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25 novembre 2009

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Puf

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&amp;nbsp;&lt;/div&gt;
En urbanisme, la s&amp;eacute;curit&amp;eacute; est traditionnellement associ&amp;eacute;e au mod&amp;egrave;le de la cl&amp;ocirc;ture, de la ville-forteresse. Mais un autre mod&amp;egrave;le est en train de na&amp;icirc;tre, qui ne vise plus tant &amp;agrave; interdire la p&amp;eacute;n&amp;eacute;tration des lieux qu&amp;rsquo;&amp;agrave; r&amp;eacute;guler les flux par leur s&amp;eacute;paration de fa&amp;ccedil;on &amp;agrave; &amp;eacute;liminer les risques de friction sociale et humaine.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Con&amp;ccedil;ue &amp;agrave; partir des stades et des a&amp;eacute;roports, cette formule envahit la ville et y r&amp;eacute;duit les lieux propices &amp;agrave; l&amp;rsquo;immobilit&amp;eacute;, ceux-l&amp;agrave; m&amp;ecirc;me qui rendent possible cette fonction urbaine par excellence qu&amp;rsquo;est la rencontre. Comment peut-on pr&amp;eacute;server les valeurs d&amp;rsquo;urbanit&amp;eacute; dans des espaces con&amp;ccedil;us pour &amp;eacute;viter les croisements ? Tel est le d&amp;eacute;fi que doivent relever les architectes et les urbanistes de la ville contemporaine.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Paul Landauer&lt;/b&gt; est architecte, enseignant &amp;agrave; l&amp;rsquo;&amp;Eacute;cole d&amp;rsquo;architecture, de la ville et des territoires &amp;agrave; Marne-la-Vall&amp;eacute;e. Il est notamment l&amp;rsquo;auteur d&amp;rsquo;&lt;i&gt;Ordre dispers&amp;eacute;. Les nouvelles conceptions urbaines de la s&amp;ucirc;ret&amp;eacute;&lt;/i&gt; (PUCA, 2008).&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Gilles Plum</text>
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&amp;nbsp;&lt;/div&gt;
Caen, Gien, Dunkerque, Royan, Lorient, Brest, Beauvais ou Le Havre, Saint-L&amp;ocirc;, Saint-Malo, mais aussi Nantes ou Toulon... au lendemain de la Seconde Guerre mondiale, la France ne compte plus ses villes martyres. On ne pouvait condamner leur population &amp;agrave; vivre plus longtemps dans les planches ; il fallut les relever dans l&amp;rsquo;urgence. Inspir&amp;eacute;e des Modernes, mais tiraill&amp;eacute;e entre r&amp;eacute;gionalisme et tradition, cette architecture de la n&amp;eacute;cessit&amp;eacute;, longtemps m&amp;eacute;pris&amp;eacute;e, brille n&amp;eacute;anmoins par sa coh&amp;eacute;rence et son id&amp;eacute;al d&amp;rsquo;harmonie. Elle porte &amp;agrave; son apog&amp;eacute;e la ma&amp;icirc;trise du b&amp;eacute;ton arm&amp;eacute; : peu ou point de d&amp;eacute;cor, mais une composition raffin&amp;eacute;e des fa&amp;ccedil;ades, l&amp;rsquo;ampleur et la luminosit&amp;eacute; des espaces int&amp;eacute;rieurs...&lt;br /&gt;
&lt;br /&gt;
Docteur en histoire de l&amp;rsquo;art, &lt;b&gt;Gilles Plum&lt;/b&gt; relate l&amp;rsquo;aventure avec conviction et m&amp;acirc;tine son r&amp;eacute;cit d&amp;rsquo;accents h&amp;eacute;ro&amp;iuml;ques. En effet, rarement peuple ne s&amp;rsquo;est montr&amp;eacute; si d&amp;eacute;termin&amp;eacute;, si uni dans l&amp;rsquo;effort, si convaincu d&amp;rsquo;accomplir un progr&amp;egrave;s. En dix petites ann&amp;eacute;es, l&amp;rsquo;essentiel &amp;eacute;tait fait. Abondamment illustr&amp;eacute;, cet ouvrage couvre le panorama d&amp;rsquo;une &amp;eacute;tape majeure dans l&amp;rsquo;histoire de l&amp;rsquo;architecture moderne.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                <text>Introduction :&lt;br /&gt;&lt;br /&gt;«Le programme des facultés (...) est fondamentalement ambivalent. Laboratoire et palais, équipement et monument» : c'est ainsi que Claude Laroche évoque l'architecture universitaire dans son étude consacrée à la Faculté de Médecine de Bordeaux . Comme il le souligne, l'architecture d'un établissement d'enseignement supérieur n'obéit pas à la stricte économie qui préside à la conception des écoles primaires. Une grande variété de programmes correspond à chaque institution. Pour désigner une apparente similitude formelle, l'expression de palais universitaire est volontiers utilisée. Terme qui peut s'appliquer indifféremment, à l'Ecole de Chirurgie de Gondoin, aux façades des Mines et à la Sorbonne : mélange de régularité et d'austérité, de majesté et de froideur. Cependant, la ressemblance ne résiste pas à l'analyse : par certains traits, l'Ecole de Chirurgie se rapproche des hôtels particuliers contemporains, mais elle marque avant tout une rupture avec la tradition architecturale antérieure. L'Ecole des mines est en partie un authentique palais, noyé dans une enveloppe postérieure. La façade élevée par Nénot rue des écoles évoque le triomphe de l'université républicaine, mais les façades sur cour respectent l'emplacement du collège de Richelieu et en s'en inspirent. &lt;br /&gt;La diversité des styles et la variété des programmes invitent à se couler dans la linéarité d'un récit historique et non dans l'analyse typologique des rapports entre formes et fonctions. Les changements historiques, ceux qui affectent l'ensemble de l'enseignement supérieur et ceux de chaque institution, importent autant que l'évolution architecturale et font apparaître quelques tendances profondes : des innovations pré-révolutionnaires suivies d'une longue période de tâtonnements, le développement complexe du modèle palatial conjugué avec le respect des lieux et des formes du passé, un décalage entre la capitale et la province, et enfin, entre 1920 et 1940, de modestes transformations architecturales limitées par des localisations contraignantes.&lt;br /&gt;&lt;br /&gt;Conclusion : &lt;br /&gt;&lt;br /&gt;Tout au long des XIXe et XXe siècles, la réflexion sur l'architecture des établissements d'enseignement supérieur progresse ; les importantes campagnes de construction accompagnent la définition du programme et la sélection d'un style en accord avec le prestige de ces institutions élitistes et la valeur cruciale accordée au savoir. A Paris, l'attachement aux lieux et aux constructions antérieures est un souci constant des architectes et des représentants des institutions, ces contraintes contribuent à façonner des édifices complexes, qu'il est impossible d'analyser en fonction de types ou de modèles : chaque bâtiment exprime l'histoire de la communauté qui l'occupe, tout autant que les réflexions de l'architecte qui le conçoit. Dans les autres villes universitaires, les facultés et les écoles supérieures présentent une physionomie plus simple. Cependant, la diversité des besoins propres à chaque établissement fait que les éléments de singularité sont toujours plus nombreux que les caractères communs : si les façades d'une faculté des lettres et d'une faculté de médecine peuvent être semblables, les programmes diffèrent totalement. Entre 1918 et 1945 se produit un changement radical dans l'esthétique des constructions : de nouvelles techniques et de nouvelles formes qui répondent au développement spectaculaire de nouveaux types d'édifices (les laboratoires) s'imposent à tous ; en revanche, le choix des localisations reste identique : l'université continue, de plus en plus difficilement, à se développer au cœur de la ville ancienne, sans aucune réflexion urbanistique, tant en ce qui concerne l'organisation des quartiers universitaires que leur insertion dans la ville. Alors que l'asphyxie menace, quels seront les choix adoptés après la deuxième Guerre mondiale ?</text>
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Pierre Boudon</text>
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24 janvier 2013

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in Folio

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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;
Essai de d&amp;eacute;chiffrement de l&amp;rsquo;architecture, de son histoire et de ses mani&amp;egrave;res de s&amp;rsquo;inscrire dans l&amp;rsquo;espace, &amp;agrave; la lumi&amp;egrave;re de la s&amp;eacute;mantique du lieu : l&amp;rsquo;oeuvre architecturale est le r&amp;eacute;sultat d&amp;rsquo;un processus d&amp;rsquo;&amp;eacute;dification (le construit), mais aussi un espace o&amp;ugrave; l&amp;rsquo;on vit (l&amp;rsquo;habitat). L&amp;rsquo;auteur montre comment, dans l&amp;rsquo;histoire comme dans les pratiques, le &amp;quot;lieu&amp;quot; architectural se constitue dans un chass&amp;eacute;-crois&amp;eacute; permanent entre ces deux logiques, entre culture et usages, entre esth&amp;eacute;tique pure et valeurs de la vie quotidienne.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Pierre Boudon&lt;/b&gt; a &amp;eacute;t&amp;eacute; professeur titulaire &amp;agrave; l&amp;rsquo;Universit&amp;eacute; de Montr&amp;eacute;al dans le domaine des sciences de la communication. Il est actuellement directeur de recherche associ&amp;eacute; au Lalicc, (Paris, Sorbonne) et au Leap (laboratoire d&amp;rsquo;&amp;eacute;tude d&amp;rsquo;architecture potentielle) de l&amp;rsquo;Universit&amp;eacute; de Montr&amp;eacute;al. Il est un des fondateurs d&amp;rsquo;une s&amp;eacute;miotique des lieux (revue Communications 27, Paris, 1976), et l&amp;rsquo;auteur de nombreux articles dans les principales revues de s&amp;eacute;miotique et de linguistique. Ses recherches portent sur l&amp;rsquo;analyse des formes architecturales et territoriales, et sur l&amp;rsquo;analyse du discours. Il a publi&amp;eacute; entre autres Le paradigme de l&amp;rsquo;architecture (Montr&amp;eacute;al, 1992) et Le champ s&amp;eacute;mantique de la parent&amp;eacute; (Paris, 2002).&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Alain de Botton est n&amp;eacute; &amp;agrave;
Zurich en 1969. Il vit &amp;agrave; Londres. Romancier, essayiste et
journaliste, il enseigne la philosophie &amp;agrave; l&amp;rsquo;universit&amp;eacute;
de Londres. 
, 

&amp;nbsp;
, 
{runphp} include 'includes/inc_metake</text>
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septembre 2007



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Mercure de France



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341
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&lt;strong&gt;Pr&amp;eacute;sentation de l&amp;#39;&amp;eacute;diteur
:&lt;/strong&gt;
&lt;p style="margin-bottom: 0cm"&gt;
Depuis plusieurs livres d&amp;eacute;j&amp;agrave;,
Alain de Botton s&amp;rsquo;int&amp;eacute;resse &amp;agrave; notre bonheur et
cherche les moyens de nous rendre plus heureux. Il y a d&amp;rsquo;abord eu
la lecture de Proust, puis celle des grands philosophes, l&amp;rsquo;art de
mieux voyager, l&amp;rsquo;importance de notre statut social. Voici
maintenant qu&amp;rsquo;il se penche sur notre cadre de vie et plus
particuli&amp;egrave;rement sur l&amp;rsquo;architecture des lieux o&amp;ugrave; nous
vivons et travaillons. En quoi l&amp;rsquo;un et l&amp;rsquo;autre influencent notre
mode de pens&amp;eacute;e, notre fa&amp;ccedil;on de nous comporter, en un
mot notre existence au quotidien, tel est le vaste sujet de
L&amp;rsquo;architecture du bonheur.&lt;br /&gt;
&lt;/p&gt;
&lt;p style="margin-bottom: 0cm"&gt;
Pr&amp;eacute;cisons tout de suite qu&amp;rsquo;il
ne s&amp;rsquo;agit nullement d&amp;rsquo;un livre aust&amp;egrave;re et l&amp;rsquo;on rit
souvent. Certes, l&amp;rsquo;auteur fait preuve, comme toujours, d&amp;rsquo;une
&amp;eacute;blouissante &amp;eacute;rudition, il a beaucoup voyag&amp;eacute;,
beaucoup observ&amp;eacute; le monde et il nous entra&amp;icirc;ne de Paris &amp;agrave;
Tokyo, de Londres &amp;agrave; Brasilia, du Kent &amp;agrave; l&amp;rsquo;Engadine et
bien d&amp;rsquo;autres lieux encore, &amp;agrave; la recherche de la maison
id&amp;eacute;ale. Ses commentaires sur certains architectes sont tr&amp;egrave;s
dr&amp;ocirc;les, sur le snobisme qui pr&amp;eacute;side parfois au choix de
tel ou tel lieu de vie aussi.&lt;br /&gt;
&lt;br /&gt;
Photos en noir et blanc.
&lt;/p&gt;
&lt;p style="margin-bottom: 0cm"&gt;
&lt;strong&gt;L&amp;#39;auteur :&lt;/strong&gt;
&lt;/p&gt;
Alain de Botton est n&amp;eacute; &amp;agrave;
Zurich en 1969. Il vit &amp;agrave; Londres. Romancier, essayiste et
journaliste, il enseigne la philosophie &amp;agrave; l&amp;rsquo;universit&amp;eacute;
de Londres. 
&lt;/div&gt;

&amp;nbsp;
&lt;/div&gt;
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cahiers th&amp;eacute;matiques&lt;/a&gt; propose d&amp;rsquo;interroger les relations entre &amp;eacute;v&amp;eacute;nement et architecture.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
La relecture des &amp;eacute;crits de Pierre Nora sur l&amp;rsquo;&amp;eacute;v&amp;eacute;nement a tr&amp;egrave;s largement orient&amp;eacute; les articles de cette livraison. L&amp;rsquo;importance des m&amp;eacute;dias dans la production de l&amp;rsquo;&amp;eacute;v&amp;eacute;nement, le poids de ses virtualit&amp;eacute;s &amp;eacute;motionnelles, l&amp;rsquo;impact de sa repr&amp;eacute;sentation sont autant de notions emprunt&amp;eacute;es &amp;agrave; l&amp;rsquo;historien pour r&amp;eacute;-explorer le champ de l&amp;rsquo;architecture contemporaine.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Qu&amp;rsquo;il jaillisse de l&amp;rsquo;imm&amp;eacute;diatet&amp;eacute; de l&amp;rsquo;exp&amp;eacute;rience v&amp;eacute;cue, qu&amp;rsquo;il r&amp;eacute;sulte de l&amp;rsquo;expression d&amp;rsquo;un savoir-faire ma&amp;icirc;tris&amp;eacute; ou bien qu&amp;rsquo;il s&amp;rsquo;anime sous l&amp;rsquo;injonction des m&amp;eacute;dias, l&amp;rsquo;&amp;eacute;difice &amp;eacute;v&amp;eacute;nement constitue aujourd&amp;rsquo;hui une notion essentielle pour comprendre la production architecturale contemporaine.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Direction et coordination : Richard Klein et &amp;Eacute;ric Monin.&lt;br /&gt;
&lt;br /&gt;
Avec les contributions de : Daniel Bonnal, Sarah Bonnemaison, Martine Bouchier, Anna Juan Cantavella, Fran&amp;ccedil;ois Chaslin, Isabelle Grudet, Bernard Haumont, Jean-Philippe Hugron, Richard Klein, Rapha&amp;euml;l Labrunye, Guy Lambert, Bernard Lamiset, Pierre Lebrun, Renzo Lecardane, Christine Macy, Giulia Marino, Marie-C&amp;eacute;line Masson, &amp;Eacute;ric Monin, G&amp;eacute;rard Monnier, Soline Nivet, Val&amp;eacute;rie Perl&amp;egrave;s, Nathalie Simonnot, Karine Thilleul, Thomas Watkin, Weronika Wisniewska.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Apr&amp;egrave;s une premi&amp;egrave;re publication et une exposition issues d&amp;rsquo;une mission photographique confi&amp;eacute;e &amp;agrave; Philippe Delval, le CAUE du Calvados publie un second ouvrage sur la Reconstruction dans son d&amp;eacute;partement. R&amp;eacute;sultat d&amp;rsquo;une &amp;eacute;tude r&amp;eacute;alis&amp;eacute;e par l&amp;rsquo;historien &lt;b&gt;Patrice Gourbin&lt;/b&gt; durant trois ann&amp;eacute;es de recherche en archives, le CAUE apporte sa pierre &amp;agrave; la connaissance et &amp;agrave; la valorisation de cette grande aventure collective. L&amp;rsquo;ouvrage appelle &amp;agrave; la red&amp;eacute;couverte de ce patrimoine quotidien de la Reconstruction en explorant ses qualit&amp;eacute;s formelles, techniques et d&amp;rsquo;organisation urbaine.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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D&amp;eacute;cembre 2010

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&amp;nbsp;&lt;/div&gt;
L'architecture existe bien au-del&amp;agrave; de ses murs et de ses usages. Elle se constitue &amp;eacute;galement, depuis le XIXe si&amp;egrave;cle et a fortiori &amp;agrave; l'&amp;eacute;poque actuelle, de ses multiples repr&amp;eacute;sentations mat&amp;eacute;rielles ou mentales et de leurs r&amp;eacute;ceptions. Relev&amp;eacute;s, photographies, maquettes, vid&amp;eacute;os, mais aussi brochures, revues, guides et jusqu'aux archives et aux sociabilit&amp;eacute;s professionnelles conditionnent la perception des &amp;eacute;difices comme de leurs auteurs.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Sommaire :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Pr&amp;eacute;sentation - Evelyne Cohen et G&amp;eacute;rard Monnier&lt;br /&gt;
Regards crois&amp;eacute;s sur l&amp;rsquo;architecture : Le Corbusier vu par ses photographes - Julie Noirot&lt;br /&gt;
Le photographe Peter Scheier : la transparence et le palimpseste - Anat Falbel&lt;br /&gt;
Photographes et photographies du plateau d&amp;rsquo;Assy - G&amp;eacute;rard Monnier &lt;br /&gt;
Prendre place : pour un espace social - Sabine Ehrmann &lt;br /&gt;
&amp;quot;Comme si vous y &amp;eacute;tiez&amp;quot; : casting architectural en r&amp;eacute;gion Centre, un rep&amp;eacute;rage singulier au service du cin&amp;eacute;ma - &amp;Eacute;ric Monin et J&amp;eacute;r&amp;ocirc;me Parlange&lt;br /&gt;
Architecture p&amp;eacute;nitentiaire. M&amp;eacute;moire historique : l&amp;rsquo;ambivalence des repr&amp;eacute;sentations - Caroline Soppelsa&lt;br /&gt;
La repr&amp;eacute;sentation des ambiances dans le projet d&amp;rsquo;architecture - C&amp;eacute;line Drozd, Virginie Meunier, Nathalie Simonnot et G&amp;eacute;rard H&amp;eacute;gron&lt;br /&gt;
Jeu d&amp;rsquo;images interm&amp;eacute;diaires : le grand projet architectural et urbain de Lyon Confluence - Isabelle Grudet&lt;br /&gt;
Confraternit&amp;eacute; et agapes. La Soci&amp;eacute;t&amp;eacute; r&amp;eacute;gionale des architectes du Nord en repr&amp;eacute;sentation, 1868-1914 - Gilles Maury&lt;br /&gt;
Les guides de voyage en Europe (XIXe-XXe si&amp;egrave;cle), instruments de diffusion d&amp;rsquo;une culture architecturale - Joanne Vajda&lt;br /&gt;
La revue Melpom&amp;egrave;ne (1958-1966) : l&amp;rsquo;architecture chez les &amp;eacute;tudiants des Beaux-Arts - Juliette Pommier&lt;br /&gt;
Les archives comme outils de repr&amp;eacute;sentation de l&amp;rsquo;oeuvre - Florence Wierre&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Kenneth Frampton</text>
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Thames and Hudson

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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;
Depuis sa premi&amp;egrave;re &amp;eacute;dition en langue anglaise en 1980, L&amp;rsquo;Architecture moderne &amp;ndash; Une histoire critique, est devenu un classique incontest&amp;eacute;. L&amp;rsquo;ouvrage de Kenneth Frampton, historien de l&amp;rsquo;architecture internationalement reconnu, m&amp;ecirc;le en effet le ton p&amp;eacute;dagogique et accessible d&amp;rsquo;un enseignant invit&amp;eacute; dans les universit&amp;eacute;s et &amp;eacute;coles d&amp;rsquo;architecture les plus prestigieuses du monde et le point de vue d&amp;rsquo;un chercheur et critique profond&amp;eacute;ment engag&amp;eacute; dans les d&amp;eacute;bats de son temps. La revue Architectural Design a ainsi salu&amp;eacute; son livre comme &amp;quot;l&amp;rsquo;un des plus importants sur l&amp;rsquo;architecture moderne&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
L&amp;rsquo;auteur retrace les origines tant culturelles qu&amp;rsquo;urbaines et techniques de l&amp;rsquo;architecture moderne en remontant jusqu&amp;rsquo;au tout d&amp;eacute;but du XIXe si&amp;egrave;cle. Il examine ensuite en des chapitres clairement d&amp;eacute;limit&amp;eacute;s &amp;ndash; o&amp;ugrave; b&amp;acirc;timents et th&amp;eacute;ories architecturales sont toujours &amp;eacute;clair&amp;eacute;s par leur contexte social, politique, &amp;eacute;conomique et technique &amp;ndash; les principaux mouvements, d&amp;eacute;veloppements nationaux ou p&amp;eacute;riodes de cr&amp;eacute;ation des grands concepteurs du XXe si&amp;egrave;cle.&lt;br /&gt;
&lt;br /&gt;
Enfin, en critique avis&amp;eacute; de l&amp;rsquo;&amp;eacute;poque actuelle, il d&amp;eacute;tecte et explicite certains traits de l&amp;rsquo;architecture contemporaine, notamment &amp;agrave; l&amp;rsquo;aide des concepts de &amp;quot;r&amp;eacute;gionalisme critique&amp;quot; et de &amp;quot;pratique r&amp;eacute;flexive&amp;quot;. Son analyse de l&amp;rsquo;aspect plus particuli&amp;egrave;rement tectonique de certaines &amp;oelig;uvres architecturales est &amp;agrave; la fois originale et f&amp;eacute;conde.&lt;br /&gt;
&lt;br /&gt;
Une version fran&amp;ccedil;aise de la premi&amp;egrave;re &amp;eacute;dition de cette Histoire &amp;eacute;tait parue en 1985, et introuvable depuis de nombreuses ann&amp;eacute;es. Le pr&amp;eacute;sent ouvrage, qui reprend la troisi&amp;egrave;me et derni&amp;egrave;re &amp;eacute;dition anglaise, b&amp;eacute;n&amp;eacute;ficie d&amp;rsquo;une nouvelle traduction ainsi que d&amp;rsquo;une bibliographie revue et augment&amp;eacute;e. Ses 377 illustrations viennent appuyer avec pr&amp;eacute;cision le propos de l&amp;rsquo;auteur. Il s&amp;rsquo;agit d&amp;rsquo;ores et d&amp;eacute;j&amp;agrave; d&amp;rsquo;un v&amp;eacute;ritable manuel de r&amp;eacute;f&amp;eacute;rence.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Kenneth Frampton&lt;/b&gt; est architecte, historien et critique d&amp;rsquo;architecture. Apr&amp;egrave;s avoir enseign&amp;eacute; dans des institutions de r&amp;eacute;putation internationale, il est aujourd'hui professeur &amp;agrave; la Graduate School of Architecture and Planning de la Columbia University de New York.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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26 juin 2008

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&amp;nbsp;&lt;/div&gt;
Plus perm&amp;eacute;able aux attaques ennemies du fait de l'accroissement des r&amp;eacute;seaux de communication, la France met en place une strat&amp;eacute;gie d&amp;eacute;fensive dans laquelle la ville occupe une place n&amp;eacute;vralgique.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
La pr&amp;eacute;sence militaire entra&amp;icirc;ne &amp;eacute;galement de nouveaux types de sociabilit&amp;eacute;, les officiers devenant plus nombreux au sein des &amp;eacute;lites urbaines, et les soldats plus proches des pr&amp;eacute;occupations populaires.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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