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En s’appuyant sur des perspectives négligées et des esthétiques marginales, André conçoit des espaces et des objets qui s’éloignent des conventions et des normes établies. Ce déplacement du point de vue produit des formes dont la portée est, en elle même, transformative.",[],{"type":164,"text":184,"spans":185,"direction":171},"Cette approche intègre souvent des récits de communautés sous-représentées et de non-humains, et donne naissance à des environnements dans lesquels un public large et divers se sent intuitivement représenté, et donc bienvenue.",[],{"type":164,"text":173,"spans":187,"direction":171},[],{"type":164,"text":189,"spans":190,"direction":171},"Parmi ses projets en cours figurent un bâtiment pour la Diriyah Biennale en Arabie saoudite, un restaurant dans le centre de Londres, un agriturismo dans les montagnes de Sardaigne conçu pour un propriétaire en situation de handicap, ainsi que l’architecture curatoriale de la Biennale de Boukhara en Ouzbékistan.",[],{"type":164,"text":173,"spans":192,"direction":171},[],{"type":164,"text":194,"spans":195,"direction":171},"GOLEM a été présenté sur des plateformes reconnues telles que Paris Design Week, Collectible Design Fair, le Dhaka Art Summit, la Diriyah Biennale, la Islamic Arts Biennale à Djeddah en Arabie saoudite, ainsi que la Biennale de Boukhara en Ouzbékistan.",[196],{"start":168,"end":169,"type":170},{"type":164,"text":198,"spans":199,"direction":171},"‏‏‎ ‎",[],{"type":164,"text":201,"spans":202,"direction":171},"Au cours des 10 dernières années, Ariel a travaillé comme architecte pour des studios primés et de renommée mondiale à Paris, Tokyo, Los Angeles, Amsterdam et pour le gouvernement en Haïti.",[],{"type":164,"text":198,"spans":204,"direction":171},[],{"type":164,"text":206,"spans":207,"direction":171},"Avant de fonder GOLEM, Ariel André a dirigé des équipes de conception chez OMA - Rem Koolhaas, cabinet d'architecture lauréat du prix Pritzker à Rotterdam où il a travaillé comme architecte - chef de projet et était responsable du développement des pays francophones. Ses projets chez OMA comprennent des commerces, des musées et des bureaux au Qatar, le deuxième plus grand palais de justice de France (Lille), le redéveloppement urbain du deuxième plus grand quartier d’affaires d’Europe (AZCA - Madrid) et un développement de logements à grande échelle sur la Côte d’Azur (Toulon).",[208,212,213,216,217,225],{"start":209,"end":210,"type":211},16,21,"em",{"start":209,"end":210,"type":170},{"start":214,"end":215,"type":211},23,35,{"start":214,"end":215,"type":170},{"start":218,"end":219,"type":220,"data":221},75,93,"hyperlink",{"link_type":222,"url":223,"target":224},"Web","https:\u002F\u002Fwww.oma.com\u002F","_blank",{"start":226,"end":227,"type":220,"data":228},129,142,{"link_type":222,"url":229,"target":224},"https:\u002F\u002Fwww.pritzkerprize.com\u002Flaureates\u002F2000",[231,237,239,246,249,252,255,259,262,265,267],{"type":164,"text":232,"spans":233,"direction":171},"GOLEM is an architecture, art & design studio founded in 2021 by Ariel André.",[234,235],{"start":168,"end":169,"type":211},{"start":168,"end":236,"type":170},5,{"type":164,"text":198,"spans":238,"direction":171},[],{"type":164,"text":240,"spans":241,"direction":171},"Ariel André  \\aʀiɛl ˈɑːndreɪ\\ is an architect and founder of GOLEM, an architecture, design, and research studio based in Paris.",[242,243],{"start":168,"end":179,"type":170},{"start":244,"end":245,"type":211},12,13,{"type":164,"text":247,"spans":248,"direction":171},"His work deliberately departs from standardized architectural and design frameworks. By drawing on overlooked perspectives and marginal aesthetics, André designs spaces and objects that differ from established conventions and norms. This shift in standpoint results in designs that are inherently transformative. ",[],{"type":164,"text":250,"spans":251,"direction":171},"This approach often integrates narratives of underrepresented communities and non-humans, and produces environments in which a broad and diverse public feels intuitively represented and therefore welcomed.",[],{"type":164,"text":253,"spans":254,"direction":171},"His ongoing projects include a building for the Diriyah Biennale in Saudi Arabia, a restaurant in central London, an agriturismo in Sardinia's mountains designed for a disabled owner, and the curatorial architecture for the Bukhara Biennial in Uzbekistan.",[],{"type":164,"text":256,"spans":257,"direction":171},"GOLEM has garnered recognition at prestigious platforms such as Paris Design Week, Collectible Design Fair, the Dhaka Art Summit, the Diriyah Biennale, and the Islamic Arts Biennale in Jeddah, Saudi Arabia and the Bukhara Biennial in Uzbekistan.",[258],{"start":168,"end":169,"type":170},{"type":164,"text":260,"spans":261,"direction":171},"‏‏‏‏‎‎",[],{"type":164,"text":263,"spans":264,"direction":171},"For the past 10 years before founding GOLEM, Ariel André worked as an Architect for world-renowned award winning studios in Paris, Tokyo, Los Angeles, Rotterdam, Amsterdam and for the Government in Haiti.",[],{"type":164,"text":173,"spans":266,"direction":171},[],{"type":164,"text":268,"spans":269,"direction":171},"Before founding GOLEM, Ariel André led design teams at OMA - Rem Koolhaas, the Pritzker Prize-winning architecture firm in Rotterdam where he worked as an Architect – Project Manager and was responsible for the business development of French-speaking countries. His projects at OMA include Retail, Museums and Offices in Qatar, the second largest Courthouse in France (Lille), the urban redevelopment of the second biggest business district in Europe (AZCA - Madrid), and a large-scale housing development on the French Riviera (Toulon).",[270,271,272,273,274,279],{"start":209,"end":210,"type":211},{"start":209,"end":210,"type":170},{"start":214,"end":215,"type":211},{"start":214,"end":215,"type":170},{"start":275,"end":276,"type":220,"data":277},55,73,{"link_type":222,"url":278,"target":224},"https:\u002F\u002Foma.com\u002F",{"start":280,"end":281,"type":220,"data":282},79,101,{"link_type":222,"url":229,"target":224},{"id":284,"uid":152,"url":152,"type":285,"href":286,"tags":287,"first_publication_date":288,"last_publication_date":289,"slugs":290,"linked_documents":291,"lang":159,"alternate_languages":292,"data":293},"Yhad5BIAACgA0rSC","contact","https:\u002F\u002Farielclaudetcom.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=atUTGxEAACgAzB5Z&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Yhad5BIAACgA0rSC%22%29+%5D%5D",[],"2022-03-18T13:35:36+0000","2026-02-18T11:21:34+0000",[285],[],[],{"instagram":294,"mail":297,"contact":300,"bureau":303},{"link_type":222,"key":295,"url":296},"3d5885ee-993b-4e25-8e5f-926391f5ff8f","https:\u002F\u002Fwww.instagram.com\u002Fgolem.digital\u002F",{"link_type":222,"key":298,"url":299},"9a5e0904-b916-42b7-97d9-bec112fce923","mailto:ariel@golem.digital",{"link_type":222,"key":301,"url":302},"6f867a00-9669-43c2-a879-c92c9bd9b649","mailto:contact@golem.digital",{"link_type":222,"key":304,"url":305},"d85f038a-5439-489f-81c7-f7a9122a632b","https:\u002F\u002Fmaps.app.goo.gl\u002Fjp6Tjd3vPzvFto7k9",{"id":54,"uid":55,"url":307,"type":308,"href":309,"tags":310,"first_publication_date":311,"last_publication_date":312,"slugs":313,"linked_documents":314,"lang":159,"alternate_languages":315,"data":316},"\u002Fproject\u002Fbukhara-biennial","project","https:\u002F\u002Farielclaudetcom.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=atUTGxEAACgAzB5Z&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aPuc-hAAACQAIL7x%22%29+%5D%5D",[],"2025-10-24T15:51:25+0000","2026-08-31T15:21:46+0000",[55],[],[],{"orderid":317,"title":318,"descriptionfr":322,"descriptionen":410,"programme":491,"client":494,"lieu":498,"annee":502,"maitrise":506,"collaborateur":507,"caroussel":529},"9",[319],{"type":320,"text":56,"spans":321,"direction":171},"heading2",[],[323,328,331,334,337,339,344,347,350,353,356,358,363,366,369,371,375,378,380,384,387,389,394,401,403,407],{"type":164,"text":324,"spans":325,"direction":171},"Architecture curatoriale",[326],{"start":168,"end":327,"type":170},24,{"type":164,"text":329,"spans":330,"direction":171},"Pour la première édition de la Biennale de Boukhara en 2025, commanditée par Gayane Umerova et placée sous le commissariat de Diana Campbell, Ariel André (GOLEM) a été chargé de l’architecture curatoriale, imaginant un cadre spatial ouvrant les sites patrimoniaux au public, reliant les œuvres dans un dialogue, favorisant des rencontres directes et sûres avec l’art, et accompagnant les artistes dans la réalisation d’œuvres de grande ampleur.",[],{"type":164,"text":332,"spans":333,"direction":171},"L’architecture curatoriale n’est pas un style, mais un nouveau champ à l’intersection du design d’exposition, de l’espace public et de la médiation artistique, développé à travers une collaboration de cinq années avec la curatrice Diana Campbell. C’est une manière d’accueillir les relations entre les œuvres, les lieux et les publics, avec la précision nécessaire aux sites patrimoniaux et la souplesse adaptée à un usage quotidien.",[],{"type":164,"text":335,"spans":336,"direction":171},"À Boukhara, cela signifiait concevoir des espaces publics où la ville historique agit comme hôte plutôt que décor. Nous avons affiné les parcours et dessiné des points de repos pour que les visiteurs puissent se déplacer aisément, rencontrer l’art de près et se sentir invités à rester. L’intention était simple : une immersion sans risque, un dialogue sans hiérarchie, et la reconnaissance de toutes les mains qui ont contribué au projet.",[],{"type":164,"text":173,"spans":338,"direction":171},[],{"type":164,"text":340,"spans":341,"direction":171},"Ensemble de la mosquée Khoja Kalon",[342],{"start":168,"end":343,"type":170},34,{"type":164,"text":345,"spans":346,"direction":171},"Au complexe de la mosquée Khoja Kalon, nous avons construit une rampe reliant plusieurs œuvres en un parcours continu. Les visiteurs s’élèvent le long d’une ligne calme et régulière, assez solide pour les supporter en toute sécurité, mais d'assez faible factuer pour que ses garde-corps se fissurent sous le poids des dunes de Ruben Saakyan, fusionnant ainsi le chemin du public avec l’art.",[],{"type":164,"text":348,"spans":349,"direction":171},"Dès l’entrée, Delcy Morelos vous accueille en douceur, puis Antony Gormley vous entraîne dans un labyrinthe de corps façonnés dans la terre même que vous foulez. Saakyan, avec le biologiste Konstantin Lazarev, abrite une bande de plantes vivantes dans ses dunes, tandis qu’au-dessus, la vague d’écharpes de femmes de Jazgul Madazimova forme une colonne flottante guidant l’ascension.",[],{"type":164,"text":351,"spans":352,"direction":171},"La rampe devient un médiateur. Plutôt que de séparer le public des œuvres, elle les réunit. La circulation devient un outil de mediation. La coexistence paraît naturelle, jamais forcée.",[],{"type":164,"text":354,"spans":355,"direction":171},"Pour l’œuvre de Madazimova, nous avons conçu une structure à l’impact visuel minimal tout en assurant la stabilité du bâtiment centenaire vulnérable qu’elle enjambe.",[],{"type":164,"text":173,"spans":357,"direction":171},[],{"type":164,"text":359,"spans":360,"direction":171},"Broken Hearts Bazaar",[361],{"start":168,"end":362,"type":170},20,{"type":164,"text":364,"spans":365,"direction":171},"Nous avons été invités à concevoir des étals de commerce de bouche pour les seuils de la Biennale, ainsi que des points d’information disséminés dans la ville. En choisissant une seule forme pour répondre à ces deux usages, nous avons commencé par une question : à quoi ressemblerait une architecture pensée pour ceux qui ne la voient pas, qu’ils soient malvoyants ou simplement peu habitués à la regarder ?",[],{"type":164,"text":367,"spans":368,"direction":171},"La réponse est venue par le parfum. Inspirés par l’héritage des épices d’Ouzbékistan, nous avons imaginé des kiosques coniques évoquant à la fois les monticules d’épices des marchés et les toits des maisons rurales. Guidés par le toucher et l’odorat, les visiteurs ont découvert des espaces accueillant aussi bien les humains que les non-humains : une grand-mère attirée par l’odeur de son thé de montagne préféré, un passant aveugle reconnaissant les épices à leur senteur, des abeilles se posant sur les trèfles, et des chats léchant les murs de paprika la nuit, quand personne n’est là pour les réprimander. Ces structures sont devenues des lieux de rencontre, de repos et d’échange, élargissant l’architecture au-delà de la vision vers une sensibilité partagée.",[],{"type":164,"text":173,"spans":370,"direction":171},[],{"type":164,"text":372,"spans":373,"direction":171},"Laila Gohar, Navat Uy",[374],{"start":168,"end":210,"type":170},{"type":164,"text":376,"spans":377,"direction":171},"Avec l’artiste culinaire Laila Gohar et l’artisan local Ilkhom Shoyimkulov, nous avons contribué à la réalisation d’un pavillon-maison cristallisé en Navat (cristaux de sucre), autour d’une ossature légère que nous avions conçue pour l’artiste. L’ensemble, à la fois ludique et précis, s’enracinait dans la tradition sucrée de Boukhara. Si la plupart le découvraient avec leurs yeux, les enfants et les guêpes, eux, le goûtaient avec leurs langues.",[],{"type":164,"text":173,"spans":379,"direction":171},[],{"type":164,"text":381,"spans":382,"direction":171},"Banc du Caravanserai",[383],{"start":168,"end":362,"type":170},{"type":164,"text":385,"spans":386,"direction":171},"Sur le site du Caravanserai, suivant la suggestion éclairée de la curatrice Diana Campbell d’éviter toute forme de garde-corps, nous avons dessiné un banc continu faisant à la fois office d’assise, de scène et de belvédère. Les artistes l’ont utilisé pour leurs performances musicales. Le public, pour s’y reposer et contempler les œuvres alentour. Ici, une barrière est devenue un lieu partagé.",[],{"type":164,"text":173,"spans":388,"direction":171},[],{"type":164,"text":390,"spans":391,"direction":171},"Hylozoic\u002FDesires, Longing",[392],{"start":168,"end":393,"type":170},25,{"type":164,"text":395,"spans":396,"direction":171},"Pour Longing, œuvre du duo Hylozoic\u002FDesires de Himali Singh Soin et David Soin Tappeser, nous avons accompagné les artistes dans la recherche d’un dispositif permettant de déployer leur travail avec une structure ayant un impact minimal sur l’ikat — une soie traditionnelle tissée à la main — au cœur de la pièce. Plutôt que de construire une structure autoportée ou vissée, nous avons utilisé le site lui-même, en coinçant délicatement des rondins de bois entre les parois de pierre du canal, puis en les enduisant d’argile prélevée sur place, afin qu’ils se fondent naturellement dans le contexte tout en laissant toute la place aux couleurs flamboyantes de l’œuvre. L’installation semblait flotter, danser, s’élever et plonger, portée par son environnement, en écho à la délicatesse et à la résistance du tissu qu’elle abritait.",[397,398],{"start":236,"end":244,"type":211},{"start":399,"end":400,"type":211},27,43,{"type":164,"text":173,"spans":402,"direction":171},[],{"type":164,"text":404,"spans":405,"direction":171},"Sara Ouhaddou, œuvre murale",[406],{"start":168,"end":399,"type":170},{"type":164,"text":408,"spans":409,"direction":171},"Avec Sara Ouhaddou, nous avons accompagné la création d’une œuvre murale inspirée de la ferronnerie locale utilisée sur les portes du quotidien. Le geste artisanal est passé du détail domestique à l’échelle civique, et la ville s’est reconnue dans l’œuvre.",[],[411,415,418,421,424,426,430,433,436,439,442,445,448,451,454,457,459,462,465,470,473,475,479,482,484,488],{"type":164,"text":412,"spans":413,"direction":171},"Curatorial Architecture",[414],{"start":168,"end":214,"type":170},{"type":164,"text":416,"spans":417,"direction":171},"For the first edition of the Bukhara Biennial in 2025, commissioned by Gayane Umerova and curated by Diana Campbell, Ariel André (GOLEM) was commissioned for the curatorial architecture, designing a spatial framework that opens heritage sites to the public, connects artworks in dialogue, enables safe and direct encounters with art, and supports artists in realizing large-scale works.",[],{"type":164,"text":419,"spans":420,"direction":171},"Curatorial Architecture is not a style but a new field at the intersection of exhibition design, public space, and artistic mediation developed through a half-decade-long collaboration with Curator Diana Campbell . It is a way of hosting relations between artworks, places, and publics with enough precision for heritage sites and enough softness for everyday use.",[],{"type":164,"text":422,"spans":423,"direction":171},"In Bukhara, that meant designing public spaces so the historical city acts as host rather than backdrop. We refined paths and designed resting points so visitors could move with ease, meet art up close, and feel welcome to stay. The aim was simple: immersion without risk, dialogue without hierarchy, and clear credit to the many hands involved.",[],{"type":164,"text":173,"spans":425,"direction":171},[],{"type":164,"text":427,"spans":428,"direction":171},"Khoja Kalon Mosque ensemble",[429],{"start":168,"end":399,"type":170},{"type":164,"text":431,"spans":432,"direction":171},"At the Khoja Kalon Mosque complex, we built a ramp to weave several commissions into one continuous path. Visitors ascend along a quiet, steady line strong enough to carry them safely, yet weak enough that its railings crack under the weight of Ruben Saakyan’s dunes, merging the public path with art.",[],{"type":164,"text":434,"spans":435,"direction":171},"Entering the premise, Delcy Morelos eases you in; then Antony Gormley draws you into a labyrinth of bodies shaped from the very earth beneath your feet. Saakyan, together with biologist Konstantin Lazarev, shelters a strip of living plants within his dunes, while above, Jazgul Madazimova’s wave of women’s scarves forms a floating spine guiding the ascent.",[],{"type":164,"text":437,"spans":438,"direction":171},"The ramp becomes a mediator. Instead of separating the public from the works, it folds them together. Circulation turns into a curatorial tool. Coexistence feels natural, not staged.",[],{"type":164,"text":440,"spans":441,"direction":171},"For Madazimova’s work, we designed a structure with minimal visual impact while ensuring the stability of the vulnerable centuries-old building it spans across.",[],{"type":164,"text":443,"spans":444,"direction":171},"\n",[],{"type":164,"text":359,"spans":446,"direction":171},[447],{"start":168,"end":362,"type":170},{"type":164,"text":449,"spans":450,"direction":171},"We were asked to design food stalls for the Biennial’s thresholds, as well as information points scattered across the city. Choosing a single form to serve both purposes, we began with a question: what would architecture look like if it were designed for those who cannot see it, whether because they are visually impaired or simply not trained to look at it?",[],{"type":164,"text":452,"spans":453,"direction":171},"The answer came through scent. Inspired by Uzbekistan’s spice heritage, we shaped conical kiosks that echo market mounds and rural roofs.",[],{"type":164,"text":455,"spans":456,"direction":171},"Guided by touch and smell, visitors encountered spaces welcoming both humans and non-humans alike: a grandmother drawn by the scent of her beloved mountain tea, a blind passerby recognizing spices by smell, bees resting on clover, and cats licking paprika walls at night when no one is there to tell them off. These structures became places of meeting, rest, and exchange, extending architecture beyond vision toward a shared sensibility.",[],{"type":164,"text":173,"spans":458,"direction":171},[],{"type":164,"text":372,"spans":460,"direction":171},[461],{"start":168,"end":210,"type":170},{"type":164,"text":463,"spans":464,"direction":171},"Together with Food Artist Laila and local artisan Ilkhom Shoyimkulov, we helped realize a house-pavilion crystallized in Navat (rock sugar), crystallized over a light armature we designed for the artist. It was playful and precise, grounded in Bukhara’s sweets tradition. While most discovered it with their eyes, children and wasps were happy to experience it with their tongs. ",[],{"type":164,"text":466,"spans":467,"direction":171},"\nCaravanserai bench",[468],{"start":168,"end":469,"type":170},19,{"type":164,"text":471,"spans":472,"direction":171},"In the Caravanserai site, following the enlightened request of curator Diana Campbell to avoid any type of railings we designed a single continuous bench that worked as seat, stage, and lookout. Performers used it for music. The public used it to rest and to view nearby works. Here we replaced a barrier by a fruitful place for all.",[],{"type":164,"text":173,"spans":474,"direction":171},[],{"type":164,"text":476,"spans":477,"direction":171},"Hylozoic\u002FDesires; Longing",[478],{"start":168,"end":393,"type":170},{"type":164,"text":480,"spans":481,"direction":171},"For longing Hylozoic\u002FDesires by Himali Singh Soin and David Soin Tappeser, we supported the artists in finding a way to deploy their work with a structure that had a minimal impact on the ikat - traditional handwoven silk fabric - being the center of the piece. Rather than building a freestanding or fixed structure, we used the site itself, gently wedging wooden logs between the canal’s stone surfaces to create support and covered it with clay gathered on site, allowing it to merge quietly with the context leaving room for the piece's flamboyant colors. The installation appeared to float, dance, rise and dive, held in place by its surroundings, echoing the delicacy and resilience of the fabric it carried.",[],{"type":164,"text":173,"spans":483,"direction":171},[],{"type":164,"text":485,"spans":486,"direction":171},"Sara Ouhaddou, wall work",[487],{"start":168,"end":327,"type":170},{"type":164,"text":489,"spans":490,"direction":171},"With Sara Ouhaddou, we supported a wall piece that draws on local metalwork used on everyday doors. The craft moved from domestic detail to civic scale, and the city read itself in the work.\n",[],[492],{"type":164,"text":412,"spans":493,"direction":171},[],[495],{"type":164,"text":496,"spans":497,"direction":171},"Uzbek Art and Culture Development Foundation (ACDF)",[],[499],{"type":164,"text":500,"spans":501,"direction":171},"Bukhara, Uzbekistan",[],[503],{"type":164,"text":504,"spans":505,"direction":171},"2025",[],[],[508,511,514,517,520,523,526],{"type":164,"text":509,"spans":510,"direction":171},"GOLEM team:\nAriel André - Architect, Design Principal",[],{"type":164,"text":512,"spans":513,"direction":171},"Arthur Chebbi - Architect",[],{"type":164,"text":515,"spans":516,"direction":171},"Lucien Glass - Architect",[],{"type":164,"text":518,"spans":519,"direction":171},"Carlos Peraita - Arcitect\n\nPhotography:",[],{"type":164,"text":521,"spans":522,"direction":171},"Kamila Rustambekova (1,11,12)",[],{"type":164,"text":524,"spans":525,"direction":171},"Ardrien Diran (8,9,13)",[],{"type":164,"text":527,"spans":528,"direction":171},"ACDF (2,3,4,5,6,7,10,14)",[],[530,549,558,567,576,584,597,610,618,626,635,643,651],{"image01":531,"video":539,"embed":548},{"dimensions":532,"alt":152,"copyright":152,"url":58,"id":535,"edit":536},{"width":533,"height":534},2400,1600,"aPufprpReVYa3p3A",{"x":168,"y":168,"zoom":537,"background":538},1,"transparent",{"link_type":540,"key":541,"kind":542,"id":535,"url":543,"name":544,"size":545,"width":546,"height":547},"Media","ae5fea57-5865-423d-9a06-92a55123df25","image","https:\u002F\u002Fimages.prismic.io\u002Farielclaudetcom\u002FaPufprpReVYa3p3A_01-GOLEM-BukharaBiennale-3.jpg?auto=format,compress?auto=compress,format","01-GOLEM - 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