Over the past 6 years, Atelier LUMA has been developing novel approaches to some of the most pertinent questions of our time. By investigating the many layers of the bioregion and gathering loose historical, cultural, environmental, social, economical elements, the Atelier has explored possible scenarios for transforming consumer cultures and existing systems of production. As part of this work, the Atelier, as member of the European platform LINA, has invited LINA Fellows Jakob Travnik and, Eileen Stornebrink and Willie Vogel from Studio Inscape to their campus in Arles, France, to investigate, develop and test pedagogical formats dedicated to bioregional and circular approaches towards architecture and design. In this interview, we talk about the genesis of the residency as a critical project, how local research can be expanded throughout different geographies and the pedagogical value of playing in regards to design as research.
Bloc B Mezzanine view over central Agora with Rammed Earth and CEB block walls, Le Magasin Électrique, LUMA Arles, France. Photo © Joseph Halligan.
KOOZ Daniel Bell, what prompted Atelier LUMA’s approach to the local territory? How does it reflect your responsibilities as a cultural institution who, beyond participating in conversations about sustainability, aims to generate new possibilities and solutions through creative approaches and engagement with the public?
DANIEL BELL The project emerged in 2016 following a series of conversations, workshops and residencies undertaken when the founder of the LUMA Foundation, Maja Hoffmann, invited Jan Boelen, our artistic director, to visit the construction site of the Frank Gehry building. The Gehry building prompted the question of how we unpack an approach to design and architecture, which had become quite standardised in the latter part of the 20th century: long supply chains were removing the designers and architects further away from the raw materials which are at the foundations of their buildings. How could we bring the region back into its architecture and create tangible outcomes? This question prompted the Atelier to look into the surrounding territory—the bioregion—and what this could offer in terms of both raw and human resources.
"How could we bring the region back into its architecture and create tangible outcomes?"
- Daniel Bell, project leader at Atelier LUMA.
From very early on in the process—back in 2016–17— we started to look into local resources. We took salt, algae and agricultural waste—sunflower residues—and weaved them into a network of practitioners, thinkers and farmers. Algae was combined with starch-based bioplastics to make sanitary tiles, salt was grown onto to substrates and used as interior finishing panels, a type of acoustic finish for interiors was developed using sunflower residues, and natural dyes were extracted from invasive and tinctorial plants that was used throughout the furnishings. At the beginning, the team which was undertaking this research was composed of ten individuals. When we understood the potential of these materials and their applications within design & architectural projects, the team quickly grew to thirty people that undoubtedly had spatial consequences and which ultimately led to the Magasin Électrique project. ME was developed, throughout a process of four years, in collaboration with Assemble and BC Architects. It enabled us to take the research a step further and implement it at the scale of the reconstruction of an entire building.
Being inside a cultural institution allows us the freedom, flexibility and resources to tackle questions that more traditional design and architecture practices are not able to tackle. Ultimately, this has led to tangible and touchable outcomes that have the possibility to change things for the better.
KOOZ As a member of the LINA community, Atelier LUMA has sought to engage in pedagogical projects to ensure that the expertise gathered through its ongoing research can be transferred to different audience groups. What is the potential of working with emerging practitioners? To what extent is it a two-way relationship and exchange?
DB One of the primary challenges we encountered during this process was that, although France has a well-established "Standards system" for say earth and fibre construction, this varies from country to country. Consequently, whenever we intend to incorporate these bio and geo-based materials into projects located in different countries, we need to implement a phase of prototyping and testing to ensure compliance with national regulations. At the Atelier, we are keen on comprehending how our research and efforts in Arles (FR) can be extended to other geographical areas. Our collaboration with LINA provides a valuable opportunity to evaluate this bioregional approach across a European network. In the initial year, our goal was to begin mapping and comprehending this approach, along with its potential application in other European regions. In partnership with all three fellows, we particularly engaged in this process, including two regions in Austria with Jakob, as well as game development with Studio Inscape.
"At the Atelier, we are keen on comprehending how our research and efforts in Arles (FR) can be extended to other geographical areas."
- Daniel Bell, project leader at Atelier LUMA.
The game proved to be an extremely important tool when communicating the approach to potential partners, collaborators and even clients. If one considers how monopoly is a really successful tool for explaining the basics of capitalism and taxes, the game we developed with Inscape tries to convey the many other ways with which we can think about alternative systems to organise resources in a way that makes sense for a finite planet. We laughed about it, but I think that was sort of what we were looking to do.
"The game we developed with Inscape tries to convey the many other ways with which we can think about alternative systems to organise resources in a way that makes sense for a finite planet."
- Daniel Bell, project leader at Atelier LUMA.
KOOZ Jakob, starting from the Arles case study and the territory of the Camargue, your research focused on analysing how the approach deployed by Atelier LUMA could be implemented at two other sites in Austria. Could you expand on the three main components around which you structured your analysis? (bioregion, the operational context and the bioregional hub)
JAKOB TRAVNIK The research project is part of an ongoing comparative analysis of a growing number of case studies that help define components of a "bioregional model", a template for bioregional approaches which can be applied in different bioregions around the world.
For the LINA residency, three case studies were looked into: Atelier LUMA, a programme of LUMA Arles which is located on the grounds of a former locomotive construction and repair facility that has turned into an experimental cultural campus embedded at the intersection between the bioregions of La Camargue, Les Alpilles and La Crau, France; UNISONO campus, home of the Vienna Boys‘ Choir summer residency, currently in the process of transformation into an experimental cultural campus, based in the Wörthersee / Alpe-Adria bioregion, Austria; Kunstquartier Gmunden, a former city gardening facility of the city of Gmunden, currently in the process of transformation into an experimental cultural campus, based in the Salzkammergut bioregion, Austria.
Three main categories offered a clear framework for the comparative analysis as well as defined the necessary components which enable bioregional approaches to architecture and design to take place.
“Three main categories offered a clear framework for the comparative analysis as well as defined the necessary components which enable bioregional approaches to architecture and design to take place: the 'bioregional hub', the 'operational context' and the 'bioregion'."
- Jakob Travnik, 2023 LINA Fellow.
First, the "bioregional hub" is a centralised base at which bioregional assemblies can be accumulated, processed and shared. It is the main node in a wider bioregional network of resources (people, infrastructure and materials) that continuously initiates locally-rooted activities, stimulates collaborative practices and shares knowledge about bioregional practices in its respective bioregion. This is usually manifested in the form of a workshop, residency or event space.
Second, the "operational context" is the immediate social, political, economic and environmental context into which the bioregional hub is embedded. Its presence dictates that the bioregional hub does not exist in vacuum but is intrinsically linked and interdependent withthe surrounding neighbourhood – people, places and activities. This relationship is usually manifested in the form of everyday, reciprocal activities between the people working as part of the bioregional hub and the local community.
Third, the "bioregion" is a region defined by characteristics of the natural environment rather than man-made divisions. It dictates the fact that all interactions between people, infrastructure and materials are contingent to the limits and specificities of the territory, particularly in terms of scale, quantities and distances and is as such autopoetic. This relationship is manifested in the form of a bioregional network of collaborations and partnerships between various entities which address bioregional issues and opportunities in an interdisciplinary way.
These three components of a "bioregional model" coupled with the structured methodology of the "bioregional approach" defined by Atelier LUMA—investigation (find), design (connect), implementation (engage) and transmission (share)—formed the basis for designing a brief for the game, attempting to bring this approach closer to a wider audience through the notion of play as a way of learning.
“The ‘bioregion’ is a region defined by characteristics of the natural environment rather than man-made divisions. It dictates the fact that all interactions between people, infrastructure and materials are contingent to the limits and specificities of the territory.”
- Jakob Travnik, 2023 LINA Fellow.
KOOZ The key components which underlined Atelier LUMA’s approach were then translated into elements for game play. Studio Inscape, what drew you to the medium of the game as a tool through which to communicate the potential of the bioregional approach and test new pedagogical methods?
STUDIO INSCAPE Through a project we did in collaboration with the Dutch Flood Museum called "Oosterschelde Negotiations", we explored the future of the South Western Delta in the Netherlands, through a game in which different human and non-human characters were represented and shared their perspective on the future of the region. For the LINA residency with Atelier LUMA, we were challenged to think from the perspective of a resource and how to see resources (material resources, human resources or crafts, and resource facilities) as part of a regional network. We use the medium of the game as an instrument, as we see play as an important element for teaching and learning new methods. In our previous work we have been using elements of play to understand network thinking as well as long term thinking. We believe that these are important notions for guidance in a time of great transitions. Although not always on the foreground these notions are also incorporated in this game.
“We use the medium of the game as an instrument, as we see play as an important element for teaching and learning new methods.”
- Studio Inscape, 2023 LINA Fellow.
Players are invited to follow the steps of the bioregional design approach in the Bioregion of Arles by stepping into the shoes of a specific character, being a local biodesigner, farmer or craftsman. Slowly but surely, the players work together to turn all the waste in the bioregion—by-products of industries or undervalued materials such as invasive species, clay dust, algae or sunflower stems—into useful products for the region. The instrument works in such a way that people have to collaborate and play against the board instead of each other—as the bioregional design approach is a collective effort. When the game is finished, the players are asked to step out of the game environment and reflect on what insights could be applicable to their own context and geography.
KOOZ The Bioregional Game, was presented and demonstrated between the 25-27 May 2023 at the opening of Le Magasin Électrique and presented to 22 journalists, 10 Institutions & Design Companies and around 230 members of the public. What were your most interesting findings and reactions of the public? How did you relate this to the project of the Magasin Électrique itself as an architecture which exists as testament to the possibilities of this diverse approach to the practice?
SI When Le Magasin Électrique was inaugurated, we presented and played a prototype of the Bioregional Design Game with members of Atelier LUMA and visitors. This gave us the opportunity to test and generate a lot of feedback and suggestions. The bioregional design approach is layered and so is the game. It takes a little while to understand all the rules and mechanisms before people start to get really fanatic. Overall, the opinions were positive and one player even stated that “it was a good game because you can cheat”. The most important thing is that people had fun while learning the basics of bioregional approach in the Camargue. The idea was that most of the elements of the game were visible and applied in Magasin Électrique. This would enhance the experience of the visitors during the opening and relate the game more visible to Atelier LUMA. This fall we will use this feedback to not only improve the existing prototype by using materials and products from Atelier LUMA, but also to make a more abstract version with which one can explore new terrains.
“It is about expanding the bioregional approach throughout Europe asking what we can learn from single bioregion experiments and how we can link the bioregions to each other.”
- Daniel Bell, project leader at Atelier LUMA.
KOOZ This project closes the first year of collaboration with LINA fellows. Daniel, how do you envision the collaboration unfolding in the coming years with future LINA fellows? What are your expectations and ambitions?
DB The Atelier is quite iterative, dynamic and flexible so we do not have a fixed goal. To maximise the impact that we can have with LINA, we think it’s important to have consistency. For us, it is really about expanding the bioregional approach throughout Europe asking what we can learn from single bioregion experiments and how we can link the bioregions to each other by continuously instigating specific collaborations and partnerships.
Considering there was a physical game made at the end of year one, could we think of turning the physical game into a digital game? How could the digitalisation of this enable other people to interact with this approach? Suddenly we were not looking at a game anymore but at a kind of map which could be used by the network to input all kinds of data collected throughout the distinct bioregions. Our expectation is to continue this line of work, building upon what was achieved in year one onto year two, three and keep through a continuously enriching process.
Bio
Daniel Bell is an architect who works on various projects within Atelier LUMA, He is leading a project within Atelier LUMA, in collaboration with BC and Assemble, to renovate Le Magasin Électrique using experimental and innovative practices integrating local materials and regional crafts. Before joining Atelier LUMA, Daniel Bell practised as an architect in the United Kingdom, Ireland and France. He began his architectural studies in Belfast before completing his training at the Mackintosh School of Architecture, Glasgow.
Jakob Travnik is an independent architect and researcher with several years of experience working on projects dealing with territorial research and place-making through various academic and professional constellations. Since 2014 he has been part of an ongoing research and implementation of nanotourism at the Institute of Architecture at TU Vienna and the AA nanotourism Visiting School. He is currently involved in long-term development projects such as the UNISONO campus in Sekirn at lake Wörthersee, Austria, and the Kunsquartier Gmunden at lake Traunsee, Austria. Since 2018 he has been collaborating with Atelier LUMA on numerous projects.
Studio Inscape was founded by Eileen Stornebrink and Willie Vogel. Trained as architects and urbanists, Studio Inscape aims to translate eco-philosophical theory into practice. Studio Inscape sees architecture as a continuation of and attunement with its environment, with the aim of creating interior landscapes or 'inscapes.' The team works at the crossroads of research and fabrication, exploring spatial strategies, experiences, installations, and architectural projects.
Federica Zambeletti is the founder and managing director of KoozArch. She is an architect, researcher and digital curator whose interests lie at the intersection between art, architecture and regenerative practices. In 2015 Federica founded KoozArch with the ambition of creating a space where to research, explore and discuss architecture beyond the limits of its built form. Parallel to her work at KoozArch, Federica is Architect at the architecture studio UNA and researcher at the non-profit agency for change UNLESS where she is project manager of the research "Antarctic Resolution". Federica is an Architectural Association School of Architecture in London alumni.
