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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. 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Développé en étroite collaboration avec l’institution saoudienne, du plafond jusqu’aux poignées de porte, il répond à la diversité des cultures, des âges et des formes d’engagement de ses usagers, instaurant un cycle d’échanges continu entre la programmation de la Fondation et ses publics.",[],{"type":164,"text":331,"spans":332,"direction":171},"Il réunit un café, une bibliothèque, un lounge, des espaces de coworking, des ateliers de céramique et de verre, un atelier d’impression, un studio jeunesse, des assises extérieures, des rampes et du mobilier sur mesure au sein d’un même organisme culturel agile destiné à la capitale du Royaume.",[],{"type":164,"text":334,"spans":335,"direction":171},"‎ ",[],{"type":164,"text":337,"spans":338,"direction":171},"Agilité arabe",[339],{"start":168,"end":245,"type":170},{"type":164,"text":341,"spans":342,"direction":171},"La construction est la mondialisation coiffée d’un casque de chantier : longrines en béton, profilés en acier, panneaux composites, verre trempé, la planète entière construit désormais à partir du même jeu d’éléments.",[],{"type":164,"text":344,"spans":345,"direction":171},"Ces matériaux recèlent pourtant des potentiels différents selon la culture dans laquelle ils sont employés. Dans un contexte institutionnel occidental encore hanté par l’obsession européenne pour l’illusoire permanence de la pierre, on demande à la plaque de plâtre de jouer la longévité, tel un mime au corps creux et au vieillissement rapide.",[],{"type":164,"text":347,"spans":348,"direction":171},"Dans le Golfe arabique, un contexte nourri par l’agilité de l’architecture nomade et par l’entretien constant de villes en terre comme Diriyah, où se situe le projet, la plaque de plâtre est perçue comme plus légère et plus facilement transformable. Elle peut être découpée, percée, réparée, déplacée, arrachée et reconstruite en une journée.",[],{"type":164,"text":350,"spans":351,"direction":171},"Ce principe s’est imposé dès le début du projet : dans un contexte où la culture publique se reconfigure rapidement et où un mur peut être déplacé d’un claquement de doigts, un bâtiment considéré comme achevé est voué à une mort prématurée. Pour perdurer, le bâtiment doit rester agile, absorber les modifications et faire des adaptations futures une composante de son architecture.",[],{"type":164,"text":334,"spans":353,"direction":171},[],{"type":164,"text":355,"spans":356,"direction":171},"Réemploi transformateur",[357],{"start":168,"end":214,"type":170},{"type":164,"text":359,"spans":360,"direction":171},"À l’origine entrepôt de stockage de bois, puis adapté par Bricklab au sein du quartier JAX, dont le plan directeur est aujourd’hui développé par OMA, le bâtiment a été réorienté par Ariel André - GOLEM à travers un geste inattendu : son ouverture vers la ville. Par des propagations de couleurs contrastées qui se déploient à l’intérieur comme à l’extérieur, le projet respecte les interventions précédentes en distinguant clairement ce qui a été hérité de ce qui a été ajouté.",[],{"type":164,"text":334,"spans":362,"direction":171},[],{"type":164,"text":364,"spans":365,"direction":171},"Considération",[366],{"start":168,"end":245,"type":170},{"type":164,"text":368,"spans":369,"direction":171},"Jean Nouvel a un jour décrit l’architecture comme la pétrification d’un moment de culture. À Riyad, le défi est différent : que devrait pétrifier l’architecture lorsque la culture elle-même évolue à grande vitesse ?",[],{"type":164,"text":371,"spans":372,"direction":171},"Le bâtiment s’adresse à un public local et international très divers, au sein duquel un mentor saoudien d’ascendance palestino-jordanienne peut animer un atelier pour une Saoudienne en abaya, une Koweïtienne en niqab, une touriste allemande en jean et un résident franco-turque en veste de sport. Ces publics apportent au sein d’une même institution des habitudes, des postures corporelles, des degrés d’intimité et des manières de se réunir différents. Il était donc essentiel d’aborder le projet depuis plusieurs points de vue, afin que chaque usager puisse se sentir pris en considération, et ainsi accueilli.",[],{"type":164,"text":334,"spans":374,"direction":171},[],{"type":164,"text":376,"spans":377,"direction":171},"Organisme vivant",[378],{"start":168,"end":209,"type":170},{"type":164,"text":380,"spans":381,"direction":171},"Le parti pris chromatique et formel s’inspire des conventions internationales de l’imagerie cellulaire, où membranes et organites demeurent distincts tout en formant un organisme vivant cohérent. Le bâtiment devient ainsi un système composite de pièces, de mobilier, de seuils et de zones interdépendantes qui restent lisibles et maintiennent l’ensemble dans un mouvement d’adaptation constant.",[],{"type":164,"text":334,"spans":383,"direction":171},[],{"type":164,"text":385,"spans":386,"direction":171},"Rayonnement",[387],{"start":168,"end":179,"type":170},{"type":164,"text":389,"spans":390,"direction":171},"La signalétique en boucle, dépourvue de texte, se transforme en mains courantes, en longs bancs et en auvents pour le café. Elle traverse les fenêtres et les façades, signalant et diffusant la générosité du Public Programs Building dans l’espace public environnant.",[],{"type":164,"text":392,"spans":393,"direction":171},"Ses couleurs contrastées, au milieu d’un océan de blanc, rendent l’institution visible de loin et en font un point de repère et de rencontre au sein de JAX.",[],{"type":164,"text":395,"spans":396,"direction":171},"L’auvent du café, les bancs extérieurs et le palmier offrent de l’ombre, des lieux de pause et du confort, permettant au bâtiment d’accueillir les visiteurs avant même qu’ils n’y entrent.",[],{"type":164,"text":398,"spans":399,"direction":171},"DUH!N prolonge cette logique à travers une approche expérimentale et transformatrice de l’accessibilité. En partant de l’expérience des personnes en fauteuil roulant et des usagers de poussettes, la rampe devient un dispositif urbain partagé, une assise, une aire de jeu et un petit paysage qui améliorent l’expérience de tous.",[],{"type":164,"text":334,"spans":401,"direction":171},[],{"type":164,"text":403,"spans":404,"direction":171},"Foyer - espace ouvert",[405],{"start":168,"end":210,"type":170},{"type":164,"text":407,"spans":408,"direction":171},"Comptoirs d’accueil, café, bibliothèque, lounge, tables de coworking, rangements ouverts, espaces de rassemblement et assises informelles sont réunis au sein d’un vaste espace ouvert. Depuis cet espace central, de larges baies permettent d’apercevoir d’un seul regard toutes les salles d’atelier, chacune étant identifiée par sa propre couleur. Les visiteurs peuvent ainsi comprendre immédiatement l’organisation du bâtiment dès qu’ils en franchissent le seuil, indépendamment de la langue qu’ils parlent ou de leur capacité à lire.",[],{"type":164,"text":334,"spans":410,"direction":171},[],{"type":164,"text":412,"spans":413,"direction":171},"Foyer - tables amibes",[414],{"start":168,"end":210,"type":170},{"type":164,"text":416,"spans":417,"direction":171},"Ariel André a fait évoluer le programme initial, qui prévoyait des comptoirs d’accueil dédiés, pour concevoir un ensemble de tables partagées placées à proximité des entrées actives, permettant aux équipes et aux visiteurs d’occuper tour à tour les mêmes emplacements.",[],{"type":164,"text":419,"spans":420,"direction":171},"Ces tables-paysages s’étendent de l’espace du café jusqu’au foyer, multipliant les usages possibles de cet espace linéaire. Leurs formes organiques permettent de s’asseoir ensemble tout en maintenant différents degrés de distance, laissant à chacun la possibilité de régler sa propre commensalité ou son intimité.",[],{"type":164,"text":334,"spans":422,"direction":171},[],{"type":164,"text":424,"spans":425,"direction":171},"Foyer - café",[426],{"start":168,"end":244,"type":170},{"type":164,"text":428,"spans":429,"direction":171},"Le café prolonge cette logique de continuité. Sa façade, ses tables et ses bancs se déploient de l’intérieur vers l’extérieur, reliant les assises intérieures, les bancs extérieurs et la façade tournée vers JAX au sein d’une même surface poreuse et attractive.",[],{"type":164,"text":431,"spans":432,"direction":171},"Son rose vif lui permet de rester ouvert sur le foyer tout en affirmant clairement son identité propre.",[],{"type":164,"text":334,"spans":434,"direction":171},[],{"type":164,"text":436,"spans":437,"direction":171},"Foyer - canapé",[438],{"start":168,"end":439,"type":170},14,{"type":164,"text":441,"spans":442,"direction":171},"Au centre du foyer, le canapé de 24 mètres de long fonctionne à la fois comme un meuble et comme une infrastructure publique. Conçu par Ariel André et réalisé avec des artisans locaux, il réunit plusieurs manières de s’asseoir observées au cours de la vie quotidienne à Riyad : près du sol, droit, allongé, seul, à deux ou en groupe. Il permet à différentes cultures, générations et habitudes corporelles de cohabiter, chacune selon une posture confortable, favorisant ainsi les échanges intergénérationnels et transculturels.",[],{"type":164,"text":334,"spans":444,"direction":171},[],{"type":164,"text":446,"spans":447,"direction":171},"Foyer - transformation organique",[448],{"start":168,"end":449,"type":170},32,{"type":164,"text":451,"spans":452,"direction":171},"Lors d’événements de plus grande ampleur, le canapé s’intègre à un système d’assemblage plus vaste. Associé aux tables amibes et aux chaises mobiles, il permet au foyer de passer d’un lounge quotidien à un forum public. Un échange en petit comité, un atelier collectif ou une grande table ronde peuvent prendre place dans le même espace, le mobilier prenant en charge cette adaptation.",[],{"type":164,"text":334,"spans":454,"direction":171},[],{"type":164,"text":456,"spans":457,"direction":171},"Chaises",[458],{"start":168,"end":459,"type":170},7,{"type":164,"text":461,"spans":462,"direction":171},"En étroite concertation avec l’équipe des programmes publics, Ariel André a choisi les chaises Artek, car elles figurent parmi les rares références conçues selon les mêmes exigences pour les enfants et les adultes. Elles peuvent ainsi circuler librement dans tout le bâtiment, du studio jeunesse aux ateliers et au foyer. Au fil de leurs déplacements, elles transportent les marques d’un espace à l’autre, diffusant des traces de peinture, de poussière et de soleil à travers l’espace et le temps du bâtiment.",[],{"type":164,"text":334,"spans":464,"direction":171},[],{"type":164,"text":466,"spans":467,"direction":171},"Atelier",[468],{"start":168,"end":459,"type":170},{"type":164,"text":470,"spans":471,"direction":171},"L’atelier est équipé d’un four à céramique, d’un four à verre, d’un espace cuisine, de plans de travail fixes et modulaires, d’écrans, d’éviers, de rangements et de hottes d’extraction répartis dans toute la pièce. Cette distribution des équipements techniques permet aux responsables d’atelier de configurer l’espace en fonction de leur propre pratique et des retours des participants, des cours de céramique aux ateliers de teinture naturelle.",[],{"type":164,"text":473,"spans":474,"direction":171},"Les chants des tables Collage ne s’alignent volontairement pas parfaitement. Les interstices ainsi créés forment des passages naturels pour les câbles entre les différentes configurations, maintenant les plans de travail dégagés et facilitant la reconfiguration de la pièce.",[],{"type":164,"text":334,"spans":476,"direction":171},[],{"type":164,"text":478,"spans":479,"direction":171},"Atelier d’impression",[480],{"start":168,"end":481,"type":170},20,{"type":164,"text":483,"spans":484,"direction":171},"L’atelier d’impression permet la sérigraphie, la risographie et le développement photographique dans une chambre noire indépendante. Réparti entre une zone humide et une zone sèche, il peut être partiellement séparé par un rideau en PVC lorsque cela est nécessaire.",[],{"type":164,"text":486,"spans":487,"direction":171},"Situé sur le pourtour plus calme du bâtiment, il bénéficie d’un puits de lumière spécifique et d’une nouvelle ouverture vers l’extérieur qui apporte de la lumière naturelle dans la pièce.",[],{"type":164,"text":489,"spans":490,"direction":171},"Ses tables sont conçues à une hauteur adaptée au travail debout pour l’impression, tout en restant utilisables avec des tabourets hauts.",[],{"type":164,"text":334,"spans":492,"direction":171},[],{"type":164,"text":494,"spans":495,"direction":171},"Studio jeunesse",[496],{"start":168,"end":497,"type":170},15,{"type":164,"text":499,"spans":500,"direction":171},"Le studio jeunesse réunit des zones sèches et humides, des bancs de rangement à hauteur d’enfant, des tables modulaires et un lounge dédié aux enfants et adolescents de 3 à 17 ans.",[],{"type":164,"text":502,"spans":503,"direction":171},"Ses limites sont conçues comme des seuils poreux, tournés à la fois vers la ville et vers le reste du bâtiment. Côté ville, des fenêtres en saillie deviennent des assises et des espaces d’exposition pour les travaux des enfants. Côté foyer, une autre fenêtre fait saillie dans la bibliothèque et expose dans l’espace commun les travaux d’enfants qui y sont conservés. Une ouverture conçue comme un jeu de cache-cache leur permet de regarder vers l’extérieur tout en préservant leur propre univers.",[],{"type":164,"text":505,"spans":506,"direction":171},"Le lounge utilise des matériaux absorbants, des bibliothèques basses et des niches profondes dimensionnées à l’échelle du corps des enfants.",[],{"type":164,"text":508,"spans":509,"direction":171},"Les tables organiques permettent le travail collectif comme individuel, tout en laissant les adultes circuler dans la pièce sans perturber les activités des enfants.",[],{"type":164,"text":334,"spans":511,"direction":171},[],{"type":164,"text":513,"spans":514,"direction":171},"Plafond",[515],{"start":168,"end":459,"type":170},{"type":164,"text":517,"spans":518,"direction":171},"Le plafond forme une toile extrêmement polyvalente qui se déploie dans tout le bâtiment. Des barres de suspension installées dans chaque espace permettent d’accrocher temporairement des éléments là où cela est nécessaire, pour la production artistique, l’identité visuelle ou les outils. Des panneaux acoustiques absorbants modulent le confort sonore en fonction des besoins. De nouvelles ouvertures en palfond apportent de la lumière naturelle dans des zones précises. L’éclairage s’adapte aux usages, avec une lumière technique plus intense dans les ateliers et une lumière plus chaude et modulable dans le foyer.",[],{"type":164,"text":334,"spans":520,"direction":171},[],{"type":164,"text":522,"spans":523,"direction":171},"Rangements",[524],{"start":168,"end":525,"type":170},10,{"type":164,"text":527,"spans":528,"direction":171},"Dans le foyer, la bibliothèque a été développée en étroite collaboration avec l’équipe des programmes publics afin d’affirmer une identité forte tout en permettant une présentation visuelle des ouvrages en lien avec sa programmation.",[],{"type":164,"text":530,"spans":531,"direction":171},"Dans les ateliers, la hauteur des rangements et leurs points d’accès sont adaptés aux gabarits de leurs usagers, des enfants aux adultes.",[],{"type":164,"text":533,"spans":534,"direction":171},"Un grand meuble de rangement ouvert dans le foyer célèbre et met en scène le désordre organisé nécessaire à un tel espace de création. Il intègre également les derniers éléments sur mesure du projet : des poignées de porte moulées par les designers, portant leurs empreintes digitales comme autant de traces silencieuses de leur signature.",[],{"type":164,"text":536,"spans":537,"direction":171}," ",[538],{"start":168,"end":539,"type":170},1,{"type":164,"text":541,"spans":542,"direction":171},"Inte‎lligence institutionnelle",[543],{"start":168,"end":544,"type":170},30,{"type":164,"text":546,"spans":547,"direction":171},"L’équipe de la Diriyah Biennale Foundation a apporté une compréhension précise de ses publics locaux, régionaux et internationaux, ainsi qu’une véritable ouverture à la nouveauté et à l’expérimentation. Ses retours ont directement nourri la conception. En abordant la programmation publique comme un champ d’expérimentation spatiale, la Fondation a permis à Ariel André et à l’équipe de GOLEM de tester de nouvelles typologies spatiales et mobilières destinées à l’usage du public.",[],{"type":164,"text":549,"spans":550,"direction":171},"Il en résulte un nouveau type d’institution dédiée à la programmation publique, expérimentale et ouverte aux ajustements, façonnée par l’échange continu entre les ambitions de la Fondation et les retours de ses publics.",[],[552,555,558,561,563,567,570,573,576,579,581,585,588,590,594,597,600,602,606,609,611,616,619,622,625,628,630,635,638,640,644,647,650,652,655,658,661,663,667,670,672,676,679,681,685,688,690,694,697,700,702,707,710,713,716,718,722,725,728,731,734,736,740,743,745,749,752,755,758,760,765,768],{"type":164,"text":553,"spans":554,"direction":171},"The Public Programs Building is a prototype for a new type of agile public platform, designed by Ariel André - GOLEM for the Diriyah Biennale Foundation in Riyadh, Saudi Arabia.",[],{"type":164,"text":556,"spans":557,"direction":171},"Set in the heart of JAX Arts District, a former industrial area now home to a contemporary art biennale, artists’ studios, art galleries, creative agencies, and a national art museum, the building extends the cultural hub with a year-round platform for workshops, panels, and creative gatherings. Developed in close collaboration with the Saudi institution from ceiling to door handles, it responds to the layered cultures, ages and forms of engagement of its users, enabling a continuous feedback loop between the Foundation’s programming and its publics.",[],{"type":164,"text":559,"spans":560,"direction":171},"It brings together a café, library, lounge, co-working areas, ceramics and glass workshops, print room, youth studio, exterior seating, ramps, and custom furniture as one agile cultural organism for the Kingdom’s capital city.",[],{"type":164,"text":334,"spans":562,"direction":171},[],{"type":164,"text":564,"spans":565,"direction":171},"Arabian agility",[566],{"start":168,"end":497,"type":170},{"type":164,"text":568,"spans":569,"direction":171},"Construction is globalisation with a hard hat: concrete ground beams, steel profiles, composite panels, tempered glass, the entire planet is now building from the same kit of parts.",[],{"type":164,"text":571,"spans":572,"direction":171},"Yet these materials carry different potentials depending on the culture in which they are deployed. In a Western institutional context still haunted by the European obsession with the illusory permanence of stone, plasterboard is asked to perform longevity, a hollow-bodied fast-aging mime.",[],{"type":164,"text":574,"spans":575,"direction":171},"In the Arabian Gulf, a context nurtured by the agility of nomadic architecture and by the constant maintenance of earthen cities such as Diriyah, where the project stands, the plasterboard is perceived as lighter and more available to change. It can be cut, pierced, patched, moved, torn, and rebuilt in a day.",[],{"type":164,"text":577,"spans":578,"direction":171},"This became clear from the beginning of the project: in a context where public culture is being rapidly reconfigured and a wall can move at the snap of a finger, a finished building is condemned to a premature death. To endure, the building must remain agile, absorb modifications, and turn future adaptations into part of its architecture.",[],{"type":164,"text":334,"spans":580,"direction":171},[],{"type":164,"text":582,"spans":583,"direction":171},"Transformative reuse",[584],{"start":168,"end":481,"type":170},{"type":164,"text":586,"spans":587,"direction":171},"Originally a wood storage warehouse, later adapted by Bricklab within the wider JAX context now masterplanned by OMA, the building was reoriented by Ariel André - GOLEM through an unexpected gesture: opening it toward the city. Through contrasted color spills inside and outside the building, the project respects the previous interventions by making clear what was inherited and what has been added.",[],{"type":164,"text":334,"spans":589,"direction":171},[],{"type":164,"text":591,"spans":592,"direction":171},"Consideration",[593],{"start":168,"end":245,"type":170},{"type":164,"text":595,"spans":596,"direction":171},"Jean Nouvel once described architecture as the petrification of a moment of culture. In Riyadh, the challenge is different: what architecture should petrify when culture itself is moving at high speed?",[],{"type":164,"text":598,"spans":599,"direction":171},"The building addresses a diverse local and global audience, where a Saudi mentor of Palestinian-Jordanian descent may lead a workshop for a Saudi woman in an abaya, a Kuwaiti woman in a niqab, a German tourist in jeans, and a Turkish-French resident in a sports jacket. These publics bring different habits, body postures, degrees of privacy, and ways of gathering into the same institution. It was therefore vital to approach the project from multiple standpoints, so that each user could feel addressed, and therefore welcome.",[],{"type":164,"text":334,"spans":601,"direction":171},[],{"type":164,"text":603,"spans":604,"direction":171},"Living organism",[605],{"start":168,"end":497,"type":170},{"type":164,"text":607,"spans":608,"direction":171},"The color and form strategy draws from international conventions on cellular imagery, where membranes and organelles remain distinct while forming one coherent living organism, translating the building into a composite system of rooms, furniture, thresholds, and interdependent zones that stay legible, and keep the whole in constant adaptive movement.",[],{"type":164,"text":334,"spans":610,"direction":171},[],{"type":164,"text":612,"spans":613,"direction":171},"Outreach",[614],{"start":168,"end":615,"type":170},8,{"type":164,"text":617,"spans":618,"direction":171},"The looped text-less signage turning into handrails, long benches and café awnings pierce through the windows and façades, signaling and spreading the generosity of the Public Programs Building onto the surrounding public space.",[],{"type":164,"text":620,"spans":621,"direction":171},"Its contrasting colors in an ocean of white make the institution visible from a distance, turning it into a landmark and a meeting point within JAX.",[],{"type":164,"text":623,"spans":624,"direction":171},"The café awning, exterior benches, and palm tree produce shade, pause, and comfort, allowing the building to host people before they even enter it.",[],{"type":164,"text":626,"spans":627,"direction":171},"DUH!N extends this logic as an experimental and transformative approach to accessibility: starting from the experience of wheelchair and stroller users, it transforms the ramp into a shared urban device, a seat, a playground, a small landscape that improve the experience for everyone.",[],{"type":164,"text":334,"spans":629,"direction":171},[],{"type":164,"text":631,"spans":632,"direction":171},"Foyer - open space",[633],{"start":168,"end":634,"type":170},18,{"type":164,"text":636,"spans":637,"direction":171},"Reception desks, café, library, lounge, co-working tables, open storage, gathering areas, and informal seating are brought together in one large open field. From this central space through generous openings, all workshop rooms are visible at a glance, each one identified by its own color, allowing visitors to understand the building directly as soon as they step in and regardless of their spoken language or literacy.",[],{"type":164,"text":334,"spans":639,"direction":171},[],{"type":164,"text":641,"spans":642,"direction":171},"Foyer - amoeba tables",[643],{"start":168,"end":210,"type":170},{"type":164,"text":645,"spans":646,"direction":171},"Ariel André shifted the original brief for dedicated reception desks into a set of shared tables placed near the active entrances allowing staff and visitors to occupy the same spots in turn.",[],{"type":164,"text":648,"spans":649,"direction":171},"The landscape tables stretch from the café area into the foyer, multiplying the possible uses of the linear space. Their organic shapes allow people to sit together while keeping different degrees of distance, allowing the public to regulate their own commensality or privacy.",[],{"type":164,"text":334,"spans":651,"direction":171},[],{"type":164,"text":424,"spans":653,"direction":171},[654],{"start":168,"end":244,"type":170},{"type":164,"text":656,"spans":657,"direction":171},"The café extends this logic of continuity. Its facade, tables, and benches spill from inside to outside, linking interior seating, exterior benches, and the JAX-facing facade into one attractive porous surface.",[],{"type":164,"text":659,"spans":660,"direction":171},"Its vivid pink allows it to remain open to the foyer while clearly marking it as a distinct space.",[],{"type":164,"text":334,"spans":662,"direction":171},[],{"type":164,"text":664,"spans":665,"direction":171},"Foyer - sofa",[666],{"start":168,"end":244,"type":170},{"type":164,"text":668,"spans":669,"direction":171},"At the center of the foyer, the 24 m long sofa works as both furniture and public infrastructure. Designed by Ariel André and built with local craftspeople, it brings together several ways of sitting observed while experiencing life in Riyadh: close to the floor, upright, reclined, alone, in pairs, or in groups. It allows different cultures, generations, and bodily habits to sit together each in a way they feels comfortable, fostering transgenerational and transcultural conversations.",[],{"type":164,"text":334,"spans":671,"direction":171},[],{"type":164,"text":673,"spans":674,"direction":171},"Foyer - organic transformation",[675],{"start":168,"end":544,"type":170},{"type":164,"text":677,"spans":678,"direction":171},"During larger events, the sofa becomes part of a wider assembly system. Together with the amoeba tables and loose chairs, it allows the foyer to shift from everyday lounge to public forum. A small conversation, a workshop gathering, or a larger panel can take place in the same space, with furniture performing the adjustment.",[],{"type":164,"text":334,"spans":680,"direction":171},[],{"type":164,"text":682,"spans":683,"direction":171},"Chairs",[684],{"start":168,"end":169,"type":170},{"type":164,"text":686,"spans":687,"direction":171},"Ariel André, in close relation with the Public Programs team, chose the Artek chairs because they are one of the few references that treat children and adults with the same design standards, allowing them to travel freely through the building, from the Youth Studio to the workshops and foyer. As they move, they carry marks from one space to another, spreading traces of paint, dust, and sun across the whole building's space and time.",[],{"type":164,"text":334,"spans":689,"direction":171},[],{"type":164,"text":691,"spans":692,"direction":171},"Workshop",[693],{"start":168,"end":615,"type":170},{"type":164,"text":695,"spans":696,"direction":171},"The Workshop is equipped with a ceramic kiln, glass kiln, kitchen area, fixed and modular worktables, screens, sinks, storage, and extraction hoods distributed throughout the room. This technical spread allows workshop leaders to configure the space according to their own practice and the feedback they get from the participants, from ceramics classes to natural dye workshops.",[],{"type":164,"text":698,"spans":699,"direction":171},"The collage tables' edges intentionally don't match perfectly: their gaps create natural cable passages between configurations, keeping the surfaces free and the room easy to rearrange.",[],{"type":164,"text":334,"spans":701,"direction":171},[],{"type":164,"text":703,"spans":704,"direction":171},"Printroom",[705],{"start":168,"end":706,"type":170},9,{"type":164,"text":708,"spans":709,"direction":171},"The Printroom supports silkscreen printing, risography, and photo development in an independent darkroom. Divided into wet and dry areas, it can be partially separated by a PVC curtain when needed.",[],{"type":164,"text":711,"spans":712,"direction":171},"Placed on the quieter perimeter of the building, it benefits from a special skylight and a new exterior opening that brings natural light into the room.",[],{"type":164,"text":714,"spans":715,"direction":171},"Its tables are designed at standing height for printing work, while remaining usable with high stools.",[],{"type":164,"text":334,"spans":717,"direction":171},[],{"type":164,"text":719,"spans":720,"direction":171},"Youth Studio",[721],{"start":168,"end":244,"type":170},{"type":164,"text":723,"spans":724,"direction":171},"The Youth Studio brings together dry and wet areas, child-scaled storage benches, modular tables, and a dedicated lounge for ages 3 to 17.",[],{"type":164,"text":726,"spans":727,"direction":171},"Its edges are designed as porous thresholds toward both the city and the rest of the building. On the city side, pushed-out windows become seats and display areas for children’s work. Toward the foyer, another window projects into the library, displaying stored children’s work within the common space. A peek-a-boo opening lets them look out while keeping their own world intact.",[],{"type":164,"text":729,"spans":730,"direction":171},"The lounge uses absorbing materials, low bookshelves, and deep niches scaled to children’s bodies.",[],{"type":164,"text":732,"spans":733,"direction":171},"The organic tables support both group and individual work, while allowing adults to move around the room without disturbing the children’s activities.",[],{"type":164,"text":334,"spans":735,"direction":171},[],{"type":164,"text":737,"spans":738,"direction":171},"Ceiling",[739],{"start":168,"end":459,"type":170},{"type":164,"text":741,"spans":742,"direction":171},"The ceiling is an extremely versatile canvas spread throughout the building. Hanging bars in all spaces allow temporary suspension where needed, such as for art production, branding, or tools. Absorbent acoustic panels modulate sound comfort according to need. New roof openings bring natural light into specific areas. 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