Paysage | EPFL Graph Search

thumb|Paysage photographique aux multiples couleurs de la Serranía de Hornocal, massif montagneux situé près de la ville d'Humahuaca, province de Jujuy, Argentine. thumb|Paysage photographique brumeux près d'Arnhem, aux Pays-Bas. Les étendues naturelles sont protégées par décret et des capteurs de vérification du niveau des eaux sont installés. thumb|Le sud du massif des Coyote Buttes (Arizona), vu depuis le lieu-dit de Cottonwood Cove. Un paysage est une étendue spatiale couverte par un point de vue. C'est un ensemble interdépendant au fonctionnement, à la mécanique, autonome formé d'une continuité d'éléments sédimentés et dont l'on ne perçoit qu'une globalité. Son caractère selon la convention européenne du paysage du Conseil de l'Europe. La notion de paysage a une dimension esthétique forte, voire picturale ou littéraire en tant que représentation, mais elle recouvre de nombreuses acceptions et le paysage manifeste aussi les politiques d'aménagement du territoire, voire la géopo

Le vide

Stephanie Bender

Today the question of how to work in the continuous contemporary urban landscape, is a big concern for urban development professionals. Still marked by the modern obsession to define the building forms, a vision influenced by the functionalist movement of the Thirties, these same professionals have lost their means of working sustainably in a contemporary city which is both continuous and fragmented, like an individualised collection of various materials and shapes without urban links, spreading out without limits in the overall landscape. In this chaos, an urban approach has appeared, changing the interest from the building to its landscape, from the built to the non-built, and above all from the filled to the void, and offers a new approach more adapted to the context of today's urban environment, capable of creating links with the non built, of offering new urban materials through the 'non urban', and generating public spaces in the presence of 'non-form' buildings. This approach, which here is called The void. New urban strategies, works with the 'non-materials' such as the landscape, the infrastructure or the programmes, and tries to meet the challenge of a new urbanism in the contemporary city. To understand this, the thesis will strive to explore the chronology of this idea through its different chapters. A 'prehistory' will provide an understanding of the origins of this, via its discoverers, pioneers and precursors and will present an astonishing picture of first attempts to define the urban environment via the void. The case of Melun-Senart, the urban strategy developed in 1987 by Rem Koolhaas and his Office for Metropolitan Architecture (OMA), considered as the starting point for this search and as the masterpiece of the Void approach, will demonstrate the extremely innovative phenomena which resulted from what it called by its author as the "Strategy of the void". Putting this into perspective in the work of Rem Koolhaas will reveal a dense web of projects and writings on, or with the void, which again reinforces the idea of its pertinence. The exploration of the artistic fields and parallel philosophies, will demonstrate the pre-existence of the 'void' concepts amongst the protagonists and will prove the huge influence that they had in the construction of this new urban idea for the architects and the urban planners, and in particular Koolhaas. Finally, other contemporary urban protagonists will illustrate through their projects and their writings, a variety of approaches for the void up to the present day. And right at the end, an experiment through the void projects of the author, will offer an introspective vision of the process. More than two decades after the 'Strategy of the void' this approach goes beyond the diagrammatic stage of a competition, confirming not only its pertinence, but also its ability to provide answers that are both varied and renewed to the extremely complex and confused situations that are to be found in today's urban environment. This new way of conceptualising the urban landscape by the void, the reference for the dense area of the historical city, is replaced by the informal void of the contemporary city considered as the very identity of this new continuous urbanism and shows itself ultimately to be the void. a new urban strategy.

EPFL2011

Images des microcosmes flottants

Olivier Nicolas Meystre

This research focuses on the premise that depiction is quintessential to the conception of an architectural project. The representation also provides insights regarding how the architects design the architecture. This thesis is intended towards understanding new forms and paradigms of design mediation that have emerged over the last two decades in Japan. It unravels and highlights the historical, theoretical aspects and analyses the evolution, convergence and major trends in the field of architectural representation. Based on bibliographical sources and exclusive, unpublished interviews with the prominent Japanese architects of the period under consideration, this work presents six cross-functional themes with the objective to identify and examine the critical tools that could be used in the conception and representation of the contemporary Japanese architecture. The understanding of the underlying techniques reveal a very hybridised landscape of digital and analog tools with a paradoxical objective of imparting a manual effect to the entire expression. The treatment of light in the images of the project is characterised by overexposure and dispersion that adds an elusory, unseizable dimension to the objects and spatial limits. In a similar fashion, the graphical limits, are either diminished or diluted giving an impression of a space with evolving outlines. The pseudo-naive expression of multiple images, achieved by the profusion of familiar objects, obliterates the orthodox hierarchy among the architectural elements and opens up the possibility of evoking and imagining tiny, soothing universes in an architecture which is otherwise radical to the beholder. The point of view used in images transcend the Euclidean realism, producing an imagery that seems to float in free space. Finally, the genealogy of relationship between masters and students permits the tracing of the lines of influence, how the craftsmanship changed hands and percolated down the professional world. The specificities in the Japanese representation are a testimony to the complex approach of the architects towards an architectural project, where all the attributes of space are questioned and redefined but still the undercurrent of tradition continues to have a pivotal influence.

EPFL2015