World War I | EPFL Graph Search

World War I or the First World War, often abbreviated as WWI or WW1, known contemporaneously as the Great War, was a major global conflict lasting from 1914 to 1918. It was fought between two coalitions, the Allies and the Central Powers. Fighting took place throughout Europe, the Middle East, Africa, the Pacific, and parts of Asia. The first decade of the 20th century saw increasing diplomatic tension between the European great powers. This reached a breaking point on 28 June 1914, when a Bosnian Serb named Gavrilo Princip assassinated Archduke Franz Ferdinand, heir to the Austro-Hungarian throne. Austria-Hungary held Serbia responsible, and declared war on 28 July. Russia came to Serbia's defence, and by 4 August, Germany, France and Britain were drawn into the war, with the Ottoman Empire joining in November the same year. German strategy in 1914 was to first defeat France by moving and attacking through Belgium before turning to face Russia. However, this failed, and by the end o

Le jardin pare-feu. Un ouvrage test pour la défense de la forêt contre les incendies dans le massif des Maures (F)

Frédéric Bouvier

Cinquante ans après l'indépendance de l'Algérie et l'abandon d'une partie de ses supplétifs “harkis”, la France sort de son mutisme et regarde enfin cette sombre période. Engagée dans une lutte contre l'oubli, elle immobilise les traces de l'époque pour mobiliser le souvenir et fait confiance aux mémoriaux ou autres monuments, marqueurs d'une reconnaissance publique avérée. Toutefois, en extériorisant un mémorable à travers une forme monumentale inerte, c'est comme si elle se délestait du travail du souvenir. La mémoire attendue s'est faite finalement devancée par le mémorial, lui-même voué à se fondre peu à peu dans le paysage et à régresser en habitude visuelle dépourvue de tout pouvoir d'interpellation. Alors, comment faire autrement? Pallier le poids écrasant de l'Histoire, du devoir de mémoire et de son institutionnalisation, en préférant une mémoire involontaire à une mémoire volontaire. S'attacher à traduire la mémoire des “harkis”, c'est répertorier dans le Sud de la France les structures d'accueil des familles qu'étaient les hameaux de forestage, se rappeler de l'importance des chantiers forestiers dans le reboisement et la lutte contre les feux de forêts. En ce sens, l'histoire des “harkis” croise celle de la forêt méditerranéenne pour répondre à un enjeu actuel: la gestion et l'entretien des pare-feux. La mémoire “harkie” est indirectement mise en espace par la construction d'un ouvrage test sur le territoire varois, sous la forme d'un jardin de cultures à vocation DFCI (Défense de la Forêt Contre l'Incendie).

2015

Étapes marquantes du développement urbain de la Chaux-de-Fonds

Tearanel Te

The city planning of La Chaux-de-Fonds, they way we know it today, is the result of a long evolution. It starts the day after a fire which, in 1794, practically devastated the whole village. With the human and material loss which the fire caused, this disaster offered the possibility to reconstruct on a new basis. The fear of fire and the demands of the watch industry, will dictate the policy of city planners and architects. As of this event, the urban expansion of La Chaux-de-Fonds is characterised by three major stages. All three are continuous and interrelated. Each is the product of a particular person. Their coming corresponds to a precise period in time and a given context. The resulting "urban matrix", called massif, will serve for a long period of time as a model for the extension of the city. The continuous use of this model will serve until to the beginning of the 20th century and will only be abandoned at the end of the 1st world war. The present study comprises two distinctive parts, complementary and of equal importance: - A written part and - An illustrated part The choice of these two means for the research is to insure a better understanding of complex subject: - Stage 1: 1794-1795: The reconstruction of the burned down village is assigned to Moïse Perret-Gentil (1744-1815) with the introduction of the first elements of orthogonal planning. It initiates the system of the grid plan which will define future works. - Stage 2: 1831-1835: The continuous and accelerated development of the watch industry pushes the local authorities to hire the engineer Charles-Henri Junod (1795-1843) to plan an extension at a larger scale. The document is named the "General Plan of Alignments". Thanks to its singularity and its urban impact, the Junod plan occupies a significant place in this doctorate thesis. - Stage 3: 1854-1859: The arrival of the railroad, the Industrial Jura, will profoundly modify the urban configuration. The intervention of Charles-Frédéric Knab (1822- 1874) is based on the works of his predecessor. It includes the railroad as a complete part of his Plan of Alignments. It results from this study that the city plans of La Chaux-de-Fonds conceived by the engineers Charles Junod and Charles Knab are not just a simple grid plan applied at random. Their characteristics are far from the image of a checker board plan to which La Chaux-de-Fonds is usually associated to. Instead, these plans result respectively from a combination of refined imbrications of grids which perfectly connect to the existing urban tissue. Behind their apparent regularity, the Junod and Knab plans, hold a series of irregularities which insure at the same time their complexity and their richness. The works of these two engineers constitutes an exemplary case of an urban transformation, a model for a remarkable case of city planning.

EPFL2011

L'oeuvre de Leandro V. Locsin (1928-1994), architecte à la recherche de l'identité élusive de l'architecture philippine du second après-guerre

Jean-Claude Girard

Filipino architect Leandro Valencia Locsin (Silay1928 - Makati 1994) produced an architectural work that involved 250 projects, of which at least more than half were completed and mostly in his country of origin. A graduate in architecture of San Tomas de Manila University in 1953, his career began after the Second World War, which left the capital city all but destroyed following airstrikes by the allies that served to liberate the Philippines from the Japanese occupying forces. Following his studies, Locsin is immediately solicited with requests which leads him to open his office and give up the idea of completing his graduate studies in one of the prestigious American universities, which at the time had welcomed great masters who had sought exile from Europe to the United States in the 1930s. For a member of a privileged social class, this atypical career path makes Locsin a singular figure in the architectural landscape as he will immediately focus his interest on questioning the specificity of Filipino architecture. In a 1989 interview, Locsin confirms his career-long interest in researching the boundaries between local culture and international influences. The study of the vernacular tradition in his country will orient his work towards defining certain architectural principles to allow for the emergence of a new contemporary Filipino architecture. The post-war period, involving innovations in technical resources and favorable political and economic conditions for urban development, will serve to render all the more complex a body of work that is difficult to apprehend and qualify. In a 1964 text, Locsin refers to the elusive identity of the Filipino architectural spirit which, according to him, is the result of an assimilation of various external influences, given the geographic positioning of the Philippines and its colonial past. His work never ceased to reflect this quest for identity in built representations. While Leandro V. Locsin has been called "the poet of space" for the quality of his projects characterized by a great attention given to the sense of space, abstraction, symmetry, proportion, and materiality linked to the use of concrete and traditional materials his work has never been the subject of a complete study. Few scientific contributions exist and remain partial, in that they focus on certain specificities of his production. Further, there are no studies that offer a complete review of his office archives, a necessary step towards uncovering and highlighting the unique characteristics of a multiform production. The objective of this dissertation is to provide a complete overview of the work of Leandro V. Locsin, notably through a survey of his projects, and an analysis of the condition of their production in a local and international context, in order to render explicit the specific qualities that make this work a unique example of architecture of the period and from the Philippines.