Le sujet de ce mémoire est relatif aux particularités de la protection de l’œuvre architecturale en droit d’auteur, et plus précisément aux limites à ce droit découlant de la nature de l’œuvre, en droit français et en droit canadien. L’objectif de cette recherche sera, à titre principal, de démontrer qu’il existe des limites intrinsèques à la protection de l’œuvre architecturale à la fois en droit d’auteur français et en droit d’auteur canadien, de sorte qu’un régime particulier s’applique à elle. Subsidiairement, nous serons amenés à démontrer que ces spécificités présentent des nuances d’un ordre juridique à l’autre qui traduisent les marques d’une différence conceptuelle plus fondamentale entre le droit français et le droit canadien en termes de droit d’auteur. D’un côté, le droit d’auteur à la française personnaliste et romantique place la personne de l’auteur au centre de la protection et lui attribue des prérogatives très marquées. De l’autre, le droit d’auteur canadien se place dans une tradition de copyright et donc dans une logique plus économique et travailliste qui se concentre davantage sur l’exploitation économique de l’œuvre et l’intérêt du public. Cette démonstration se fera par le prisme de l’étude de la qualification de l’œuvre, au travers de l’originalité et de la contrefaçon, et de son intangibilité, fragilisée par la confrontation entre le droit moral de l’architecte-auteur et le droit de propriété. / This essay aims to study the particularities of the protection of architectural works in copyright, and more specifically its limits resulting from the nature of the work, in French and Canadian law. The main objective of this research is to demonstrate that there are intrinsic limitations to the protection of architectural works in both French and Canadian copyright law, which therefore differs from the ordinary legislation regarding copyright. Incidentally, this study will lead us to demonstrate that these specificities show nuances from one legal system to another, which reflect the marks of a more fundamental difference between French law and Canadian law in terms of copyright conception. On the one hand, the French conception of “droit d’auteur”, finely personalist and romantic, places the author's person at the heart of the protection by giving him significant prerogatives. On the other hand, Canadian copyright stems mainly from a common law tradition and is thus animated by a more economic and labour-oriented logic which further focuses on the economic exploitation of the work and public interest. This demonstration will be made by studying the qualification of the work, through the notions of originality and counterfeiting, and its intangibility, which is weakened by the confrontation between the moral right of the architect and property right.

Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century. / Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.

In 1750, the architect Giovanni Niccolo Servandoni built a Temple of Love in Gennevilliers, just north of Paris for the notorious libertine, the Duc de Richelieu. The new social freedom gained by the decline of the ancien regime gave birth to a democratic space that first appeared in the theatre and a personal freedom which changed the currents of thought on love. Servandoni's work as a painter, theatre designer and engineer of spectacles are promoted in the theory of Jacques-Francois Blondel and later Nicolas Le Camus de Mezieres as prime examples of architecture in their theories of sensation. Libertine love, read through the literature of the time, clearly understands the limit of sensation and the "terrible state/loss of freedom" produced by real love. By general consensus an agreement to operate within the realm of sensation governs the ethics of libertine love and architecture. Servandoni's Temple of Love provides an ironic statement on love in the eighteenth century.

This thesis examines French architect Eugene-Emmanuel Viollet-le-Duc (1814-1879), who combined eighteenth-century Rationalism with the historicist, anti-academic message of Romanticism, which was impelling the nineteenth-century architectural reform movement into the industrial age. Sources used include Viollet-le-Duc's architectural drawings and published works, particularly volume one of his Entretiens sur l'Architecture. The study is arranged chronologically, and it discusses his career, his restoration work, and his demands for reform of architectural education. One chapter contains a detailed analysis of his Entretiens. This thesis concludes that Viollet-le-Duc was as much a historian as he was an architect, and it notes that his hopes for reform were realized in the twentieth century.

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Alors que le spectacle de la marchandise s'organise autour des grands magasins et des Expositions universelles pour mieux contaminer le domaine culturel dans la seconde moitié du XIXe siècle, 11 écrivain et critique d’art Joris-Karl Huysmans (1848-1907) croit trouver, d'abord au sein de cette aristocratie que semblent constituer les artistes symbolistes et décadents, puis dans une conversion difficile au catholicisme, un refuge idéal. Nous nous proposons de montrer dans cet essai à quel point cet espoir a été déçu. Huysmans a sans cesse tenté de neutraliser le mirage marchand pour mieux en constater en définitive toute la ténacité. / Montréal Trigonix inc. 2018