Résumé partie I :la figure de l’architecte et son rapport avec les autres sujets de l’art de bâtir évolue au cours des siècles. L’architecte démiurge se confronte à l’autorité du prince et fonde sa supériorité d’abord sur un savoir scientifique régit par les règles du beau objectif. La figure d’artiste lui confère une autorité fondée aussi sur l’intuition et la subjectivité du génie. Enfin, la considération du goût et de l’opinion du public modifie la hiérarchie des sujets, le beau est investi d’une dimension subjective à laquelle accède le public. La posture didactique des architectes et la démocratisation des savoir offre à la figure d’accéder à l’architecture, il est reconnu comme spécialiste de l’habiter. La multiplication des figures, architectes et commanditaires publics ainsi que la diffusion et l’échange des savoirs, vont être organisés dans les configurations de la grammaire participative autour d’objets, la ville, le logement et d’objectifs éthiques pour la qualité de vie et le bonheur. L’urbanisme naissant est un des domaines d’applications de la grammaire participative. Les crises urbaines focalisent la déclinaison de configurations qui s’intéressent au milieu et aux habitants qui y vivent ainsi qu’à l’évolution de la ville comme « récif humain ». Lieu de configurations délibératives pendant l’Antiquité, la ville est l’objet humain des communautés actives au Moyen âge tandis que lors de la crise industrielle, les injustices sociales et la taudification délitent les communautés. Des configurations de la grammaire de la participation sont élaborées par les auteurs de l’époque et seront répétés dans les écrits du siècle suivant, notamment l’importance de l’apprentissage qui permet au citoyen averti d’agir et de participer. Un apprentissage qui s’effectue par le biais de mediums :l’enquête, les voyages et les expositions ou les musées urbains. La connaissance des autres assure l’acceptation de la différence et favorise la recherche d’un bonheur commun. Le consensus démocratique sur l’environnement des citoyens est un objectif de la participation. Les idées de Geddes sont diffusées aux Etats-Unis, par Lewis Mumford et des architectes proches de ce dernier, rédigent une méthode pour un urbanisme éducatif et participatif, initié au cœur du New Deal américain. En France, lors de la reconstruction, ont lieu des séances d’information et de concertation avec les populations sinistrées, comme à Maubeuge en 1945. M. Poëte et G. Bardet fondent l’urbanisme humaniste dont la configuration polyphonique préside à la reconstruction. Résumé partie II :La grammaire participative fait partie de la culture des architectes modernistes des CIAM. Le Corbusier expérimente une configuration « expressiviste » avec les paysans de la Sarthe et met au point un manuel destiné à l’autoconstruction. Le groupe américain des CIAM apporte une configuration processuelle dans laquelle la hiérarchie des figures s’estompe. Ils interviennent en faveur d'une réflexion sur la communauté, figure de l’autre participant, comme thème du premier congrès CIAM d'après guerre de 1947. Les thématiques retenues, incongrues en cette période de crise du logement causée par la guerre, concernent finalement l’expression architecturale et un état des lieux de l’architecture dans les pays des membres. Néanmoins, la question de la participation est amenée, notamment par la configuration « empiriste » de J.M. Richards dont la figure de l’autre est « l’homme commun ». Le débat s’oriente sur le langage de l’architecture et la compréhension qu’en a l’homme de la rue. Dans la configuration « empiriste » ridchardsienne, le médium de la grammaire participative est élaboré sur le modèle de la configuration « éducative » des pays scandinaves, un langage issu de la construction et de l’utilisation de matériaux traditionnels. A Bridgwater, la jeune génération signale l’émergence d’une conscience nouvelle et valorise l’ordinaire et l’imagination en opposition à la rationalité pure de l’architecture moderniste. La figure de l’autre est dotée d’un savoir réflexif, sensible et subjectif. Elle peut amener sa créativité au savoir scientifique de l’architecte. Malgré tout, l’ancienne garde du modernisme élude l’idée de participation et songe à interroger la réception de l’objet architectural par le public. Le milieu architectural moderniste est le lieu de débat international le plus actif à ce moment avec l'UIA. Il rassemble avant son éclatement deux tendances opposées dont l’une emprunte la voie de l'esthétique, avec l’objet architectural comme finalité, tandis que l’autre valorise le processus architectural participatif.Résumé partie III :La voie du processus architectural, en opposition à l'objet architectural, est empruntée par la nouvelle génération d'architectes notamment le Team Ten. Envisager l'architecture comme un processus entraîne sa redéfinition et consiste à étendre le logement au concept « d’Habitat». Il est basé d'une part sur un tandem architecture - urbanisme et d'autre part sur un duo architecture - contexte au sens large de paysage, de culture du site et d'histoire du lieu. L’article de De Carlo de 1948, montre qu’une attitude de participation est la condition de l’architecture redéfinie. Le concept d'Habitat est situé dans l'espace même si on peut le définir comme local, l'échelle régionale est interrogée. La posture écologique se marque également sur les problématiques des infrastructures de déplacement dans le « quartier ». C’est l’échelle de la proximité qui est valorisée, le piéton et le lien social. La configuration organique de B. Zévi explicite l’attention au milieu. Il propose d’apprendre à voir l’architecture. La figure de l’autre manie ce médium pour participer. Le temps et le mouvement sont présents dans la terminologie utilisée par les architectes. L'objectif de l’Habitat est la flexibilité et l'évolutivité. Des configurations se basent sur l’informatique et la polyvalence des structures. L'architecture «ouverte » est un médium pour donner à l'usager le pouvoir de l'action dans le temps. Les superstructures servent l’objectif de mobilité, de flexibilité et de participation. C’est le public qui les remplit. La contextualisation de l’architecture donne lieu à des enquêtes et à une fascination pour l'ordinaire ou le spécifique. Mais seuls quelques architectes vont au delà d'une récolte d’informations et considèrent l’égalité de l’autre pour permettre un échange de savoir. La posture didactique sert à rendre l’architecture « apprentissable», ainsi du jardinage à l'autoconstruction ou l’autoplanification, les architectes développent des participations directes ou indirectes et des outils destinés aux usagers. La fortune critique de la participation permet de poursuivre le tracé des filières jusqu’en soixante huit. Les modes de rassemblement et de communication des professionnels, l’histoire de l’architecture et certaines filières d’enseignement montrer une collusion de facteurs induisant une généralisation des pratiques architecturales participatives au cours de la décennie soixante dix. / info:eu-repo/semantics/nonPublished

The increasing challenges caused by non-renewable energy in regard to climate change, the increased flux of migration to urban areas, and the undeniable impact of human activities on these phenomena have given rise to a wide range of scientific work analysing the relationship between urban form and energy. Pioneering research in this field shows a link between the density of cities and their energy consumption. While concerns surrounding sustainable urbanism have grown, urban thinking has evolved, and the interdependence between planning and mobility, and planning and building are increasingly being explored beyond the traditional ways in which they have been considered in isolation. Environmentally conscious design of dense urban forms is thus at the heart of sustainable urbanism. This research uses the concept of urban form to explain the city as a spatial phenomenon. Urban form is proposed as an analytical lens through which the contributions of design characteristics are revealed, for an energy-efficient urban planning policy.Although the link between urban form and energy performance is clearly established, research is lacking on the influence of spatial organization on energy saving in cities from efficient urban fabrics. The urban scale dimension of research on energy consumption attracts much less interest than that of the building, which is very present within the literature. Therefore, the research question was formulated as follows: “How can urban form and energy performance be connected to meet the increasingly unique and changing expectations or needs of places and populations?”. In this regard, the approach adopted in this research is a methodological contribution to knowledge.To answer this question, a research framework was developed with several research methods were employed to answer a set of sub-questions. The first –“What are the links between urban form and energy consumption?”– should be seen as exploratory questions to form a complete picture of the problem. It is answered through a combination of literature review and analysis of urban form elements. The second sub-question –“How can urban form indicators be integrated into the decision-making process for an energy-efficient urban planning policy?– is a fundamental question and is theoretically answered by a literature review and through the development of a theoretical framework. The third sub-question –“What are the links between socio-economic variables, transport infrastructure energy consumption and urban form?”– is the first of three questions that structure the empirical research. It resulted in a statistical data analysis for the selected case area, i.e. the Brussels-Capital Region. The fourth sub-question –“ What are the links between building geometry and solar gains?”– is answered with the analysis of a 3D simulation model of a district area in renovation. The last sub-question –“What are the design priorities required to reduce urban energy use?”– led to the development of a conclusion at multiple scales of urban form analysis. After introducing the topic, the research question and the research framework in the first chapter, chapters 2 to 6 respectively respond to each of the sub-questions. To answer the first sub-question, a historical analysis of the relationship between energy and urban form is presented in chapter 2. The discipline of urban form study in the fields of architecture urbanism and geography introduced four main schools of thought and three main approaches to analyse the urban form during the period 1960-2018. These schools support the viability of urban form analysis as an instrument for planning, as it makes us consider how urban form design affects the energy usage of the city. At the same time, urban planners need to consider the urban not to be simply a set of data, but a subject of inquiry that depends on an assumed initial definition and conceptualisation.In chapter 3, the methodological aspects used in this research are detailed and give an answer to the second sub-question. Four complementary systems of urban form elements are highlighted and connected to the energy indicators identified in the literature review. The scale of analysis for each of the urban form elements is also presented in this chapter with argumentation and detailed definition of the urban indicators. At the same time, the econometric statistical analysis is developed and explain the potential of; correlation, cointegration and causality analysis in building an efficient urban planning policy. In chapter 4, the Brussels-Capital Region mobility data for a 26 years period (1990-2016) are statistically analysed. The link between urban form indicators, transport and socio-economic indicators show the importance of road length development on increasing energy consumption in transport for the region. It also highlights the need for policy planning more inclined to take the “time” into consideration to be able to support future energy-efficient policy measure. In chapter 5, the analysis of the relationships between urban form and energy is scaled down to the street and building scales. A solar analysis is conducted on two different urban form models (the closed block and the open block). The results point to the importance of urban planning design considering open space an object of inquiry rather than simply leftover space between buildings. It is also reasserting the need for 3D model analyses in the preliminary stages of the conception of the technical specifications provided by the region for each project. Finally, in the chapter 6, the applicability and merits of the theoretical framework are first reflected upon. Next, the newly gained insights about the processes behind urban form and energy nexus are presented. Then, an answer is given to the main research question in the form of recommendations. These recommendations are based on the idea that the study of urban form development could be used as a powerful tool for crafting urban regulation guidelines and practices for a more integrated, sustainable urbanism. / Doctorat en Art de bâtir et urbanisme (Polytechnique) / info:eu-repo/semantics/nonPublished

This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.

This study considers the relief decoration of private tombs in Lower Egypt in the period 664-332 BC. The basis for analysis is a chronologically arranged descriptive catalogue, which includes both isolated blocks in museum collections and tombs whose location is known. The present condition of the relief and its content are described in detail there. Texts are considered where they provide infotmation on provenance and dating, and hand-copies are provided. Each piece is illustrated in the plate volume. Enough of the material can be dated by textual evidence to provide a solid framework for stylistic ordering of the remainder. The resulting chronology has important implications, dividing the period into two major phases, covering the seventh and sixth centuries, and the fourth century, separated by a hiatus in production of tomb reliefs. The chronology proposed eliminates the possibility that either Greeks or Persians exercised any significant influence on Egyptian art before the very end of the period. Instead, native tradition emerges as the primary inspiration for Late Period artists. Two sources stand out. The first is the Old-Middle Kingdom tomb repertory (archaism), the second is the New Kingdom tradition carried on in the minor arts, a source largely-ignored hitherto. These were not slavishly copied, but adapted and "modernized" to suit the taste of the time. The independence and creativity of Late Period artists is emphasized. A discussion of stylistic development in light of the dating system is given, and several themes are analyzed in detail as illustrations of the larger issues raised.

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 210-213).

A study of Salomon de Caus' manuscript commentary on the first book of Jean Martin's French translation of Vitruvius (c. 1622--1624) which takes the form of a dialogue between an Architect, an Engineer and a Mathematician. The removal of music and natural philosophy from the Vitruvion program of education; the need for the updating of Vitruvius' classical theory of founding cities and building their fortified walls; the emphasis on convenience in the planning of buildings and the separation of engineering and architecture within the Vitruvion corpus all point to a reduction in the role of architecture as cosmic analogy. A comparison with de Caus' treatises on perspective, mechanics, musical harmony, solar clocks and mensuration reveal that for de Caus, it is the engineer whose making can reconcile human and divine through a form of technical know-how that although it cannot be considered true knowledge, reveals the wonder of God to the senses.

The importance of the Hittites derives from the fact that they were an organized central power extending over a large territory within which a number of societies maintained their language, culture and traditions. The archaeological findings of Hattusha, the Hittite capital reveal that the city had reached its maximum limits during the Great Kingdom period and the most magnificient and monumental buildings of the city are dated to this period. Yazilikaya, the open air sanctuary which reached to its final form during the Great Kingdom period too, is an outstanding example of the many temples constructed in Hattusha that belong to different periods and the dimensions of which are quite dfferent from each other. Among the archaeological findings of Hattusha, the royal archives are other important material evidence as they transmit us the Hittites&#039 / perception of the cosmos. However, understanding the antique world which is at a &quot / distance&quot / both historaiclly and conceptually is not an easy task. In this context, rethinking and reinterpreting the meaning attributed to Yazilikaya, th eopen air sanctuary, can only be achieved by considering the political, architectural and religious aspects together. This study is an attempt to reinterpret the material knowledge by drawing the appropriate limits of this knowledge with a contextual approach.

Zugl.: Frankfurt (Main), Univ., Diss., 2005

Thesis (Ph.D.)--Flinders University, Dept. of Drama. / Typescript bound. Includes bibliographical references: (pp. 195-207) Also available online.

Diss.--Fachbereich Geschichtswissenschaften--Berlin--Freie Universität, 1990.