La représentation des ambiances dans le projet d’architecture, Analyse comparative de deux approches des ambiances aux modes de représentation variés.
Identifieur interne : 000410 ( Hal/Checkpoint ); précédent : 000409; suivant : 000411La représentation des ambiances dans le projet d’architecture, Analyse comparative de deux approches des ambiances aux modes de représentation variés.
Auteurs : Céline Drozd [France] ; Virginie Meunier [France] ; Nathalie Simonnot [France] ; Gérard Hégron [France]Source :
- Sociétés & Représentations [ 1262-2966 ] ; 2010-12.
Descripteurs français
Abstract
From the beginning of the design phase, some architects bring a sensitive aspect in representations they produce to propose a multi-sensorial approach of the place they design. So, we question ourselves on the ability of images to reflect atmospheres projected by architects. The difficult part is to make visual representations which translate perceptions communicated by all our senses as Marc Crunelle explains (L’Architecture et nos sens, Bruxelles, Presses Universitaires de Bruxelles, 1996).While architects have, down through the eras, used various tools and modes of representation in order to communicate projected atmosphere, we study images and discourses of two contemporary architects. The present-time is especially interesting to study for it is marked by the development of the digital tools. We draw a parallel between projected atmospheres and users’ experiences with a comparative study of two buildings: Therme Vals, Vals, Switzerland, 1996, Peter Zumthor and Bains des Docks, Le Havre, France, 2008, Jean Nouvel. We deal with both different modes of atmosphere representations produced by the architects (sketches, digital images, photomontages, drawings, animated films…) and users’ experiences that we know thanks to “parcours commentés” method.Thereby we see how the architecture of two buildings with similar functions is represented during the different conception stages until the appropriation by users, although architects have a different personal approach of buildings atmosphere. Our aim is to identify and qualify the representations of atmosphere which allow users to perceive the projected atmospheres in the building.
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So, we question ourselves on the ability of images to reflect atmospheres projected by architects. The difficult part is to make visual representations which translate perceptions communicated by all our senses as Marc Crunelle explains (L’Architecture et nos sens, Bruxelles, Presses Universitaires de Bruxelles, 1996).While architects have, down through the eras, used various tools and modes of representation in order to communicate projected atmosphere, we study images and discourses of two contemporary architects. The present-time is especially interesting to study for it is marked by the development of the digital tools. We draw a parallel between projected atmospheres and users’ experiences with a comparative study of two buildings: Therme Vals, Vals, Switzerland, 1996, Peter Zumthor and Bains des Docks, Le Havre, France, 2008, Jean Nouvel. We deal with both different modes of atmosphere representations produced by the architects (sketches, digital images, photomontages, drawings, animated films…) and users’ experiences that we know thanks to “parcours commentés” method.Thereby we see how the architecture of two buildings with similar functions is represented during the different conception stages until the appropriation by users, although architects have a different personal approach of buildings atmosphere. Our aim is to identify and qualify the representations of atmosphere which allow users to perceive the projected atmospheres in the building.</div></front></TEI><hal api="V3"><titleStmt><title xml:lang="fr">La représentation des ambiances dans le projet d’architecture, Analyse comparative de deux approches des ambiances aux modes de représentation variés.</title><author role="aut"><persName><forename type="first">Céline</forename><surname>Drozd</surname></persName><email>celine.drozd@cerma.archi.fr</email><idno type="idhal">celine-drozd</idno><idno type="halauthor">433997</idno><affiliation ref="#struct-418990"></affiliation></author><author role="aut"><persName><forename type="first">Virginie</forename><surname>Meunier</surname></persName><email></email><idno type="halauthor">860126</idno><affiliation ref="#struct-517"></affiliation><affiliation ref="#struct-136620"></affiliation></author><author role="aut"><persName><forename type="first">Nathalie</forename><surname>Simonnot</surname></persName><email></email><idno type="halauthor">434002</idno><affiliation ref="#struct-192491"></affiliation></author><author role="aut"><persName><forename type="first">Gérard</forename><surname>Hégron</surname></persName><email>gerard.hegron@lcpc.fr</email><idno type="halauthor">560534</idno><affiliation ref="#struct-131181"></affiliation></author><editor role="depositor"><persName><forename>Céline</forename><surname>Drozd</surname></persName><email>celine.drozd@crenau.archi.fr</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2016-02-16 15:53:14</date><date type="whenModified">2016-02-20 01:06:23</date><date type="whenReleased">2016-02-17 11:10:07</date><date type="whenProduced">2010-12</date><date type="whenEndEmbargoed">2016-02-16</date><ref type="file" target="https://hal.archives-ouvertes.fr/hal-01275009/document"><date notBefore="2016-02-16"></date></ref><ref type="file" subtype="author" n="1" target="https://hal.archives-ouvertes.fr/hal-01275009/file/DROZD%20C%C3%A9line_Societes_et_representations.pdf"><date notBefore="2016-02-16"></date></ref></edition><respStmt><resp>contributor</resp><name key="143794"><persName><forename>Céline</forename><surname>Drozd</surname></persName><email>celine.drozd@crenau.archi.fr</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">hal-01275009</idno><idno type="halUri">https://hal.archives-ouvertes.fr/hal-01275009</idno><idno type="halBibtex">drozd:hal-01275009</idno><idno type="halRefHtml">Sociétés & Représentations, Publications de la Sorbonne, 2010</idno><idno type="halRef">Sociétés & Représentations, Publications de la Sorbonne, 2010</idno></publicationStmt><seriesStmt><idno type="stamp" n="CNRS">CNRS - Centre national de la recherche scientifique</idno><idno type="stamp" n="EC-NANTES">Ecole Centrale de Nantes</idno><idno type="stamp" n="AO-ARCHITECTURE">Archives ouvertes en Architecture et aménagement de l'espace</idno><idno type="stamp" n="ARCHITECTURE">Architecture et aménagement de l'espace</idno><idno type="stamp" n="UNAM">l'unam - université nantes angers le mans</idno><idno type="stamp" n="AAU" p="UGA">Ambiances architecturales et urbaines</idno><idno type="stamp" n="AMBIANCES" p="SHS">Réseau ambiances</idno><idno type="stamp" n="CERMA" p="AAU">Centre de recherche méthodologique d'architecture</idno><idno type="stamp" n="SHS">Sciences de l'Homme et de la Société</idno><idno type="stamp" n="UGA">HAL Grenoble Alpes</idno><idno type="stamp" n="IFSTTAR">Ifsttar</idno></seriesStmt><notesStmt><note type="audience" n="2">International</note><note type="popular" n="0">No</note><note type="peer" n="1">Yes</note></notesStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr">La représentation des ambiances dans le projet d’architecture, Analyse comparative de deux approches des ambiances aux modes de représentation variés.</title><author role="aut"><persName><forename type="first">Céline</forename><surname>Drozd</surname></persName><email>celine.drozd@cerma.archi.fr</email><idno type="idHal">celine-drozd</idno><idno type="halAuthorId">433997</idno><affiliation ref="#struct-418990"></affiliation></author><author role="aut"><persName><forename type="first">Virginie</forename><surname>Meunier</surname></persName><idno type="halAuthorId">860126</idno><affiliation ref="#struct-517"></affiliation><affiliation ref="#struct-136620"></affiliation></author><author role="aut"><persName><forename type="first">Nathalie</forename><surname>Simonnot</surname></persName><idno type="halAuthorId">434002</idno><affiliation ref="#struct-192491"></affiliation></author><author role="aut"><persName><forename type="first">Gérard</forename><surname>Hégron</surname></persName><email>gerard.hegron@lcpc.fr</email><idno type="halAuthorId">560534</idno><affiliation ref="#struct-131181"></affiliation></author></analytic><monogr><idno type="halJournalId" status="VALID">104165</idno><idno type="issn">1262-2966</idno><idno type="eissn">2104-404X</idno><title level="j">Sociétés & Représentations</title><imprint><publisher>Publications de la Sorbonne</publisher><biblScope unit="issue">30</biblScope><date type="datePub">2010-12</date></imprint></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="fr">French</language></langUsage><textClass><keywords scheme="author"><term xml:lang="fr">Conception Architecturale</term><term xml:lang="fr">Ambiances architecturales</term></keywords><classCode scheme="halDomain" n="shs.archi">Humanities and Social Sciences/Architecture, space management</classCode><classCode scheme="halTypology" n="ART">Journal articles</classCode></textClass><abstract xml:lang="en">From the beginning of the design phase, some architects bring a sensitive aspect in representations they produce to propose a multi-sensorial approach of the place they design. So, we question ourselves on the ability of images to reflect atmospheres projected by architects. The difficult part is to make visual representations which translate perceptions communicated by all our senses as Marc Crunelle explains (L’Architecture et nos sens, Bruxelles, Presses Universitaires de Bruxelles, 1996).While architects have, down through the eras, used various tools and modes of representation in order to communicate projected atmosphere, we study images and discourses of two contemporary architects. The present-time is especially interesting to study for it is marked by the development of the digital tools. We draw a parallel between projected atmospheres and users’ experiences with a comparative study of two buildings: Therme Vals, Vals, Switzerland, 1996, Peter Zumthor and Bains des Docks, Le Havre, France, 2008, Jean Nouvel. We deal with both different modes of atmosphere representations produced by the architects (sketches, digital images, photomontages, drawings, animated films…) and users’ experiences that we know thanks to “parcours commentés” method.Thereby we see how the architecture of two buildings with similar functions is represented during the different conception stages until the appropriation by users, although architects have a different personal approach of buildings atmosphere. Our aim is to identify and qualify the representations of atmosphere which allow users to perceive the projected atmospheres in the building.</abstract><abstract xml:lang="fr">Dès la phase de conception, certains architectes introduisent une dimension sensible dans les représentations qu’ils produisent pour une approche multi-sensorielle du lieu qu’ils conçoivent. Nous nous interrogeons alors sur la capacité de l’image à traduire les ambiances projetées par le concepteur car, comme le relève Marc Crunelle (L’Architecture et nos sens, Bruxelles, Presses Universitaires de Bruxelles, 1996), la difficulté consiste à faire passer par le visuel l’ensemble des perceptions communiquées par nos différents sens.Alors que l’architecte a toujours eu recours à différents outils et modes de représentation pour communiquer les ambiances qu’il projette, nous étudions les représentations iconographiques et langagières d’ambiances produites par deux architectes contemporains. La période actuelle nous paraît particulièrement intéressante à étudier car elle est marquée par le développement des outils numériques. Nous mettons en parallèle intentions d’ambiances et discours des usagers dans une étude comparative de deux édifices : les Thermes de Vals, Vals, Suisse, 1996, Peter Zumthor et les Bains des Docks, Le Havre, France, 2008, Jean Nouvel. Nous nous intéressons ainsi à la fois aux différents modes de représentation des ambiances produits par les architectes (croquis, image issue d’outils numériques, photomontage, dessin manuel, film d’animation…) et au vécu des usagers que nous avons recueilli grâce à la méthode des parcours commentés. Ainsi, notre objectif est d’identifier puis de caractériser les représentations d’ambiances produites par les architectes durant les différentes étapes du processus de conception qui ont permis que l’ambiance initialement formulée perdure tout au long du processus de conception jusque dans les espaces vécus.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
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