La Source Vive is a new concert hall dedicated to chamber music located in Évian. The result of a collaboration between architects Patrick Bouchain and Philippe Chiambaretta. Its conch-like form is the outcome of sensory experimentation and scientific analysis aimed at achieving exceptional acoustics while blending seamlessly into its scenic surroundings. The project is housed by the Évian Resort and embodies Aline Foriel-Destezet’s commitment to promoting music. Born of her desire to support the creation of an architectural complex featuring a unique concert hall in service of a major music project, La Source Vive will be located at the Mélèzes site, in the close vicinity of La Grange au Lac, another iconic music venue designed thirty years ago by Patrick Bouchain. Together, they will form an exceptional architectural complex dedicated to music—two complementary facilities within the same institution working together to provide a complete, open, and supportive musical experience.
Fabrique de l’Art
Centre Pompidou Francilien – Fabrique de l’Art / Musée national Picasso Paris
In a context of changing cultural practices that question the future of museums, the Centre Pompidou launched a competition for the creation of a new conservation center. This competition was won by the architectural firm PCA-STREAM under “La Fabrique de l'Art” (The Art Factory) project submission. Housing the collections of the Centre Pompidou and the Picasso Museum, it will offer a comprehensive collection and conservation facility leveraging an innovative approach whereby, under one building, there will be both a facility for cutting-edge research/conservation and a public engagement space. The project, which is set within a delightful park, will become a new central location for residents of the Île-de-France region.
The audacity of the historic Centre Pompidou is reinvented through the lens of an awareness of the fragility of natural and human ecosystems. Two years of work in dialogue with the museum teams have allowed us to design an optimized building that offers a world class conservation facility.
On the front, the enclosed monolithic trunk allows natural light into the workspace, ensuring the best conditions for conservation and restoration; on the side facing the trunk, a welcoming, open area invites the public to take part in the creative process.
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2019
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Montpellier
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2019
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A new institution for the arts in Montpellier, the MOCO brings together the Panacée and the École Nationale Supérieure des Beaux-Arts of Montpellier Méditerranée Métropole around the Montcalm Hotel. This headquarters for contemporary creation aims to federate the art scene in Southern France, and to break with cultural centralism, while at the same time avoiding a repetition of the “Bilbao” recipe of the spectacular object. It explores the possibilities for the transformation of the city through art in line with an organic model that rises to the contemporary challenges of regenerating historic cores and recycling existing architecture. The MoCo is in phase with a younger generation’s aspirations towards collective appropriation, co-production and the idea of making do with and together.
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2006
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Delivered
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Kiev
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2006
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Delivered
PCA-STREAM has designed a museum for the art collection of the Ukrainian philanthropist Victor Pinchuk in the heart of the historical city center of Kiev. Inaugurated in 2006, this center is a beacon for contemporary art in Eastern Europe and has contributed to the promotion of cultural exchanges between the East and the West these past ten years.
Ecofeminist Art: on the concepf of heritage
8 March 2023
Ecofeminist Art: on the concepf of heritage
8 March 2023
Inviting to exceed the logics of separation or domination of the modern project, the Anthropocene impacts the contemporary art, reviving notably ecofeminist practices, which for Tara Londi, take source in the feminist avant-gardes of the years 1960-1970. The criticism of the capitalist exploitation of nature thus joins that of patriarchal oppression. By revealing the unspoken history of women, indigenous people or animals, beyond visual and linguistic rationalism, the artists mentioned by Tara Londi revive animist and holistic visions of the world. Among them: Donna Huanca, Charwei Tsai, Romana Londi, Jesse Jones, Marguerite Humeau, Ana Mendieta, Suzanne Husky, Zadie Xa, Mathilde Rosier
Site-specific art, invading architecture
Daniel Buren, Philippe Chiambaretta
Site-specific art, invading architecture
Stripes, banners and colored filters are all part of the signature of renowned artist Daniel Buren. His work is rooted in the landscapes and architectures that welcome him and have become his open-air studio. In an exclusive interview with architect Philippe Chiambaretta, he talks about his attraction to transparency and his many collaborations. Discover Les Nuages Colorés, which cover the glass roof of 175 Haussmann with shimmering lights.
Culture as a weapon
Björn Geldhof
Culture as a weapon
In this exclusive interview, Björn Geldhof, director of the PinchuckArtCentre in Kyiv, looks at the evolution of the centre’s cultural programming since the outbreak of war in Ukraine. From an institutional space whose primary role was to open up the country to the world, the centre has evolved into a platform for committed and activist research, carrying the voice of Ukraine throughout Europe. By using art to document the conflict, the PinchukArtCentre uses a factual approach to raise awareness in the spheres of opinion and decision-making, thus affirming its role as the country’s ‘artistic arm’.
“ En architecture, le sonore demeure une dimension à la fois floue et insaisissable. Il échappe au dessin et au plan, et pourtant, c’est lui qui fait vibrer l’espace, qui le rend habitable et mémorable. ”
“ En architecture, le sonore demeure une dimension à la fois floue et insaisissable. Il échappe au dessin et au plan, et pourtant, c’est lui qui fait vibrer l’espace, qui le rend habitable et mémorable. ”
Sound, the Great Forgotten Dimension of Architectural Practice
Carlotta Daro co-led, together with Nicolas Tixier, the Radio Utopia project that animated the French Pavilion at the Venice Biennale in 2023. She is now part of the Gramazio Kohler research group, which focuses on the contribution of digital technologies and new materials to architectural design. There, she leads a research project dedicated to developing virtual reality tools enriched with acoustic simulations, designed to support architects throughout their creative process. This work paves the way for a constructive approach in which sound—too often considered primarily as a nuisance—moves beyond measurement and mitigation to become a perceptual and experiential factor.
Experimenting with environmental art
Thijs Biersteker
Experimenting with environmental art
Using scientific facts as artistic material, Dutch artist Thijs Biersterker seeks to emotionally connect the public to global questions, to inspire a desire to take action. He uses technology, in particular AI, as a medium. His immersive installations highlight the intelligence and communication systems of plants: thus creating a bridge between living beings.
Fabrique de l’Art
Centre Pompidou Francilien – Fabrique de l’Art / Musée national Picasso Paris
In a context of changing cultural practices that question the future of museums, the Centre Pompidou launched a competition for the creation of a new conservation center. This competition was won by the architectural firm PCA-STREAM under “La Fabrique de l'Art” (The Art Factory) project submission. Housing the collections of the Centre Pompidou and the Picasso Museum, it will offer a comprehensive collection and conservation facility leveraging an innovative approach whereby, under one building, there will be both a facility for cutting-edge research/conservation and a public engagement space. The project, which is set within a delightful park, will become a new central location for residents of the Île-de-France region.
The audacity of the historic Centre Pompidou is reinvented through the lens of an awareness of the fragility of natural and human ecosystems. Two years of work in dialogue with the museum teams have allowed us to design an optimized building that offers a world class conservation facility.
On the front, the enclosed monolithic trunk allows natural light into the workspace, ensuring the best conditions for conservation and restoration; on the side facing the trunk, a welcoming, open area invites the public to take part in the creative process.
A Janus Building
The Centre Pompidou Francilien – Fabrique de l’Art / Musée national Picasso Paris, which will house the reserve collections of both institutions, is a building that has two faces, expressing the paradox of its program. On one side, the “vault” is a monolith that only allows controlled natural light into the workshops to ensure the best conditions for the conservation and restoration of two of the world’s largest collections of modern art. On the other side is a welcoming and open profile, which is designed to connect the public to artistic creation and aligns with the avant-garde philosophy of Piano and Rogers’s architectural project. This is achieved on the scale of the Île-de-France region, however, radiating from Massy, a cultural city near the Paris-Saclay cluster. The project combines the strengths and qualities of two institutions that share the common belief that the cultural venues of tomorrow should be open and accessible, and achieves this via cultural and educational programming centered around the collections and the work of professional conservation.
A Reinvented DNA
The building extends towards Parc de la Blanchette through a tree-lined promenade, similar to how the Centre Pompidou opens onto the city with its piazza. The shaded terrace of the bookstore-café extends into landscaped terraces towards the lake. The exhibition spaces feature a wooden walkway offering unobstructed views of the park grounds, just as the Beaubourg district can be appreciated from the walkways of the Centre Pompidou. On the third story, a belvedere overlooking the canopy hosts public events; its staircase on the façade references Pompidou’s iconic “caterpillar.” The proportions of the building contribute to these subtle harmonies echoing the historic Parisian building, especially when it is mirrored on the lake.
A Rational Utilitarian Building
Two years of work in dialogue with the museum teams have allowed us to design an optimized building that offers a world class conservation facility, compacted to the maximum degree so as to cut down on any unnecessary surface area and save on materials and expenditure. The secure conservation facility provides all the required storage for various capacities and types. The reserves are developed on three levels, with the one dedicated to the Picasso Museum that operates independently. The heaviest and bulkiest artworks occupy the ground floor, while the lighter ones are housed on the upper levels. The workshops are located on the second and third stories to the north of the building. The exhibition platform, which is equipped with a technical grid that can accommodate any kind of museography, overlooks the reserves and offers outstanding vistas while remaining connected to the performance space. A glazed partition screens the workshops from the public, allowing visitors to catch a glimpse of recent acquisitions held in a room that is occasionally open for tours.
The streamlined layout follows a very simple cross-shaped plan optimized for forward-only flows coming from the logistics courtyard. The low distance between the workshops and the reserves improves synergies between teams by bringing conservators, restorers, and administrative staff closer together. The entire facility works towards ensuring the very best material work environment and comfort level, with indirect daylight entering the workshops, generous vistas, and a vast green terrace.
Ambitious Sustainability Goals
The audacity of the historic Centre Pompidou is reinvented through the lens of an awareness of the fragility of natural and human ecosystems. Its responsible approach to design involves resource optimization and the integration of sustainable and bio-sourced materials, including the use of wood for the exoskeleton and part of the building’s structure and flooring. Opting for a compact building helps lower the amount of materials used as well as energy required, which is offset by almost 2,000 m² of rooftop photovoltaic panels. The nine meter-square cubic grid, which is consistent across all three levels, allows for superior levels of flexibility, modularity, and adaptability of spaces over time, thus ensuring the building is environmentally sustainable.
Dialogue between Nature and Culture
With its understated geometry, the façade is composed of a dual-layer wall made of geological concrete and is almost 50 cm thick, which provides substantial thermal mass. Its materiality reveals sedimentary layers symbolizing the importance of soil in ecosystem conservation. The vertical slats of the workshop windows, which come to life with kinetic movements at night, contribute to enhanced passive solar control based on the cardinal directions, while maintaining exterior views. The project follows the north-south orientation of the plot, creating an ecological corridor with Parc de la Blanchette, its lake, and the Massy-Opéra district. This layout preserves the wooded fringe of the plot, while portions of the roofs and façade are vegetated, along with the tiered steps leading down to the lake, which can accommodate open-air artistic gatherings. This dialogue between the building and the park signifies a new alliance between nature and culture.
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Client
ADIM Île-de-France
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Program
Conservation and creation centre
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Location
91300 Massy
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Surface
28,600 m² of floor area, including 23,600 m² dedicated to the Centre Pompidou (2,600 m² of workshops, 13,000 m² of storerooms); 2,000 m² dedicated to the Musée National Picasso Paris (250 m² of workshops, 850 m² of storerooms)
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Status
Under construction
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Team
— Architect: PCA-STREAM
— Economist: VPEAS
— Acoustic design: Studio FA
— Facade design: EOC Engineers
— Fluids design: WSP
— Scenography: Studio Adrien Gardère
— Landscaping: Bureau Bas Smets
— Eco-design BET: Etamine
— Safety and security consultant: Cronos Conseil
— BET SSI: Studio Farenheit
— Control office: Bureau Veritas
— Art logistics: Aïnu
— Road logistics consultant: ACC-S
— Timber structure: Bollinger & Grohmann
— Maintenance contractor: Vinci Facilities
Related Contents
-
2025
-
Work in progress
-
Neuvecelle
-
2025
-
Work in progress
La Source Vive is a new concert hall dedicated to chamber music located in Évian. The result of a collaboration between architects Patrick Bouchain and Philippe Chiambaretta. Its conch-like form is the outcome of sensory experimentation and scientific analysis aimed at achieving exceptional acoustics while blending seamlessly into its scenic surroundings. The project is housed by the Évian Resort and embodies Aline Foriel-Destezet’s commitment to promoting music. Born of her desire to support the creation of an architectural complex featuring a unique concert hall in service of a major music project, La Source Vive will be located at the Mélèzes site, in the close vicinity of La Grange au Lac, another iconic music venue designed thirty years ago by Patrick Bouchain. Together, they will form an exceptional architectural complex dedicated to music—two complementary facilities within the same institution working together to provide a complete, open, and supportive musical experience.
-
2019
-
Delivered
-
Montpellier
-
2019
-
Delivered
A new institution for the arts in Montpellier, the MOCO brings together the Panacée and the École Nationale Supérieure des Beaux-Arts of Montpellier Méditerranée Métropole around the Montcalm Hotel. This headquarters for contemporary creation aims to federate the art scene in Southern France, and to break with cultural centralism, while at the same time avoiding a repetition of the “Bilbao” recipe of the spectacular object. It explores the possibilities for the transformation of the city through art in line with an organic model that rises to the contemporary challenges of regenerating historic cores and recycling existing architecture. The MoCo is in phase with a younger generation’s aspirations towards collective appropriation, co-production and the idea of making do with and together.
-
2006
-
Delivered
-
Kiev
-
2006
-
Delivered
PCA-STREAM has designed a museum for the art collection of the Ukrainian philanthropist Victor Pinchuk in the heart of the historical city center of Kiev. Inaugurated in 2006, this center is a beacon for contemporary art in Eastern Europe and has contributed to the promotion of cultural exchanges between the East and the West these past ten years.
Ecofeminist Art: on the concepf of heritage
8 March 2023
Ecofeminist Art: on the concepf of heritage
8 March 2023
Inviting to exceed the logics of separation or domination of the modern project, the Anthropocene impacts the contemporary art, reviving notably ecofeminist practices, which for Tara Londi, take source in the feminist avant-gardes of the years 1960-1970. The criticism of the capitalist exploitation of nature thus joins that of patriarchal oppression. By revealing the unspoken history of women, indigenous people or animals, beyond visual and linguistic rationalism, the artists mentioned by Tara Londi revive animist and holistic visions of the world. Among them: Donna Huanca, Charwei Tsai, Romana Londi, Jesse Jones, Marguerite Humeau, Ana Mendieta, Suzanne Husky, Zadie Xa, Mathilde Rosier
Site-specific art, invading architecture
Daniel Buren, Philippe Chiambaretta
Site-specific art, invading architecture
Stripes, banners and colored filters are all part of the signature of renowned artist Daniel Buren. His work is rooted in the landscapes and architectures that welcome him and have become his open-air studio. In an exclusive interview with architect Philippe Chiambaretta, he talks about his attraction to transparency and his many collaborations. Discover Les Nuages Colorés, which cover the glass roof of 175 Haussmann with shimmering lights.
Culture as a weapon
Björn Geldhof
Culture as a weapon
In this exclusive interview, Björn Geldhof, director of the PinchuckArtCentre in Kyiv, looks at the evolution of the centre’s cultural programming since the outbreak of war in Ukraine. From an institutional space whose primary role was to open up the country to the world, the centre has evolved into a platform for committed and activist research, carrying the voice of Ukraine throughout Europe. By using art to document the conflict, the PinchukArtCentre uses a factual approach to raise awareness in the spheres of opinion and decision-making, thus affirming its role as the country’s ‘artistic arm’.
“ En architecture, le sonore demeure une dimension à la fois floue et insaisissable. Il échappe au dessin et au plan, et pourtant, c’est lui qui fait vibrer l’espace, qui le rend habitable et mémorable. ”
“ En architecture, le sonore demeure une dimension à la fois floue et insaisissable. Il échappe au dessin et au plan, et pourtant, c’est lui qui fait vibrer l’espace, qui le rend habitable et mémorable. ”
Sound, the Great Forgotten Dimension of Architectural Practice
Carlotta Daro co-led, together with Nicolas Tixier, the Radio Utopia project that animated the French Pavilion at the Venice Biennale in 2023. She is now part of the Gramazio Kohler research group, which focuses on the contribution of digital technologies and new materials to architectural design. There, she leads a research project dedicated to developing virtual reality tools enriched with acoustic simulations, designed to support architects throughout their creative process. This work paves the way for a constructive approach in which sound—too often considered primarily as a nuisance—moves beyond measurement and mitigation to become a perceptual and experiential factor.
Experimenting with environmental art
Thijs Biersteker
Experimenting with environmental art
Using scientific facts as artistic material, Dutch artist Thijs Biersterker seeks to emotionally connect the public to global questions, to inspire a desire to take action. He uses technology, in particular AI, as a medium. His immersive installations highlight the intelligence and communication systems of plants: thus creating a bridge between living beings.