m o

du ivi ind

DESIGN

economics and cultural exchange

si de

d gne personalise housing

EXHIBITION:

onsite model decision-making

ality prevents ho

ns

new inhabitants

ividually mo de lle d

exhibitio

- personal e xpre ssi on ...e ac i a c l o h s o h s u u s ing no e g

d is in

ow s

[HHQ]

...FOCUS...

sustainability

building finished/changed/ adapted by users

d an

former power station

gs

sh

build - site

individual learns a skill

people’s comments help

HISTORY

u se ho

by helping with self build it reduces the price for inhabitants

HIGH HUMAN QUALITY

CONSTRUCTION

tin

ee

m

human aspects

s

skills taught by professionals

self-build

global award for sustainability

er

to create individual houses

collected words from people

k or rw fo

cladding

people make a connection by finding their words

worked with artists

1% of project cost given to artist [in France]

assistant /advisor to Ministry of Culture cultural buildings

transform industrial and cultural places

also in the UK

sustainability standard:

HIGH ENVIRONMENTAL QUALITY

LE LIEU UNIQUE Loire-Atlantique, 2000

blog:www.legrandensemble.com

on site discussions enable integration

EXISTING

FUNDING transition zone between old and new

vation o reno f ex ist i

ition/integrat trans ion aid

public

NEW

real estate co. (supported by City Hall)

o dt se low y u ces e n ri mo ep p ke

private

L’ECOLE FORAINE Ile-et-Vilaine, 2007

corridors

classrooms

LE DRAGON VOLANT Val-de Marne, 2004 unnecessary space

energy management

alter building

parking lot

adapt to changing needs

individual double collective

enable community to use the building

[polluted land]

building suspended on top

plastic containers sent to Africa recyc [waste]

le

catalyst to suburb

renovate

to ng

SCHOOL:

rent/buy in stages [aim: for all to become owners]

choice of different extensions

ceiling made of plastic containers

slave trade history CIRCUS SCHOOL:

pric e fina s tailo re ncia l sit d to uat ion

site: former port city

SOCIAL HOUSING:

PROJECTS

HOUSING MIX

costly to clean poluted land

original inhabitants

.....................................and later self-management

ENSEMBLE A TOURCOING Tourcoing, 2009

plastic containers [artwork]


Julien Beller - EXYZT


The EXYZT collective was formed in Paris in 2002 on one simple idea: building and living together. It consists of Nicolas Henninger, Phllippe Rizzotti, Francois Wunschel, Pier Schneider and Gil Burban, all graduates from the Paris La Villette School of Architecture, who joined together after first common intervention: the architecture of the Rab. The group proposes to make the user (again) the centre of the design process and focuses on diversity rather than uniformity. EXYZT wants the project to be the expression of all the people who build it and live in it, with all their respective differences and individualities. EXYZT explores: #1 Research on experimental practices and situations #2 Elaboration of scenarios and strategies for collective building #3 The integration of interactive and flexible tools on urban and architectural production #4 A trans-disciplinary and multicultural platform of action and exchange.


tip

HOT SPOT: TOOL OF ANCHORING & DEVELOPMENT

ACTION E M THOD 03

build

work

ways

video

use

tools

together

time

temporary

students

struggle

story

space stock

small

site

show

satellite scaffolding sculptural

reuse

research

recycle

re-appropriation

public

projects

programmes

production

process

play pleasure

people

parties

paris

paid

offices

occupy

now

non-squatting

neighbourhood

music producers

music

money

meeting points

make materials

living

kitchen

inhabit intervention

important informal

idea group

holiday

graphic designers

garden

future exyzt

funding

flexibility free french

festival

experiments exyzt

empty ethos

disk-jockeys

discourse

disco

design

culture

cultural

common

collective

cafe

building

EXYZT//69//Rue D’Hauteville//75010 //Paris//Tel +33 (0) 1 4607 9004//fax +33 (0) 1 4770 4969//exyzt.collectif@gmail.com//Flickr Exyzt Folder//Tube Channel Exyzt YouTube

TEMPORARY INTERVENTION Architecture is an adventure in time. It should be short and dense so as to focus more on the project. In addition, it makes it possible to have time to multiply projects around the world.Uciam senihil vat,

STOCK...REUSE...RECYCLE For each project we try to gradually collect important materials like lights, porjectors, things for electricity connections, etc. Those are the kind of tools that we use to make our projects and because we gather it little by little, now we can make some projects that are very low budget. For this reason it is important to have flexibility in how we practice and what we produce.

ACTION METHOD 01

SITE DETECTION Choose sites that are not regulated by real estate economy or social control such as wasteland, leftover spaces, or abandoned spaces. Also accept exible/neutral spaces offered by events like festivals or exhibitions.

PARIS LA VILLETTE 2003

The rst architectural experimentation on urban reality by then newly formed collective group EXYZT. It contradicts ideas of designed & controlled public space and is a test that proves that everybody can bring informal urban spaces back into exchange in the city. These spaces, forgotten by urban planning, are the base of a democratic that allows freedom of expression and exchange.

L’ARCHITECTURE DU RAB

FULFILMENTS OF THE JOB The pleasure we have in our work is the point to what we do. For this we experiment with ways to get pleasure: I do my music, sports, pop culture activities, etc. As a group, we try to always provide fullment and that is why we have some musicians and a lot of parties. This is all partly because we don’t get paid – that is how we treat. ourselves.

If hotspot is the tool, Chaud Devant is the scenario - the transition to action, the construction of a collective event. That will support experimentation and participatory built.

POINT CHAUD The group explores territories and meet people who live and make the life of the village by developing a tool called hotspots, a fun tool. It is mobile, variable, exible, and hot oven and it will be hot spring. Hot Spot can allow businesses to be set up and ownership of the place to be established with activation and commitment. This tool initiates meeting places, offers activities to share a possible use: public bread oven, sauna, pizza oven, hot foot bath, stove, hot tub...

EXYZT is an association under the french 1901 legislation. The power of the collective group is the ability to work in autonomy. All members have their individual specialisations but they can all design, build and inhabit their projects, so that project teams can stay exible, but we do have individual specializations.

EXYZT collaborates with people around the world for a external stream of network, with the philosophy to involve as many participants as possible in a project.

EXYZT group are currently a community of talented people who act under the initial principle of sharing knowledge and abilities.

EXYZT was initiated through architects Nicolas Henninger, François Wunschel, Phillipe Rizzotti, Pier Schneider and Gilles Burba’s collective desire of building alternative architecture.

about t exyzt g he roup

EASA 2004, LILLE/ROUBAIX, FRANCE

450 Architectural students across Europe come together for the annual event of the EASA gathering. EXYZT organize the life of this temporary community in the enclosed space of some two warehouses. EXYZT and the EASA organisers hold a one-to-one scale construction game. The concept team built the main collective equipment [kitchen, washrooms, a hotel] in advance: it becomes a village auto-constructed and auto-managed by its inhabitants.

METROPOLITAIN:MICROPOLITAN

MATACITY/METAVILLE Two dozen architects, graphic designers & media artists collaborate with organiser of the French pavilion Patrick Bouchain Architects. A neoclassical building is outtted with bunk beds, a kitchen, bar, DJ stand, rooftop sauna, and sundeck.

VENICE BIENNALE 2006 [CITIES/ARCHITECTURE/SOCIETY]

big

bienial

artists

architecture

architects

always get

activating

The Dalston Mill project was a wind mill in an abondoned space which had a nice garden in the middle of Hackney, London. We built a windmill using scaffolding with the purpose of making flour on site. There was an oven to bake some bread after the flour was made. It shows the importance of the storey, what brings people together, what kind of programme is activating a space because it is not only the fact of doing a 'nice' form of the building but rather what can happen on the site.

grounds to explore Research on experimental practices and situations; Elaboration of scenarios and strategies for collective building. The integration of interactive and exible tools of urban and architectural production A trans-disciplinary and multicultural platform of actions and exchange.

Experiment endlessly with different tools for interventions such as videogames, short cuts, and vj. Translate media into physical space. A video projection can constitute a facade; a video game becomes a spatial interactive game. Films are the memories to our constructions.

ACTION 4 0 E M THOD EXPLORE NEW MEDIA TOOLS

RE-BIENNALE VENICE, ITALY

HOMEMADE HOMEMADE is a collective project that involves inhabitants of Venice, international experts and professionals to re-think the city, to re-vitalize it, and to re-appropriate it. It is aimed at re-using and redening the urban habitat of Venice. Since 2008, EXYZT has become part of Re-BIENNALE project in Venice. Re-BIENNALE is a permanent workshop of design and self-construction of social habitat. EXYZT works on the refurbishment of Morion and on the rst workshop of the recycling of the materials that came from the 53rd International Art Exhibition of the Biennale of Venice.

#01 #02 #03 #04

s etho

THE IDEA FOR PRACTICE IS SIMPLE - BUILDING = LIVING TOGETHER! Projects should be the expression of all the people who build and live in it, with all their respective differences and individualities; the user is the centre of the design process; diversity rather than uniformity.

ARE YOU BUILDING MOST OF YOUR PROJECTS YOURSELVES? It is really important for us to be involved in the construction and also to live together during the building time. Sometimes there are only two people working on a project and other times there are about thirty people on one project. We build and usually we live in it during the bulding process and sometimes after the process in order to activate the space. We try to find a horizontal hierachy on the building site. So that depends on the project and the importance of one skill to another.

WORK SPACE The first office space is used by a sub-group made up of a photographer, two architects and a graphic designer. the two floor spaces of the former bakery is a juxtaposition of activities; formed by the acts of the group rather than that predetermined by the plan of the building.

ti p

HOW TO SURVIVE WITH LIVING COST + Do projects in the holidays and spread the various projects across the year. + Organise different members to go out to take care of the various projects at different times. For example, work on different projects at EXYZT but also work with gypsy people, work on projects in Africa, and do some computer drawings to earn money.

are non reproducible products. They are designed and built in the context of location, place and participants.

ACTION THOD 02 IN-SITU ACTION ME Materials can be identical like scaffolding, textiles, photo, video and sound material, but the projects

VISUALS ARE IMPORTANT Gonzague Lacombe is a raphic designer. The important part of EXZYT is always making this kind of stuff (stickers, some clothes, some things on the wall...) They have importance in the projects because most of our projects are temporary so it is about telling a story and playing with visuals, and with fiction

HOW TO GET FUNDING Try locally – festivals groups, cultural centres and other associations. Projects can start dealing with low-budget schemes. Expect that sometimes there can be no funding and there can be struggles to complete projects.

tip

DALSTON MILL PROJECT Radical Nature Exhibition 2009, Barbican Art Gallery Transformation of a disused railway line and waste ground in Dalston into a vibrant rural retreat for the people of the area and beyond. The fully-functioning, 16 metre mill is accompanied by a 20 metre long wheat eld, a restaging of environmental artist Agnes Denes’ original 1982 pioneering piece.

In the beginning it was more the questions of activating space, and then some locals would have the ability to reapproapriate these spaces to eventually become something that belongs to them. When projects are temporary, we use the materials from it to build another one.

Innov ative Pract ices: Exyzt - Pari s Novem ber 20 . 09

Conversations


Mapping Immigration


This map shows the key issues that may affect the immigrant population in Colombes. Through general research into the history of the immigrant population in France, I’ve identified that the following areas may affect the immigrant population both now and in the future: employment, housing, race ethnicity + being working class, political terminology and health. I’ve written summary of each of issue and drawn connections with what we discovered from our interviews with Fatima, Halima + Maisane, and the Deputy Mayor.


Conversations



    

 

          

         

      

 

               

     

    

           

 

         

     



    

           

     

   

      

     

    

         

     

 

  

       

  

     

 

          

   

   

 

    

 

   

           

        

    

     

Rurban Conversations  

Studio 2 Group Work

Read more
Read more
Similar to
Popular now
Just for you