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UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
"Blue Gerboise" sand, 2007Various metals and materials abandoned in the Sahara around the former Saharan Military Testing Center, Reggane, 2007.
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Metals “Blue Gerboise”, 2007. Various metals and materials abandoned in the Sahara around the former Saharan Military Testing Center, Reggane, 2007.
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Metals “Blue Gerboise”, 2007. Various metals and materials abandoned in the Sahara around the former Saharan Military Testing Center, Reggane, 2007.
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Ruins, 2007. Ruins around the former Saharan Military Experiments Center in Reggane, 2007.
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Abandoned barrels in the Sahara around the former Reggane Saharan Military Testing Centre, 2007,
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Radioactive lava flow, 2010. Solidified radioactive lava flow generated by the unconfined underground nuclear explosion of the Beryl bomb in the Taourirt Tan Afella massif, In Ekker, May 1, 1962.
Photo credit:
© 2010 Larbi Benchiha
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Views of the buildings of the former Saharan Military Experimentation Centre, Reggane, 2007.
Photo credit:
Bruno Barrillot. With kind permission of the Armaments Observatory (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Excerpts from Samia Henni's book Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (Amsterdam: If I Can’t Dance and Framer Framed; Zurich: edition fink, 2024, 2025), pages 116–117.Photographs by an unknown author (a French veteran) provided by MA and MG. The images illustrate the construction of the Reggane plateau, 1959–1960.
Photo credit:
© MA and MG. Courtesy of the Observatoire des armements (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Excerpts from Samia Henni's book Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (Amsterdam: If I Can’t Dance and Framer Framed; Zurich: edition fink, 2024, 2025), pages 120–121.Photographs by an unknown author (a French veteran) provided by MA and MG. The images illustrate the construction of the Reggane plateau, 1959–1960.
Photo credit:
© MA and MG. Courtesy of the Observatoire des armements (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Excerpts from Samia Henni's book Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (Amsterdam: If I Can’t Dance and Framer Framed; Zurich: edition fink, 2024, 2025), pages 124–125.Left page: Photographs by an unknown author (a former French veteran) provided by Mr. A. and Mr. G. The images illustrate the construction of the Reggane plateau, 1959–1960. © Mr. A. and Mr. G. Right page: Photographs by an unknown author (a former French veteran) showing the construction of Hamoudia, 1959.
Photo credit:
Courtesy of the Observatoire des armements (https://www.obsarm.info/).
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UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Excerpts from Samia Henni's book Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (Amsterdam: If I Can’t Dance and Framer Framed; Zurich: edition fink, 2024, 2025), pages 126-127.Photographs by an unknown author (a French veteran) provided by MA and MG. The images illustrate the construction of the Reggane plateau, 1959–1960.
Photo credit:
© MA and MG. Courtesy of the Observatoire des armements (https://www.obsarm.info/).
UQAM’s Centre de design Presents "Toxicité coloniale : Architecture et paysage radioactifs français dans le Sahara"
Centre de design de l'UQAM
Scan of original testimony of Marcel M, collected by the Observatoire des Armements in collaboration with the Association of the Veterans of the French Nuclear Tests and their families. To protect the privacy of the witnesses, identifying information has been redacted.
Photo credit:
Courtesy of the Observatoire des armements (www.obsarm.org).
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
Orbital serves as both an iconic gateway and a vibrant gathering point, offering space for anything from quiet reflection to lively celebration.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
A contemporary garden folly, Orbital explores geometric and material exuberance.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
The sculpture evokes organic forms found in nature, as well as giant robots and futuristic space vehicles.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
The faceted exterior is cloaked in a constellation of fine perforations, while the fluid interior reveals a tactile surface of colorful shingles. By night, these layers become a lantern of diffused light, casting an ethereal glow.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
Whether visitors pause to take in its sculptural form or spend time within its colorful interior, Orbital creates a memorable, immersive experience that encourages connection.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
On the inside a color field surprises, but also grounds the visitor to pause, look up, experience and interact with pattern and form in a dramatically different way.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
Orbital explores ways of bringing together these two worlds and creating an artwork that can be experienced in various ways. On the outside a textured, tessellated, high definition surface articulates a towering structure that anchors the site, providing a visual identity.
Photo credit:
Matthew Millman
Defining a New Urban Experience Through the Lens of Digital Craft
FUTUREFORMS
The exterior and interior skins of the structure are geometrically similar, but materially distinct tessellated and shingled modules. The highly reflective exterior is contrasted by a tactile and colorful interior.
Photo credit:
Matthew Millman
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