{"id":3770,"date":"2023-04-20T16:36:00","date_gmt":"2020-06-16T19:49:14","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/article-lefebvre-2\/"},"modified":"2023-04-20T16:39:36","modified_gmt":"2023-04-20T14:39:36","slug":"article-lefebvre-2","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/article-lefebvre-2\/","title":{"rendered":"Article | Pragmatism in Architecture (P. Lefebvre)"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3771,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false},"categories":[32,1],"tags":[],"class_list":["post-3770","post","type-post","status-publish","has-post-thumbnail","hentry","category-culture-recherche-21-22","category-productions"],"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/ONLINE_Thumbnails-recherche-lefebvre-2.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 \"relid\": 5\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\": \"

The Introduction of Pragmatism in Architecture (1990\u20132010): The Role of Women and the Fate of Feminism<\/span>
Pauline Lefebvre<\/span><\/em><\/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\": \"

The introduction of pragmatism in architectural discussions in the early 2000s caused fierce objections by those who thought that abandoning critical theory and adopting pragmatism instead would take architecture adrift. This chapter highlights moments within this debate when pragmatism was presented as a forceful alternative to critical theory in terms of the political engagements it requires from practitioners and thinkers who adopt it. Among those who did that most convincingly were two women architectural historians and theoreticians. Joan Ockman organized a major conference on pragmatism and architecture in New York in 2000. Gwendolyn Wright was part of that event and published in its wake a series of texts connecting the influence of pragmatism with socially oriented architectural practices. Tracing the role of these two protagonists in particular, the chapter also touches upon the fate of feminism within this intellectual history.
\u00a0
in Women in Pragmatism: Past, Present and Future, ed. by Nuria Sara Miras Boronat and Michela Bella (Cham: Springer), pp.\u00a0213-223<\/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\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"carousel\",\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\": 176,\r\n \"carousel_options\": {\r\n \"random\": false,\r\n \"autoplay\": false,\r\n \"showMultipleSlides\": false,\r\n \"freeScroll\": false,\r\n \"size\": \"aspectRatioOfFirstElement\",\r\n \"slidesWidth\": \"null\",\r\n \"transition\": \"fading\",\r\n \"loop\": \"1\",\r\n \"spaceBetween\": 0,\r\n \"fillSlides\": false,\r\n \"autoplayDelay\": 0,\r\n \"transitionSpeed\": 300,\r\n \"autoplaySpeed\": 3500,\r\n \"disableClick\": false\r\n },\r\n \"carousel\": [\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 3772,\r\n \"cont\": \"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/Pragmatism-in-Architecture.jpeg\",\r\n \"sizes\": {\r\n \"full\": \"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/Pragmatism-in-Architecture.jpeg\",\r\n \"_768\": \"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/Pragmatism-in-Architecture-768x1157.jpeg\",\r\n \"_512\": \"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/Pragmatism-in-Architecture-512x771.jpeg\",\r\n \"_265\": \"http:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2023\/04\/Pragmatism-in-Architecture-265x399.jpeg\"\r\n },\r\n \"w\": 827,\r\n \"h\": 1246,\r\n \"ar\": 1.5066505441354292,\r\n \"alt\": \"\"\r\n }\r\n ],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

T\u00e9l\u00e9charger le livre (PDF gratuit)<\/a><\/p>\",\r\n \"align\": \"twothirds\",\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\": 15,\r\n \"absolute_position\": false\r\n }\r\n ],\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\": 16,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\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 \"relid\": 10\r\n },\r\n {\r\n \"relid\": 11\r\n },\r\n {\r\n \"relid\": 12\r\n },\r\n {\r\n \"relid\": 13\r\n },\r\n {\r\n \"relid\": 14\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Open House<\/span>
Tim Pierson<\/span><\/em>
BA2<\/span><\/a><\/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 },\r\n {\r\n \"type\": \"carousel\",\r\n \"cont\": \"\",\r\n \"align\": \"bottom\",\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 \"showMultipleSlides\": false,\r\n \"freeScroll\": false,\r\n \"size\": 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D\u2019un c\u00f4t\u00e9 on retrouve des maisons et des entrep\u00f4ts qui nous emm\u00e8nent vers le Wiels, de l\u2019autre c\u00f4t\u00e9, une longue colonnade nous am\u00e8ne \u00e0 la gare du midi. Situ\u00e9 entre deux mondes urbains diff\u00e9rents, le projet, c\u2019est-\u00e0-dire l\u2019\u00e9cole de cirque, cherche \u00e0 r\u00e9unir ces deux contextes en les r\u00e9duisant \u00e0 leur fonction fondamentale, contenir et soutenir respectivement. C\u2019est l\u2019id\u00e9e de base qui a guid\u00e9 le projet et que l\u2019on retrouve dans sa morphologie.<\/p>

Ensuite, vient s\u2019ajouter la volont\u00e9 d\u2019animer le quartier, qui pr\u00e9sente aujourd\u2019hui un aspect triste et d\u00e9laiss\u00e9. Afin d\u2019y parvenir, le projet cherche \u00e0 s\u2019ouvrir au maximum sur le quartier, d\u2019\u00eatre en constante communication avec celui-ci \u00e0 travers des relations visuelles et de cr\u00e9er des espaces publics et priv\u00e9s que les \u00e9tudiants de l\u2019\u00e9cole mais aussi les habitants du quartier pourront s\u2019approprier. D\u2019o\u00f9 le nom \u00ab\u00a0Open House\u00a0\u00bb. C\u2019est ainsi que le rez-de-chauss\u00e9e peut s\u2019ouvrir enti\u00e8rement du c\u00f4t\u00e9 rue, afin de rendre la limite entre int\u00e9rieur et ext\u00e9rieur et donc priv\u00e9 et public floue. La caf\u00e9t\u00e9ria devient publique et peut s\u2019\u00e9tendre vers la rue. Diff\u00e9rents \u00e9quipements, marqu\u00e9s en rouge, viennent s\u2019ins\u00e9rer dans le projet et cr\u00e9ent davantage d\u2019espaces appropriables. D\u2019autre part, le programme a \u00e9t\u00e9 adapt\u00e9 aux intentions. La salle de classe et la salle de r\u00e9union ont \u00e9t\u00e9 remplac\u00e9es par le grand espace central du R+1 dot\u00e9 de gradins amovibles. Cela cr\u00e9e un espace polyvalent, capable de s\u2019adapter \u00e0 une multitude d\u2019usages.<\/p>

L\u2019\u00e9cole de cirque cherche \u00e0 cr\u00e9er un point focal dans le quartier, tant pour les \u00e9tudiants que pour les habitants, afin de lui redonner un peu de vie.<\/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\/3770","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=3770"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3770\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/3771"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=3770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=3770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=3770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}