{"id":68,"date":"2020-06-17T20:35:11","date_gmt":"2020-06-17T14:20:01","guid":{"rendered":"http:\/\/archiexpo.ulb.be\/wordpress\/histoire-theorie-critique-2\/"},"modified":"2021-04-21T18:41:31","modified_gmt":"2021-04-21T16:41:31","slug":"htc","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/htc\/","title":{"rendered":"Histoire, Th\u00e9orie, Critique"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":455,"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":[8],"tags":[],"class_list":["post-68","post","type-post","status-publish","has-post-thumbnail","hentry","category-ateliers-19-20"],"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2020\/06\/HTC.jpg","grid":"{\r\n  \"colCount\": 6,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [\r\n    1.5\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 10,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {},\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\\\">Laboratoire Histoire Th\u00e9orie Critique<br \/><em>Q1 -<strong>\u00a0<\/strong>Iwan Strauven, Wouter Van Acker<\/em><br \/><em>(Victoire Chancel, Anne-Laure Iger \u2013 doctorantes <\/em>hortence<em>)<\/em><br \/><em>Q2<strong>\u00a0-\u00a0<\/strong>Jean-Didier Bergilez, Vincent Brunetta<\/em><\/p>\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\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\": 440\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\": 2,\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\": 1594817321822\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\": 3,\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        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p>Le Laboratoire Histoire Th\u00e9orie Critique propose une formation qui combine la recherche appliqu\u00e9e propre \u00e0 tout atelier du projet d\u2019architecture et les sp\u00e9cificit\u00e9s de l\u2019approche th\u00e9orique caract\u00e9ristique des formations optionnelles appel\u00e9es \u00ab\u00a0Questions d\u2019architecture\u00a0\u00bb.<\/p><p>Ce regroupement p\u00e9dagogique est fond\u00e9 sur le partage de convictions fondamentales simples : \u00ab\u00a0faire de l\u2019architecture\u00a0\u00bb ne peut se comprendre hors de l\u2019histoire, ni se penser sans th\u00e9orie, ni se fonder sans critique\u00a0; \u00ab\u00a0apprendre l\u2019architecture\u00a0\u00bb, c\u2019est \u00e9galement s\u2019ouvrir \u00e0 d\u2019autres figures qu\u2019au seul\u00a0 \u00ab\u00a0architecte qui fait projet\u00a0\u00bb, pour parler plus globalement des pratiques qui sont li\u00e9es aux diff\u00e9rents m\u00e9tiers de l\u2019architecture. Plus largement et sp\u00e9cifiquement \u00e0 la fois, il s\u2019attache au d\u00e9veloppement chez l\u2019\u00e9tudiant.e d\u2019une attitude r\u00e9flexive enrichissant les th\u00e9ories et les pratiques de l\u2019architecture.<\/p><p>Avec des expertises diff\u00e9rentes, des p\u00e9dagogiques distinctes et des attentions propres aux deux \u00e9quipes d\u2019enseignants, ce projet p\u00e9dagogique entend particuli\u00e8rement\u00a0:<\/p><ul><li>conforter les connaissances des \u00e9tudiant.e.s en mati\u00e8re d\u2019histoire et de th\u00e9orie de l\u2019architecture,<\/li><li>conforter leurs connaissances en mati\u00e8re de culture architecturale belge,<\/li><li>les ouvrir \u00e0 l\u2019apprentissage de l\u2019architecture dans ses multiples dimensions, envisag\u00e9e \u00e0 la lumi\u00e8re des humanit\u00e9s architecturales,<\/li><li>les ouvrir aux recherches \u00e9pist\u00e9mologiques li\u00e9es \u00e0 la constitution de savoirs renouvel\u00e9s sur l\u2019architecture, \u00e0 travers les outils de r\u00e9flexivit\u00e9 que sont les approches diachroniques et historiques de la discipline,<\/li><li>Enfin, les soutenir dans leur capacit\u00e9 \u00e0 d\u00e9velopper un regard critique et th\u00e9orique face \u00e0 la production architecturale \u00e0 laquelle ils et elles sont quotidiennement confront\u00e9.e.s.<\/li><\/ul><p>L\u2019atelier du projet aborde des questions relatives \u00e0 l\u2019histoire et \u00e0 la th\u00e9orie de l\u2019architecture selon le mode de la recherche appliqu\u00e9e au travers d\u2019exercices et travaux de natures diff\u00e9rentes (projets, recherches, analyses, ...). Chaque p\u00e9riode fait l\u2019objet d\u2019une th\u00e9matisation sp\u00e9cifique pr\u00e9texte heuristique \u00e0 projets vari\u00e9s.<\/p><p>(1.) Au premier quadrimestre de cette ann\u00e9e 2019\u20132020, l\u2019atelier a propos\u00e9 aux \u00e9tudiant.e.s d\u2019interroger la typologie architecturale de la <em>Villa<\/em>. Historiquement porteuse d\u2019un certain type de rapport au territoire - qu\u2019elle soit antique (Villa de Pline le jeune) ou renaissante (vicentine (villas palladiennes), romaine (Villa Giulia) ou toscane (Villa M\u00e9dicis)) \u2013, la villa a pour fondement une certaine articulation de la pens\u00e9e du b\u00e2ti avec celle du paysage tout entier et pour th\u00e9orie implicite une compr\u00e9hension globale du rapport de l\u2019homme \u00e0 son milieu. Or, partant de la conviction de la valeur de la m\u00e9moire dans les pratiques durables, la n\u00e9cessit\u00e9 de repenser notre fa\u00e7on d\u2019occuper le monde aujourd\u2019hui demande de se rem\u00e9morer des fa\u00e7ons d\u2019occuper et de penser ce territoire.<\/p><p>Les \u00e9tudiant.e.s de l\u2019atelier se sont attel\u00e9.e.s \u00e0 questionner, par le projet, cette typologie de la villa et les usages qui lui sont conf\u00e9r\u00e9s de mani\u00e8re \u00e0 les faire dialoguer avec les probl\u00e9matiques contemporaines. Plus pr\u00e9cis\u00e9ment, ils et elles ont travaill\u00e9 \u00e0 la conception d\u2019une villa implant\u00e9e sur un morceau de territoire carolor\u00e9gien\u00a0: une parcelle situ\u00e9e \u00e0 Presles o\u00f9 se trouve \u00ab\u00a0la ferme mod\u00e8le\u00a0\u00bb de Marcel Leborgne (habitation et exploitation agricole, datant du XVII<sup>e<\/sup> si\u00e8cle, r\u00e9nov\u00e9e vers 1939).<\/p><p>(2.) Durant le second semestre, les \u00e9tudiant.e.s ont \u00e9t\u00e9 invit\u00e9.e.s \u00e0 se saisir de la proposition curatoriale faite par les architectes de ADVVT, les architectes d\u2019int\u00e9rieur Doorzon et le photographe\/architecte Filip Dujardin pour la XV<sup>e<\/sup> Biennale Internationale d\u2019Architecture de Venise (2016). Intitul\u00e9e <em>Bravoure Scarcity Beauty<\/em>, \u00a0celle-ci entendait questionner la contemporan\u00e9it\u00e9 du rapport des architectes \u00e0 l\u2019artisanat, dans des conditions g\u00e9n\u00e9rales de p\u00e9nurie. Le projet p\u00e9dagogique th\u00e9matique de ce deuxi\u00e8me quadrimestre entendait reprendre cet appel et cette proposition comme pr\u00e9texte heuristique susceptible de soutenir notre regard sur la production architecturale d\u2019aujourd\u2019hui et d\u2019hier mais aussi comme mode op\u00e9ratoire potentiel pour la conception architecturale.<\/p><p>Les \u00e9tudiant.e.s ont ainsi repris \u00e0 leur compte l\u2019intuition de la <em>Bravoure Team<\/em>, et appliqu\u00e9 de mani\u00e8re critique le dispositif consistant \u00e0 identifier des fragments d\u2019architecture pouvant \u00eatre envisag\u00e9s comme autant de formes de bravoures architecturales \u00e0 l\u2019heure de la p\u00e9nurie. A partir d\u2019une recherche prolongeant et d\u00e9passant les limites g\u00e9ographiques et temporelles de la proposition de 2016, les \u00e9tudiant.e.s ont constitu\u00e9 individuellement et collectivement un atlas augmentant la proposition d\u2019origine. Parall\u00e8lement, ils et elles ont con\u00e7u un projet individuel convoquant certains des modes op\u00e9ratoires identifi\u00e9s dans cet atlas.<\/p>\",\r\n          \"align\": \"bottom\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\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\": 5\r\n        }\r\n      ],\r\n      \"align\": \"top\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 3,\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      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"stack\",\r\n      \"cont\": [\r\n        {\r\n          \"type\": \"img\",\r\n          \"cont\": 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\"relid\": 2260,\r\n      \"attid\": 949,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2020\/06\/005-Bravoure-Veneti\u00eb.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2020\/06\/005-Bravoure-Veneti\u00eb-768x523.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2020\/06\/005-Bravoure-Veneti\u00eb-512x349.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2020\/06\/005-Bravoure-Veneti\u00eb-265x180.jpg\"\r\n      },\r\n      \"w\": 1000,\r\n      \"h\": 681,\r\n      \"ar\": 0.681,\r\n      \"alt\": \"\",\r\n      \"caption\": \"<p><span class=\\\"_Caption\\\">\u00a9 Filip Dujardin<\/span><\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p>Le Laboratoire Histoire Th\u00e9orie Critique propose une formation qui combine la recherche appliqu\u00e9e propre \u00e0 tout atelier du projet d\u2019architecture et les sp\u00e9cificit\u00e9s de l\u2019approche th\u00e9orique caract\u00e9ristique des formations optionnelles appel\u00e9es \u00ab\u00a0Questions d\u2019architecture\u00a0\u00bb.<\/p><p>Ce regroupement p\u00e9dagogique est fond\u00e9 sur le partage de convictions fondamentales simples : \u00ab\u00a0faire de l\u2019architecture\u00a0\u00bb ne peut se comprendre hors de l\u2019histoire, ni se penser sans th\u00e9orie, ni se fonder sans critique\u00a0; \u00ab\u00a0apprendre l\u2019architecture\u00a0\u00bb, c\u2019est \u00e9galement s\u2019ouvrir \u00e0 d\u2019autres figures qu\u2019au seul\u00a0 \u00ab\u00a0architecte qui fait projet\u00a0\u00bb, pour parler plus globalement des pratiques qui sont li\u00e9es aux diff\u00e9rents m\u00e9tiers de l\u2019architecture. Plus largement et sp\u00e9cifiquement \u00e0 la fois, il s\u2019attache au d\u00e9veloppement chez l\u2019\u00e9tudiant.e d\u2019une attitude r\u00e9flexive enrichissant les th\u00e9ories et les pratiques de l\u2019architecture.<\/p><p>Avec des expertises diff\u00e9rentes, des p\u00e9dagogiques distinctes et des attentions propres aux deux \u00e9quipes d\u2019enseignants, ce projet p\u00e9dagogique entend particuli\u00e8rement\u00a0:<\/p><ul><li>conforter les connaissances des \u00e9tudiant.e.s en mati\u00e8re d\u2019histoire et de th\u00e9orie de l\u2019architecture,<\/li><li>conforter leurs connaissances en mati\u00e8re de culture architecturale belge,<\/li><li>les ouvrir \u00e0 l\u2019apprentissage de l\u2019architecture dans ses multiples dimensions, envisag\u00e9e \u00e0 la lumi\u00e8re des humanit\u00e9s architecturales,<\/li><li>les ouvrir aux recherches \u00e9pist\u00e9mologiques li\u00e9es \u00e0 la constitution de savoirs renouvel\u00e9s sur l\u2019architecture, \u00e0 travers les outils de r\u00e9flexivit\u00e9 que sont les approches diachroniques et historiques de la discipline,<\/li><li>Enfin, les soutenir dans leur capacit\u00e9 \u00e0 d\u00e9velopper un regard critique et th\u00e9orique face \u00e0 la production architecturale \u00e0 laquelle ils et elles sont quotidiennement confront\u00e9.e.s.<\/li><\/ul><p>L\u2019atelier du projet aborde des questions relatives \u00e0 l\u2019histoire et \u00e0 la th\u00e9orie de l\u2019architecture selon le mode de la recherche appliqu\u00e9e au travers d\u2019exercices et travaux de natures diff\u00e9rentes (projets, recherches, analyses, ...). Chaque p\u00e9riode fait l\u2019objet d\u2019une th\u00e9matisation sp\u00e9cifique pr\u00e9texte heuristique \u00e0 projets vari\u00e9s.<\/p><p>(1.) Au premier quadrimestre de cette ann\u00e9e 2019\u20132020, l\u2019atelier a propos\u00e9 aux \u00e9tudiant.e.s d\u2019interroger la typologie architecturale de la <em>Villa<\/em>. Historiquement porteuse d\u2019un certain type de rapport au territoire - qu\u2019elle soit antique (Villa de Pline le jeune) ou renaissante (vicentine (villas palladiennes), romaine (Villa Giulia) ou toscane (Villa M\u00e9dicis)) \u2013, la villa a pour fondement une certaine articulation de la pens\u00e9e du b\u00e2ti avec celle du paysage tout entier et pour th\u00e9orie implicite une compr\u00e9hension globale du rapport de l\u2019homme \u00e0 son milieu. Or, partant de la conviction de la valeur de la m\u00e9moire dans les pratiques durables, la n\u00e9cessit\u00e9 de repenser notre fa\u00e7on d\u2019occuper le monde aujourd\u2019hui demande de se rem\u00e9morer des fa\u00e7ons d\u2019occuper et de penser ce territoire.<\/p><p>Les \u00e9tudiant.e.s de l\u2019atelier se sont attel\u00e9.e.s \u00e0 questionner, par le projet, cette typologie de la villa et les usages qui lui sont conf\u00e9r\u00e9s de mani\u00e8re \u00e0 les faire dialoguer avec les probl\u00e9matiques contemporaines. Plus pr\u00e9cis\u00e9ment, ils et elles ont travaill\u00e9 \u00e0 la conception d\u2019une villa implant\u00e9e sur un morceau de territoire carolor\u00e9gien\u00a0: une parcelle situ\u00e9e \u00e0 Presles o\u00f9 se trouve \u00ab\u00a0la ferme mod\u00e8le\u00a0\u00bb de Marcel Leborgne (habitation et exploitation agricole, datant du XVII<sup>e<\/sup> si\u00e8cle, r\u00e9nov\u00e9e vers 1939).<\/p><p>(2.) Durant le second semestre, les \u00e9tudiant.e.s ont \u00e9t\u00e9 invit\u00e9.e.s \u00e0 se saisir de la proposition curatoriale faite par les architectes de ADVVT, les architectes d\u2019int\u00e9rieur Doorzon et le photographe\/architecte Filip Dujardin pour la XV<sup>e<\/sup> Biennale Internationale d\u2019Architecture de Venise (2016). Intitul\u00e9e <em>Bravoure Scarcity Beauty<\/em>, \u00a0celle-ci entendait questionner la contemporan\u00e9it\u00e9 du rapport des architectes \u00e0 l\u2019artisanat, dans des conditions g\u00e9n\u00e9rales de p\u00e9nurie. Le projet p\u00e9dagogique th\u00e9matique de ce deuxi\u00e8me quadrimestre entendait reprendre cet appel et cette proposition comme pr\u00e9texte heuristique susceptible de soutenir notre regard sur la production architecturale d\u2019aujourd\u2019hui et d\u2019hier mais aussi comme mode op\u00e9ratoire potentiel pour la conception architecturale.<\/p><p>Les \u00e9tudiant.e.s ont ainsi repris \u00e0 leur compte l\u2019intuition de la <em>Bravoure Team<\/em>, et appliqu\u00e9 de mani\u00e8re critique le dispositif consistant \u00e0 identifier des fragments d\u2019architecture pouvant \u00eatre envisag\u00e9s comme autant de formes de bravoures architecturales \u00e0 l\u2019heure de la p\u00e9nurie. A partir d\u2019une recherche prolongeant et d\u00e9passant les limites g\u00e9ographiques et temporelles de la proposition de 2016, les \u00e9tudiant.e.s ont constitu\u00e9 individuellement et collectivement un atlas augmentant la proposition d\u2019origine. Parall\u00e8lement, ils et elles ont con\u00e7u un projet individuel convoquant certains des modes op\u00e9ratoires identifi\u00e9s dans cet atlas.<\/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\": 5\r\n    },\r\n    {\r\n      \"type\": \"elementgrid\",\r\n      \"cont\": \"\",\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\": 8,\r\n      \"config\": {\r\n        \"desktop\": {\r\n          \"colCount\": 4,\r\n          \"colGutter\": 1,\r\n          \"rowGutter\": 1\r\n        },\r\n        \"tablet\": {\r\n          \"colCount\": 2,\r\n          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