À travers la longue et complexe odyssée que traverse l'artiste, depuis la culture grecque antique jusqu'à nous, son atelier se révèle bien plus qu'un espace de travail. S'il est l'endroit où sont réalisées les images religieuses et politiques qui permettent à l'artiste de se distinguer de l'artisan, l?atelier, installé à proximité des cours royales ou du Vatican, devient un indice certes artistique, mais surtout social de son inscription dans la ville et dans la société. L'expulsion des artistes académiciens de la Grande Galerie du Louvre, au début du XIXe siècle finit par libérer l'artiste de ses liens avec l'académie et contribue à l'inscrire différemment dans la ville. Contrainte de s'installer « en ville », l'élite artistique se regroupe dans les quartiers habités par la bourgeoisie d'affaires. Les grands travaux de transformation que le baron Haussmann impose à Paris, déplace les plus démunis de sa population dont les artistes non reconnus. Tandis que la capitale ne cesse d'attirer les artistes étrangers. À la fin du XIXe et au début du XXe siècle, Montmartre et Montparnasse, récemment rattachés à la capitale, concentrent la vie artistique dans des cités improvisées. Inspirée des initiatives philanthropiques menées à l'égard des ouvriers, la Ville de Paris construit à ses portes des logements sociaux destinées aux employés et aux ouvriers entre les deux guerres. La politique de solidarité s'étend aux peintres et aux sculpteurs et elle est renforcée par l'action que le ministère des Affaires Culturelles engage dans les années 1960 auprès des artistes. Cette politique manifeste l'action de l'État-providence en faveur des artistes. La construction d'ateliers-logements dans les nombreux programmes de logements sociaux participe à la rénovation de Paris et de sa banlieue. L'atelier-logement, impliqué dans la ville devient un support de reconnaissance sociale de l'artiste professionnel. / Throughout the long and complex odyssey the artist has been traversing from the times of Ancient Greece to the present day his studio has been much more than just a site for work. If for a certain time it had been the place where images for religious and political practices were created allowing the artist to distinguish himself from the craftsman, his studio, located in the proximity of the royal courts or of the Vatican, had become a token of artistic activity but above all of his membership as a citizen of the township and of the society. When in early 19th century the artists, members of the Academy, were expelled from the Grand Gallery of Louvre it signified for them a liberation of their ties with the Academy and opened a new way to be part of the urban milieu. As a consequence, the artists had to settle «in town« the elite of them choosing to find foothold in the neighbourhoods inhabited by the bourgeoisie of business activities. The less fortunate popular strata, including the unrecognized artists, had to move away from the massive transformations of the urban infrastructure imposed by baron Haussman on the city of Paris. At the same time, Paris continued to attract artists from abroad. At the end of the 19th and in the beginning of the 20th century, the newly attached Montmartre and Montparnasse became the favoured neighbourhoods gathering artists living in improvised quarters. Inspired by the philanthropic initiatives benefiting the working population, the City of Paris started constructing between the wars social lodgings for employees and workers at the city's gates. This activity marked by solidarity was extended to include also painters and sculptors. It received new momentum in the 1960's by the Ministry of Culture in form of the actions it undertook in favour of artists. These activities were a concrete expression of the policy of the welfare state promoting the artists. In the housing renovation programmes in Paris and the nearby suburbs the construction of residential studios for artists was included in numerous social housing projects. A residential studio in the urban context became a basis of recognition for the professional artist.

The Degree project consists of two parts. The first is a tool to make it easier and quicker to visualize 2d drawings in 3d. The second part is an Art Center with workshops and housing, partly designed with the tool.  Peter Märkli speaks of the language of architecture. Which parts exist and how do you combine them?  The tool I’ve created is called Façade-o-bot and is a piece of Grasshopper code for Rhino that makes a 3d model out of 2d drawings of elements of your building.  In a sequence in the movie Memory & Imagination: New Pathways to the Library of Congress Steve Jobs talks about the role of the computer for learning and humans as creators of tools. He talks about an article which argues that the animal on earth that requires the least amount of energy to move is the concord and that humans end up pretty far down the list. That is until you compare with a human on a bicycle, then she easily beats the concord. He describes the computer as a bicycle for the mind.  This project is about bicycles for the architect mind. / Projektet består av två delar. Ett verktyg för att underlätta visualisering av arkitektur och en konsthall med studentlägenheter för konsthantverkare som är formgiven med hjälp av programmet.  Peter Märkli pratar om arkitekturens språk. Vilka är bitarna och hur sitter de ihop. I mitt projekt vill jag utforska det i ett kontext av digitala verktyg. Båda de verktyg som redan finns men också jobba med att utveckla egna. Hur kan man underlätta utformandet och planerandet av byggnader genom att skapa egna digitala verktyg? Jag har jobbat på ett program som jag kallar Fasadobot, en bit Grasshopper-kod som jag har skrivit till Rhino som bygger upp en byggnad i 3d efter en 2d ritning. I en sekvens i filmen Memory & Imagination: New Pathways to the Library of Congress pratar Steve Jobs om datorns roll för inlärning och om människan som en skapare av verktyg. Han berättar att han har läst att det djur på jorden som kräver minst energi för att förflytta sig är concorden och att människan i en sådan lista hamnar ganska långt ner. Tills dess att man jämför en människa på en cykel, då slår hon concorden med lätthet. Han beskriver datorn som “a bicyle for the mind”. Vi använder redan datorn som en cykel för hjärnan, jag är intresserad av hur vi kan göra ännu mer.

In an attempt to address the accessibility of the arts in Washington, D.C. and also to engage the underutilized waterfront, this thesis proposes a cultural center for the arts that at once links the building with the water, but which also becomes a source of excitement for the city. The arts center will act as an atelier that mixes education, production and exhibition of fine arts, theater, dance and music, with the goal being to achieve a space alive with activity and shared energy. Typically, buildings for art education have followed a model that emphasizes interaction by forcing artists of different media to share the same space in a classroom environment. Those same rooms may appear no different than, say, a room intended for an English class or science lab. The District of Columbia Waterfront Atelier (DCWA) aims to offer spaces that are designed for the specific medium and nothing else, thus, elevating the importance of the craft. By separating the arts into singular units, one may wonder if interaction between artists is lost. Interaction, however, may be achieved through different methods rather than, simply, by programmatic ones and the DCWA has become an exploration to discover alternatives to maintain and heighten the universal goal of an art atelier: to become engulfed and energized by the arts in an interactive setting. / Master of Architecture

Nuno Júdice est l’un des poètes portugais contemporains qui, tout au long de sa vie littéraire, a entretenu un rapport privilégié avec les arts. Le poète cherche, bien avant son premier recueil Noção do Poema (1972) et jusqu’à nos jours, à communiquer avec l’image peinte. Il instaure un subtil glissement entre poésie et peinture, mais aussi entre peinture et poésie. Il puise dans un univers de souvenirs indissociables du monde pictural. Ce dialogue fructueux et singulier avec la peinture nous permet d’observer comment l’ekphrasis devient un processus de transposition servant de base à une réflexion profonde sur le faire poétique. Notre recherche porte donc sur la relation ekphrastique qui se tisse dans toute l’oeuvre judicienne. Nous analysons, sous une approche thématique, les moyens que se donne le poète pour rapprocher la peinture du travail de l’écriture,en passant d’un atelier à l’autre. Nous partons de deux hypothèses : la première stipule que, pour Nuno Júdice, la peinture serait un moyen de relier les deux arts, permettant de récréer un autre tableau à partir des mots du poète. La seconde fait de la pratique de l’ekphrasis une possibilité de réveiller des souvenirs. En interrogeant le jeu intersémiotique et les analogies poésie-peinture, nous démontrons que paysage, lieu et corps s’articulent autour d’un seul et même principe. Peut-être s’agit-il, en dernière instance, de provoquer des sensations et de réinventer le monde ? / Nuno Júdice is one of Portugal's contemporary poets who has, during his entire literary career, held a privileged relationship with the arts. Even before his first published book, Noção do Poema(1972), the poet endeavored to communicate with the painted image. He establishes a subtle slippage between poetry and painting, but also between painting and poetry. He mines a universe of inseparable memories of the pictorial world. This singular and fecund dialogue with painting allows us to observe how ekphrasis becomes a process of transposition and a base for a profound reflection on the poetic 'how-to'. Our research thus concerns the ekphrastic relationships, which are woven through his whole work. We analyze, with a thematic approach, the means with which the poet brings painting to his writing in moving from one artist's studio to another. We start from two hypotheses: the first stipulates that for Nuno Júdice, painting is the means of linking the two arts, allowing the creation of an another painting from the poet's words; the second emphasizes that the practice of ekphrasis stimulates a possibility of retrieving memories. In our interrogation of the intersemiotic play and the poetry/painting analogies, we show that landscape, place and body articulate around one and the same principle. Is it perhaps, ultimately, about provoking feelings and reinventing the world?

Le niveau de complexité des défis auxquelles font face les sociétés contemporaines exige le développement de solutions basées sur la combinaison de compétences de multiples acteurs. Cette intelligence collective émerge de la capacité des acteurs de réaliser des projets dans lesquelles leurs actions sont hautement interdépendantes. Le système pédagogique traditionnel fait face à des limitations structurelles pour former les étudiants à cette pratique que nous caractérisons de conception collaborative. Malgré le fait que le modèle de l’apprentissage basé sur l’atelier est avant tout utilisé dans une approche individuelle d’auteur, ce système singulier qui distingue les études d’architectures depuis 300 ans s’avère être un processus d’apprentissage hautement collectif. Nous soutenons que le W-AU est une évolution de ce modèle qui, en reconfigurant certains de ses paramètres, est devenu une approche efficace pour la formation à la conception collaborative. Grâce à un ancrage historique du W-AU, une typologie de ses pratiques contemporaines, et une recherche-action menée dans 3 cas spécifiques, cette recherche identifie les forces et les limites de ce modèle. Ce travail met en lumière, entre autres, les rôles de certains acteurs clés et les gouvernances propres à servir de médiation au processus de collaboration. Par ailleurs, l'appropriabilité, l'exotisme et l'interaction collective des structures du système se révèlent être des caractéristiques clés pour catalyser le processus collaboratif. Enfin, cette thèse souligne que, malgré une pratique répandue, les spécificités du W-AU doivent être mieux comprises et maîtrisées pour soutenir efficacement la conception collaborative. / The complexity level of challenges that face contemporary societies requires the development of solutions based on combinations of skills from multiple actors. This collective intelligence emerges from the capacity of actors to carry out projects in which their actions are highly interdependent. The traditional pedagogical system faces structural limitations in training students in this interdependent practice that we characterize as collaborative design. Despite the fact that studio-based learning model is mostly used in an individual authoring approach, this singular system which typify the architecture studies for the last 300 years, reveal a highly collective learning process. In this thesis, we argue that the Design Charrette is an evolution of this model which, by reconfiguring some of its parameters, has become a proper approach for collaborative design. Through a historical and theoretical anchor of the Design Charrette, a typology of its contemporary practices, and through action research conducted within 3 specific cases, this research identifies the potential strengths and limitations of the Design Charrette as a model for training students in collaborative design. Among the findings, this work highlights some key actors roles and governance configurations proper to mediate the collaborative process. It draws attention that appropriability, exoticism and collective interaction of the system structures, are key factors to catalyse collaborative design process. Finally, this work point to the fact that, despite the widespread practice of the Design Charrette, its specifics settings need to be better known to support effectively collaborative design process. / A complexidade dos desafios que as sociedades contemporâneas enfrentam requer a concepção de soluções baseadas na mobilização das habilidades de múltiplos atores. Esta inteligência coletiva emerge da capacidade desses atores conduzirem projetos nos quais suas ações são altamente interdependentes. No entanto, o sistema tradicional de ensino, que está baseado em uma lógica disciplinar de avaliação individual, encontra dificuldades para formar estudantes a este tipo de práticas de concepção colaborativa. Na paisagem da educação de nível superior, o ensino da Arquitetura distingue-se da abordagem disciplinar unversitária por utilizar o dispositivo do Atelier, que visa a aprendizagem de competências através de uma abordagem integrativa dos conhecimentos num processo de projeto. Este processo de aprendizagem por meio do projeto é também realizado em um ambiente particular, caracterizado por padrões espaciais, temporais, físicos e sociais singulares. Embora o sistema de avaliação seja feito da mesma forma que o modelo umiversitário tradicional, que é estruturado em função de um trabalho individual, este dispositivo pedagógico se difere em primeiro lugar, pela postura de autor que o aluno deve demonstrar, e em segundo lugar, pela dinâmica coletiva de aprendizagem que é implementado neste ambiente particular de fornação. A partir dessas constatações, defendemos a tese de que o Atelier de Arquitetura é um dispositivo pedagógico capaz de formar à concepção colaborativa, desde que alguns dos seus parâmetros sejam reconfigurados. Nesta perspectiva, nós identificamos o atelier intensivo de curta duração como uma evolução contemporânea do dispositivo do Atelier que, graças a uma concentração de alguns dos seus parâmetros (espaciais, temporais, físicos e sociais), tornou-se um lugar de experimentação concreta da prática e da aprendizagem da concepçãocolaborativa. Nessa pesquisa, nós usamos o acrônimo "W-AU" (Workshop de Arquitetura e Urbanismo) para falar do atelier intensivo de curta duração, a fim de distingui-lo de sua versão longa. Para defender esta tese, em primeiro lugar, nós definimos o atelier tradicional através de uma perspectiva histórica, além de analisarmos sua estrutura e seu funcionamento para então identificar como este dispositivo dialoga com a noção de concepção colaborativa. Em seguida, nós realizamos uma tipologia do W-AU, em função de suas diferentes práticas contemporâneas, para situar três estudos de caso a partir dos quais, nós descrevemos diferentes implementações da concepção colaborativa. Esta análise nos permite trazer à luz o papel-chave dos diferentes atores, da configuração da governança e da configuração dos parâmetros do ambiente, visando promover o processo de concepção colaborativa. Esta pesquisa consiste portanto em identificar as potencialidades e limitações oferecidos pelo W-AU para a formação à concepção colaborativa nos estudos de Arquitetura. Dada a diversidade das variáveis que estão em jogo na implementação deste ambiente colaborativo, a ambição desta contribuição não é propor um procedimento-padrão para a realização deste gênero de dispositivo, mas sim identificar e divulgar algumas ferramentas e estratégias sucetíveis de serem mobilizadas pelos atores da concepção colaborativa, visando facilitar e otimizar a sua abordagem.

Alejandra Pizarnik et Sylvia Plath, poètes prolifiques et figures frôlant le mythe, ont forgé au cours de leurs carrières voix uniques et œuvres riches. Elles se partagent une vaste sensibilité artistique, un goût pour la démesure, ainsi qu’une volonté, celle d’être artiste avant tout, de laisser une marque, une trace. Outre leurs œuvres narratives et poétiques, Plath et Pizarnik sont reconnues pour leurs journaux (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971). Ces textes sont fréquemment lus comme des journaux intimes, mais gagnent à être approchés autrement : comme une part intégrale de la création. Ils sont un appui à l’œuvre à venir, un lieu de travail du geste et de l’idée, un atelier. Omniprésents depuis la fin du 19e siècle, indissociables de la modernité littéraire, les journaux d’écrivain·es ont aujourd’hui encore un statut instable. Ils restent difficilement classables, empruntent à la fois les réflexes d’une longue tradition spirituelle et philosophique, tout comme des procédés uniques à la pratique écrivaine. Ce mémoire cherche à réfléchir leur rôle dans la création, prenant comme base la tradition des exercices spirituels (définis par Hadot) ou des techniques de soi (théorisées par Foucault), puis développant une réflexion grâce à l’idée d’atelier d’écriture. Telles des artistes visuelles, pour avancer jusqu’à Ariel ou Infierno musical, Plath et Pizarnik s’appuieront sur un atelier, un lieu d’expérimentation, de liberté – constellation de carnets, d’ébauches tapées à la machine, de recueils de notes. Ce lieu de langage réunit deux versants : l’entraînement (très vaste, à la manière de l’askesis antique) et l’ouverture vers la création (progression vers la poiesis, l’idée neuve). L’atelier permet d’œuvrer sur le langage et le soi. Avec toujours en vue la quête de la poésie, née de l’intime puis se dépliant, depuis la chute de la plume jusqu’à l’œuvre entière, multicolore. Dans les mots de Plath : « to invent on the drop of a feather, a whole multicolored bird » . / Alejandra Pizarnik and Sylvia Plath, prolific writers and almost mythical figures, have built throughout their careers a unique voice and a rich body of work. They share a broad artistic sensitivity, a taste for excess, and the need to become an artist above all else, to make their mark, leave a trace. Besides their narrative and poetic production, Plath and Pizarnik are known for their journals (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971), which are often interpreted as intimate texts, as diaries – but who should be primarily seen as an integral part of their creation process. They are a support, a place to work on craft and ideas, an atelier (workshop and studio). Essential since the end of the 19th century, linked to literary modernity, writers’ diaries are still today hard to categorize. They inherit from a long spiritual and philosophical tradition, as well as create their own unique methods. This thesis aims to understand their role in literary creation, with the help of the tradition of the “spiritual exercises” defined by Hadot and of the “techniques of the self” theorized by Foucault, then expanding further with the idea of atelier. Like visual artists, to progress towards Ariel or Infierno musical, Plath and Pizarnik use their atelier, a space of experiment, of freedom – a collection of notebooks, drafts and typescripts, and notes. This space made of language has two purposes : practice (a vast training, like the askesis of Antiquity) and creation (progression towards poiesis, the new idea). The atelier helps working on language and the self. Always searching for this breach that is poetry, born from an intimate place and then unfolded, from the drop of a feather to a whole, multicolored oeuvre. Or as Plath puts it : “to invent on the drop of a feather, a whole multicolored bird”.

Ce travail de recherche s’intéresse au potentiel thérapeutique de la lecture et vise à mieux comprendre le fonctionnement du dispositif littéraire, notamment dans son interaction avec le lecteur. En nous appuyant sur la théorie des mondes parallèles, nous faisons l’hypothèse que l’œuvre littéraire induit une simulation de la vie psychique du lecteur. Par le biais du canal sémiotique qu’est le texte et selon des dispositifs de représentation, le lecteur ressaisit le sens des mots et s’approprie le récit. En tant qu’expérience esthétique, la lecture littéraire fait appel au vécu du lecteur et engage ses émotions autrement que tout autre type de discours. Le geste de la lecture sous-entend déjà une certaine subjectivité du lecteur et nous pouvons donc, dès lors que nous nous intéressons de plus près à l’interaction entre texte et lecteur, concevoir une utilisation thérapeutique de la littérature. En proposant l’œuvre littéraire comme support de développement psychique, nous avons conçu, animé et évalué un atelier thérapeutique de lecture et d’écriture dans trois structures en santé mentale, à Toulouse et à Montréal. Destiné à un public souffrant de psychose, cet atelier s’appuie sur les principes de l’art-thérapie et vient concrétiser l’aspect (re)constructeur de la lecture littéraire inscrite dans notre réflexion théorique. Nos observations, d’une part, interrogent la perspective théorique littéraire, la fonction attribuée à l’œuvre et l’activité du lecteur et, d’autre part, débouchent sur des propositions thérapeutiques pour un atelier de lecture et d’écriture en milieu psychiatrique. / This research is interested in the therapeutic potential of literary reading and looks for a better understanding of the literary device, particularly in its interaction with the reader. Basing our work on fictional worlds theory, we make the hypothesis that literary work induces a simulation of the reader’s psychic life. Using the semiotic channel of the text and according to representation devices, the reader seizes the words’ sense and adapts the story for himself. As an aesthetic experience, literary reading calls for the reader’s past experiences and engages his emotions in a different way than any other type of discourse. The gesture of reading already implies a certain subjectivity for the reader and we can therefore, as we take a closer interest to text-reader interaction, imagine a therapeutic use of literature. Proposing literary work as a support for psychic development, we have designed, ran and evaluated therapeutic reading and writing sessions in three mental health infrastructures, in Toulouse and Montreal. Destined to a psychotic audience, these reading sessions are based on art therapy principles and concretize the (re)constructive aspect of literary reading within our theoritical reflection. On one hand, our observations challenge the literary studies perspective, the function of the literary work and the activity of the reader and, on the other hand, they lead on therapeutic propositions for reading and writing sessions in a psychiatric context.

How were immigrants, immigrant issues and their histories represented through radical poster art created during the 1968 protests and strikes in France? The May 1968 protests remain one of the most significant moments in contemporary French history and it occurred during a time when immigrant populations were rapidly increasing. There is a multitude of research, analysis and reflections on the protests and strikes; yet there is very little mention of the place of immigrants during this event. Art collectives that were created during the protests designed and produced posters that later became a symbol of the strike. By using a variety of primary and secondary sources including small press publications, interviews, manifestos, historical and artistic secondary soured this work argues that it is during this social movement that immigrants and immigrant issues entered French social discourse and this can be seen by exploring the messages presented in the posters.

O ensino institucional da arquitetura no Brasil é considerado insatisfatório de forma quase consensual. Tem sido objeto de inúmeras e continuadas reformulações em sua curta história de pouco mais de seis décadas, sem contudo se obter maiores avanços. Este trabalho reconstitui o processo dessas reformas centrado nas experiências da FAUUSP, muitas das quais tiveram papel decisivo na organização dos cursos da maioria das escolas do país. O autor vivenciou em parte esse processo e analisa algumas questões e propostas que considera importantes para a reflexão sobre a questão. A partir da hipótese de que o problema do ensino da arquitetura é, na realidade, problema do ensino do projeto, analisa o conflito conceitual e organizacional entre o ateliê, considerado locus privilegiado para o ensino de projeto, e a estrutura disciplinar em que está inserido. Este conflito estaria, aparentemente, na raiz da persistência do problema do ensino do projeto, apesar das sucessivas reformulações. O trabalho procura aprofundar estas e outras questões consideradas importantes para um encaminhamento mais conseqüente do problema. / The institutional training of architecture in Brazil is deemed unsatisfactory on an almost consensual level. It has been the target of many and continuous reformulations along his short existence a little more than six decades but nevertheless it has not achieved much advancement. This thesis aims to reestablish the process of these reforms, centered in the experiences of the FAUUSP, many of which have played a crucial part in the organization of the courses offered in the majority of architecture faculties in the country. Its author has partly experienced this process and analyses some issues and proposals which, in his opinion, are important for a meditation on that matter. Adopting the assumption that the problem of the teaching of architecture is, in fact, a problem of the teaching of design, this author analyses the organizational and conceptual conflict between the atelier, seen as the privileged locus for the teaching of design, and the disciplinary structure in which it is embedded. Apparently this conflict would be in the root of the problem of the persistency of the teaching of design, notwithstanding its successive reformulations.The thesis looks up to deepen this and other issues, seen as important for a more consequent forwarding of the problem.

Esta dissertação de mestrado tem como objeto de estudo o ensino aprendizagem da arte em ateliê de artes visuais para crianças entre sete e doze anos. Relata experiências em um ateliê na escola; o histórico do Ateliê de Artes Visuais Para Crianças do Departamento de Artes Plásticas da Escola de Comunicações e Artes da Universidade de São Paulo e a prática-teóricopoétic em um ateliê experimental, de iniciação à cerâmica, para análise e considerações sobre esta pesquisa. / The present master thesis brings as its research object the art teaching in visual arts ateliers in which participate children from seven to twelve years old. The dissertation considers, for this research analysis and conclusions, experiences in school context; experiences at the Atelie de Artes Visuais para Crianças (visual arts atelier for children held by the visual arts department of arts and communication college of University of São Paulo); and the theoric-poetic-practice of an experimental atelier of ceramics fundaments at the same department.