Architecture in question : architecture and arts - Module A : architecture and contemporary arts “XPRMTL or experimental architectures

ltarc2020  2024-2025  Tournai

Architecture in question : architecture and arts - Module A : architecture and contemporary arts “XPRMTL or experimental architectures
8.00 credits
90.0 h
Q1
> Schedule

This biannual learning unit is being organized in 2024-2025
Teacher(s)
de Hasque Jean-frédéric; Nottebaert Anne; Pouillon Henry;
Language
French
> English-friendly
Main themes
This unit, taught by joint lecturers, explores the interactions between the arts and architecture. Architecture as art.
A series of theoretical lectures will look at the mutual relationships between the arts and architecture: how do paradigms (convergences of thought, accepted and internalised rules) pass through communities of artists and  architects in a given period?
In parallel, students will test a contemporary artistic approach by asking questions and formulating a suggested response using the techniques and methods of action involved. This will make them reflect on architecture.
The objective is to create a space of relative freedom to open up possibilities at the conceptual level. And to enable students to understand artistic practice to find the drivers for a meaningful design.
The opportunities to link this issue to academic research particularly relate to the ability to deploy sensitivity (as a means of analysis and communication) to transmit meaning to the public arena. And, in this way, to look at architecture as an aesthetic act.
Using a contemporary issue, to take part in conceptual experimentation and to reintegrate it within the discipline.
Issues in Architecture: Contemporary Art and Architectureis made up of two parts, A and B.
A : XPRMTL. Experimental Architecture
How artists and architects work together through emerging ways of designing form which prefigure the ways of living in the future. How this enables their disciplines to revive?
(B : "Grasping reality", "another way of looking". Analysis and observation of reality. Ways of working in art and architecture.)
Learning outcomes

At the end of this learning unit, the student is able to :

1 The specific learning outcomes contribute to the learning outcomes reference network:
Test an artistic approach
  • To test and extend the limit of the imagination
  • To imagine drivers which can transform the perception of what is real
More specifically, students intuitively perceive the world through their imagination, through what they have learned before arriving at Master's level. They will set out their mental images and question them.
Make use of other subjects
  • Seek out other approaches, exchanges of views and ways of enhancing thinking about architecture
  • Interpret and synthesise the knowledge of other subjects
  • Make strategic use of other subjects to put into question the design and implementation of an architectural project
  • Bring all this back to the original discipline
More specifically, students will be able to
  • place and bring together artistic knowledge and practice.
  • identify periods in the history of classical, modern and contemporary art when the transfer between artistic disciplines has been particularly rich, How, at certain times, certain arts are ahead of others and how that develops (or is reversed).
  • understand current artistic issues and practices and strategically transform them into architectural design.
  • take or advance their knowledge of certain media such as drawing, graphic arts, video, digital imagery,  dance, literature, music and certain artistic approaches (conceptual, documentary, expressionist etc.). From this experience, they will learn to make use of them in a conceptual process.
  • return to the discipline of architecture through introduction to research : the approach must be able to be communicated to an informed audience.
Express an architectural procedure
  • Identify the founding elements of a hypothesis or a proposal to express and communicate them
  • Test and use relevant means of communication in relation to the intended audience and the target objectives
More specifically, students will be able to
  • deploy sensitivity (as a means of analysis and communication) to transmit meaning to the public arena.
Making committed choices
  • Develop awareness of the political meaning of the work of an architect and his/her responsibility towards society
  • Make links between different methodological and epistemological perspectives
  • Imagine ambitious proposals which could call into question the choices made by society
In particular, students will be able to
  • implement an approach, a process. They will find leads which could regenerate perception of reality without necessarily leading to creation, but rather to a storyboard or a model of the creation.
 
Bibliography
Bibliographie Générale Art Architecture
AGAMBEM, Giorgio, Qu'est-ce que le contemporain ?, leçon inaugurale du cours de Philosophie théorétique 2005 – 2006 à l'université IUAV de Venise, trad. de l'ital. [Che cos' è il contemporaneo ?, Milan : Nottetempo, 2008] par Maxime Rovere, Paris : Rivages & Payot (coll. "Rivages poche / Petite Bibliothèque", n° 617), 2008.
ARDENNE Paul, Artistes et architecture, dimensions variable, Artpress 429, p34, 2015
BERGALA Alain, L'acte de création en architecture et cinéma, dans les Conférences de Malaquais,INFOLIO, 2010
BOUCHIER Martine, L'art n'est pas l'architecture. Hiérarchie, fusion, destruction, Archibooks + sautereau éditeur, Paris, 2006
BRYS-SCHATAN Gita (sous la dir. de), Le Répertoire Illustré de l'Art Environnemental, Iselp, Bruxelles, 1996
GREGOTTO Vittorio, Dix sept lettres sur l'architecture, Eupalinos, 2011
HEINICH Nathalie, Le paradigme de l'art contemporain. Structures d'une révolution artistique, dans coll. Bibliothèque des sciences humaines, NRF, Gallimard, s.l.2014SZEEMANN Harald, dans coll. Les grands entretiens d'Artpress, n°1, Imec, Paris, 2012
RANCIERE Jacques, Le partage du sensible, esthétique et politique, La fabrique éditions, Paris, 2000
SIMOND Clotilde (avec la coll de Sophie Paviol), Cinéma et architecture, La relève de l'art, Aléas, 2009
Bibliographie "lettre entre architectes"
ABELES, M. (2011b). Le portrait comme opérateur ethnographique : L’écriture et la vie (politique),. Dans Portraits esquisses anthropographiques (p. 179‑192). Petra.
AGAMBEM G.,  Qu'est-ce qu'un dispositif ?, Rivages Poche, Petite Bibliothèque, 2007 (1ère éd.), 2014
AFFERGAN, F. (1994). Textualisation et métaphorisation. Communications, 58(1), 31‑44. https://doi.org/10.3406/comm.1994.1877
BRETON, S. (Éd.). (2016). Anthropologie du cinéma : image, écriture et non-transparence : Vol. Séminaire. EHESS.
CASTAING-TAYLOR, L. (2009). Hell Roaring Creek. Into-the-jug (geworfen). Performance, art et anthropologie « Les actes », 2‑7. http://actesbranly.revues.org/447
CHAMEROIS, G. Aller, revenir, tisser un abri : Route One/USA, de Robert Kramer (1989) Transatlantica [En ligne]
CLOAREC Nicoles (dir.), Lettres de Cinéma. De la missive au film-lettre, Presses Universitaires de Rennes, 2013
COLLAS, G. (1999). L’injonction du regard. Images Documentaires, 32/33, 1‑12. 
CUBERO, C. (2021). What Does Anonymity Mean in Anthropological Filmmaking? Dans E. Weiss & C. Mc GRANAHAN (Éds.), Rethinking Pseudonyms in Ethnography (p. 1‑15). American Ethnological Society.
de FRANCE, C., & Comolli, A. (Éds.). (2006). Corps filmé, corps filmant. Université Paris X-FRC.
de FRANCE, C. (1982). Cinéma et Anthropologie. Maison des Sciences de l’Homme.
de HASQUE, J. F. (2014). Corps filmant, corps dansant. Parcours anthropologiques, 9, 39‑51. https://doi.org/10.4000/pa.318
de HASQUE, J.-F. (2017b). L’anthropologue filmeur et la « ciné-transe » , évolution ou disparition de l’interaction entre filmant et filmés ? Journal des Africanistes, 87(1‑2), 222‑238. https://doi.org/10.4000/africanistes.5603
de HASQUE, J. F. (2019). Attraper l’invisible, comment la caméra m’y a aidé. Réflexions sur une écriture filmée. Dans B. Charlier, C. Grard, F. Laugrand, P. J. Laurent, & S. Simon (Éds.), Écritures anthropologiques (Investigations en Anthropologie Prospective éd., Vol. 20, p. 104‑122). Academia L’Harmattan.
de HASQUE, J. F., & LECADET, C. (2019). Après les camps, traces, mémoires et mutations des camps de réfugiés. Academia L’Harmattan.
DIDI-HUBERMAN G., (2003) Images malgré tout, Les Éditions de Minuit, 2003
DIDI-HUBERMAN G., (2006), Le danseur des solitudes, Paris, Ed. de Minuit
LALLIER, C. (2009). Pour une anthropologie filmée des interactions sociales. Archives Contemporaines.
LAPLANTINE François , « Penser en images » , Ethnologie française, 2007/1
Mairet, G. (2018). POLITIQUE DU WESTERN. PU VINCENNES.
NINEY, F. (2002). L’épreuve du réel à l’écran : Essai sur le principe de réalité documentaire, (2004e éd.). De Boeck.
OLIVIER DE SARDAN, J.-P. (1994). Pacte ethnographique et film documentaire. Images et Sciences sociales, Xoana, 2, 51‑64.
RUBY, J. (2000). Picturing Culture Explorations of film and anthropology. Chicago University Press.
WITTERSCHEIM, E. (Éd.). (2019). Filmer. Ce que l’audiovisuel permet à la restitution ethnographique. « Musiciens, opérateurs culturels et anthropologues : recherches, dialogues et engagements dans la cité contemporaine » , EHESS, Dec 2018, Paris, France.
YOUNG, C. (1979). Le cinéma d’observation. Dans C. de France (Éd.), Pour une anthropologie visuelle (Cahiers de l’Homme éd., p. 73‑88). Mouton.
Teaching materials
  • voir ressources en ligne
Faculty or entity
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Programmes / formations proposant cette unité d'enseignement (UE)

Title of the programme
Sigle
Credits
Prerequisites
Learning outcomes
Master [120] in Architecture (Tournai)
ARCT2M
8
Master [120] in Architecture (Bruxelles)
ARCB2M
8