{"id":839,"date":"2020-07-09T16:40:54","date_gmt":"2020-06-16T19:49:14","guid":{"rendered":"http:\/\/archiexpo.ulb.be\/wordpress\/htc-nouvet-2\/"},"modified":"2021-07-12T17:59:45","modified_gmt":"2021-07-12T15:59:45","slug":"htc-nouvet","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/htc-nouvet\/","title":{"rendered":"Option HTC II \/ Alice Nouvet"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":345,"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":[15,1,20],"tags":[],"class_list":["post-839","post","type-post","status-publish","has-post-thumbnail","hentry","category-cours-tfe-19-20","category-productions","category-prod-19-20"],"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\": \"

Malentendus
Alice Nouvet
<\/em><\/h1>

Le Laboratoire Histoire Th\u00e9orie Critique propose une formation qui combine les sp\u00e9cificit\u00e9s de l\u2019approche th\u00e9orique caract\u00e9ristique des formations optionnelles et la recherche appliqu\u00e9e propre \u00e0 tout atelier du projet d\u2019architecture.<\/span><\/p>

Durant le second quadrimestre de cette ann\u00e9e 2019\u20132020, les \u00e9tudiant.e.s de l\u2019option ont \u00e9t\u00e9 invit\u00e9.e.s, comme dans l\u2019atelier associ\u00e9, \u00e0 se saisir de la proposition curatoriale faite par les architectes de ADVVT et leur \u00e9quipe pour la XVe<\/sup> Biennale Internationale d\u2019Architecture de Venise (2016). Intitul\u00e9e 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.<\/span><\/p>

Le projet p\u00e9dagogique th\u00e9matique de ce deuxi\u00e8me quadrimestre proposait de 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. A partir d\u2019une recherche personnelle prolongeant et d\u00e9passant les limites g\u00e9ographiques et temporelles de la proposition de 2016, les \u00e9tudiant.e.s ont r\u00e9dig\u00e9 un article. Vous trouverez ici les contributions singuli\u00e8res d\u2019Alice Nouvet et Alice Paris.<\/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 },\r\n {\r\n \"type\": \"shortcode\",\r\n \"cont\": \"[shared_counts]\",\r\n \"align\": \"middle\",\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\": 10,\r\n \"shortcodeid\": 1594817719935\r\n },\r\n {\r\n \"type\": \"hr\",\r\n \"cont\": \"\",\r\n \"align\": \"middle\",\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\": 5\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Cet article reprend l\u2019un des principaux th\u00e8mes du catalogue Bravoure, Scarcity, Beauty<\/em> [1]<\/a> paru \u00e0 l\u2019occasion de la Biennale d\u2019architecture de Venise en 2016 (pavillon belge) sur l\u2019id\u00e9e de raret\u00e9.<\/p>

Mon int\u00e9r\u00eat pour cette id\u00e9e a \u00e9t\u00e9 au d\u00e9part motiv\u00e9 par les dissonances que l\u2019on trouve au sein de discours issus d\u2019\u00e9poques multiples qui, plac\u00e9s c\u00f4te \u00e0 c\u00f4te, font entendre des \u00ab\u00a0v\u00e9rit\u00e9s variables\u00a0\u00bb. C\u2019est pour mieux rep\u00e9rer ces derni\u00e8res que l\u2019article proc\u00e8de de la collecte de trois textes et propose de les mettre en r\u00e9sonance\u00a0: le catalogue Bravoure, Scarcity, Beauty<\/em> d\u00e9j\u00e0 \u00e9voqu\u00e9\u00a0; \u00a0le Manuel d\u2019instruction pour le vaisseau spatial \u00ab Terre \u00bb<\/em> de R. Buckminster Fuller (1969) parce qu\u2019il permet de (r\u00e9)ancrer ce discours, architecture-\u00e9cologie, en posant la question de la limitation des ressources\u00a0; et O\u00f9 atterrir ? Comment s\u2019orienter en politique, <\/em>(2017) de Bruno Latour car il nous invite \u00e0 un changement de m\u00e9taphore. Alors que Buckminster Fuller propose de penser la Terre comme un vaisseau spatial, Latour sugg\u00e8re de se r\u00e9f\u00e9rer \u00e0 la divinit\u00e9 Ga\u00efa.<\/p>

[1]<\/a> Architecten de vylder vinck taillieu, Doorzon interieurarchitecten, Filip Dujardin, Bravoure, Scarcity, Beauty,<\/em> 2016, Antwerpen, Flanders Architecture Institute<\/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 }\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 },\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\": 3949,\r\n \"carousel_options\": {\r\n \"random\": false,\r\n \"autoplay\": false,\r\n \"showMultipleSlides\": false,\r\n \"freeScroll\": false,\r\n \"size\": \"useCustomAspectRatio\",\r\n \"slidesWidth\": \"null\",\r\n \"transition\": \"fading\",\r\n \"loop\": \"1\",\r\n \"spaceBetween\": 0,\r\n \"customAspectRatioW\": 2,\r\n \"customAspectRatioH\": 2\r\n },\r\n \"carousel\": [\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 342,\r\n \"cont\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_.jpg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_-265x411.jpg\"\r\n },\r\n \"w\": 320,\r\n \"h\": 496,\r\n \"ar\": 1.55,\r\n \"alt\": \"\",\r\n \"caption\": \"

Timbre comm\u00e9morant la mission Apollo 8<\/em>, \u00c9tats-Unis, mai 1969.<\/span><\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 343,\r\n \"cont\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_.jpg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_-512x512.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_-265x265.jpg\"\r\n },\r\n \"w\": 560,\r\n \"h\": 560,\r\n \"ar\": 1,\r\n \"alt\": \"\",\r\n \"caption\": \"

Illustration propos\u00e9e pour le colloque Ga\u00efa face \u00e0 la th\u00e9ologie<\/em>, Coll\u00e8ge des Bernadins, Paris, f\u00e9vrier 2020.<\/span><\/p>\"\r\n }\r\n ]\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

> Article complet en format pdf<\/a><\/span><\/p>\",\r\n \"align\": \"middle\",\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\": 11\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\": 9\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 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 ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Malentendus
Alice Nouvet
<\/em><\/h1>

Le Laboratoire Histoire Th\u00e9orie Critique propose une formation qui combine les sp\u00e9cificit\u00e9s de l\u2019approche th\u00e9orique caract\u00e9ristique des formations optionnelles et la recherche appliqu\u00e9e propre \u00e0 tout atelier du projet d\u2019architecture.<\/span><\/p>

Durant le second quadrimestre de cette ann\u00e9e 2019\u20132020, les \u00e9tudiant.e.s de l\u2019option ont \u00e9t\u00e9 invit\u00e9.e.s, comme dans l\u2019atelier associ\u00e9, \u00e0 se saisir de la proposition curatoriale faite par les architectes de ADVVT et leur \u00e9quipe pour la XVe<\/sup> Biennale Internationale d\u2019Architecture de Venise (2016). Intitul\u00e9e 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.<\/span><\/p>

Le projet p\u00e9dagogique th\u00e9matique de ce deuxi\u00e8me quadrimestre proposait de 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. A partir d\u2019une recherche personnelle prolongeant et d\u00e9passant les limites g\u00e9ographiques et temporelles de la proposition de 2016, les \u00e9tudiant.e.s ont r\u00e9dig\u00e9 un article. Vous trouverez ici les contributions singuli\u00e8res d\u2019Alice Nouvet et Alice Paris.<\/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 },\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\": 5\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\": 3949,\r\n \"carousel_options\": {\r\n \"random\": false,\r\n \"autoplay\": false,\r\n \"showMultipleSlides\": false,\r\n \"freeScroll\": false,\r\n \"size\": \"useCustomAspectRatio\",\r\n \"slidesWidth\": \"null\",\r\n \"transition\": \"fading\",\r\n \"loop\": \"1\",\r\n \"spaceBetween\": 0,\r\n \"customAspectRatioW\": 2,\r\n \"customAspectRatioH\": 2\r\n },\r\n \"carousel\": [\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 342,\r\n \"cont\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_.jpg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.Illu1_-265x411.jpg\"\r\n },\r\n \"w\": 320,\r\n \"h\": 496,\r\n \"ar\": 1.55,\r\n \"alt\": \"\",\r\n \"caption\": \"

Timbre comm\u00e9morant la mission Apollo 8<\/em>, \u00c9tats-Unis, mai 1969.<\/span><\/p>\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"attid\": 343,\r\n \"cont\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_.jpg\",\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_-512x512.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2020\/07\/HTC.Option.Nouvet.illu2_-265x265.jpg\"\r\n },\r\n \"w\": 560,\r\n \"h\": 560,\r\n \"ar\": 1,\r\n \"alt\": \"\",\r\n \"caption\": \"

Illustration propos\u00e9e pour le colloque Ga\u00efa face \u00e0 la th\u00e9ologie<\/em>, Coll\u00e8ge des Bernadins, Paris, f\u00e9vrier 2020.<\/span><\/p>\"\r\n }\r\n ]\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

> Article complet en format pdf<\/a><\/span><\/p>\",\r\n \"align\": \"top\",\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\": 12\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Cet article reprend l\u2019un des principaux th\u00e8mes du catalogue Bravoure, Scarcity, Beauty<\/em> [1]<\/a> paru \u00e0 l\u2019occasion de la Biennale d\u2019architecture de Venise en 2016 (pavillon belge) sur l\u2019id\u00e9e de raret\u00e9.<\/p>

Mon int\u00e9r\u00eat pour cette id\u00e9e a \u00e9t\u00e9 au d\u00e9part motiv\u00e9 par les dissonances que l\u2019on trouve au sein de discours issus d\u2019\u00e9poques multiples qui, plac\u00e9s c\u00f4te \u00e0 c\u00f4te, font entendre des \u00ab\u00a0v\u00e9rit\u00e9s variables\u00a0\u00bb. C\u2019est pour mieux rep\u00e9rer ces derni\u00e8res que l\u2019article proc\u00e8de de la collecte de trois textes et propose de les mettre en r\u00e9sonance\u00a0: le catalogue Bravoure, Scarcity, Beauty<\/em> d\u00e9j\u00e0 \u00e9voqu\u00e9\u00a0; \u00a0le Manuel d\u2019instruction pour le vaisseau spatial \u00ab Terre \u00bb<\/em> de R. Buckminster Fuller (1969) parce qu\u2019il permet de (r\u00e9)ancrer ce discours, architecture-\u00e9cologie, en posant la question de la limitation des ressources\u00a0; et O\u00f9 atterrir ? Comment s\u2019orienter en politique, <\/em>(2017) de Bruno Latour car il nous invite \u00e0 un changement de m\u00e9taphore. Alors que Buckminster Fuller propose de penser la Terre comme un vaisseau spatial, Latour sugg\u00e8re de se r\u00e9f\u00e9rer \u00e0 la divinit\u00e9 Ga\u00efa.<\/p>

[1]<\/a> Architecten de vylder vinck taillieu, Doorzon interieurarchitecten, Filip Dujardin, Bravoure, Scarcity, Beauty,<\/em> 2016, Antwerpen, Flanders Architecture Institute<\/p>\",\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 },\r\n {\r\n \"type\": \"shortcode\",\r\n \"cont\": \"[shared_counts]\",\r\n \"align\": \"bottom\",\r\n \"row\": 5,\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\": 10,\r\n \"shortcodeid\": 1594817719935\r\n }\r\n ]\r\n}","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2020\/07\/Nouvet_Alice_Thumb.jpg","_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/839","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=839"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/839\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/345"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=839"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=839"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=839"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}