Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy-­-Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy-­-Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela Bauhaus / The statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.

Jan Tschichold (1902-1974), typographe et théoricien de la typographie, est célèbre pour la rupture qui scinde son travail en deux corpus en apparence inconciliables selon les catégories traditionnelles de l’histoire de l’art : modernisme et traditionalisme. Dans les années 1920, il est en Allemagne, l’un des défenseurs de la « Nouvelle Typographie », conception avant-gardiste de la discipline influencée notamment par le Bauhaus. Après avoir émigré en Suisse suite à l’arrivée au pouvoir des nazis, il devient à partir de la fin des années 1930, un érudit de l’histoire de l’imprimerie, replaçant la forme traditionnelle du livre au centre de ses préoccupations. Comment expliquer cette rupture ? Nous proposons de répondre à cette question en décentrant notre regard des travaux de conception de Tschichold pour s’attacher à ses pratiques de lecture et d’écriture. Cela permet d’envisager son activité comme celle d’un professionnel intégré contraint de s’adapter à la mécanisation et l’automatisation de processus de travail autrefois artisanaux, en décalage avec l’image du créateur avant-gardiste franc-tireur dont il jouit parfois. En superposant aux outils conceptuels de l’histoire de l’art, les grilles d’analyse des historiens du livre, de l’industrialisation ou des sociologues, nous tentons d’apporter de nouveaux éléments de compréhension, non seulement concernant Tschichold, mais également le courant de la Nouvelle Typographie. De manière plus générale, nos recherches questionnent les notions de « typographie » et de « typographe », ainsi que les relations qu’entretiennent typographie, design graphique et publicitaire, peinture, photographie et architecture au XXe siècle. / Jan Tschichold (1902-1974), typographer and theorist of typography, is famous for the break that divides its work into two apparently irreconcilable corpora in the traditional categories of art history: modernism and traditionalism. In the 1920s, he is in Germany, one of the “New Typography” advocates, avant-garde design discipline particularly influenced by the Bauhaus. After immigrating to Switzerland (after the Nazis came to power), he became from the late 1930s, a scholar of the history of printing, replacing the traditional form of the book at the center of its concerns. How to explain this failure? We propose to answer this question by offsetting our view of Tschichold design work to focus on practices of reading and writing. This allows considering its work like a professional forced to adapt a craft to mechanization and automation, stepping out with the legend of the avant-gardist artist who is propagated by many books on the history of graphic design. By superimposing on the conceptual tools of art history, the analysis grids of the historians of book and printing, of the industrial revolution or the tolls of sociologists, we try to bring new elements of understanding, not only for Tschicholds career, but also the “artistic” movement of the New Typography. More generally, our work questions the notions of “typography” and "typographer" and the relationship between typography, graphic and advertising design, painting, photography and architecture in the twentieth century.

The addition to the College of Architecture and Design Weimar, the former Bauhaus Weimar, consolidates the two existing buildings designed by Henry van de Velde into a new complex with 40,000 sf of existing building and 100, 000 sf of new structure. The new facility contains a 300 seat auditorium, library, lecture and seminar rooms, administrative offices, cafeteria, photo lab and gallery as well as extended studios and offices.Contrary to the brief of the competition which only requires an addition for the Department of Architecture, the position taken here, proposes an interweaving of the Art and Architecture Departments. The Bauhaus interweaves these two schools in the same way as the definition of art and architecture have come to include each other. The additional structure integrates therefore the idea that the building is used both by architecture and art students.Since the project is for a College of Architecture and Art, I believe the new College of Art and Architecture must confront the challenges of current thinking; the search for a new integration of concept and form it must move over the deconstructive approach by achieving a complexity not as a contradiction but as an acceptance of the duality of existence.This interelationship is represented in the famous play "Faust". Written by Johann Wolfgang von Goethe who spent almost 60 years (and most of them in Weimar) working on this piece, the play raises diverse and contradictory questions: 1. of knowledge, 2. of identity and 3. of morality in terms that reflect the 'doubleness' of all beings in nature. Faust becomes important when we recognize the memory of such themes in Weimar.The pieces, and hence, the structure of the play are not composed as a narrative but as an dialogue of different stories. The development of the design parallels the play in which the play becomes the concept and the concept becomes the play; several events - each centered on one major event- provide the scenes for the building. / Department of Architecture

This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.

L’identité culturelle de Florence Henri est complexe et digne d’intérêt. Sa carrière comme l’Europe ont été marquées par les deux guerres mondiales. Nous nous sommes attachées à partir de documents inédits à analyser le parcours de Florence Henri entre Berlin (1910-1924) et Paris (1924-1962). Née en 1893 à New York, Florence Henri passe sa jeunesse à voyager en Europe. La plupart de ses années de formation musicale s’effectuent à Berlin avec Ferrucio Busoni. Elle fut la compagne de l’écrivain et critique d’art Carl Einstein, l’un des principaux promoteurs de la culture française à Berlin. La première guerre mondiale la pousse à abandonner la musique pour la peinture.Quand elle arrive à Paris, Florence Henri s’inscrit à l’académie d’André Lhote et à l’académie Moderne de Fernand Léger où elle s’initie au purisme. Pendant l’été 1927, elle fait un séjour au Bauhaus qui bouleverse toute sa carrière qu’elle orientera désormais vers la photographie avec un succès international immédiat. Ses autoportraits et l’usage de miroirs dans ses photographies sont des références de la Nouvelle Vision. Un nouveau changement de cap s’effectue au début de la seconde guerre mondiale avec un retour à la peinture. Les relations à Paris entre artistes français et allemands se maintiennent en dépit des conflits politiques et les échanges épistolaires témoignent de la solidarité au sein de cette communauté d’artistes. Florence Henri fait partie intégrante d’un réseau d’artistes exilés qui se réfugient à Paris. Jusqu’à ce jour elle a été qualifiée d’artiste française, suisse ou américaine mais notre étude démontre l’importance de la sensibilité allemande dans son œuvre malgré les quarante ans passés à Paris. / Florence Henri’s cultural identity is complex and worthy of interest. Her carrer as Europe was marked by the two World Wars. From unpublished documents, we have analysed Florence Henri’s path between Berlin (1910-1924) and Paris (1924-1962). She was born in 1893 in New York, she spent her youth on travelling in Europe. She followed most of her music training years in Berlin with Ferrucio Busoni. She had been Carl Einstein’s companion, the writer and art critic who was one of the most important promoters of the French culture in Berlin. The First World War pushed her to give up music to painting.When she arrived in Paris, F H registered for André Lhote académie and for Modern académie of Fernand Léger where she initiated herself into purism. During the summer 1927, she had a trip to Bauhaus which would turn her all career in future onto photography with an immediate, international success. Her self-portraits and the use of mirrors in her photographs are some references to the New Vision. A new change of course happened at the beginning of the Second World War with the return to painting.The relationships between French and German artists in Paris did not the political conflicts into account and the epistolary exchanges have showed solidary within artists community. She belonged to a network of exiled artists who took refuge in Paris. Until now, she has been described as a French, Swiss or American artist but our study shows the importance of the German sensitivity in her work despite her forty years spent in Paris.

[EN] The consolidation of the figure of the industrial designer in the United States during the middle decades of the twentieth century is the issue raised by this investigation. This process involves the transition between craft and industry that had begun centuries ago. American designers specialized in a new profession, they set up a shared, multidisciplinary intelligence. Perhaps unwittingly they pioneered in blurring the boundaries between the creative disciplines. It is a valuable model of transformation and adaptability that you can draw conclusions and parallels with the current period, an example with which to prepare and understand the acceleration produced by the third industrial revolution, and the changes produced in the creative professions. There have always been more or less traditional way, ways to mass produce everything around us, from everyday objects to architectures. But it is the second industrial revolution, with the emergence of Taylorism and the Ford revolution, which by new machines and systematization of manufacturing processes introduced a turning point in this development. Movements in Europe as the Arts and Crafts succeeded, groups and associations were established as the Wiener Werkstätte and the Bauhaus and later Werkbunds was established, all connected and that influenced in part on the evolution of design in the young American nation. The United States gave an exceptional context: a market coupled with unprecedented scale, a company with an innovative technical comfort in energy, materials and media led to a way of life, The American way of life, with its lights and shadows. It was just the right distance from the European tradition of the elements that favored the consolidation of the industrial design profession in US territory. The historical uniqueness lies in the level of technical expertise had increased to make the knowledge to produce a well exceed the ability of a person. The pioneers of American design coordinated work of multidisciplinary teams of engineers, architects, manufacturers, advertisers... while accompanying the product until the communication process, encouraged by the needs of large companies. This allowed them to work in a variety of projects that did not happen so broadly notable examples from the Renaissance. They worked in fields such as graphic design, industrial design, interior design, architectural design, urban design, automotive design, railways, naval design, aircraft design... even aerospace design, creating new types and extending the scope of their work. The most important designers of the period were Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague and Henry Dreyfuss, from the world of stage design, illustration and window dressing. Guided by intuition helped the beauty industry from the 1920s. Speaking of the birth of industrial design assumes deepen relations between art and industry, between man and machine. It invites us to ask questions that make up what is to come. / [ES] La consolidación de la figura del diseñador industrial en Estados Unidos durante las décadas centrales del siglo XX es el tema que suscita la presente investigación. Este proceso supone la transición entre artesanía e industria que había comenzado siglos atrás. Los diseñadores americanos se especializaron en una nueva profesión, pusieron en marcha una inteligencia compartida y multidisciplinar. Quizás sin saberlo fueron pioneros en desdibujar los límites entre las disciplinas creativas. Es un valioso modelo de transformación y adaptabilidad del que se pueden extraer conclusiones y paralelismos con la época actual, un ejemplo con el que poder preparar y entender la aceleración producida por la tercera revolución industrial, y los cambios que produce en las profesiones creativas. Siempre han existido, de forma más o menos artesanal, maneras para producir en serie todo lo que nos rodea, desde los objetos más cotidianos hasta las arquitecturas. Pero es la segunda revolución industrial, con la aparición del Taylorismo y la revolución Ford, la que mediante nuevas máquinas y la sistematización de los procesos de fabricación introducen un punto de inflexión en este avance. En Europa se sucedieron instituciones, escuelas y movimientos como las Arts and Crafts, se establecieron colectivos y asociaciones como los Wiener Werkstätte y las Werkbunds y posteriormente se constituyó la Bauhaus, conectados todos ellos y que influyeron en parte en la evolución del diseño en la joven nación norteamericana. En Estados Unidos se dio un contexto excepcional: un mercado unido con unas dimensiones sin precedentes, una sociedad con un confort técnico novedoso en energías, materiales y medios de comunicación dieron lugar a un modo de vida, The american way of life, con sus luces y sus sombras. Fue la distancia justa de la tradición europea uno de los elementos que favoreció la consolidación del Diseño Industrial como profesión en territorio norteamericano. La singularidad histórica radica en que el nivel de especialización técnica había aumentado hasta hacer que los conocimientos para producir un bien excedieran la capacidad de una persona. Los pioneros del diseño americano coordinaban el trabajo de equipos multidisciplinares formados por ingenieros, arquitectos, fabricantes, publicistas¿ a la vez que acompañaban al producto hasta el proceso de comunicación, animados por las necesidades de las grandes compañías. Esto les permitió trabajar en una variedad de proyectos que no sucedía de forma tan amplia desde los notables ejemplos del Renacimiento. Trabajaron en campos como el diseño gráfico, el diseño industrial, diseño de interiores, diseño arquitectónico, diseño urbanístico, diseño automovilístico, diseño de ferrocarriles, diseño naval, diseño aeronáutico¿ incluso diseño aeroespacial, generando nuevos tipos y ampliando el espectro de sus trabajos. Los diseñadores más relevantes de esta época fueron Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague y Henry Dreyfuss, procedentes del mundo de la escenografía, la ilustración y el escaparatismo. Guiados por la intuición de la belleza ayudaron a la industria a partir de la década de 1920. Hablar del nacimiento del Diseño industrial supone profundizar en las relaciones entre arte e industria, entre el hombre y la máquina. Nos invita a plantearnos preguntas que inventen lo que está por venir. / [CAT] La consolidació de la figura del dissenyador industrial als Estats Units durant les dècades centrals del segle XX és el tema que suscita la present investigació. Aquest procés suposa la transició entre artesania i indùstria que havia començat segles arrere. Els dissenyadors americans es van especialitzar en una nova professió, van posar en funcionament una intel¿ligència compartida i multidisciplinar. Tal vegada, sense saber-ho, van ser pioners en desdibuixar els límits entre les disciplines creatives. És un valuós model de transformació i adaptabilitat del que es poden extraure conclusions i paral¿lelismes amb l'època actual, un exemple amb el què poder preparar i entendre l'acel¿leració produïda per la tercera revolució industrial, i els canvis que produeix amb les professions creatives. Sempre han existit, de forma més o menys artesanal, maneres per a produïr en sèrie tot allò que ens envolta, des de els objectes més quotidians, fins a les arquitectures. Però és la segona revolució industrial, amb el sorgiment del taylorisme i la revolució Ford, la que, mitjançant noves màquines i la sistematització dels processos de fabricació, introdueixen un punt d'inflexió en aquest avançament. A Europa es van succeïr institucions, escoles i moviments com les Arts and Crafts, es van establir col¿lectius i associacions com els Wiener Werkstätte i les Werkbunds, i posteriorment es va constituir la Bauhaus, connectats tots ells i que van influir en part en la evolució del disseny a la jove nació nordamericana. Als Estats Units es va donar un context excepcional: un mercat unit amb unes dimensions sense precedents, una societat amb un comfort tècnic novedós en energies, materials i mitjans de comunicació van donar lloc a un estil de vida, The american way of life, amb les seues llums i les seues ombres. Va ser la distància justa de la tradició europea un dels elements que va afavorir la consolidació del Disseny Industrial com a professió en territori nordamericà. La singularitat històrica radica en què el nivell d'especialització tècnica havia augmentat fins a fer que els coneixements per a produïr un bé excediren la capacitat d'una persona. Els pioners del disseny americà coordinaven el treball d'equips multidisciplinars formats per enginyers, arquitectes, fabricants, publicistes¿ a la vegada què acompanyaven el producte fins al procés de comunicació, recolzats per les necessitats de les grans companyies. Allò els va permetre treballar en una varietat de projectes que no succeïa de forma tan ampla des dels notables exemples del Renaixement. Van treballar en camps com el disseny gràfic, el disseny industrial, disseny d'interiors, disseny arquitectònic, disseny urbanístic, disseny automovilístic, disseny de ferrocarrils, disseny naval, disseny aeronàutic¿ inclús disseny aeroespacial, generant nous tipus i ampliant l'espectre dels seus treballs. Els dissenyadors més destacats d'aquesta època van ser Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague i Henry Dreyfuss, procedents del món de l'escenografia, la il¿lustració i l'escaparatisme. Guiats per la intuició de la bellessa, van ajudar a la indùstria a partir de la dècada de 1920. Parlar del naixement del Disseny Industrial suposa aprofundir en les relacions entre art i indùstria, entre l'home i la màquina. Ens convida a plantejar-nos preguntes que inventen allò que està per vindre. / Silvestre Navarro, FM. (2016). PENSADO A MANO, FABRICADO EN SERIE. Pioneros del Diseño Industrial. Transformación y adaptabilidad de las profesiones creativas [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62207 / TESIS

Der anhaltende Bauboom verändert das Aussehen deutscher Städte. Dabei werden insbesondere die Häuser im sog. Bauhausstil kritisiert, die in Baulücken gesetzt werden und traditionelle Bauensemble auseinanderreißen. Ziel des Beitrags ist es, die Zustimmung zum sog. Bauhausstil zu überprüfen, der deutsche Wohnsiedlungen überrennt. Wie viel Zuspruch erhalten diese Häuser wirklich? Wird dieser Stil tatsächlich geschätzt? Wie werden Häuser im Bauhausstil alleine und im Kontext anderer Immobilien bewertet? Die Ergebnisse lassen sich wie folgt zusammenfassen: Der Bauhausstil wird im Vergleich mit anderen Baustilen nur von einer Minderheit präferiert. Menschen in Deutschland präferieren üppiger verzierte und ornamentierte Gebäude. Die weiße Farbe ist absolut kein Muss. Flachdächer werden überwiegend abgelehnt. Bauhäuser, denen nachträglich schräge Dächer aufgesetzt wurden, werden präferiert. Werden Häuser im Bauhausstil in Baulücken gesetzt, so dass eine früher homogene Bausituation gestört wird, wird dies überwiegend abgelehnt. Häuser in homogenen Bausituationen haben einen höheren Wert als Häuser in Gebäudegruppen, die durch ein abweichendes Haus gestört wurden. Homogenität von Gebäudegruppen ist eine wertsteigernde Eigenschaft. Punkten können Häuser im Bauhausstil gegenüber traditionellen Immobilien vor allem durch ihre Neuwertigkeit: c.p. wird Neu gegenüber Alt bevorzugt. Wenn Häuser im Bauhausstil in einigen Jahren nicht mehr neu sein werden, dann wird die Zerstörung der Homogenität einer Bausituation übrigbleiben. Die Stadtplanung sollte stärker regulierend eingreifen. / The sustained and continuing construction boom alters the appearance of German cities. One project follows the other. There is no or limited willingness for serious urban planning. People criticise the disappearance of traditional structures. Especially new houses in the so called Bauhaus style are accused of being aesthetically unattractive. They would disturb and hinder a positive urban development. Aim of the article is to evaluate the consent or disapproval with the Bauhaus style. How serious is the criticism, and how deep is the aversion when residential property in the Bauhaus style fills a gap in a homogenous row of houses built in other styles? The results are as follows: The Bauhaus style is supported by a minority only. The vast majority prefers other styles, especially the classical style. People do not favour the white colour – other colours are equally liked. The same is true with the flat roof or the asymmetric windows – all typical elements of the Bauhaus style. Other types of roofs and windows are preferred. The disturbance of a homogenous row of houses by a house in the Bauhaus style is being negatively rated. Homogeneity of a neighbourhood is a very highly ranked criterion when valuing residential properties. It follows that urban planning should be more restrictive in regulating the appearance of new buildings in established urban areas.

In a dialogue with Catherine Dormor’s book, A Philosophy of Textile (2020), this paper argues that knitting has a unique position in the sphere of textile. To understand the technique as both practice and theory is not only to acknowledge its potency as expression and reflection, but also to perceive textile in a broader perspective. Starting with the article Offset, Buch- und Werbekunst (Offset, Printing, and Commercial Art) written by one of the key figures of the Bauhaus weaving workshop, Gunta Stölzl in 1926, I outline the historical context, and justify the significance of my research. Employing the concept—championed by the artist/psychoanalyst Bracha L. Ettinger—, the Matrix, in particular together with (Inter)relationship, Techne as Dormor suggests, I navigate knitting in general as well as my own practice. By closely inspecting knitting as a mode of both making and thinking, this paper proves that knitting has a capacity to embody multiple layers of time and space, and by doing so, becomes a meaning-making device whose production questions, challenges and overturns hierarchical and binaristic modes of thinking.

Cette thèse vise à répondre à la question L’entreprise d’ameublement IKEA peut-elle être envisagée comme les prémices de réalisation d’une œuvre d’art totale ? La réflexion est menée en deux grandes parties distinctes. La première se concentre sur le concept wagnérien d’œuvre d’art totale. Grâce à la littérature scientifique sur le sujet, il est montré l’importance du wagnérisme pour la culture occidentale du XXe siècle et l’intérêt du concept au sein du champ des études intermédiales. Puis, l’exposition des origines du concept et de plusieurs applications ou réappropriations, telle que celle du Bauhaus, permet d’en souligner la nature socioesthétique et d’en distinguer deux dimensions : une purement idéaliste, celle de l’utopie sociétale en devenir (l’œuvre d’art totale accomplie) ; et une dimension plus concrète, visant l’atteinte de cet idéal grâce aux arts, ce que je nomme les amorces partielles de l’œuvre d’art totale (outil de mise en place de l’œuvre d’art totale). Enfin, en vue de l’étude d’IKEA, l’attention se concentre sur la dimension concrète du concept et est ainsi proposée une liste de caractéristiques propres aux amorces partielles permettant d’évaluer l’objet d’étude. Celle-ci concerne : l’impact massif des actions de l’objet étudié, l’expression d’ambitions sociales, voire utopiques, par celui-ci, et sa capacité à représenter un « commun » du peuple. La seconde partie entièrement dédiée à IKEA vise à vérifier la correspondance entre l’entreprise (les actions de ses acteurs, ses produits et ses effets) et les trois caractéristiques identifiées des amorces partielles de l’œuvre d’art totale. Ceci est réalisé à partir de trois recherches différentes : une étude stylistique comparative entre certaines icônes du design du Bauhaus et du design scandinave avec les produits IKEA ; l’exposition du storytelling mis en place par l’enseigne et l’observation des déclarations de son fondateur, Ingvar Kamprad ; une étude des mises en scène d’aménagements intérieurs au sein des catalogues et des showrooms de la marque. Les résultats de l’ensemble semblent indiquer qu’IKEA est un élément socioculturellement structurant de notre rapport aux objets du quotidien et de notre domesticité . Et que, sous condition d’une authenticité des valeurs exprimées par l’entreprise et d’une correspondance de celles-ci avec les actions mises en place par ses acteurs, elle pourrait peut-être atteindre ses ambitions de créer « a better everyday life for the many people ». En ce sens, IKEA pourrait être considérée comme une manifestation d’une amorce partielle, tout en étant porteuse d’une évolution conceptuelle bien plus fondamentale qu’il n’y paraît. / This thesis aims to answer the question Can the IKEA furniture company be seen as the beginnings of a total work of art? The reflection is carried out in two main parts. The first part focuses on the Wagnerian concept of the total work of art. Through the scientific literature on the subject, the importance of Wagnerism for twentieth-century Western culture and the interest of the concept within the field of intermedial studies are shown. Then, the exposition of the origins of the concept and of several applications or reappropriations, such as that of the Bauhaus, allows us to underline its socio-aesthetic character and to distinguish two dimensions: a purely idealistic one, that of the societal utopia to become (the accomplished total work of art); and a more concrete one, aiming at the attainment of this ideal thanks to the arts, what we call the amorces partielles (partial triggers) of the total work of art (a tool for fulfillment of the total work of art). Finally, in view of the study of IKEA, attention is focused on the concrete dimension of the concept and a list of characteristics of the amorces partielles is proposed to evaluate the object of study. This concerns: the massive impact of the actions of the object studied, its expression of social, even utopian, ambitions, and its capacity to represent a "commun" (common) of the many people. The second part, entirely dedicated to IKEA, aims to verify the correspondence between the company (the actions of its agents, its products and its effects) and the three characteristics identified as amorces partielles of the total work of art. This is achieved through three different research projects: a comparative stylistic study between certain Bauhaus and Scandinavian iconic design objects and IKEA products; the exposition of the storytelling set up by the brand and the observation of the statements of its founder, Ingvar Kamprad; a study of the staging of interior design in the brand's catalogues and showrooms. The results of all these studies seem to indicate that IKEA is a socio-cultural element shaping our relationship with everyday objects and our domesticity. And that, provided that the values expressed by the company are authentic and correspond with the practices adopted by its agents, it could perhaps achieve its ambitions to create "a better everyday life for the many people". In this sense, IKEA could be seen as a manifestation of an amorces partielles, yet at the same time as the bearer of a much more fundamental conceptual shift than it appears.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / Par l'étude de la polémique qui l'oppose en 1954 à Max Bill (1908-1994), architecte suisse et premier recteur de la Hochschule fur Gestaltung à Ulm, l'auteur tente de retracer les origines historiques, les prémisses idéologiques et les cadres conceptuels du discours d'Asger Jorn (1914-1973) sur l'art et l'architecture modernes, en général, et sur la question du fonctionnalisme, en particulier. Développant son analyse en replaçant ce débat à la fois dans le parcours individuel des artistes, dans le contexte spécifique de l'après-guerre et en continuité avec l'histoire de l'avant-garde et du modernisme européen, l'auteur essaie d'interpréter de manière critique la position «contre-fonctionnaliste » d'Asger Jorn à la lumière de ses articles parus dans des périodiques Scandinaves et des essais compilés dans Pour la forme : ébauche d'une méthodologie des arts, anthologie publiée en 1957 au terme d'une intense période d'expérimentation artistique et de réflexion théorique sous l'égide du Mouvement International pour un Bauhaus Imaginiste