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                <text>L'approche historique proposée ici permet de mettre en évidence la place que les architectes ont donné aux ambiances dans les représentations architecturales qu'ils produisent au fil du temps. Notre objectif est d'identifier les leviers (évènements, écrits, outils...) qui ont fait évoluer la représentation des ambiances dans les différentes représentations architecturales.</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Les ambiances dans la conception architecturale - Une" histoire" de représentation</text>
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                <text>L'architecte a cherché, au cours du temps, à donner une représentation évocatrice de sensations faisant référence à l'expérience personnelle pour révéler son architecture. Nous proposons dans cet article une approche historique qui permet d'identifier des leviers (évènements, écrits, outils, ...) qui ont fait évoluer la représentation des ambiances dans les différentes représentations architecturales. Il s'agit ici des prémisses d'un travail de recherche plus global en cours interrogeant la manière dont un architecte conçoit et communique ses intentions d'ambiances et la manière dont elles sont vécues dans le bâtiment. Comment les ambiances sont abordées dans les différentes phases du projet ? Comment sont-elles représentées dans le but d'être communiquées ? Comment sont-elles ressenties par les usagers une fois le bâtiment vécu ?</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/41/83/40/PDF/C._DROZD_article_faire_une_ambiance_2008.pdf</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/41/83/40/ANNEX/Celine_Drozd_presentation_Grenoble_2008_10min_Mode_de_compatibilite_.pdf</text>
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                <text>faire une ambiance creating an atmosphere</text>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>architecture</text>
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                <text>ambiance(s)</text>
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                <text>représentation</text>
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                <text>conception architecturale</text>
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                <text>évolution de la représentation des ambiances</text>
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                <text>Les ambiances dans la conception architecturale : une « histoire » de représentations</text>
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                <text>conference, seminar, workshop communication</text>
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                <text>Montreal</text>
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                <text>Makhloufi, Lilia</text>
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                <text>Place of memory but also of history, the Algerian old towns are characterised by a traditional urban structure, a powerful commercial device of old vocation, the lot associated to a big sense of community. Today, while construction develops along with any style, these old tows stay the symbol of a previous way of life that remains meaningful, and even if they are declared decayed or in state of ruin, they continue to be perceived by the five senses. What are the teachings that one can draw from this heritage, inexhaustible source concerning architectural and urban production? Our analysis will help to recognize the existence of many different identities and of spatial references, the urban ambiance being a privileged support of identity.</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00745032</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>Les ambiances dans les vieilles villes algériennes : entre cultures, identités et héritages sensoriels</text>
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                <text>Grenoble</text>
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                <text>Kazig, Rainer</text>
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                <text>La recherche sur les ambiances urbaines est accompagnée de l'idée de produire un savoir pouvant être au service des concepteurs urbains. Ma présentation repose sur la conviction que la recherche devrait établir des typologies d'ambiances afin de pouvoir fonctionner comme un outil d'aide à la création. Elle présente trois types d'ambiances issues d'une recherche empirique. En discutant les conditions d'émergence des trois ambiances types elle montre l'existence de nombreux facteurs non contrôlables par les urbanistes. La présentation conclut que les ambiances types aident néanmoins à rendre intelligibles les facteurs pouvant influencer le développement d'une ambiance et facilitent ainsi la communication entre les acteurs de la conception urbaine sur la qualité de l'espace vécu.</text>
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F&amp;eacute;vrier 2009

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&amp;nbsp;&lt;/div&gt;
D&amp;egrave;s le XIXe si&amp;egrave;cle, les &amp;quot;&amp;acirc;mes mal n&amp;eacute;es&amp;quot; hantent l'espace urbain, tant la jeunesse d&amp;eacute;linquante est pr&amp;eacute;cocement per&amp;ccedil;ue comme une menace contre l'ordre familial, moral, social ou politique.&lt;/div&gt;
&lt;br /&gt;
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universit&amp;eacute; de Franche-Comt&amp;eacute;&lt;/a&gt;.&lt;/div&gt;
universit&amp;eacute; Blaise-Pascal de Clermont-Ferrand&lt;/a&gt;.&lt;/div&gt;
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  Les anciens faubourgs populaires de Paris se caractérisaient par une interaction entre activité artisanale et logement, notamment dans certaines grandes cours et passages hérités du parcellaire rural. Dans le faubourg Saint-Antoine (11e, 12e arrondissements), ces cours étaient spécialisées dans le travail du bois, et celles du faubourg du Temple (10e, 11e) dans la petite métallurgie. La désindustrialisation progressive du centre de Paris a laissé vides ces cours dans les années 1980-1990 et la gentrification investit ces lieux, soit spontanément, soit par l'intervention d'un marchand de biens. Dans le premier cas, la transformation sociale est progressive et les « gentrifieurs » appartiennent aux classes moyennes ; dans le second cas, la réhabilitation entraîne le remplacement complet des anciens habitants des classes populaires par de nouveaux, appartenant aux classes moyennes et supérieures. Dans ces cours réhabilitées, les « gentrifieurs » introduisent un nouveau mode de vie et une forme particulière de sociabilité collective. Même s'ils ne pratiquent guère la mixité sociale de leur quartier, ils la valorisent dans une stratégie de distinction sociale afin de se constituer en un groupe social à part entière, dont l'existence reste à confirmer.
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10 octobre 2010

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Cris &amp;eacute;crits

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&amp;nbsp;&lt;/div&gt;
Comment t&amp;eacute;moigner de tout ce qui est immat&amp;eacute;riel, garder les traces, l&amp;rsquo;esprit d&amp;rsquo;un lieu quand une ville remod&amp;egrave;le un pan entier de son territoire ? Vaste no man&amp;rsquo;s land &amp;quot;les Anciens Abattoirs&amp;quot; de Marseille, en attente de projets municipaux, de 1989 &amp;agrave; 2010 ont &amp;eacute;t&amp;eacute; port&amp;eacute;s, anim&amp;eacute;s, enchant&amp;eacute;s, par l&amp;rsquo;&amp;eacute;tonnante aventure collective d&amp;rsquo;artistes cr&amp;eacute;ateurs-am&amp;eacute;nageurs-r&amp;eacute;sidents.&lt;/div&gt;
&lt;br /&gt;
Tant de cr&amp;eacute;ations, de r&amp;eacute;p&amp;eacute;titions de spectacles qui tourneront ensuite dans le monde, tant de talents, tant de rencontres, tant d&amp;rsquo;avanc&amp;eacute;es intellectuelles et concr&amp;egrave;tes sur les rapports entre l&amp;rsquo;artistique et l&amp;rsquo;espace public, mais aussi tant d&amp;rsquo;ing&amp;eacute;niosit&amp;eacute; &amp;agrave; vivre dans la libert&amp;eacute;, tant de r&amp;eacute;ussite &amp;agrave; &amp;ecirc;tre ensemble : la convivialit&amp;eacute; des f&amp;ecirc;tes, les grandes tabl&amp;eacute;es de &amp;quot;la cantine&amp;quot;. Les artistes peuvent-ils changer un quartier ?&lt;/div&gt;
&lt;br /&gt;
Alors que l&amp;rsquo;aventure s&amp;rsquo;ach&amp;egrave;ve, en recueillir les traces, aider &amp;agrave; construire une m&amp;eacute;moire, tel fut le projet et l&amp;rsquo;urgence de ce livre : un r&amp;eacute;cit qui dit souvent &amp;quot;je&amp;quot;, forc&amp;eacute;ment subjectif, de l&amp;rsquo;&amp;eacute;crivain &lt;b&gt;Sara Vidal&lt;/b&gt;, enrichi par les propositions photographiques de &lt;b&gt;Fred Raynaud&lt;/b&gt; et les paroles libres d&amp;rsquo;un petit nombre parmi tous ceux qui ont particip&amp;eacute; &amp;agrave; la complexit&amp;eacute; et &amp;agrave; la po&amp;eacute;sie de cette travers&amp;eacute;e sur 20 ans.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
L&amp;rsquo;h&amp;eacute;ritage des ann&amp;eacute;es 1960 marque en profondeur notre pr&amp;eacute;sent. Bien plus qu&amp;rsquo;on ne l&amp;rsquo;admet, il &amp;quot;travaille&amp;quot; nos pratiques et nos repr&amp;eacute;sentations sociales, par reproduction ou rejet, et ce &amp;agrave; mesure de son &amp;eacute;loignement dans le temps.&lt;br /&gt;
Sur le plan conceptuel, il exerce une fascination croissante aupr&amp;egrave;s des professionnels de l&amp;rsquo;architecture, de l&amp;rsquo;urbanisme et du paysage, cependant que son examen historiographique demeure un chantier ouvert. Dans le m&amp;ecirc;me temps, les traces physiques de ce pass&amp;eacute; r&amp;eacute;cent, encore palpables, sont malmen&amp;eacute;es et disparaissent sous nos yeux : avec le projet social qui les avait port&amp;eacute;es mais avant m&amp;ecirc;me d&amp;rsquo;avoir &amp;eacute;t&amp;eacute; comprises dans la singularit&amp;eacute; de leur devenir ; avant que l&amp;rsquo;on ait saisi &amp;agrave; quel point sa compr&amp;eacute;hension d&amp;eacute;coule de ce que nous en faisons et que notre histoire s&amp;rsquo;actualise &amp;agrave; travers un pr&amp;eacute;sent perp&amp;eacute;tuel.&lt;/div&gt;
&lt;br /&gt;
Tel est le paradoxe qu&amp;rsquo;abordent, d&amp;rsquo;un point de vue d&amp;eacute;cid&amp;eacute;ment r&amp;eacute;trospectif, les textes issus de travaux de l&amp;rsquo;&amp;eacute;quipe de recherche AM:HAUS, du Laboratoire de l&amp;rsquo;&amp;eacute;cole d&amp;rsquo;architecture de Versailles (L&amp;eacute;aV), et pr&amp;eacute;sent&amp;eacute;s ici en trois sections : Ecrits, El&amp;eacute;ments, Ensembles. La premi&amp;egrave;re situe des postures critiques et th&amp;eacute;oriques des ann&amp;eacute;es 1960, d&amp;rsquo;une part, dans leur rapport &amp;agrave; la p&amp;eacute;riode pr&amp;eacute;c&amp;eacute;dente, de l&amp;rsquo;autre, relativement &amp;agrave; leur r&amp;eacute;activation pr&amp;eacute;sente. La deuxi&amp;egrave;me traite d&amp;rsquo;un &amp;quot;&amp;eacute;l&amp;eacute;ment naturel&amp;quot; de la technologie en architecture (hydrocarbure, air, atome, lumi&amp;egrave;re). Enfin, la troisi&amp;egrave;me aborde des organisations spatiales &amp;agrave; l&amp;rsquo;&amp;eacute;chelle des paysages urbains en insistant sur les dynamiques biophysiques et sociales du continuum qu&amp;rsquo;interroge notre projet : jadis et maintenant, ici et ailleurs.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Sommaire :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Georges Farhat&lt;br /&gt;
Au risque de l&amp;rsquo;anachronisme&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;I. Ecrits&lt;/b&gt;&lt;br /&gt;
Fran&amp;ccedil;ois B&amp;eacute;guin - L&amp;rsquo;ancien et le nouveau&lt;br /&gt;
Evelyne Volpe - &amp;quot;Vintage memories&amp;quot;. A la recherche des ann&amp;eacute;es soixante&lt;br /&gt;
Micha&amp;euml;l Darin - Reyner Banham : l&amp;rsquo;histoire au service de la modernit&amp;eacute; des ann&amp;eacute;es 1960&lt;br /&gt;
Michel Den&amp;egrave;s - Simulacrum&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;II. El&amp;eacute;ments&lt;/b&gt;&lt;br /&gt;
Sophie Fesdjian - Du &amp;quot;Dimanche &amp;agrave; Orly&amp;quot; au dimanche au centre commercial&lt;br /&gt;
Philippe Grandvoinnet - Le souffle coup&amp;eacute; de l&amp;rsquo;architecture antituberculeuse (1945-1968)&lt;br /&gt;
Vincent Jacques - Fantasmagories de la po&amp;eacute;sie industrielle : le plastique&lt;br /&gt;
Reine Vogel - L&amp;rsquo;Atomium &amp;agrave; Bruxelles&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;III. Ensembles&lt;/b&gt;&lt;br /&gt;
Beno&amp;icirc;t Carri&amp;eacute; - Urbanisme colonial et Union des arts &amp;agrave; l&amp;rsquo;&amp;eacute;preuve de la r&amp;eacute;habilitation&lt;br /&gt;
Luc Vilan - L&amp;rsquo;enseignement de Chandigarh&lt;br /&gt;
Sawsan Noweir - Le voyage des grands ensembles : la modernit&amp;eacute; vue du Caire&lt;br /&gt;
Georges Farhat et J&amp;ouml;rn Garleff - Les espaces libres  verts dans les grands ensembles en France&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Ce livre est une histoire de l'architecture qui court du milieu du xxe si&amp;egrave;cle jusqu'aux ann&amp;eacute;es 2020. Peu de lieux urbains dans le monde peuvent se pr&amp;eacute;valoir d'une telle continuit&amp;eacute; urbanistique sur une p&amp;eacute;riode aussi restreinte et dans un p&amp;eacute;rim&amp;egrave;tre aussi serr&amp;eacute;. Le projet de La D&amp;eacute;fense, un quartier d'affaires con&amp;ccedil;u ex nihilo, est d&amp;egrave;s sa naissance un projet futuriste, &amp;agrave; l'instar de la conception du Concorde ou de la naissance du nucl&amp;eacute;aire civil (&lt;i&gt;sic&lt;/i&gt;).&lt;br /&gt;
&lt;br /&gt;
C'est-&amp;agrave;-dire d'abord un projet issu de la volont&amp;eacute; politique d'inscrire dans la France de l'apr&amp;egrave;s-guerre un centre d'affaires capable de rivaliser avec les grandes places financi&amp;egrave;res. On a finalement peu insist&amp;eacute; sur ce point pour mettre en avant une histoire architecturale et technique qui compterait sur les doigts de la main quelques am&amp;eacute;nageurs visionnaires ayant confi&amp;eacute; les cl&amp;eacute;s des lieux &amp;agrave; autant d'architectes pr&amp;eacute;curseurs.&lt;br /&gt;
&lt;br /&gt;
Or l'histoire est forc&amp;eacute;ment plus complexe et demandera d'&amp;ecirc;tre lue sous plusieurs prismes diff&amp;eacute;rents. Pour cet ouvrage, nous nous sommes attach&amp;eacute;s &amp;agrave; reconstituer l'une de ces histoires, celle qui a trait &amp;agrave; la centaine d'architectes qui ont sign&amp;eacute; des b&amp;acirc;timents sur le site de la D&amp;eacute;fense. &lt;br /&gt;
Qui sont-ils? D'o&amp;ugrave; viennent-ils? Avec qui se sont-ils alli&amp;eacute;s, et pour quel type de programme? Ce sont autant de questions auxquelles r&amp;eacute;pond ce livre, sachant que, depuis Robert Camelot jusqu'&amp;agrave; Thom Mayne, l'histoire des architectes de la D&amp;eacute;fense ne s'est pas simplement &amp;eacute;crite sur le seul registre de l'architecture novatrice, mais qu'il s'est dessin&amp;eacute;, une g&amp;eacute;n&amp;eacute;ration d'immeubles apr&amp;egrave;s l'autre, ce que l'on peut appeler un &amp;quot;esprit D&amp;eacute;fense&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Le livre r&amp;eacute;unit l'int&amp;eacute;gralit&amp;eacute; des immeubles construits sur le site et montr&amp;eacute;s sous deux aspects diff&amp;eacute;rents: en photographie et dans une repr&amp;eacute;sentation 3D qui met en &amp;eacute;vidence pour le lecteur la volum&amp;eacute;trie des immeubles. Des annexes biographiques tr&amp;egrave;s compl&amp;egrave;tes sont accompagn&amp;eacute;es de portraits dessin&amp;eacute;s des architectes les plus importants.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Simon Texier&lt;/b&gt; est ma&amp;icirc;tre de conf&amp;eacute;rences HDR en histoire de l'architecture contemporaine &amp;agrave; l'universit&amp;eacute; Paris Sorbonne.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Extrait du liminaire :&#13;
&#13;
Nous débutions notre appel à contribution en affirmant la capacité des arts à révéler, critiquer et transformer les relations que les humains entretiennent avec leur environnement. Si les textes de ce numéro spécial tendent à supporter cette affirmation, ils appellent également à la nuance et montrent qu’il y a plus d’une façon d’envisager le rapport entre individus, environnement et ville à travers les pratiques artistiques. En effet, si notre appel poussait surtout à réfléchir au regard que les artistes portent sur les dissonances perçues dans le&#13;
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                  <text>Crévilles</text>
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      <name>Livre</name>
      <description>Type de contenu : livres</description>
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            <name>Title</name>
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                <text>Les arts de la rue en France. Une logique de double jeu</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Hee-Kyung LEE, arts de la rue, artistes de rue, collectifs d'artistes, théâtre de rue, festivals, démarche artistique, sociologie urbaine</text>
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                <text>Les arts de la rue sont un des champs artistiques des arts vivants les plus novateurs de ces dernières décennies. En partant de leur émergence en 1968, cet ouvrage retrace la construction progressive de cet univers social. Nous parlions alors du théâtre de rue. Devenu aujourd'hui les arts de la rue, ils connaissent une consécration publique, critique, institutionnelle et internationale. Le nombre de festivals qui leur est consacré en témoigne : Aurillac, Chalon-sur-Saône, Noisy-le-Sec, Villeurbanne...&#13;
&#13;
Cette enquête repose sur l'exploitation des revues historiques de ce champ artistique : Rue d'universités, Rue de la Folie, et des archives des institutions fondatrices : HorsLesMurs, Lieux Publics.&#13;
&#13;
Un travail de terrain au sein des équipes a permis également de dégager les regards que portent les artistes sur leurs démarches : Théâtre de l'Unité, Délices DADA, Ilotopie, Oposito, Décor Sonore, Friche Théâtre Urbain, KomplexKapharnaüM, Super Sans Plomb...&#13;
&#13;
Les alchimies des expériences sociales et intimes de l'individu et du collectif s'enchevêtrent. Dans cette articulation complexe, se dresse l'inventaire sociohistorique des arts de la rue en France.&#13;
&#13;
Hee-Kyung LEE est docteur en sociologie (Paris 8). Elle est sud-coréenne et vit en France. Ses domaines de recherche portent sur la question de la genèse de nouveaux champs artistiques. Après avoir travaillé sur les arts de la rue en France, elle prépare un ouvrage sur la naissance de l'art électronique et de l'art vidéo.</text>
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                <text>Hee-Kyung LEE</text>
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                <text>http://www.editions-harmattan.fr/index.asp?navig=catalogue&amp;obj=livre&amp;isbn=978-2-343-00343-6</text>
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            <name>Publisher</name>
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              <elementText elementTextId="445477">
                <text>L'Harmattan</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2013-06</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>272</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>FR</text>
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            <name>Type</name>
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                <text>Ouvrage</text>
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        <name>artistes de rue</name>
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        <name>arts de la rue</name>
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        <name>collectifs d'artistes</name>
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        <name>démarche artistique</name>
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        <name>festivals</name>
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        <name>Hee-Kyung LEE</name>
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        <name>sociologie urbaine</name>
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        <name>théâtre de rue</name>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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              <description>A name given to the resource</description>
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                  <text>Archives ouvertes des études urbaines</text>
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              <description>An account of the resource</description>
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                  <text>Collection of HAL papers</text>
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              <description>An entity responsible for making contributions to the resource</description>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="515182">
                <text>Nantes</text>
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                <text>France</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Aventin, Catherine</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2006</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Basé sur une étude plus vaste sur les relations tissées entre l'espace (bâti, sensible et social), les actions artistiques et le public, cet article se propose d'examiner la place primordiale du corps des spectateurs dans la réception des arts de la rue. Individuellement ou collectivement, le corps y est convoqué en tant que corps percevant (par les sens), corps agissant (par un engagement physique fort) et corps normé (« bousculé » à cette occasion). Si l'article se concentre sur le temps de la représentation, nous évoquons aussi en conclusion la piste d'un « marquage » des corps à plus long terme, c'est-à-dire après la tenue des spectacles.</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00087639</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/08/76/39/PDF/2006_aventin_laua.pdf</text>
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            <description>A language of the resource</description>
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                <text>FRE</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Lieux Communs - Les Cahiers du LAUA</text>
              </elementText>
              <elementText elementTextId="515191">
                <text>Lieux Communs - Les Cahiers du LAUA</text>
              </elementText>
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                <text>Lieux Communs - Les Cahiers du LAUA</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="515193">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>espace public</text>
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                <text>arts de la rue</text>
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                <text>spectateurs</text>
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                <text>corps</text>
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                <text>multisensorialité</text>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>Les arts de la rue ou comment l'espace public prend corps</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>article in peer-reviewed journal</text>
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