BONDY’S’COUNT – Counters of Bondy
Bondy’s’ count adds up the forces in presence to put in motion the transformation of the city from the inside.
Bondy’s’count allows to increase and diversify the activities of the zone, adding services and spaces to the franchised boxes, using the different times of the city.
Bondy’s’count seeks to progressively modify the all-car structure of the area in order to create a neighbourhood opened towards the canal.
Bondy’s’count intend to stimulate the area through a game of actions, using the evolutive capacities of the industrial warehouses and the parking lots.
Bondy’s’count looks under the skirts of the warehouses to unveil the richness of the commercial landscape.
Bondy’s’count takes the road towards post-commercialism, using warehouses as scenery, taking the time of prefiguration to step forward in designing and debate the city.
Don’t hesitate anymore! Make some money taking your promotion card Bondy’s count!
Who influences you graphically?
We are readers of comic books and players of video games. Cartoonist Chris Ware is always there when we draw, but also authors like Richard McGuire, whose time superposition and accidents presented in his panels are close to urban moments. More widely, graphic novelists who work on their discipline, questioning the comic strip and its possibilities gives new ways of telling the story of design processes and urban mutations.
Drawings are an autonomous part of the architectural work. To represent a process, not seeking to find the ultimate final state of the project, the frozen state, but seeking to represent the process of mutation, urban actions, is closer to a comic book or a graphic novel than a big plan.
What defined the format of the urban game? How is this reflected in the way you choose to represent the proposal?
At the beginning, the urban game was a metaphor used to put all the people involved by this project around a table. Indeed, the “Furniture Road” in Bondy, is a lucrative mono-functional commercial area in a Parisian suburb and the major economic actors who possess the land have no interest in moving. On the other hand, the inhabitants, the city, or little economical actors could use the commercial features (parking spaces, opening and closing times, flexible buildings structures) to extend the uses of the place, with smaller activities, events, new public spaces… So we had to see which cards each participant was holding to find a way to start a mutation process, maintaining those divergent interests.
Then, the process of mutation, the question of time, needed to develop actions that could take place and launch the transformation. The action cards are used to represent the different moves that the people involved could play.
We displayed these actions according to 3 temporality, 3 families of card that can be play on the area considered here as a board game:
The « invasion » cards : informal actions and events, cards of immediate actions, being able to be immediately set up (temporary occupations of parking lots, night-activities without heavy impact on the land)
The « mutation » cards : temporary implementations, middle-term actions of transformations which intervene essentially on sheds, on limits of plots and some parking spaces.
The « transformation » cards that stands the test of time, type of long-term action of transformation where take place plot divisions, long-lasting constructions, pioneer housings.
To achieve the drawing we had to play the game. No big plan here, but the accumulation of actions of multiple scales, times and holders. This is seen as a transitional method to foreshadow possible changes before starting to build permanent constructions.
What dictated the colour palette and what does its differentiation depend on? (different colours for different slides, why?)
Due to the commercial purpose of the area, we choose to make a big commercial, like the ones in the K.Dick’s book “Ubik”. Chris Ware was once again really useful here to imagine bizarre advertisings. So, it was a way to take distance with the project and watch it in a critical humoristic way.
It is also a way to look at and define the commercial landscape, to see it not as a grey boring part of the town, but as a big billboard screens, with a lot of coloured lights, big advertising to attract the customer, which create a specific landscape that we had to intensify.
What is your take on the architectural competition?
The theme of the 13th Europan competition “Adaptable City” points a different way of approaching the urban project, based on the already presents dynamics and assets of the city. Considering each situation as specific opens the project towards design processes, taking distance with the big plan and the beautiful city. This competition allows the participants to develops alternative ways of representing the project, of expressing a process of time in the urban transformation.
How and to what extent did the format of the competition restrict and or affect the way you reveal the proposal?
At one point, we wanted to propose the project actually as a game. So we talked about sending a board game with its box, its rules its cards, to emphasise the project as a tool and make it more effective. So we wanted to play the game of the game in its utter way. But, after all, we did it for an exhibition.
The Studio Diese gathers architects and urbanists and defines itself as a creative laboratory dedicated to research-action in the inhabited and mutating territories. Founded in 2014, the Studio Dièse explores ways of making urban project based on the already present forces and dynamics, looking to intensify their features and potentialities. It works ranges from long term urban studies to localized ephemeral actions and installations in the city. Convinced that cities are made by several temporalities and peoples negotiating the same spaces, we are developing methodological approaches to heighten those potentialities and uses within the territory.