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                <text>Le Musée des Cristalleries de St Louis a été inauguré le 25 juin 2007 par Jean-Louis Dumas, Pdg de la société Hermès, dans une des grandes halles de production du site verrier séculaire de St Louis-lès-Bitches. Ce musée présente pour la première fois au public la collection des pièces sauvegardées au fil du temps par les maîtres verriers lorrains qui redécouvrirent le cristal en Europe continentale, après son invention au XVIème siècle par les anglais. La communication présente la méthode de conception adoptée par les architectes pour atteindre ce but : recréer une ambiance tout en la dépassant. Elle détaille notamment l'expérimentation grandeur nature qui a été menée aux Grands Ateliers de l'Isle d'Abeau et à St Louis pour mettre au point les ambiances lumineuses tout en vérifiant la pertinence des propositions constructives faites par les architectes.</text>
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                <text>Le projet de musée des Cristalleries de Saint-Louis - Expérimenter pour créer une ambiance</text>
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                <text>Lyon Parc Auto construit depuis plus de quinze ans des parcs de stationnement qui sont pensés comme des services à des hommes et femmes automobilistes, et non pas comme de simples silos à voitures. Ces parcs, conçus par des équipes pluri-disciplinaires (architecte gros oeuvre, architecte d'intérieur, artiste, graphiste-signaléticien), avec une approche polysensorielle, sont aujourd'hui visités par des spécialistes du monde entier, récompensés par le grand prix européen du Design, cités en exemple dans l'exposition "D.Day, le design aujourd'hui" du Centre Georges Pompidou à Paris. Ce type de projet innovant nous demande de nous interroger, nous, chercheurs, quant à notre capacité à les analyser et les comprendre. Le principal objectif de cette communication est de rendre compte d'un échange entre un professionnel qui se présente comme "producteur urbain" ou encore "metteur en scène" et un chercheur en Sciences de l'Information et de la Communication, afin d'analyser les raisons du succès d'un projet d'entreprise intégrant le design, l'art et l'architecture.</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
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                <text>Construire une ambiance de bien-être dans les parcs de stationnement : une démarche intégrée " architecture, art, design "</text>
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                <text>L'analyse de quelques étapes significatives de l'évolution des qualités d'ambiance dans les musées français au XXe siècle permet de cerner le lien entre lieu de conservation et création d'un univers sensible. Les phénomènes d'ambiance sont partagés entre des contraintes climatiques fortes et l'originalité des propositions muséographiques censées faciliter la relation à l'œuvre. Des premières théories qui ont inauguré une tendance institutionnelle et muséographique radicalement moderne à partir des années trente aux musées-évènements symboles des pouvoirs politiques, on constatera une attention sans cesse accrue portée aux ambiances des espaces d'exposition et qui a progressivement contribué à l'ouverture des musées au grand public.</text>
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                <text>Ambiance et relation à l'œuvre - Perspective historique sur les musées français au XXe siècle</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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                <text>La thématique de la qualification des ambiances architecturales et urbaines ouvrent sur trois types de questionnements : D'une part, à partir de quels points de vue, de quels présupposés, à travers quelles démarches peut -on aborder cette thématique de la qualification des ambiances ? À ce propos, quelles ont été et quelles sont aujourd'hui les orientations problématiques de l'UMR Ambiances Architecturales et Urbaines sur ce thème de la qualification des ambiances ? D'autre part, à quelles interrogations cette question de la qualification des ambiances architecturales et urbaines nous confronte-t-elle ? quels éléments du débat sur les ambiances met-elle en jeu ? quel mode d'intelligibilité de cette notion, aux contours encore flous, dessine-t-elle ? Enfin, quels développements, quelles perspectives de travail peut-on envisager au sujet de cette thématique au sein de champs disciplinaires aussi différents que la conception, l'aménagement urbain, les pratiques artistiques ou encore les sciences humaines et sociales ?</text>
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                <text>L'eau s'écoulant des montagnes jusqu'aux abords des rives urbaines et des places publiques aide à créer des atmosphères diverses qui sont essentielles pour comprendre l'identité de la ville. Ces atmosphères sont définies et établies par des scientifiques et des professionnels du design. Cette présentation explore la possibilité d'employer le dessin comme outil d'exploration afin d'intégrer le discours entre les scientifiques et les designers urbains qui sont impliqués dans ce type de projets. L'auteur discute de ce que le dessin peut apporter comme nouvelles connaissances afin de saisir l'essence du lieu, et d'enrichir le processus de développement des projets de design urbain qui sont reliés à l'eau. Qu'est-ce que le dessin apporte à cette nouvelle forme de la connaissance ? "Drawing in the landscape, creates a sense of awareness of place that is a distinct form of information gathering and of understanding the landscape" (Lavoie, 2005). Le dessin est une forme unique de reconstruction de la perception, un aspect critique pour la recherche visuelle et pour l'enrichissement des atmosphères des espaces urbains. Comme expression des valeurs professionnelles, le dessin a le potentiel d'informer le grand le public des enjeux sur les façons dont les perceptions du continuum de l'eau peuvent influencer l'analyse et le design. Ainsi, le dessin devient une nouvelle source d'information (un langage commun) qui faciliterait la communication parmi les scientifiques et les professionnels du design. Par exemple, les dessins des fluviaux-géomorphologistes montrent comment le transport de sédiments et l'écoulement des eaux affectent l'alignement des canaux, des berges, et autres considérations. Les dessins d'un biologiste par exemple peuvent illustrer le mouvement de l'eau qui forme des habitats aquatiques. Ces dessins sont faits par la relation intime qu'une personne a établie avec le paysage et donc ajoutent à la valeur des calculs techniques des modèles nécessaires pour mettre en application des idées de réaménagement. Un dessin peut montrer l'essence de la beauté (topographie, eau, associations d'usine...) aussi bien que l'essence des problèmes d'un endroit (étalement urbain, surpâturage, etc.). Le dessin devient donc une manière de percevoir l'interface entre le paysage des espaces en milieu urbain et périurbains, permettant ainsi de découvrir de nouvelles façons de reconstituer leur processus. Les dessins de l'auteure aussi bien que ceux des scientifiques deviennent le langage commun pour montrer les qualités de la rivière et accentuent la contribution potentielle pour mieux comprendre l'atmosphère de la ville et la métaphore de l'eau. Le continuum de la métaphore de l'eau, (de l'extérieur des frontières de ville, dans la ville jusqu'aux plaines d'inondations) doit être perçu et expérimenté de différentes façons. Enfin, pour que cette forme de connaissance et de collaboration entre les scientifiques, et professionnels du design soit significative, et pour comprendre l'identité de la ville, l'expression physique de l'eau et les différentes atmosphères qu'elle crée, doivent être accessible au grand public.</text>
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                <text>Concevoir le continuum de l'eau de l'espace naturel aux lieux urbains : un outil pour explorer les perspectives professionnelles et leurs implications projectuelles</text>
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                <text>Cadrer la question des enjeux anticipe déjà sur les conclusions de notre colloque en ce sens qu'il ne s'agit pas d'une réflexion organisée préalablement mais d'un pointage synthétique de ce qui émerge à chaud des communications et débats auxquels nous venons d'assister. Aujourd'hui, l'ambiance comme thème est en soi un enjeu pour beaucoup dʼespaces architecturaux et urbains. Au-delà de la connaissance de ses composantes et de ses dynamiques, l'ambiance invite à l'action, ouvre à un opératoire diversifié car la conception n'épuise pas son champ de compétence ; bien après l'inauguration des lieux, leur occupation, leur appropriation et leur maintenance placent les dispositifs d'ambiances parmi les principaux outils de dialogue entre acteurs sociaux et responsables.</text>
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                <text>Le présent article présente une démarche de recherche-action, qui développe la thématique des paysages dans le quartier de Malakoff-Nantes. Ce projet de recherche, réponse à l'appel d'offre "MEIGEville" de l'IRSTV baptisé HPU (Hyperpaysages pour le développement urbain participatif), porte sur la qualité d'usage et de co-gestion durable des espaces urbains par la capacité politique à faire de la ville un projet partagé, en s'appuyant sur la volonté des individus et des communautés à faire cause commune pour rendre cette gestion cohérente. Considéré comme un système d'interaction à hyper-structure numérique dimensionné sur l'ambiance des paysages, HPU constitue un système interactif de prise de connaissance notamment sonore du quartier, son caractère participatif permettant un retour des informations socio-psycho-physiques par le fonctionnement du jeu ambiantal des territoires.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>La démarche de projet a pour ambition la débanalisation de l'individu dans sa relation aux environnements quotidiens. Il s'agit d'élaborer des dispositifs conçus à partir des caractéristiques personnelles d'individus pour créer des univers cohérents avec ceux qui les habitent. La prise en compte des postures à la fois physique et psychique et de leur relation aux actions quotidiennes permet de re-questionner la topologie de l'environnement. Le corps définit ainsi les formes de l'espace et mène à la création de nouvelles spatialités. L'environnement est appréhendé par le biais du sensible. Il génère une architecture "sans mur" où la lumière, le son, la matière, ..., donnent à lire les limites de l'espace. Développée à travers une recherche sur la dimension érotique de l'architecture, cette sensibilité entretenue avec l'espace permet d'explorer les notions de plaisir et de désir. L'architecture comme objet intime.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Texture d'espaces - Territoires d'emotion : L'architecture comme objet intime</text>
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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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              </elementText>
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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>La recherche présentée ci-après traite de l'impact de la présence de personnes autres que l'individu percevant dans la formation d'une ambiance. A partir d'une enquête qualitative réalisée dans quatre sites franciliens, il montre que la façon dont un voyageur perçoit l'espace au sein duquel il s'engage détermine sa perception de l'altérité : l'autre est soit occulté, soit perçu comme une charge de l'espace source d'oppression, soit enfin comme un compatriote au sein d'un groupe commun. Des aménagements spatiaux peuvent donc être imaginés pour favoriser l'aisance du voyageur au sein de la collectivité des personnes en déplacement et donc au sein des espaces de mobilité dans lesquels il s'engage.</text>
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                <text>Entre l'individu percevant et la forme perçue, quel est le statut de l'Autre ? L'ambiance du réseau de transports collectifs</text>
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                <text>Quels sont les facteurs qui rendent une ambiance plus significative que d'autres ? Quelles sont les spécificités qui permettent un plus grand engagement, une adhésion mémorielle et une sensation de Lieu ressentis par les usagers d'une ambiance ? Outre les aspects physiques, les sensations et les perceptions qui se dégagent de l'environnement, comment certaines ambiances soulèvent de l'affection et encouragent des modalités d'usage et d'expériences uniques ? Ces questions sont à la base de nos recherches et exigent le développement de parcours méthodologiques en cours d'expérimentation dans le sein de notre groupe de recherche. D'autre part, cette communication a pour but de contribuer au débat sur l'importance de l'interdisciplinarité dans la recherche en architecture et projet urbain.</text>
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                <text>Il s'agit pour nous d'introduire la double problématique de la séparation et de l'intégration des compétences et référents professionnels dans la fabrication des ambiances, en nous centrant sur deux types d'acteurs émergents dans le champ architectural et urbain : les concepteurs sonores et les concepteurs lumière. En quoi ces " faiseurs d'ambiances " témoignent-ils d'un double processus, à la fois d'une spécialisation accrue et en même temps d'une hybridation professionnelle ? Comment, à travers ces deux processus, contribuent-ils à une meilleure prise en compte des ambiances, en particulier dans la production contemporaine de l'espace public ? Notre entrée sur les ambiances est donc plutôt sociologique ; elle s'appuie en particulier sur les résultats d'une enquête sociographique que nous avons menée auprès de professionnels issus de ces deux groupes.</text>
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                <text>In an ongoing research project the design of acoustical atmospheres in large indoor spaces are investigated. The research question is : "How to redesign one sonic atmosphere into a variation of sub-atmospheres in large indoor spaces ?" This question is especially valid for spaces such as semi-public commercial spaces (e.g. shopping malls), libraries, airports and communication spaces. The sonic atmosphere in these collective spaces is often loud, blurred and confusing, with little correspondence between visual and aural perception, and with weak articulations of spatial dimension, distance, borders and orientation. Together the different sound sources within these spaces generate a sonic hubbub. Even though such spaces comprise of several types of activities, the sonic atmosphere is the same all over the place. Hence, this research project focuses on design of sonic variations of the atmosphere; i.e., site specific sounds that deal with qualities such as communication, comfort, orientation, identity and privacy. The objective is to develop and test an interdisciplinary design methodology, which comprises a number of co-related methods ; e.g. acoustic measurements, architectural site analysis, as well as virtual modeling and representation (visual and acoustic) of the space. The main part of the project is the virtual modeling and representation. It connects software that handles architectural 3D-modelling (SketchUp) with the Catt-Acoustic software, used for prediction and auralization. The research project also includes a case-study, which comprises proposals for redesign of a congress centre (Scandic Infra City), situated north of Stockholm. The proposals - consisting of architectural elements, sound installations (additions of sounds) as well as acoustical measures - will be demonstrated in a virtual model. The presumed effect is a differentiation in terms of a variety of sonic sub-atmospheres within the congress centre. The methodology developed in the project is intended to function as a tool for design measures of large indoor spaces. It is an interdisciplinary tool in that it supports acousticians as well as architects. The case-study may serve as a pilot model for future applications of redesign of the sonic atmosphere in large indoor spaces. This paper is a result of a research project, executed by the acoustic consultancy company ÅF-Ingemansson and the University College of Arts, Crafts and Design (Konstfack), Stockholm. The project has funding from the White's Foundation for research and ARKUS, a Swedish foundation for the improvement of qualifications within architecture.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Repenser le design d'une ambiance - Que voulez-vous écouter ?</text>
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                <text>Trop souvent l'organisation constructive des bâtiments est négociée à partir de matériaux aléatoires bricolés ensemble, qui assurent l'apparence d'un ensemble complexe ; au lieu de devenir de vrais bâtiments, le résultat est simplement l'agrégation simpliste de parties atomisées. Comme une conséquence de cette sorte d'activité nos villes sont pleines de structures médiocres et sur-accentuées qui ne sont pas tant des bâtiments que des "dessins construits" (built drawings). A travers la notion germanique de stimmung ( signifiant à la fois humeur diffuse ou atmosphère et dont une acception particulière correspond à ambiance (mood ?)) cette communication explorera les limitations et les possibilités de la représentation et la manière dont la notion de stimmung se perd quand la représentation devient le bâtiment.</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>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>Stimmung - Espace, lieu et représentation</text>
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                <text>Grenoble</text>
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                <text>Semidor, Catherine</text>
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                <text>Pour le commun des mortels, l'échelle désigne un objet très utile pour atteindre, au sens propre comme au sens figuré, des situations élevées. De soie pour le poète amoureux de sa muse ou de meunier pour monter au grenier, c'est un dispositif qui appartient au vocabulaire de l'espace. Pour l'architecte, le géomètre ou le cartographe, rapport proportionnel entre une distance sur un plan et une distance dans la réalité, elle est alors utilisée pour le calcul de dimensions ou distances.</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/83/39/80/PDF/Ambiance2008_Semidor.pdf</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>Échelles</text>
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                <text>Visiting a landscape for the first time often creates a strong impression of wholeness, even uniqueness. You feel yourself drawn into a certain atmosphere or mood, to which every detail is contributing in a particular way. In this first moment one can't decide exactly if the mood is inside or outside. But paying attention to how the mood is changing while walking from one place to another, we suddenly realize: it is both at the same time. This experience can be enhanced by attending to contrasts and the transformation of atmospheres, sensing the border leading form one site to the next. It is possible to draw a mood map out of memory expressing in colour and structure inner images coming up through sensorial perception .</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00833978</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>L'esthétique du paysage - Observer et créer des ambiances</text>
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                <text>Grenoble</text>
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                <text>Joanne, Pascal</text>
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                <text>Cette communication concerne la première exploration proposée, intéressant les approches historiques et les acquis patrimoniaux susceptibles d'être mis au jour en matière d'ambiance. Elle traduit une phase d'un projet plus large sur la caractérisation ambiantale de réalisations architecturales de référence et, à ce titre, d'une investigation sur le second monastère de Clairvaux construit au début du XII ème siècle. Parmi ses espaces, la salle du chapitre - lieu de proclamation et d'écoute quotidien - soulève en regard de ses dimensions importantes, de son usage et de sa reconstitution même, la question d'une possible restitution d'une ambiance sonore. Différents résultats obtenus sont présentés, tant au niveau des indices d'intelligibilité informant sur la dégradation des messages, qu'à celui des sorties audio résultant de la simulation des effets de la disposition des lieux sur les enregistrements effectués. Les informations recueillies seront interprétées et discutées. D'un point de vue plus général on s'attachera à bien mettre en relief les difficultés que ce type d'investigation rencontre pour atteindre le niveau de maîtrise unitaire de l'ambiance. Il se situe à la rencontre d'une restitution, relativement maîtrisable, des phénomènes physiques et de la construction, beaucoup plus problématique, de fictions, s'efforçant du mieux possible de rendre compte de l'expérience sensible d'acteurs disparus.</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>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>Une rétrospective de la fabrique de l'ambiance : reconstitution sonore pour la salle du chapitre de l'abbaye de Clairvaux</text>
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                <text>conference proceeding</text>
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