{"id":1499,"date":"2021-06-29T23:30:06","date_gmt":"2020-06-16T19:49:14","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/htc-pop-2\/"},"modified":"2021-07-10T17:42:28","modified_gmt":"2021-07-10T15:42:28","slug":"htc-metzger","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/htc-metzger\/","title":{"rendered":"HTC II | Johan Metzger"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":1523,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"jetpack_post_was_ever_published":false},"categories":[1,21],"tags":[],"class_list":["post-1499","post","type-post","status-publish","has-post-thumbnail","hentry","category-productions","category-proj-20-21"],"grid":"{\r\n  \"colCount\": 12,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 10,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {}\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"stack\",\r\n      \"cont\": [\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p class=\\\"_Head1\\\">Diorama<br \/><em>Johan Metzger<\/em><br \/><a href=\\\"http:\/\/archiexpo.ulb.be\/wordpress\/htc-2021\\\" data-type=\\\"project\\\" data-id=\\\"68\\\" data-title=\\\"Histoire, Th\u00e9orie, Critique\\\" data-catid=\\\"[8,1]\\\"><span class=\\\"_Head2\\\" lang=\\\"FR\\\">Histoire, Th\u00e9orie, Critique II<\/span><\/a><\/p>\",\r\n          \"align\": \"bottom\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 6,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 2,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 7\r\n        },\r\n        {\r\n          \"type\": \"shortcode\",\r\n          \"cont\": \"[shared_counts]\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 4,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 5,\r\n          \"shortcodeid\": 1594816731786\r\n        },\r\n        {\r\n          \"type\": \"hr\",\r\n          \"cont\": \"\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 6,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 4\r\n        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p><span>Diorama est un court m\u00e9trage en 3D qui s\u2019int\u00e9resse \u00e0 la mani\u00e8re dont l\u2019architecture peut devenir un personnage filmique qui participe activement \u00e0 une narration. Trouvant ses bases dans une \u00e9tude sur l'avant-garde th\u00e9\u00e2trale et sur les proc\u00e9d\u00e9s de d\u00e9familiarisation, le projet est aussi anim\u00e9 par une large r\u00e9flexion autour du processus de cr\u00e9ation, de la question de la naissance et du devenir des formes et s\u2019int\u00e9resse de pr\u00e8s aux notions d\u2019informe et d\u2019\u00e9trange.\u00a0 <\/span><\/p><p><span>La rythmicit\u00e9 de cet informe est ici plurielle et proc\u00e8de d\u2019une premi\u00e8re op\u00e9ration qu\u2019est la cr\u00e9ation manuelle de plusieurs fragments architecturaux. Du tilleul creus\u00e9 \u00e0 la gouge, au papier m\u00e2ch\u00e9 liss\u00e9 sur une maille d\u2019acier, en passant par l\u2019aluminium coul\u00e9 dans du sable : les techniques utilis\u00e9es sont multiples. Les traces de coul\u00e9e, les empreintes des outils et la viscosit\u00e9 sont utilis\u00e9s pour l'invocation de la forme.<\/span><\/p><p><span>Ces fragments physiques, parfois tot\u00e9miques, sont ensuite num\u00e9ris\u00e9s via photogramm\u00e9trie puis alt\u00e9r\u00e9s suivant plusieurs algorithmes. L\u2019hybridation entre les divers moyens et moments de cr\u00e9ation est ici v\u00e9cue comme d\u00e9clencheur architectural.<\/span><\/p><p><span>Les artefacts num\u00e9ris\u00e9s sont ensuite mis en sc\u00e8ne dans une sorte de milieu int\u00e9rieur artificiel et nordique en trois dimensions. Ils sont articul\u00e9s, contamin\u00e9s et alt\u00e9r\u00e9s par des tuyaux, poulies et structures m\u00e9talliques. L\u2019architecture se d\u00e9veloppe comme une chair, une matrice sensible, immerg\u00e9e dans le temps, qui autorise un imaginaire arch\u00e9ologique et technologique. Finalement, quelques grandes formes molles, r\u00e9alis\u00e9es \u00e0 l\u2019aide d\u2019un casque de r\u00e9alit\u00e9 virtuelle, compl\u00e8tent l\u2019ensemble. <\/span><\/p><p><span>Tout se coule dans le continuum d\u2019une vision hallucin\u00e9e. Le prestige po\u00e9tique de l\u2019architecture tient alors \u00e0 sa consistance offerte \u00e0 l\u2019imaginaire. La certitude du mur fait ici place \u00e0 l\u2019image, l\u2019aventure du sens est \u00e0 la fois crainte et d\u00e9sir\u00e9e. Le travail de photographie, par le jeu des lumi\u00e8res et du cadrage, permet l\u2019introduction du fantastique par l\u2019image et l\u2019esth\u00e9tisation d\u2019une certaine d\u00e9sillusion. L'imagerie fa\u00e7onne notre compr\u00e9hension collective du lieu, imposant une fiction romantique au paysage de travail. <\/span><\/p><p><span>Plus qu\u2019une ode aux fantaisies architecturales, le projet exp\u00e9rimente un langage auto-r\u00e9f\u00e9rentiel, constitu\u00e9 de sa propre histoire compositionnelle, esquissant ainsi un discours sur \u00ab\u00a0comment donner forme\u00a0\u00bb. C\u2019est un<\/span><span> agent provocateur. Un essai. Une r\u00e9p\u00e9tition. 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Trouvant ses bases dans une \u00e9tude sur l'avant-garde th\u00e9\u00e2trale et sur les proc\u00e9d\u00e9s de d\u00e9familiarisation, le projet est aussi anim\u00e9 par une large r\u00e9flexion autour du processus de cr\u00e9ation, de la question de la naissance et du devenir des formes et s\u2019int\u00e9resse de pr\u00e8s aux notions d\u2019informe et d\u2019\u00e9trange.\u00a0 <\/span><\/p><p><span>La rythmicit\u00e9 de cet informe est ici plurielle et proc\u00e8de d\u2019une premi\u00e8re op\u00e9ration qu\u2019est la cr\u00e9ation manuelle de plusieurs fragments architecturaux. Du tilleul creus\u00e9 \u00e0 la gouge, au papier m\u00e2ch\u00e9 liss\u00e9 sur une maille d\u2019acier, en passant par l\u2019aluminium coul\u00e9 dans du sable : les techniques utilis\u00e9es sont multiples. Les traces de coul\u00e9e, les empreintes des outils et la viscosit\u00e9 sont utilis\u00e9s pour l'invocation de la forme.<\/span><\/p><p><span>Ces fragments physiques, parfois tot\u00e9miques, sont ensuite num\u00e9ris\u00e9s via photogramm\u00e9trie puis alt\u00e9r\u00e9s suivant plusieurs algorithmes. L\u2019hybridation entre les divers moyens et moments de cr\u00e9ation est ici v\u00e9cue comme d\u00e9clencheur architectural.<\/span><\/p><p><span>Les artefacts num\u00e9ris\u00e9s sont ensuite mis en sc\u00e8ne dans une sorte de milieu int\u00e9rieur artificiel et nordique en trois dimensions. Ils sont articul\u00e9s, contamin\u00e9s et alt\u00e9r\u00e9s par des tuyaux, poulies et structures m\u00e9talliques. L\u2019architecture se d\u00e9veloppe comme une chair, une matrice sensible, immerg\u00e9e dans le temps, qui autorise un imaginaire arch\u00e9ologique et technologique. Finalement, quelques grandes formes molles, r\u00e9alis\u00e9es \u00e0 l\u2019aide d\u2019un casque de r\u00e9alit\u00e9 virtuelle, compl\u00e8tent l\u2019ensemble. <\/span><\/p><p><span>Tout se coule dans le continuum d\u2019une vision hallucin\u00e9e. Le prestige po\u00e9tique de l\u2019architecture tient alors \u00e0 sa consistance offerte \u00e0 l\u2019imaginaire. La certitude du mur fait ici place \u00e0 l\u2019image, l\u2019aventure du sens est \u00e0 la fois crainte et d\u00e9sir\u00e9e. Le travail de photographie, par le jeu des lumi\u00e8res et du cadrage, permet l\u2019introduction du fantastique par l\u2019image et l\u2019esth\u00e9tisation d\u2019une certaine d\u00e9sillusion. L'imagerie fa\u00e7onne notre compr\u00e9hension collective du lieu, imposant une fiction romantique au paysage de travail. <\/span><\/p><p><span>Plus qu\u2019une ode aux fantaisies architecturales, le projet exp\u00e9rimente un langage auto-r\u00e9f\u00e9rentiel, constitu\u00e9 de sa propre histoire compositionnelle, esquissant ainsi un discours sur \u00ab\u00a0comment donner forme\u00a0\u00bb. C\u2019est un<\/span><span> agent provocateur. Un essai. Une r\u00e9p\u00e9tition. 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