{"id":3070,"date":"2022-09-17T11:56:07","date_gmt":"2020-06-16T19:49:14","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/pratiques-critiques_charlotte-minet-2\/"},"modified":"2022-09-17T22:25:40","modified_gmt":"2022-09-17T20:25:40","slug":"pratiques-critiques_nathan-gatignol","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/pratiques-critiques_nathan-gatignol\/","title":{"rendered":"Pratiques critiques | Nathan Gatignol"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3090,"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-3070","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-GATIGNOL-Nathan.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\": \"

WTC
<\/i><\/span><\/span><\/span>Nathan Gatignol
<\/i><\/span><\/span><\/span>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\": \"

F\u00e9tiches du Plan Manhattan, les tours WTC t\u00e9moignent de l\u2019\u00e9chec du capitalisme productif du si\u00e8cle pass\u00e9. Dot\u00e9es d\u2019imposants socles incomplets qui devait faire du quartier une plateforme d\u00e9di\u00e9e au monde lib\u00e9ral, \u00e0 la mani\u00e8re de La D\u00e9fense \u00e0 Paris, elles sont aujourd\u2019hui symboles d\u2019un territoire d\u00e9vitalis\u00e9, plein d\u2019enclaves, aux allures monofonctionnelles et porteur de clivages sociaux prononc\u00e9s.<\/p>

Deux projets contemporains s\u2019attardent \u00e0 r\u00e9habiliter ces tours, avec d\u2019une part ZIN, des agences 51N4E et L\u2019AUC, qui convertissent les tours WTC 1 et 2 en un programme mixte au prix de la disparition du socle ; en face, un projet de Jaspers & Eyers qui cherche \u00e0 reprendre le projet abandonn\u00e9 de la tour num\u00e9ro 4 en conservant le caract\u00e8re enclav\u00e9 du socle.<\/p>

C\u2019est dans ce dernier que cet contre-projet va se concentrer, en proposant d\u2019abandonner le projet de la quatri\u00e8me tour pour se concentrer sur une ouverture totale du socle, afin de transformer l\u2019enclave en plateforme publique, dans l\u2019espoir d\u2019y produire une revitalisation du quartier. Ce projet cherche alors \u00e0 composer avec l\u2019existant, et travaille principalement \u00e0 partir de l\u2019ossature pr\u00e9sente : la structure poteaux-poutres en b\u00e9ton qui suit un plan quasiment isotrope.<\/p>

Compris comme le squelette d\u2019un organisme \u00e0 d\u00e9finir, celle-ci est travaill\u00e9e comme une infrastructure, un r\u00e9seau d\u2019\u00e9l\u00e9ments performatifs d\u00e9finis par la possibilit\u00e9 de leurs effets. Par cette approche, l\u2019ossature devient la base d\u2019un \u00e9cosyst\u00e8me libre o\u00f9 espaces ferm\u00e9s et ouverts, servants et servis, praticables et distribuables, se compl\u00e8tent et se confrontent au sein d\u2019un plan libre qui interroge les types-m\u00eames des diff\u00e9rents espaces publics.<\/p>

Ce travail s\u2019inscrit au sein d\u2019une r\u00e9flexion plus large, port\u00e9e au sein de l\u2019atelier PC, sur les m\u00e9gastructures utopistes du si\u00e8cle pass\u00e9 et leurs possibles r\u00e9interpr\u00e9tations devant les enjeux du monde contemporain. Ce contre-projet, qui est en l\u2019aboutissement, peut se comprendre comme la tentative de cr\u00e9er, \u00e0 travers le prisme de la r\u00e9habilitation, une m\u00e9gastructure non-extractive et situ\u00e9e. <\/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\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 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WTC
<\/i><\/span><\/span><\/span>Nathan Gatignol
<\/i><\/span><\/span><\/span>Pratiques critiques<\/a><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 0,\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\": 7,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"hr\",\r\n \"cont\": \"\",\r\n \"align\": \"bottom\",\r\n \"row\": 1,\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\": 4,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"carousel\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 2,\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\": 176,\r\n \"carousel_options\": {\r\n \"random\": false,\r\n \"autoplay\": false,\r\n 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F\u00e9tiches du Plan Manhattan, les tours WTC t\u00e9moignent de l\u2019\u00e9chec du capitalisme productif du si\u00e8cle pass\u00e9. Dot\u00e9es d\u2019imposants socles incomplets qui devait faire du quartier une plateforme d\u00e9di\u00e9e au monde lib\u00e9ral, \u00e0 la mani\u00e8re de La D\u00e9fense \u00e0 Paris, elles sont aujourd\u2019hui symboles d\u2019un territoire d\u00e9vitalis\u00e9, plein d\u2019enclaves, aux allures monofonctionnelles et porteur de clivages sociaux prononc\u00e9s.<\/p>

Deux projets contemporains s\u2019attardent \u00e0 r\u00e9habiliter ces tours, avec d\u2019une part ZIN, des agences 51N4E et L\u2019AUC, qui convertissent les tours WTC 1 et 2 en un programme mixte au prix de la disparition du socle ; en face, un projet de Jaspers & Eyers qui cherche \u00e0 reprendre le projet abandonn\u00e9 de la tour num\u00e9ro 4 en conservant le caract\u00e8re enclav\u00e9 du socle.<\/p>

C\u2019est dans ce dernier que cet contre-projet va se concentrer, en proposant d\u2019abandonner le projet de la quatri\u00e8me tour pour se concentrer sur une ouverture totale du socle, afin de transformer l\u2019enclave en plateforme publique, dans l\u2019espoir d\u2019y produire une revitalisation du quartier. Ce projet cherche alors \u00e0 composer avec l\u2019existant, et travaille principalement \u00e0 partir de l\u2019ossature pr\u00e9sente : la structure poteaux-poutres en b\u00e9ton qui suit un plan quasiment isotrope.<\/p>

Compris comme le squelette d\u2019un organisme \u00e0 d\u00e9finir, celle-ci est travaill\u00e9e comme une infrastructure, un r\u00e9seau d\u2019\u00e9l\u00e9ments performatifs d\u00e9finis par la possibilit\u00e9 de leurs effets. Par cette approche, l\u2019ossature devient la base d\u2019un \u00e9cosyst\u00e8me libre o\u00f9 espaces ferm\u00e9s et ouverts, servants et servis, praticables et distribuables, se compl\u00e8tent et se confrontent au sein d\u2019un plan libre qui interroge les types-m\u00eames des diff\u00e9rents espaces publics.<\/p>

Ce travail s\u2019inscrit au sein d\u2019une r\u00e9flexion plus large, port\u00e9e au sein de l\u2019atelier PC, sur les m\u00e9gastructures utopistes du si\u00e8cle pass\u00e9 et leurs possibles r\u00e9interpr\u00e9tations devant les enjeux du monde contemporain. Ce contre-projet, qui est en l\u2019aboutissement, peut se comprendre comme la tentative de cr\u00e9er, \u00e0 travers le prisme de la r\u00e9habilitation, une m\u00e9gastructure non-extractive et situ\u00e9e. <\/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 \"absolute_position\": false\r\n }\r\n ]\r\n}","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3070","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=3070"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3070\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/3090"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=3070"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=3070"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=3070"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}