Avant-garde (art) | EPFL Graph Search

Le terme avant-garde désigne, depuis le , des personnes qui entreprennent des actions nouvelles ou expérimentales, en particulier dans les arts et la culture. Cette pratique s'inspire des idées de la Révolution française et comme elle, n'exclut pas que s'en réclament des personnages installés au cœur du pouvoir politique et hostiles à la société civile. Peter Sloterdijk définit l'avant-gardisme comme . Dire d'un artiste qu'il représente l'avant-garde, c'est dire qu'il crée l'art académique du futur. En art, quelques artistes avant-gardistes refusent toute affiliation avec leurs prédécesseurs et se placent donc en porte à faux en refusant tout art antérieur. Le terme est souvent utilisé en art à propos d'artistes qui « seraient » en avance sur leur époque. Selon l'avant-garde, la valeur d'une œuvre se confond avec son caractère inouï, en avance sur son temps. Il n'y a pas un modèle éternel du Beau, l'artiste se doit de concentrer dans sa production l'essence de la modernité, enco

Une icône du XXe siècle délaissée. Conservation et réhabilitation de l'école de plein-air de Suresnes (E. Beaudouin, M. Lods, 1935)

François Rougeron

Classée Monument Historique, l'école de plein-air de Suresnes a été construite en 1935 dans le courant du mouvement hygiéniste et des recherches techniques architecturales d'avant-garde. Différentes interventions transformeront l'école, plus ou moins radicalement, en lien avec son changement d'affectation. Le projet remet le bâtiment en activité, ainsi que son parc et les ouvre au public, en s'appuyant sur les principes originaux de l'école et sa pédagogie innovante. Pour permettre au public, amateur et professionnel, de se réapproprier les lieux, le bâtiment se déploie vers son contexte, reliant les parcs adjacents et créant ainsi une zone de détente sur les hauts de Suresnes, surplombant la vallée de la Seine. Une nouvelle affectation s'impose: un pôle culturel prend place dans les différents bâtiments de l'école. Les archives de la Cité de l'Architecture et du Patrimoine s'installent dans les locaux des bâtiments plus récents, construits par Marcel Lods en 1954, tandis que l'école des années 1930 accueille un espace muséal ainsi qu'un café-débat ouverts sur le jardin et reliés aux activités de la Cité de l'Architecture. Le projet décline alors trois niveaux de sauvegarde différents: conservation, réhabilitation et transformation lourde. Ce nouveau pôle culturel vient non seulement s'inscrire dans un contexte Suresnois, dans le cadre du parcours “Patrimoine XXe siècle ”, mais souhaite restituer à cet œuvre emblématique sa juste place à l'échelle internationale.

2017

La création d'une japonité moderne (1870-1940), ou Le regard des architectes européens sur le Japon

Irène Elizabeth Vogel Chevroulet

This thesis questions the fundamentals and modes characterising the European architects' way of looking at Japanese architecture and garden art between 1870 and 1940. It establishes the corpus of the major writings and of other texts published by their Occidental and Japanese contemporaries in English, French and German. We analyse the writings' major issues, outstanding specifics and realisations. We detect and describe the creation of a modern Japan-ness through the writings of four major protagonists. Firstly, Josiah Conder was professor of Architectural History and Theory at Tokyo Imperial College and later considered as the "father of modern architecture" in Japan. We discuss his articles and books, published between 1877 and 1893, as being inaugural as well as forerunners of Japan-ness. Between 1903 and 1910, the architect Chûta Itô and the art historian Kakuzô Okakura gave its premises in their publications. The engineer Franz Baltzer as well as the architects Ralph A. Cram and Frank Lloyd Wright confirmed some of these ideas in their books published between 1903 and 1912. Secondly, we study writings from an architect who never traveled to Japan : Robert Mallet-Stevens. His articles, written in France from 1911 et 1913, were an indirect reference to Conder's articles. Thirdly, we analyse the theoretical and innovative works published by Bruno Taut between 1924 and 1937. We look at the way in which he valued and consolidated an intercultural Japan-ness. We question the existence of a Japan-ness in garden arts' writings. We establish how his contemporaries spread Japan-ness specificities : the architects Wajiro Kon, Kôji Fujii, Tetsuro Yoshida, Sutemi Horiguchi, Wells Coates, Richard Neutra and Antonin Raymond, the art historian Jirô Harada, the landscape designers – Tsuyoshi Tamura, Percy. S. Cane et Christopher Tunnard –, and the writer Jun'ichiro Tanizaki. We identify which specificities had already been defined by Itô, Kon and Horiguchi before Taut validation. Fourthly, Charlotte Perriand confirmed this established modern Japan-ness as a source of inspiration with her notes taken during her stay in Japan between 1940 and 1941. The thesis chronicles the impact of her notes onto some of her realisations in Japan and later in France. Thanks to this comparative analysis of texts, the thesis argues that the European gaze towards Japan is reflecting its preoccupations towards justifications for its own architectural development. This gaze is also orientated by the interests of the Japanese themselves. These are looking for an international recognition of their traditional architecture. We describe then how Japan-ness is created through writings and how it works as an appropriation of modernity enabling Japanese architecture to step in an avant-garde role. This creation follows two stages. The first one is a process of distinction from Asian architecture by identification and reinforcement of Japanese specifics. At its core lies the discourse upon the differences of the Japanese shintoist and zen soul. The second one is a process of sorting out common specificities with Western avant-garde ones. This time, the discourse concerns abstract similarities. The whole set of Japan-ness specificities defines an intercultural architecture which distinguishes itself both from Japonisme and from Occidentalisme. Lastly, the results show the profits gained by this European gaze and taken into account in their own architecture.

EPFL2009

Londres, capitale du post-modernisme?

Nicolas Bruno Jacquet

The advantage of the dynamism of the London architectural scene seems rather ignored by historians and theorists. Not only is London absent from the grand narrative of modernity, but it is also denied the status of avant-garde, although since the 1960s, the British capital has been one of the main testing grounds of the renewal of forms and architectural ideas. The emergence of the of notion âpost-modernismâ at the turn of 1970s, initiated within the London specialized publishing, confirms this central role. This theoretical notion was created by the historian Charles Jencks (whose professor was Reyner Banham, initiator of the New Brutalism with Alison and Peter Smithson) as an alternative to modernism. It has transformed the architectural scene by establishing the return of historicism, the great moral taboo of a modernity based essentially on functionalism. This theoretical revolution, however, did not occur without causing grotesque postures, fueling a debate exacerbated and soon disrupted by the controversial speech of Prince Charles, who became the spokesman of the traditionalists. The impact in the media of this âpost-modern affairâ has led to believe in the manifestation of a crisis of legitimacy and of reception for the work of architects, in the context of heated debates concerning the cancellations of three major architectural and urban planning competitions for the capital city â the extension of the National Gallery on Trafalgar Square, the No.1 Poultry programme in the City, the redesigning of Paternoster Square near St Paulâs Cathedral. Yet, this intense sequence of the reappraisal of modernism has not curbed the development of an innovative and a radical architecture. On the contrary, it has led to the deregulation of the modern discourse by problematizing the architectâs responsibility in the creation of the built environment and by forcing to reconsider the challenges of integrating radicalism in a located environment. In this, âpost-modernismâ questions the foundations and the revival of a specifically British culturalist approach, as an alternative to the progressive model that has guided the idea and the act of modernity.

EPFL2016