The founding principles of civilizations arise from urban cultures nourished by symbols, beliefs and
utopias engraving identity references and generating the memory of places. Since ancient times,
utopian architectures have been dreamed (ATOPOS) expressing an escape from history. Since Ezekiel
and Babylon, Homere and the Champs Elysees to the Utopian Island of Thomas More, visions of
timeless cities have been illustrated compiling a moral vision of the world.
Through a dialogue between the architecture of man and nature, the artworks will question the
position of man within the city as a global, abstract and even elusive identity.
This position is
equivalent to the 3 periods / attitudes defined by Zygmunt Bauman:
• Pre-modern: utopia of the game warden, defendant of the natural
balance.
• Modern: gardener wanting to organize his space, submitting nature
to an order he decides
• Contemporary: utopia of the hunter who kills until his carnier is full.
The flight forward that does not fear deregulation
The artworks represent the third period, an interpretations of civilizations’ urbatopia of Le
Corbusiers’ Plan Voisin de Paris elaborated in between 1922 and 1925. By a serie of articulated plans
including diverse perspectives and vanishing points, this unique architectural writting generate a
timeless urban artefacts, as an ultimate man-made expression of the holistic principles. The artwork
evokes a mise-en-abîme of the work of Le Corbusier, with its brutalist and radical vision to transform
the heart of Paris.
Poem linked written by me ( on the artwork with invisible ink)
“ The mainland lost itself, suborned by a city watching us consuming it. She slyly murmurs her growing
appetite. Walls after walls, I wander in this disturbing echo. I am looking for the horizon in this
densified mater where the projected shadow is only heard through the erected walls. Vision of an
Architect disgress or architectural madness of Jeanneret. Paris, the apparatus of the Second Empire
suits you perfectly. You have not succumbed to Le Corbusier’s illumination who prefer dehumanized
concrete to the softness of Haussmans’ stone â€.
