pierre-romain guedj

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	<title>pierre-romain guedj - photographer</title>
	<link>https://pierreromainguedj.com</link>
	<description>pierre-romain guedj - photographer</description>
	<pubDate>Mon, 25 May 2026 10:15:56 +0000</pubDate>
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		<title>home</title>
				
		<link>https://pierreromainguedj.com/home-1</link>

		<pubDate>Mon, 25 May 2026 10:14:54 +0000</pubDate>

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		<title>info</title>
				
		<link>https://pierreromainguedj.com/info</link>

		<pubDate>Mon, 25 May 2026 10:15:08 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/info</guid>

		<description>
	Hello I’m a French photographer, born in 1992.


my work explores the interactions between spaces and human, questioning the mutations that transform our contemporary landscapes


trained in photography at ECAL (Lausanne), and later in geomatics, urban planning, and civil engineering at the Sorbonne, my approach blends image-making with territorial analysis.


available for commissioned work in the fields of architecture, interiors, retail, scenography, product, corporate


prints available upon request.member of Photographes &#38;amp; Architecture&#38;nbsp;and&#38;nbsp;SAIF.

phone :&#38;nbsp; &#38;nbsp;+33 6 12 49 48 15
email&#38;nbsp;: prguedj@gmail.com
instagram : https://www.instagram.com/pr.guedj


	&#60;img width="909" height="909" width_o="909" height_o="909" data-src="https://freight.cargo.site/t/original/i/3cb8d79df634a0d352cbd10980cd509b6b7ee97b3e00df60243dae531751626e/Favicon-ok-circle-GUEDJ.png" data-mid="248710107" border="0" data-scale="25" data-no-zoom="true" data-icon-mode src="https://freight.cargo.site/w/909/i/3cb8d79df634a0d352cbd10980cd509b6b7ee97b3e00df60243dae531751626e/Favicon-ok-circle-GUEDJ.png" /&#62;
	publications : 2026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Casabella - NP2F / Villenave d’Ornon, june n°982
2026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Archistorm - Atelier Lame&#38;nbsp; / Halle Couverte Chauny, june n°1382026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Revista Plot - Nicolas Hugoo&#38;nbsp; / Paul Bourget, february, n°82
2026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Divisare - Nicolas Hugoo&#38;nbsp; / Paul Bourget, february2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Le Moniteur - Atelier Fuso / Rue Myrha, august
2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Le Moniteur - Atelier Lâme / Marché couvert, may2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Revue EXE - Atelier Lâme / Cinéma la Toile de Mer, february, march, april, n°59 2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Figaro Immobilier - Atelier Fuso / Rue Myrha, march2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; D’Architectures - Nicolas Hugoo Architecture / Zac Paul Bourget, april , n°3242025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Divisare - Atelier Lâme / Halles gourmandes2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Divisare - Atelier Lâme / Cinéma la Toile de Mer2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; afasia arq - LAN Architecture / Wood UP2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; PUCA, « Regards sur les zones d’activités économiques »exhibitions :2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Galerie 4m2 - Vertical Utopia, Maydistinctions : 2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Urbanautica institute award - shortlisted - Bétonnées et vivantes2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Villa Noailles - 39e festival international - shortlisted - Vertical Utopia2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Urbanautica institute award - shortlisted - Vertical Utopia2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Urbanautica institute award - shortlisted - Esthétique de l’anthropocène I
	© Pierre-Romain Guedj tous droits réservés 2012-2026L’ensemble de ce site relève de la législation française et internationale sur le droit d’auteur et la propriété intellectuelle. Tous les droits de reproduction sont réservés, y compris les représentations iconographiques et photographiques.La reproduction, adaptation et/ou traduction de tout ou partie de ce site sur un support quel qu’il soit, est formellement interdite sauf autorisation expresse de l’auteur.
</description>
		
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	<item>
		<title>Bétonnées et vivantes</title>
				
		<link>https://pierreromainguedj.com/Betonnees-et-vivantes</link>

		<pubDate>Mon, 25 May 2026 10:15:10 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/Betonnees-et-vivantes</guid>

		<description>
	Bétonnées et vivantes
2018 - ongoing[EN]

The Italie XIII urban development, emblematic of Paris’ 13th arrondissement represents a major step in the transformation of the city’s landscape that began in the late 1960s. Driven by a modernist vision, this large-scale project designed by architect Michel Holley (successor to Raymond Lopez) gave rise to vast housing complexes (grands ensembles) and a new urban framework, where concrete interacts with elevated or suspended public spaces. The Olympiades slab, built above the former Gobelins freight station, embodies this new vision inspired by Le Corbusier’s Athens Charter. Another part of the site, the Massena complex, occupies the former Panhard &#38;amp; Levassor automobile workshops location, bearing witness to the district’s industrial past.


Today, nearly 11,000 people live on the site, which reflects an earlier vision of modernity, both monumental and layered. It also carries a strong Asian identity, inherited from waves of immigration in the 1970s, in particular from Cambodia, Laos, Vietnam, and China, which helped shape a vibrant neighborhood blending shops, places of worship, gastronomy, and community ties.


This typology of large housing complexes was long criticized, but is now attracting renewed interest. Their solid construction, generous spaces, and modularity make them structures capable of evolving and meeting contemporary challenges.

Since 2001, the area has been part of the Grand Urban Renewal Project (GPRU), extended today by the Olympiades 2030 program. This overall project aims to rethink the site’s potential in response to current priorities : enhanced living environment, upgraded public spaces, and creation of urban cool islands within an otherwise largely mineral environment.


In this context, rehabilitation emerges as a virtuous approach at the crossroads of social, economic, ecological and urban concerns. It helps preserve the memory of the places and their inhabitants, limit environmental impact, and extend the urban history without abrupt rupture. Far from a fixed model, Italie XIII appears as a territory in motion, carrying a reinvented modernity where the legacies of the 20th century meet the aspirations of the city of tomorrow.


This photographic series seeks to reveal a raw and paradoxical dimension, emerging from an urbanism that dreamed of a future and imposed its form.︎
[FR]
L’opération urbaine Italie XIII, emblématique du 13ᵉ arrondissement de Paris, 


constitue une étape majeure dans la transformation du paysage Parisien amorcée dans la fin des années 1960. Porté par une vision moderniste, ce vaste projet d’aménagement conçu par l'architecte Michel Holley (succésseur de Raymond Lopez) a fait émerger de grands ensembles et une trame urbaine nouvelle, où le béton dialogue avec des espaces publics suspendus ou surélevés. La dalle des Olympiades, construite au-dessus de l’ancienne gare de marchandises des Gobelins, reflète cette nouvelle vision inspirée de la charte d’Athènes de Le Corbusier. Une autre partie du site, l’ensemble Massena occupe l’emplacement des anciens ateliers automobiles Panhard &#38;amp; Levassor, témoignant du passé industriel du quartier.


Aujourd’hui habité par près de 11 000 personnes, ce site reflète une ancienne vision de modernité, à la fois monumental et stratifié. Il porte également une forte empreinte identitaire asiatique, héritée des vagues d’immigration des années 1970, notamment en provenance du Cambodge, du Laos, du Vietnam ou de Chine qui ont façonné un quartier vivant, mêlant commerces, lieux de culte, gastronomie et liens communautaires. 


Cette typologie de grand ensemble a longtemps été décriée, mais elle suscitent aujourd’hui un regain d’intérêt. Leur qualité constructive, la générosité des surfaces et leur modularité, en font des ouvrages capables d’évoluer et de répondre aux enjeux actuels. 


Le quartier est inscrit depuis 2001 dans le Grand Projet de Renouvellement Urbain (GPRU) de la couronne parisienne, prolongé aujourd’hui par le programme Olympiades 2030. Ce projet global vise à repenser les potentialités du site à travers les priorités contemporaines : inclusion sociale, amélioration du cadre de vie, revalorisation des espaces publics, et création d’îlots de fraîcheur dans un environnement largement minéral. 


Dans ce contexte, la réhabilitation s’affirme comme une démarche vertueuse, à la croisée des enjeux sociaux, économiques, écologiques et urbanistiques. Elle permet de préserver la mémoire des lieux et de ses habitants, de limiter l’impact environnemental, et de prolonger l’histoire urbaine sans rupture brutale. Loin d’un modèle figé, Italie XIII apparaît ainsi comme un territoire en mouvement, porteur d’une modernité réinventée, où les héritages du XXᵉ siècle rencontrent les aspirations de la ville de demain.


Cette série photographique cherche à révéler une dimension brute et paradoxale, émergeant d’un urbanisme qui rêvait d’avenir et imposait sa forme.


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	<item>
		<title>Horizon 99</title>
				
		<link>https://pierreromainguedj.com/Horizon-99-1</link>

		<pubDate>Mon, 25 May 2026 10:15:15 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/Horizon-99-1</guid>

		<description>
	Horizon 992012 - ongoing / long-term project

[EN]At the edges of cities, where asphalt slowly absorbs the earth, stretch territories built for circulation and consumption. Peripheral retail zones: functional, standardized spaces, raised according to the visual charters of their brands, designed to be crossed rather than inhabited. At night the signs light up, the façades stage themselves. These spaces, which seem unremarkable by day, reveal their true nature: devices of seduction, built to draw the eye and capture attention.


Horizon 99 takes its name from a proven marketing tactic, the psychological price. Set at ".99" rather than the round figure above it, to create the illusion of a gap where none exists, the sense of a bargain. These landscapes work the same way. They seem unremarkable, even transparent. Yet they are one of the projections of our relation to space, to value, to the norm, the visible fragment of a consumer system that conceived and organized space in order to sell.


These spaces belong to what the anthropologist Marc Augé calls "non-places." Spaces of transit, interchangeable, stripped of historical or affective anchorage. But these non-places are not merely neutral. They are the product of a precise economic intention, of a territorial logic meant to redistribute uses, fracture town centers, make the car a condition of access, and swallow thousands of hectares of land in the name of volume and profit. The artificialization of the soil this model produces is its most lasting mark. Technically, these surfaces can be returned to the earth, but the cost and inertia of the system make that return unlikely at the scale on which it was produced. What discount retail has inscribed in the territory, it does not undo.


Begun in 2012, this project sets out to look slowly at what we cross without seeing, not to deliver a verdict but to reveal its logic. Since then, a discourse of transformation has taken hold. A national plan has been driving, since 2023, the conversion of these zones, new uses, more mixed use, a measure of renaturation. These announcements alter the narrative before the territory. They perhaps replay the very gesture these places have always performed: producing the image of a change where the model persists.


︎[FR]


À la lisière des villes, là où l'asphalte absorbe progressivement la terre, s'étendent des territoires conçus pour la circulation et la consommation. Zones commerciales de périphérie : espaces fonctionnels, standardisés, érigés selon les chartes visuelles de leurs enseignes, pensés pour être traversés sans être habités. La nuit, les enseignes s'allument, les façades se mettent en scène. Ces espaces, qui semblent anodins le jour, révèlent leur véritable nature : des dispositifs de séduction, conçus pour attirer le regard et capter l'attention.


Horizon 99 emprunte son nom à une stratégie marketing éprouvée, celle du prix psychologique. Établi à «.99» plutôt qu'à l'entier supérieur, pour créer l'illusion d'un écart là où il n'existe pas, la sensation d'une bonne affaire. Ces paysages fonctionnent de la même façon. Ils semblent anodins, voire transparents. Ils sont pourtant une des projections de notre rapport à l'espace, à la valeur, à la norme, le fragment visible d'un système consumériste qui a conçu et organisé l'espace pour vendre.


Ces espaces relèvent de ce que l'anthropologue Marc Augé nomme les « non-lieux ». Espaces de transit, interchangeables, dénués d'ancrage historique ou affectif. Mais ces non-lieux ne sont pas simplement neutres. Ils sont le produit d'une intention économique précise, d'une logique territoriale destinée à redistribuer les usages, fracturer les centres, instituer la voiture en condition d'accès, et avaler des milliers d'hectares de terres au nom du volume et de la rentabilité. L'artificialisation des sols que ce modèle engendre en est la trace la plus durable. Techniquement, ces surfaces peuvent être rendues à la terre, mais le coût et l'inertie du système rendent ce retour improbable à l'échelle où il a été produit. Ce que le discount a inscrit dans le territoire, il ne le résorbe pas.


Débuté en 2012, ce projet s'attache à regarder lentement ce que l'on traverse sans voir, non pour en livrer un verdict mais pour en révéler la logique. Depuis, un discours de transformation s'est imposé. Un plan national engage, depuis 2023, la reconversion de ces zones, de nouveaux usages, davantage de mixité d’usage, une part de renaturation. Ces annonces modifient le récit avant le territoire. Elles rejouent peut-être le geste que ces lieux ont toujours accompli : produire l'image d'un changement là où le modèle persiste.


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</description>
		
	</item>
		
		
	<item>
		<title>White Noise</title>
				
		<link>https://pierreromainguedj.com/White-Noise</link>

		<pubDate>Mon, 25 May 2026 10:15:56 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/White-Noise</guid>

		<description>
	White Noise
2016 - ongoing
[EN]Some spaces no longer obey their original function. They have been reclaimed, reconfigured, until they became domestic heterotopias devoted to a slow, technical, often solitary practice.


These synthesizers, guitars, cables, mixing desks and acoustic panels speak in place of those who arranged them there. Each space reveals a character, a method, an aesthetic of its own through an indirect portrait of its host.


White Noise assembles a serial inventory of these places of genesis, in their diversity, their beauty, their rigor and their stubbornness, a visual and sonic archive of the creative process, and of the silent rebellion it embodies.

︎

[FR]
Certains espaces n'obéissent plus à leur fonction d'origine. Ils ont été repris, reconfigurés jusqu'à devenir des hétérotopies domestiques vouées à une pratique lente, technique, souvent solitaire.

Ces synthétiseurs, guitares, câbles, tables de mixage et panneaux acoustiques parlent à la place de ceux qui les ont disposés là. Chaque espace révèle un caractère, une méthode, une esthétique propre à travers un portrait indirect de son hôte.

White Noise constitue un inventaire sériel de ces lieux de genèse, dans leur diversité, leur beauté, leur rigueur et leur obstination, une archive visuelle et sonore du processus de création, et de la rébellion silencieuse qu'il incarne.
	
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</description>
		
	</item>
		
		
	<item>
		<title>A l'écoute du courant</title>
				
		<link>https://pierreromainguedj.com/A-l-ecoute-du-courant</link>

		<pubDate>Mon, 25 May 2026 10:15:29 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/A-l-ecoute-du-courant</guid>

		<description>
	A l'écoute du courant
 
2024 - ongoing[EN]
The Garonne basin in Bordeaux is a territory intrinsically linked to water, which shapes its landscapes, its uses, and its social dynamics. As a vital artery of southwestern France, the river is both a vehicle for human, economic, and ecological connections, and a symbol of the contemporary challenges we face. This essential resource raises pressing questions about its management in a context of increasing urbanization, growing human activity, and multiplying natural risks. While the Garonne continues to structure the territory it flows through, it represents both a development opportunity and a source of vulnerability in the face of ongoing environmental transformations.


Since Antiquity, the Garonne has been a central axis for human and commercial exchange, marking the key stages of regional development. From Roman roads to modern transport infrastructure, it has enabled the rise of major human and economic dynamics. Today, the river nourishes a densely populated region, supporting a significant share of the South-West's economic activities, from industry and agriculture to tourism. The river is also home to remarkable biodiversity, protected at both national and European levels, and offers a privileged living environment thanks to the diversity of its landscapes and natural habitats.


Despite this richness, the Garonne Valley is facing deep tensions. The fragile balance between human development and environmental preservation is increasingly under strain. Demographic growth and land pressure impose significant constraints on space, while patterns of resource consumption and the progressive degradation of water quality intensify ecological risks. Climate change makes water resource management particularly complex. Reduced river flow during drought periods is becoming increasingly common, and flood risks, though often underestimated, remain a potentially devastating threat. While major floods have been rare in recent decades, the Garonne remains a powerful river, whose surges serve as constant reminders of the need to adapt land planning and riverbank management.


By examining this fluid territory, whose transformations are redefining the boundaries of the city and its fringes, this photographic series highlights the environmental and human challenges that emerge from the interaction between biodiversity, rurality, urban life, and industry. The series also seeks to make visible the ways in which inhabitants engage with the river, their uses, their stories, their sense of belonging in an effort to capture the multiple, sometimes ambivalent, relationships people maintain with this living landscape.︎[FR]
Le bassin de la Garonne à Bordeaux est un territoire indissociable de l’eau, qui façonne ses paysages, ses usages et ses dynamiques sociales. Artère vitale du Sud-Ouest de la France, le fleuve est à la fois un vecteur de connexions humaines, économiques et écologiques, et un symbole des enjeux contemporains auxquels nous faisons face. Cette ressource essentielle soulève la question de sa gestion dans un contexte où l’urbanisation, la pression des activités humaines et les risques naturels se multiplient. Alors que la Garonne continue de structurer le territoire qu’elle traverse, elle incarne autant un potentiel de développement qu’une source de vulnérabilité face aux transformations environnementales en cours.


Depuis l'Antiquité, la Garonne a été un axe central pour les échanges humains et commerciaux, marquant les grandes étapes du développement régional. Des voies romaines aux infrastructures modernes de transport, elle a permis l’émergence de grandes dynamiques humaines et économiques. Aujourd'hui, le fleuve irrigue un territoire dense, soutenant une part importante des activités économiques du Sud-Ouest, de l’industrie à l’agriculture en passant par le tourisme. Le fleuve abrite également une biodiversité remarquable, protégée au niveau national et européen, et offre un cadre de vie privilégié grâce à la diversité de ses paysages et de ses milieux naturels.


Malgré cette richesse, la vallée de la Garonne se trouve confrontée à de profondes tensions. L’équilibre fragile entre développement humain et préservation de l’environnement est de plus en plus mis à mal. L’augmentation démographique et la pression foncière exercent une forte contrainte sur l’espace, tandis que les logiques de consommation des ressources et la dégradation progressive de la qualité de l’eau exacerbent les risques écologiques. Les effets du changement climatique rendent la gestion des ressources en eau particulièrement complexe. La baisse des débits en période de sécheresse devient récurrente, et les risques d’inondation, bien que souvent sous-estimés, demeurent une menace potentiellement dévastatrice. Si les grandes inondations se sont faites rares sur la période récente, la Garonne n’en reste pas moins un fleuve puissant, dont les crues rappellent régulièrement la nécessité d’adapter l’aménagement du territoire et la gestion des rives.


En interrogeant ce territoire fluide dont les mutations redéfinissent les frontières de la ville et de ses franges, cette série met en lumière les enjeux environnementaux et humains qui émergent de l’interaction entre biodiversité, ruralité, urbanité et industrie. La série s’attache aussi à rendre visibles les formes d’appropriation du fleuve par ses habitants, leurs usages, leurs récits, leurs ancrages, dans une volonté de capter les rapports multiples, parfois ambivalents, qu’entretiennent les populations avec ce paysage vivant.


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</description>
		
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	<item>
		<title>Vertical Utopia</title>
				
		<link>https://pierreromainguedj.com/Vertical-Utopia</link>

		<pubDate>Mon, 25 May 2026 10:15:34 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/Vertical-Utopia</guid>

		<description>
	Vertical utopia
2023
[EN]
Vertical Utopia explores urban morphology in South Korea by illustrating the country's fascinating growth, best known as the "Miracle on the Han River." The analysis is conducted through the lens of the "Tanjis," the massive, standardized housing units that emerged in the 1970s across the South Korean urban landscape. The rise of the Tanjis, a direct consequence of the country's explosive development, was seen as a solution to the urgent housing shortage, made possible by the use of prefabrication in construction processes.


Tanjis in South Korea were supported by public authorities and promoted as a model of the modern world, even as a symbol of material wealth. Today, they represent over 60% of the South Korean housing market and have spread across the entire country.


The population seems to have accepted this reality, but it also reflects a lack of alternatives. A paradigm shift occurred in the 1970s, making Tanjis the dominant form of housing. Until the end of the Korean War, the country was mostly composed of single-family homes, and horizontal expansion prevailed. The 1960s saw the emergence of the first apartment buildings, followed by the massive Tanjis in the 1970s. Verticality then swept across the landscape. This shift led to architectural and landscape uniformity, dysfunctions in the urban fabric, rising real estate prices, and the disappearance of traditional neighborhoods and the communities that inhabited them.


It appears that the vast majority of these buildings are constructed by national corporations without the involvement of architects. In the urban environment, the few remaining traces of traditional architecture survive through old city gates, temples, or Hanok houses. Or, more regrettably, they are incorporated into large American retail chains, where traditional roof forms are reinterpreted as stylistic veneers.


The continued presence of Tanji construction sites throughout the country, in both urban and rural areas, demonstrates not only ongoing growth but also the enduring adoption of this housing model by South Koreans, who often view the Tanjis as a symbol of social mobility and distinction.


While France has experienced mixed results with its "Grands Ensembles", often associated with urban fragmentation, the concentration of disadvantaged populations, and the withdrawal of public authorities, South Korea has managed to adapt this model to its own context. In some cases, it has even succeeded in fostering more balanced communities and cohesive social dynamics.


The austere architectural form and lack of distinctive identity in these prefabricated landscapes is fascinating, yet it is all the more unsettling to observe that a strange form of utopia has emerged from this phenomenon.


Although the Tanjis once embodied a solution to the housing crisis, their legacy today appears contradictory : a symbol of success that may now need to be deconstructed?︎
[FR]
Vertical Utopia explore la morphologie urbaine en Corée du Sud en illustrant la croissance fascinante du pays, mieux connue sous le nom de « Miracle de la rivière Han ». L’analyse est faite du point de vue des « Tanjis », ces unités d’habitation massives et standardisées apparues dans les années 1970 dans le paysage urbain sud-coréen. L’émergence des Tanjis, conséquence de la croissance fulgurante du pays, a été perçue comme une solution à l’urgente pénurie de logements, rendue possible par le concept de préfabrication dans les processus de construction.

Les Tanjis en Corée du Sud ont été soutenus par les autorités publiques et présentés comme un modèle du monde contemporain ou encore comme un symbole de richesse matérielle. Aujourd’hui, ils représentent plus de 60 % du marché du logement sud-coréen et ont ainsi essaimé à travers tout le pays. 

La population semble accepter cette réalité mais cela révèle un manque d’alternatives. En effet, un changement de paradigme a eu lieu dans les années 70, faisant des Tanjis le type de logement dominant.&#38;nbsp; Jusqu’à la fin de la guerre de Corée, le pays était majoritairement composé de maisons individuelles, et l’horizontalité prédominait. Les années 1960 ont vu apparaître les premiers immeubles, puis les immenses Tanjis dans les années 1970. La verticalité a alors envahi le territoire. Cela a généré une uniformisation architecturale et paysagère, des dysfonctionnements dans les tissus urbains, une hausse des prix de l’immobilier, ainsi que la disparition des quartiers traditionnels et des communautés qui y étaient implantées. 

Il semble que la grande majorité des bâtiments soient construits par des entreprises nationales sans intervention d’architectes. Dans l’environnement urbain, les rares vestiges de l’architecture traditionnelle subsistent à travers les anciennes portes, les temples ou les maisons Hanok. Ou, plus tristement encore, ils sont intégrés à des bâtiments commerciaux de grandes enseignes américaines, détournant les formes de toitures de l’architecture traditionnelle.

La forte présence encore aujourd’hui de chantiers de Tanjis dans tout le pays, aussi bien en zone urbaine que rurale, démontre la croissance continue et l’adoption de ce modèle d’habitat par les Sud-Coréens, qui voient les Tanjis comme un symbole d’ascension sociale et de distinction.

Alors que la France a connu des résultats contrastés avec ses « Grands Ensembles », souvent associés à une fragmentation urbaine, à la concentration de populations dans des milieux défavorisés et à un désengagement des autorités publiques, la Corée du Sud a su adapter ce modèle à son propre contexte, parvenant dans certains cas à favoriser des communautés plus équilibrées et des dynamiques sociales plus cohésives. 

La forme architecturale austère et dénuée d’identité propre de ces paysages préfabriqués est fascinante mais il est d’autant plus troublant de constater qu’une étrange forme d’utopie a émergé de ce phénomène.

Bien que les Tanjis aient incarné une solution à l’urgence du logement, leur héritage aujourd'hui semble contradictoire : un symbole de réussite devenu un modèle à déconstruire ?


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</description>
		
	</item>
		
		
	<item>
		<title>25</title>
				
		<link>https://pierreromainguedj.com/25</link>

		<pubDate>Mon, 25 May 2026 10:15:41 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/25</guid>

		<description>
	25
&#38;nbsp; 
2025


[EN]
They were designed to last twenty-five years. Built in twenty-five days. In Soviet Estonia, the Khrushchevkas, prefabricated five-storey apartment buildings, embodied the ideal of collectivist urbanism: functional, standardised, infinitely replicable. Their successors, the Brezhnevkas, pushed the principle skyward, rising from nine to seventeen storeys. Emergency responses to a housing crisis, conceived as temporary, made permanent. In this prefabricated world, function crushes form, utility replaces the sensible.

These structures are still standing. In a country largely shaped by nature, they rise as vertical dissonances, indifferent to the landscape that surrounds them. Their omnipresence is not incidental: they are the visible traces of an era that Estonia is actively seeking to move beyond. Since independence, the country has embarked on a strong process of identity reconstruction, marked by a desire to break with the Soviet past. Yet these buildings remain, inhabited largely by a Russian-speaking population that keeps alive a memory the official history would rather set aside. Concrete as involuntary archive.

Faced with this heritage, Estonia prefers repair to erasure. Not out of ideological conviction, but under the combined pressure of costs, fragmented private ownership, energy challenges and social memory. In Moscow, the response has been the opposite: a sweeping demolition programme launched in 2017 plans to raze several thousand buildings to make way for modern reconstruction. What Estonian constraint has produced nevertheless resembles a form of wisdom: rethinking what exists rather than erasing it.

The project sets out to observe this tension: between what endures and what is silenced, between the collective ideal and ordinary life. Not to pass judgement, but to look at what these rigid, repetitive forms still say about the utopia that produced them, and the daily life that, sixty years on, continues within them.


︎

[FR]
Ils étaient prévus pour durer vingt-cinq ans. Construits en vingt-cinq jours. Dans l'Estonie soviétique, les Krouchtchevkas, immeubles préfabriqués de cinq niveaux, ont incarné l'idéal d'un urbanisme collectiviste : fonctionnel, standardisé, reproductible à l'infini. Leurs successeurs, les Brejnevkas, ont poussé le principe vers le ciel, de neuf à dix-sept niveaux. Des réponses d'urgence à la crise du logement, pensées comme provisoires, devenues permanentes. Dans ce monde préfabriqué, la fonction écrase la forme, l'utile remplace le sensible.


Ces structures sont toujours là. Dans un pays largement façonné par la nature, elles s'inscrivent comme des dissonances verticales, indifférentes au paysage qui les entoure. Leur omniprésence n'est pas anodine : elles sont les traces visibles d'une époque que l'Estonie cherche activement à dépasser. Depuis son indépendance, le pays s'est engagé dans une reconstruction identitaire forte, marquée par une volonté de rupture avec le passé soviétique. Pourtant ces bâtiments demeurent, habités en grande partie par une population russophone qui y entretient une mémoire que l'histoire officielle préfère écarter. Le béton comme archive involontaire.


Face à cet héritage, l'Estonie préfère la réparation à la table rase. Non par choix idéologique, mais sous la pression conjuguée des coûts, de la propriété privée éclatée, des enjeux énergétiques et de la mémoire sociale. À Moscou, la réponse a été inverse : un vaste programme de démolition lancé en 2017 prévoit la destruction de plusieurs milliers de bâtiments pour laisser place à une reconstruction moderne. Ce que la contrainte estonienne a produit ressemble pourtant à une sagesse : repenser l'existant plutôt que l'effacer.


Le projet s'attache à observer cette tension : entre ce qui dure et ce que l'on tait, entre l'idéal collectif et la vie ordinaire. Non pour trancher, mais pour regarder ce que ces formes rigides et répétitives disent encore de l'utopie qui les a produites, et du quotidien qui, soixante ans plus tard, les prolonge.


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	</item>
		
		
	<item>
		<title>Sous plastique</title>
				
		<link>https://pierreromainguedj.com/Sous-plastique</link>

		<pubDate>Mon, 25 May 2026 10:15:47 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/Sous-plastique</guid>

		<description>
	Sous plastique
2022 - wip
[EN]
The tomato bought in January grew without seasons, without soil, without natural light. Behind it, hectares of plastic stretched over metal frames, thousands of tonnes of artificial substrate, considerable flows of energy. Industrial greenhouse farming is one of the most radical forms of bringing the living world under control: nature is no longer a setting here, it is a variable to be managed, indifferent to the cycle of day.

"Sous plastique" refers first to these landscapes: industrial greenhouses, translucent tunnels, reflective surfaces that have progressively covered entire territories. But the expression also evokes what is preserved outside of reality, withdrawn from time, kept under glass. And it refers finally to the product itself: the filmed tray, the wrapped fruit, the sealed vegetable. Plastic frames the entire cycle, from cultivation to consumption, nature is brought under control, then put up for sale.

This model is the product of a global logic, not a local decision. The farmer responds to a demand. The consumer buys what the market makes available, at prices set by global competition. Between the two, a system that has imposed itself progressively, silently, until it became the only visible horizon.

This project documents this transformation across several territories. Not to assign blame, but to observe what a system produces when nobody truly chose it. What these landscapes reveal is the form consumer society takes when it inscribes itself in the territory.︎


[FR]
La tomate que l'on achète en janvier a poussé sans saison, sans sol, sans lumière naturelle. Derrière elle, des hectares de plastique tendu sur des armatures métalliques, des milliers de tonnes de substrats artificiels, des flux d'énergie considérables. L'agriculture industrielle sous serre est l'une des formes les plus radicales de la mise sous contrôle du vivant : la nature n'y est plus un cadre, elle est une variable d'ajustement, indifférente au cycle du jour.

"Sous plastique" désigne d'abord ces paysages : serres industrielles, tunnels translucides, surfaces réfléchissantes qui ont progressivement recouvert des territoires entiers. Mais l'expression dit aussi ce qui est préservé hors du réel, soustrait au temps, maintenu sous cloche. Et elle dit enfin le produit lui-même : la barquette filmée, le fruit emballé, le légume scellé. Le plastique encadre tout le cycle, de la culture à la consommation, la nature est mise sous contrôle, puis mise en vente.

Ce modèle est le produit d'une logique globale, non d'une décision locale. L'agriculteur répond à une demande. Le consommateur achète ce que le marché rend disponible, à des prix que la concurrence mondiale a fixés. Entre les deux, un système qui s'est imposé progressivement, silencieusement, jusqu'à devenir le seul horizon visible.

Ce projet documente cette transformation depuis plusieurs territoires. Non pour désigner des coupables, mais pour observer ce qu'un système produit quand personne ne l'a vraiment choisi. Ce que ces paysages révèlent, c'est la forme que prend la société de consommation quand elle s'inscrit dans le territoire.
	
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	<item>
		<title>Esthétique de l’anthropocène - II</title>
				
		<link>https://pierreromainguedj.com/Esthetique-de-l-anthropocene-II</link>

		<pubDate>Mon, 25 May 2026 10:15:49 +0000</pubDate>

		<dc:creator>pierre-romain guedj - photographer</dc:creator>

		<guid isPermaLink="true">https://pierreromainguedj.com/Esthetique-de-l-anthropocene-II</guid>

		<description>
	Esthétique de l’anthropocène - II
 
2021- 2023[EN]
The Anthropocene, our current geological epoch, is defined by the traces humanity has left on the planet, beginning with the Industrial Revolution of the 19th century. This project, situated at the crossroads of documentary and fiction, explores the connections between industrial architecture and contemporary ways of life.&#38;nbsp;

The scenes captured in this way suggest an alternative reality, an unexpected graphic beauty emerging from landscapes otherwise perceived as austere. By inviting a paradoxical contemplation of these overlooked, often ignored spaces, the series questions our relationship with modern civilization and our denial of its consequences.

Here, the aesthetics of the Anthropocene become a reflection on what might be considered “beautiful” in places where a mirror image of our time is revealed, caught between the drive for progress and the looming threat of erasure.
︎

 [FR]
L’Anthropocène, période géologique actuelle, se définit par les empreintes laissées par l’humanité sur la planète, amorcées par la révolution industrielle du XIXe siècle. Ce projet, à la croisée du documentaire et de la fiction, étudie les liens entre architecture industrielle et modes de vie contemporains. 
Les scènes ainsi capturées suggèrent une réalité alternative, une beauté graphique inattendue émergeant de paysages autrement perçus comme austères. Par cette invitation à une contemplation paradoxale de ces espaces banalisés, souvent ignorés, cette série interroge notre rapport à la civilisation moderne et au déni de ses conséquences. 
L’esthétique de l’Anthropocène, ici, devient une réflexion sur ce qui pourrait être perçu comme « beau », là où se reflète une image de notre époque, prise entre élan de progrès et menace d’effacement.


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