{"id":3056,"date":"2022-09-17T11:46:22","date_gmt":"2020-06-16T19:49:14","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/pratiques-critiques_clelia-barbera-ramallo-2\/"},"modified":"2022-09-17T11:55:32","modified_gmt":"2022-09-17T09:55:32","slug":"pratiques-critiques_charlotte-minet","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/pratiques-critiques_charlotte-minet\/","title":{"rendered":"Pratiques critiques | Charlotte Minet"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3068,"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":[1,30],"tags":[],"class_list":["post-3056","post","type-post","status-publish","has-post-thumbnail","hentry","category-productions","category-proj-21-22"],"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2022\/09\/ONLINE_Thumbnails-projets-MINET-Charlotte.jpg","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\\\"><span class=\\\"_Head2\\\"><span style=\\\"color: #000000;\\\"><span style=\\\"caret-color: #000000;\\\">R\u00e9cits architecturaux sur la pierre de Kersanton<i><br \/><\/i><\/span><\/span><\/span><span class=\\\"_Head2\\\"><span style=\\\"color: #000000;\\\"><span style=\\\"caret-color: #000000;\\\"><i>Charlotte Minet<br \/><\/i><\/span><\/span><\/span><span class=\\\"_Head2\\\"><a href=\\\"http:\/\/archiexpo.ulb.be\/wordpress\/pc-21-24\\\" data-type=\\\"project\\\" data-id=\\\"151\\\" data-title=\\\"Projet Bachelier 1\\\" data-catid=\\\"[8,1]\\\">Pratiques critiques<\/a><\/span><\/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          \"absolute_position\": false\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\": 9,\r\n          \"shortcodeid\": 1594815909356,\r\n          \"absolute_position\": false\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          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p>Ce travail est une lecture d\u2019un territoire au fond de la rade de Brest, dans le village de l\u2019H\u00f4pital-Camfrout, autour du plus grand filon de pierre de Kersanton. Une lecture qui rend compte d\u2019un t\u00e9moignage pass\u00e9 difficile industriel, d\u2019une qualit\u00e9 min\u00e9ralogique sur une g\u00e9ographie restreinte, d'une richesse architecturale et soci\u00e9tale locale.<\/p><p>En 1984, l\u2019activit\u00e9 d\u2019extraction de la pierre de Kersanton est bel et bien finie, la derni\u00e8re des cinq carri\u00e8res du village ferme d\u00e9finitivement. L\u2019\u00e9conomie locale gagn\u00e9e par ses qualit\u00e9s et son savoir faire se sont dissip\u00e9s au profit du b\u00e9ton et des blocs de parpaing.<\/p><p>Aujourd\u2019hui cette pierre est \u00a0\u00ab\u00a0morte\u00a0\u00bb. Sa ressource est pr\u00e9sente mais elle n\u2019est plus rentable apr\u00e8s toutes ces ann\u00e9es d\u2019anthropisations. La seule mani\u00e8re de pratiquer avec ce min\u00e9ral, c\u2019est utiliser ce qu\u2019il reste. C\u2019est utiliser les blocs de taille et les moellons de d\u00e9chets \u00e9parpill\u00e9s un peu partout sur le territoire. C\u2019est d\u00e9construire des restes et des ruines pour reb\u00e2tir.<\/p><p>Ici la pratique est un \u00e9tat des lieux, laisser tel quel, magnifier l\u2019existant et un h\u00e9ritage par le biais de plusieurs dispositifs sur des traces, des monuments. C\u2019est un voyage sur le temps des anecdotes du pass\u00e9 et sur le temps des ressentis du pr\u00e9sent. C\u2019est sp\u00e9culer sur la mani\u00e8re de magnifier autour de probl\u00e9matiques et narrations. Seules les familles propri\u00e9taires de ces terres peuvent et pourront l\u2019observer, mais aussi les voyageurs curieux et sensibles.<\/p><p>Par le biais de dispositifs, c\u2019est alors sp\u00e9culer en rentrant directement dans la mati\u00e8re pour comprendre de quoi on parle. C\u2019est adopter la coh\u00e9sion, l\u2019interaction. C\u2019est planifier le temps de l\u2019itin\u00e9raire, le temps de l\u2019errance.<\/p>\",\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\": 2,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 8,\r\n          \"absolute_position\": false\r\n        }\r\n      ],\r\n      \"align\": \"top\",\r\n      \"row\": 0,\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\": 6,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"carousel\",\r\n      \"cont\": \"\",\r\n      \"align\": \"top\",\r\n      \"row\": 0,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 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1.4141961231470923,\r\n          \"alt\": \"\"\r\n        }\r\n      ],\r\n      \"absolute_position\": false,\r\n      \"caption\": \"<p><a href=\\\"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2022\/09\/MINET-Charlotte-Portfolio-A5light.pdf\\\">T\u00e9l\u00e9charger le livret (PDF)<\/a><\/p>\"\r\n    }\r\n  ]\r\n}","phonegrid":"{\r\n  \"colCount\": 1,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [\r\n    5,\r\n    5,\r\n    5,\r\n    5\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 5,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {},\r\n    {},\r\n    {},\r\n    {},\r\n    {}\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Head1\\\"><span class=\\\"_Head2\\\"><span style=\\\"color: #000000;\\\"><span style=\\\"caret-color: #000000;\\\">R\u00e9cits architecturaux sur la pierre de Kersanton<i><br \/><\/i><\/span><\/span><\/span><span class=\\\"_Head2\\\"><span 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Une lecture qui rend compte d\u2019un t\u00e9moignage pass\u00e9 difficile industriel, d\u2019une qualit\u00e9 min\u00e9ralogique sur une g\u00e9ographie restreinte, d'une richesse architecturale et soci\u00e9tale locale.<\/p><p>En 1984, l\u2019activit\u00e9 d\u2019extraction de la pierre de Kersanton est bel et bien finie, la derni\u00e8re des cinq carri\u00e8res du village ferme d\u00e9finitivement. L\u2019\u00e9conomie locale gagn\u00e9e par ses qualit\u00e9s et son savoir faire se sont dissip\u00e9s au profit du b\u00e9ton et des blocs de parpaing.<\/p><p>Aujourd\u2019hui cette pierre est \u00a0\u00ab\u00a0morte\u00a0\u00bb. Sa ressource est pr\u00e9sente mais elle n\u2019est plus rentable apr\u00e8s toutes ces ann\u00e9es d\u2019anthropisations. La seule mani\u00e8re de pratiquer avec ce min\u00e9ral, c\u2019est utiliser ce qu\u2019il reste. C\u2019est utiliser les blocs de taille et les moellons de d\u00e9chets \u00e9parpill\u00e9s un peu partout sur le territoire. C\u2019est d\u00e9construire des restes et des ruines pour reb\u00e2tir.<\/p><p>Ici la pratique est un \u00e9tat des lieux, laisser tel quel, magnifier l\u2019existant et un h\u00e9ritage par le biais de plusieurs dispositifs sur des traces, des monuments. C\u2019est un voyage sur le temps des anecdotes du pass\u00e9 et sur le temps des ressentis du pr\u00e9sent. C\u2019est sp\u00e9culer sur la mani\u00e8re de magnifier autour de probl\u00e9matiques et narrations. Seules les familles propri\u00e9taires de ces terres peuvent et pourront l\u2019observer, mais aussi les voyageurs curieux et sensibles.<\/p><p>Par le biais de dispositifs, c\u2019est alors sp\u00e9culer en rentrant directement dans la mati\u00e8re pour comprendre de quoi on parle. C\u2019est adopter la coh\u00e9sion, l\u2019interaction. C\u2019est planifier le temps de l\u2019itin\u00e9raire, le temps de l\u2019errance.<\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\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\": 8,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"shortcode\",\r\n      \"cont\": \"[shared_counts]\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\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\": 9,\r\n      \"shortcodeid\": 1594815909356\r\n    }\r\n  ]\r\n}","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3056","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/comments?post=3056"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3056\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/3068"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=3056"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=3056"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=3056"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}