Exploration (10 p.m.)

INDUSTRIAL HERITAGE: ART / ARCHITECTURE

Part 2 = PHOTOMONTAGES

In the 1970s, a group of artists and architects locked themselves inside a disused factory in the Ruhr to protest against its destruction. Among them were the photographers Bernt and Hilla Becher, who photographed a series of blast furnaces, headframes and water towers and exhibited them in museums all over Europe. This photographic work had the effect of changing the way inhabitants and elected representatives perceived their region, and a highly ambitious requalification program was launched in the 1980s with an international architecture exhibition.
https://www.ruhr-tourismus.de/en/index.html

By studying a few notable cases (Ruhr, Detroit, Lens), students will analyze the place of representations and collective imaginations in industrial heritage rehabilitation projects. Students will then be invited to create their own images, using photography and photomontage.

By way of introduction:
In his book published in 2020 ‘Et si…on libérérait notre imagination pour créer le futur que nous voulons?’ (Ed. Actes Sud, June 2020) activist Rob Hopkins quotes Dominique Christina (black American artist, poet and activist):
‘The problem is now at the center. What doesn’t work, what is dysfunctional, takes up all the space. The breakdown becomes the only thing that exists.
There are so many fantastic, extraordinary, impossible, supernatural people on this earth who love the planet and act out of kindness, integrity and responsibility. But we’re so depressed by the abyss into which our gaze is lost that we’ve lost sight of paradise. Our response to all this is to think about what we want, rather than constantly reacting to what we don’t want. Our way of imagining this world should be at the center, constantly, in place of everything that’s broken.’ 

continuous assessment + final report

©Photoshop is a prerequisite for installation on your laptop.

Superarchitecture – Le futur de l’architecture 1950-1970 : Rouillard, Dominique: Amazon.fr: … Publisher: Editions de la Villette (November 1, 2004) …

Pablo Servigne, Raphaël Stevens and Gauthier Chapelle, Une autre fin du monde est possible: vivre l’effondrement (et pas seulement y survivre), Paris,
Seuil, coll. “Anthropocène”, 2018, 327 p. (ISBN 978-2-02-133258-2).

Rob Hopkins What if…? Libérez notre imagination pour créer le futur que nous voulons, Éditions Actes Sud, coll. “Domaine du possible”, April 2020, 304 p. (ISBN 9782330132859)

Cultural facilities in the Emscher Valley (Ruhr, Germany): from urban regeneration to the development of a cultural and creative economy
Cultural facilities in the Emscher Valley (Ruhr, Germany): from urban regeneration to the development of a cultural and creative economy
Bruno Lusso

https://journals.openedition.org/belgeo/13358

Detroit Wild City
https://www.youtube.com/watch?v=YSwGqxysNLY and t=69s

https://www.cairn.info/revue-pour-2014-4-page-89.htm

Converting former mining sites into cultural venues Territorial issues and appropriation in the Nord-Pas-de-Calais mining basin

https://hal.archives-ouvertes.fr/tel-02478106

https://www.franceculture.fr/emissions/lsd-la-serie-documentaire/que-fait-le-maire-44-loos-en-gohelle-un-maire-dans-la-transition-democratique

Germinal – Zola

Ca commence aujourd’hui – Bertrand Tavernier

DUE TO COVID MEASURES, THESE EXCEPTIONAL PROVISIONS:

This class in computer room 103, we need internet, is at 7:15pm on Tuesday evening, your PROJECT or ARCHI classes, finishing at 6:30pm, but they always last longer, so this 7:15pm, which leaves time for previous classes.
To fit in with the school’s logic of face-to-face and distance learning, students attend physics classes every 15 days. This face-to-face course is divided into 2 groups, A and B, alternating between face-to-face classes, which fits in with your PROJECT or ARCHII face-to-face classes.

FOR PEDAGOGICAL OBJECTIVES :

Without matter, there is no light. Matter transforms and reveals the light wave, light is radiation, light without matter is invisible to man. Man perceives only 25% of the natural light spectrum. This is how the object of matter, material, matter/light, naturally imposes itself on our visual gaze, in our everyday environment. Light defines visible matter, volume, the color of matter, light refracts and diffracts, light changes the spatiality of space. Due to a lack of light culture, this light, the result of transformation by matter, is little exploited and remains, in the conceptual use of architects, a secondary, not to say tertiary, artifice. However, in painting, sculpture, photography, the arts and other fields of plastic creation, light is a major part of the plastic and creative result, as in kinetic art. The plasticity of light transforms architecture, so that this complex and multiple object is multiplied…
From the natural light object, the sun, to its technical artifice, the electric bulb, from the metaphor of the art object/light, to literary, cinematographic, plastic, aesthetic, social, architectural, urban, scenographic, theatrical, philosophical and political writing; materials, shapes, transparencies, opacities, technological effects; the field of light creation is vast. Materials carry the essence of the idea of plastic light design.
Understanding the nature of sunlight means understanding its energy, power and light waves. It also means understanding the future resources, applicable to the creation of light, that the technical sciences hold out hope for through the creation of new materials.
Exploiting the relationship between matter and light goes back a long way, to the architectural aesthetics and sculpture of the architects of Greek temples, who thought of light as pure white matter, the marble of the Parthenon, the shadow of light…
Today, architects propose their projects accompanied by nocturnal images, dynamic illuminations, light and sound scenography. A decisive light in the presentation of a competition project…
Mastering the matter/light phenomenon means understanding the characteristics of the human gaze, the capacities of the eye, its physiology, the different visions of living species, the technological images and views produced by our machines, for example the image of the infrared camera…
PVC, glass, fiber optics, lasers, flames, UV, gamma rays, neon, photosynthesis and more are all subjects of experimentation, enriching the creations of architects, urban planners and landscape designers.
We need to know the costs, uses, durability, energy consumption and implementation – all essential conditions for transforming the project into a built reality.
Advances in technical equipment now make it possible to link light to sound and image, and video to produce extraordinary plastic objects…
The most beautiful lights, are those dreamed lights, at the price, of the reality of this course!

Final mark established by 50% of the attendance mark and 50% of the mark for the design file of the light/sound object produced by the student.

Production of a conceptual and technical file for a lighting/sound installation on a chosen location/subject. This file is produced, point by point, by chapter, in chronology with the course.
A real desire to acquire the fundamentals of the technical culture of the lighting/sound designer in the service of architecture and urban planning.

A desire for light and sound, if possible as a preamble to this course, reading the book ‘Sons et Lumières’, published by the Centre Georges Pompidou, available from the ENSAPLV library. and By nigth, lumière et architecture, Montse Borras 2009-.

The interdependence of time and space is never more evident than in the manifestation of sound. The space constructed disrupts the acoustics of the pre-existing site, and alters the way it was perceived prior to the intervention. The mode of sound propagation reveals the space, and in turn, the constitution and configuration of the space shape the sound.The workshop will enable students to reflect on experimental music and the place of sound in art, by tackling the notions that opened up the field of music in the 20th century: noise, silence, indeterminacy, interpenetration, spatiality. We’ll be placing particular emphasis on this last aspect of sound (spatiality), because sound waves have to go somewhere once they’re emitted. Sound is spherical, but when we listen to it, it seems to have only two dimensions: pitch and duration. The third, depth, we know exists, but it escapes us. We’ve forgotten how sound traverses space and occupies it. Every place has its own character, which tends to modify, displace and/or fix sound.

50%continuous – 50%test

Students who have completed the ‘Urban Sound Workshop’ (CITD 711 or 911) or who plan to take it at a later date cannot take this intensive course, which is a condensed, more focused version.

Intensive, production of a sound document of 5 minutes maximum.

Accueil

http://www.nicolasfrize.com/
http://www.jacquelinecaux.com/
www.o-a.info
www.samauinger.de
http:/soundtransit.nl

Using theoretical, philosophical, architectural and other texts, help students develop a culture and knowledge of architectural theory. Build conceptual tools that enable them to develop a critical view of the discipline and its discourse.
Develop their research, representation, oral and written expression skills.
This course also aims to enable students to communicate in a foreign language. ENSAPLV offers this course in English to enable students to take part in international teaching activities (international workshops and symposia organized by the school, exchanges in foreign higher education establishments). Course open to exchange students.

Active participation in discussions and visits (exhibitions and conferences), reading and understanding texts, presentations, creating a visual representation, writing a critical text with images.

Presentations, critical mapping, posters with images and critical text, etc.

Daniel Abramson, Obsolescence: An Architectural History (University of Chicago, 2016)
Chandler Ahrens and Aaron Sprecher, eds, Instabilities and Potentialities: Notes on the Nature of Knowledge in Digital Architecture (Routledge, 2019).
Zeynep Çelik Alexander and John May, eds, Design Technics: Archaeologies of Architectural Practice (Minnesota, 2020)
N. Axel, B. Colomina, N. Hirsch, A. Vidokle and M. Wigley, eds, Superhumanity: Design of the Self (e-flux/Minnesota, 2018)
Jane Bennett, Vibrant Matter: A Political Ecology of Things (Duke, 2010)
Rosi Braidotti, Posthuman Knowledge (Polity, 2019)
Benjamin Bratton, The Stack: On Software and Sovereignty (MIT, 2015)
James Bridle, New Dark Age (Verso, 2018)
Mario Carpo, The Second Digital Turn (MIT, 2017)
Beatriz Colomina and Mark Wigley, eds, Are we human? (Lars Müller, 2016)
W. Davidts, S. Holden and A. Paine, eds, Trading between Architecture and Art (Valiz, 2019)
Peggy Deamer, ed, The Architect as Worker: Immaterial Labor, the Creative Class, and the Politics of Design (Bloomsbury, 2015)
Peggy Deamer, Labor and Architecture (Routledge, 2020)
Keller Easterling, Extrastatecraft:The Power of Infrastructure Space (Verso, 2014)
Kenneth Frampton, Labour, Work and Architecture (Phaidon, 2002)
Hélène Frichot, Creative Ecologies: Theorizing the Practice of Architecture (Bloomsbury, 2018)
Catherine Geel and Clément Gaillard, eds, Extended French Theory and The Design Field…On Nature and Ecology (T and P, 2019)
Andrew Goodhouse, ed, When is the Digital in Architecture? (Sternberg, 2017)
Ariane Lourie Harrison, Architectural Theories of the Environment: Posthuman Territory (Routlege, 2013)
Tim Ingold, Making (Routledge, 2013)
Tahl Kaminer, The Efficacy of Architecture: Political Contestation and Agency (Routledge, 2017)
Nadir Lahiji, ed, Architecture Against the Post-Political (Routledge, 2014)
Alexandra Midal, Design by Accident: For a New History of Design (Sternberg, 2019)
Miguel Paredes Maldonado, Ugly, Useless and Unstable Architectures (Routledge, 2019)
Markus Miessen, Crossbenching: Toward Participation as Critical Spatial Practice (Sternberg, 2016)
Doina Petrescu and Kim Trogal, eds, The Social (Re)Production of Architecture (Routledge, 2017)
Monica Ponce de Leon, Authorship (Princeton, 2020)
Carlo Ratti, Open Source Architecture (Thames and Hudson, 2015)
M. Schalk, T. Kristiansson and R. Mazé, Feminist Futures of Spatial Practice (AADR, 2017).
Bernard Stiegler, Automatic Society (Polity, 2016)
Bernard Stiegler, The Age of Disruption (Polity, 2019)
Albena Yaneva, Five Ways to Make Architecture Political: An Introduction to the Politics of Design Practice (Bloomsbury, 2017)

This elective follows on from the TR707 ‘Introduction to Parametric Modeling’ elective in semester 7, and builds on the concepts already acquired by presenting examples of generative digital methods to assist design in architecture. Parametric design, generative design, algorithmic design, data-driven design etc. are all terms used to describe digitally assisted design activities that are becoming increasingly popular in the architectural sector. The aim of this optional course is to train students in the use of various digital techniques to implement these emerging design activities.

Continuous assessment: compulsory weekly assignment posted on the course website.

Weekly exercise related to course content
Rhinoceros and Grasshopper are the main tools used. It is preferable to have already been introduced to these tools before completing the exercises.
It is also preferable to use a PC running Windows.

Jean-Pierre Couwenbergh , Mohamed-Anis Gallas, Parametric design with Rhino and Grasshopper: Applications in architecture, engineering and design, Eyrolles, 2021

Acquire a methodology that enables students to make well-reasoned constructive, aesthetic and economic choices in order to master the design of construction details.

– Follow-up control of files / oral presentation of study / attendance.
Continuous assessment: 50% and final report and presentation: 50%.

– Attendance and participation in lectures (3 sessions)
– Tutorials (collective study follow-up) 8 sessions
– Mid-semester interim report (1 to 2 sessions)
– Digital file (work in pairs).

transmitted at the beginning of the year

Move away from a preoccupation with noise abatement alone, and approach sound as an object of aesthetic study on the one hand, and as a dimension of architectural and urban space on the other.
Take account of the sound dimension in architectural design.

Continuous assessment: 50% and final exam: 50%.

Introduction to sustainable projects in the built environment in France and abroad.

Continuous assessment / Assignments: 75%
Partial or final exam (WORKSHOP): 25%.

Lectures, tours, conferences and debates.

The contextualization of architectural projects cannot be limited to simply shaping the immediate surroundings of a building. It is
necessary for the architectural project to fit into numerous contexts, and for the choices made in drawing up the program,
for siting and formalization, to relate to a variety of issues.
Whatever the nature of the sites on which we intervene (from gardens to industrial wastelands), the landscape is no longer a backdrop, a sort of
backdrop, but a primary parameter that expresses itself in geomorphological, historical, environmental, social, etc. presences;
within which an argument must be built.
The site chosen for this exercise is a historic garden of around 40 ha situated in a forested valley landscape in a peri-urban area and on
which we propose to build a structure to welcome the public and a janitor?s dwelling.
The diversity of possible approaches for such a site means that the range of responses is broad enough to allow us to approach the project with a wide variety of attitudes
.

Grading will be based on attendance (30%), presentation of the visit and definition of the issues (30%), and quality of the final dossier (40%).

Students are asked to provide a project diary showing their progress from the visit to the project, as well as a synthetic A0 board on
on which the elements essential to understanding their approach are presented. Emphasis is placed on arguing the choices made
for the implementation of the project in a broad site that integrates the garden but also the entire valley that hosts it.

These courses take an “objective” look at the rural environment, constantly moving back and forth between the “micro”, the scale of an element or component of the territory, and the “mega”, the scale of the whole in which it is involved. By comparing these two scales, we understand that the rural territory is a veritable construction articulating topography, hydrology, infrastructures, the presence of vegetation, whether cultivated or not, and built-up areas.

It’s not the apparent or real modesty of these structures that’s remarkable, but the articulation of their different components, the context of these territories (the way in which the different parts of a whole are assembled), what they enable, what they engender. The dike, for example, refers to the land it protects, the land it services, the land it enables to be occupied and exploited, while the village situated on this land does not obviously refer to what enables it to exist.

This rural context, which was very clear until the middle of the 20th century, has been thwarted by the evolution of our society, which is striving to adapt the living and the land to industrial and economic requirements.

Today, this “industrial” agricultural model is being called into question for its economic, social and ecological dysfunctions. Successive agricultural crises are calling into question the future of production and, beyond production, the development of the regions that support it and the resulting landscapes.

The question of societal supply is added to the agricultural question. Local residents have certain expectations, consumers of local produce have others, and consumers of induced landscapes have yet others. Rural areas are thus the bearers of seemingly irreconcilable issues. It’s a real quest for identity, to which the architect can respond, through his ability to define the possible transformations of places, in respect of heritage, economic, societal and aesthetic notions. Alternative agricultural models (agroforestry, permaculture) imply a different territorial functioning, a construction that it’s up to us to support.

End-of-semester written exam
Answers to 3 questions posed in course summaries

12 lectures of 1 hour 30 minutes; written exam of 1 hour 30 minutes; oral exam.
Attendance: 25% of final grade

ASTM: Architectures Soutenables du Tout Monde , Patrimoines Emancipateurs.
WSA: World Sustainable Architectures: Heritage Uprising.

Emancipating Vernacular Heritages: Updated Knowledge of Architectural Sustainability.

This course is a place for acquiring knowledge in the field of designing amplified symbiotic spatialities, in that it questions in a referenced and argued way, in return and very concretely, the dominant theories and practices of the Urban Project in the contextual, inventive and frugal light of the new world.
This lecture course, combined with thematic conferences, provides a twofold opportunity to acquire knowledge:
-In the field of contextual knowledge specific to Latin American, Asian and North African urban formations, through monographs presenting the generic and specific characteristics of their morphogenesis and multiform experimentation, in line with the 21st century challenges of environmental intelligence and happy daily frugality.
In the field of urban planning and architecture, insofar as it reveals the theories and practices of domestic, urban and territorial planetary projects, in the light of the knowledge and practices, both learned and popular, developed over a century of innovations, on the scale of intercontinental interactions and cross-fertilizations.

Limited to 30 students. This CTID introduces the fundamentals of sustainable spatial planning.
In particular, it is required for VALE Project groups P808 in semester 8 Master 1:
Confluences Hydrauliques de Mutation Urbaine – Andalusia – Seville
Vernacular architecture and contemporary evolutions of Inca heritage in the Andean region. Bolivia, Peru.

CPL / VT / VL / JLM

-Continuous class attendance.
– Proceedings of French-language lectures and specialist conferences in Spanish, Portuguese and English.
– Thematic and monographic files based on personal notes and surveys.
– Self-reflective final written exam.

Oral and written student contributions:
– Proceedings of French-language lectures and specialist conferences in Spanish, Portuguese and English.
– Thematic and monographic dossiers based on personal course notes.
– Final individual self-examination.

SEE LINK

Understand Japanese spatiality by analyzing the structure and space of buildings constructed in Japan from antiquity to the present day.

The seminar will take place by videoconference, in the second semester, at
. Students will be asked to observe the architecture built in Japan and try to understand the particularity of the structures and spaces created in this particular milieu – these socio-cultural and natural environments.

The work required is:
– active attendance at the seminar.
– preparation and presentation of a descriptive sheet on a building constructed in Japan.

Benoît Jacquet, Philippe Bonnin and Nishida Masatsugu, Dispositifs et notions de la spatialité japonaise, Lausanne, Presses polytechniques et universitaires romandes, 2014.

Benoît Jacquet, “Introduction à la spatialité japonaise”, in Benoît Jacquet et al. (dir.), Dispositifs et notions de la spatialité japonaise, Lausanne, Presses polytechniques et universitaires romandes, 2014. URL: https://www.academia.edu/39738461/Introduction_à_la_spatialité_japonaise

Benoît Jacquet, “Les mots et les discours sur la monumentalité de l’architecture japonaise”, in Benoît Jacquet et al. (dir.), Dispositifs et notions de la spatialité japonaise, Lausanne, Presses polytechniques et universitaires romandes, 2014, pp. 169-189.
https://www.academia.edu/79270695/Les_mots_et_les_discours_sur_la_monumentalité_de_larchitecture_japonaise

Benoît Jacquet, “Du chemin à la place: les traces de la spatialité traditionnelle dans la ville japonaise contemporaine”, in Architectures et villes de l’Asie contemporaine, ed. Nathalie Lancret and Corinne Tiry-Ono, Bruxelles, Mardaga, 2015, pp. 77-101. URL:
https://www.academia.edu/19291283/Du_chemin_à_la_place_les_traces_de_la_spatialité_traditionnelle_dans_la_ville_japonaise_contemporaine

Benoît Jacquet, Teruaki Matsuzaki, Manuel Tardits, The Carpenter and the Architect: A History of Wood Construction in Japan, Lausanne, Presses polytechniques et universitaires romandes, 2019.

Benoît Jacquet, Teruaki Matsuzaki, Manuel Tardits, The Carpenter and the Architect: A History of Wood Construction in Japan, Lausanne, EPFL Press, 2021.

Benoît Jacquet, Jérémie Souteyrat, L’architecture du futur au Japon. Utopie et Métabolisme, Poitiers, Le Lézard Noir, 2020.

Benoît Jacquet, “Dans l’utopie de la ville métaboliste”, Archiscopie 17, 2019, pp. 19-25.
URL: https://www.academia.edu/39713449/Dans_lutopie_de_la_ville_métaboliste

Benoît Jacquet, “Itō Chūta and his Architectural Study of the Hōryūji (1893): how and why to integrate Japanese architecture into a global history”, Ebisu [Online], 52 | 2015. URL: https://journals.openedition.org/ebisu/1615

Benoît Jacquet and Yann Nussaume, “L’évolution de l’architecture de Takamatsu Shin et le passage à l’ère Heisei : continuité ou fluctuation ?”, Ebisu [On line], 57 | 2020. URL: http://journals.openedition.org/ebisu/5077

Itō Chūta, Kenchiku tetsugaku 建築哲學 (Philosophy of architecture), master’s thesis at Tokyo Imperial University (Tōkyō teikoku daigaku), 1892

Itō Chūta, “Hōryūji kenchikuron” 法隆寺建築論 (An architectural study of the Hōryūji), Kenchiku zasshi 建築雑誌, November 1893, 7 (83), pp. 317-350.

Tange Kenzō, Kawazoe Noboru, Watanabe Yoshio, Ise: Prototype of Japanese Architecture, Cambridge, MIT Press, 1962.
丹下健三、川添登、渡辺義雄『伊勢・日本建築の原型』