Le mémoire suivant compare les cités d’habitations de Weissenhof à Stuttgart et de Römerstadt à Francfort-sur-le-Main. Toutes deux projets pilotes du mouvement moderne et de l’École Bauhaus, ces cités démontrent le lien entre le passé traumatique de l’Allemagne wilhelmienne et l’utopie démocratique de la République de Weimar. L’équipe de Ludwig Mies van der Rohe et la brigade d’Ernst May tentent de réformer la famille ouvrière allemande à partir de l’espace qu’elle habite, c’est-à-dire le logement. S’élabore donc une nouvelle grammaire architecturale qui détonne dans le paysage urbain allemand. Cette réforme s’intéresse au remaniement de l’espace privé ; la pièce a un rôle exclusif, comme ses locataires. Par extension, la femme est alors au-devant des changements avec la systématisation scientifique de son travail. L’architecture moderne vacille sans cesse entre un laisser-aller et un contrôle calculé des corps par l’espace qu’ils occupent. Mies et May n’ont pas su adapter les logements qu’ils offraient aux besoins des ouvriers auxquels ils s’adressaient. Réfractaires aux changements, les Allemands ont d’abord rejeté les deux projets alors qu’en Amérique du Nord, le style est déjà enseigné dans les écoles d’architecture. Lentement mais sûrement, les cités d’habitations sont apprivoisées par les générations suivantes. De Frédéric le Grand à aujourd’hui, elles font parties du paysage architectural allemand et certaines d’entre-elles, comme Weissenhof et Römerstadt sont inscrites à l’UNESCO.

Este projeto de pesquisa tem por objetivo estudar o desenvolvimento da linguagem da iluminação cênica em sua relação com os caminhos da encenação. O eixo central é a transformação da função da iluminação cênica de instrumento da visibilidade a elemento estrutural e estruturante da escrita cênica, constituindo-se como linguagem. Na primeira parte, através da pesquisa da luz no teatro expressionista alemão, pretende-se pontuar os trabalhos exemplares, de forma a descrever esse processo de transformação e suas variáveis, instituindo conceitos para uma análise específica da iluminação cênica. Na segunda parte, usamos desses conceitos para analisar outras poéticas da luz: o trabalho do encenador Erwin Piscator e o teatro da Bauhaus. / This research aims to investigate the development of Lighting Design language in its relation to the course of theatrical production. The central axis is the function of scenic transformation from instrument of visibility to structural and structuring element of the scenic narrative, constituting itself as language. In the first part, through the research of lighting in German Expressionist theatre, it is intended to point out the representative works and to describe this transformation process and its variants establishing concepts for a specific analyses of theatrical lightning. In the second part, these concepts are used to analyze other lightning poetics: Erwin Piscator´s theatrical work and the Bauhaus´s theatre.

Le but de ce travail de recherche est de construire théoriquement le design comme dispositif communicationnel, d’abord entre deux entités abstraites ou deux “sociétés anonymes” que sont l’art et l’industrie. Ainsi, la première partie a pour objet la définition et l’évolution du sens des mots “art”, “industrie”, “design”. Une deuxième partie vise à définir un concept de design qui se distingue de l’actualisation constituée par le phénomène “design industriel” au cours du dix-neuvième et duvingtième siècle. La troisième partie cherche à mettre en lien ce phénomène avec l’émergence de la scène médiatique et de l’exposition universelle afin de produire la modernité comme religion de l’ère industrielle. Cet ouvrage théorique se propose aussi de mesurer en quoi l’art est altéré par le système industriel, et inversement comment les artistes parviennent à faire progresser une exigence esthétique dans ce système socio-économique / The aim of this research was to build in theory a concept of design as a communication device, first between two groups or moral persons : art and industry. The first part seeks for a definition of “art”, “industry”, “design” ; the emergence and evolution of these notions. A second part is aimed at building a concept of design that would distinguish itself from the usual definition of design understood only in its industrial extent, which is a phenomenon limited to the nineteenth and twentieth centuries. The third part is an attempt to link this phenomenon with that of the emergence of a mediatic worldwide scene and universal exibition in order to produce modernism as a religion for the industrial era. This theoretical work also offers to measure how art is being modified by and through this industrial system, and on the other hand how some artists make the dream of a greater aesthetical attention progress in this system

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In 1936, while an expatriate in London, László Moholy-Nagy signed the Manifeste dimensioniste, crafted by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions. In his artworks and writings, Moholy-Nagy was deeply invested in emerging technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear, what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, kinetic sculpture, and theater, he worked through traditional and avant garde notions of space and time as related to psychophysical experience. Moholy-Nagy held that higher dimensions could be experienced through a re-education of human senses and began to lay out his claim for the education of the senses in order to see the world differently as early as 1922 in "Produktion–Reproduktion" (De Stijl). In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, "[w]e may say that we see the world with entirely different eyes." In this dissertation, I examine the influence of contemporary psychophysical, space-time theories on a stage/ performance design created by Moholy-Nagy, in particular, the two versions of his design for a synaesthetic theatrical performance entitled, Partiturskizze zu einer mechanischen Exzentrik (Score-Sketch for a Mechanical Eccentric): one a hybrid, mixed media drawing (c. 1923) and the other a revised version printed in Die Bühne im Bauhaus (The Stage of the Bauhaus, 1925). Following the structure of the hybrid drawing, each chapter is an interpretation of a single panel of the drawing, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I reveal the ambitious intention at the heart of the Exzentrik, to immerse the audience in a synaesthetic experience that expands their psychophysical consciousness using electromagnetic vibrations in the form of visible and invisible light and sound, as well as shocking and comedic forms and movements, and that, thereby, opens the audience to the construction of a new vision that endows them with the capacity to envision higher dimensions of space. / Doctor of Philosophy / In 1936, while living in London, László Moholy-Nagy signed the Dimensionist Manifesto, written by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions, such as three-dimensional paintings or four-dimensional space-time constructions. In his artworks and writings, Moholy-Nagy was deeply invested in the emerging and advancing technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear to the naked eye, for instance x-ray images reveal what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, moving sculptures, and theater, he explored how a person experiences space and time both physically and intellectually and Moholy-Nagy began to lay out his claim for the education of the senses in order to see the world differently. In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, “[w]e may say that we see the world with entirely different eyes.” In this dissertation, I have examined the influence of contemporary space-time theories on two versions of Moholy-Nagy’s design for a theatrical performance called the Score-Sketch for a Mechanical Eccentric, one a hand-drawn and painted collage (c. 1923) and the other a revised version printed in The Stage of the Bauhaus (1925). Following the structure of the former, each chapter is an interpretation of a single panel of the drawing/collage, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I will reveal the ambitious intention at the heart of the performance, to immerse the audience in a multi-sensory experience that will expand their consciousness, thereby, to expand their sensory perception, using shocking and comedic displays to psychologically open the audience to the possibility of perceiving higher dimensions of space.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives. / L’espace urbain et l’espace architectural font partie de notre quotidien. Nous vivons cette spatialité sans nécessairement la prendre en considération, elle appartient à nos habitudes de déplacement. Dès le milieu du 18e siècle, la ville et l’architecture seront témoins de nombreuses transformations novatrices. L’espace moderne développera un nouveau langage, qui nous est aujourd’hui familier. Cette analyse s’intéresse donc à la transformation subie par l’architecture et plus largement par la ville, et aux répercussions que l’arrivée de nouveaux matériaux ainsi que de nouvelles technologies aura sur le bâti. C’est dans cette optique que le mémoire s’intéresse au complexe architectural du Bauhaus de Dessau. Située au nord de l’Allemagne, la petite ville de Dessau aura été la plateforme de grands changements architecturaux. Également, nous nous intéressons aux interactions entre les différents acteurs occidentaux (philosophes, artistes et architectes) oeuvrant à la même époque afin de réfléchir ces influences sur le développement des recherches architecturales de Walter Gropius et plus précisément, celui de son ensemble de Dessau. / The urban space and architectural space are part of our everyday life. We live this spatiality without necessarily taking it into consideration, it belongs to our habits of movement. From the mid-18th century, the city and the architecture will witness many innovative transformations. The modern space will develop a new language that is now familiar to us. This analysis therefore focuses on the transformation undergone by the architecture, and more broadly, by the city, and on the impacts that the arrival of new materials and new technologies will have on the structure. It is in this perspective that the study takes an interest in the architectural complex of the Bauhaus Dessau. Located in northern Germany, the small town of Dessau has been the platform of major architectural changes. Also, we will focus on different interactions between the various western actors (philosophers, artists and architects) working in the same period, in order to consider the possible influences on the development of the architectural researches of Walter Gropius, and specifically, of his complex in Dessau.

Après sa naissance en 1909, La ville de Tel Aviv continue son essor jusque dans les années 1930-1948 marquées par l'architecture modernes, sous l’influence de l’urbaniste Patrick Geddes. Celui-ci écrit son rapport à 1925, qui s’inspirent du modèle de la Cité Jardin. Le site comprend 3 000 bâtiments inspirés par des architectes modernistes européens : Mendelsohn, Le Corbusier, Gropius et autres. La déclaration d’indépendance d’Israël en 1948 entraîne l’établissement d’institutions nationales et la construction rapide de bâtiments publics et de logements. La prise de conscience de l’importance de la conservation de La Ville Blanche et sa patrimonialisation engendrent à leur tour un changement du tissu urbain et de son architecture (1977-2003). Nous tentons d’identifier ici les facteurs susceptibles de déclencher les mutations nombreuses qui ont pris place durant les années 1948 - 2003 et qui ont amené la ville de Tel Aviv jusqu'à son inscription au patrimoine mondial de l’UNESCO. Nous avons analysé l’apparition de certains modes d’adaptation de la ville aux changements, à la lumière des principes de planification de Geddes, issus de la biologie organique. Les mécanismes d’adaptation sont analysés en fonction de 3 facteurs : Les processus de planification, les décisions d'ordre politique et la réception du public. Afin de comprendre les différentes représentations de chacun des trois facteurs, nous avons consulté les archives historiques des plans de la ville, les protocoles, les débats et publications officielles de la municipalité, ainsi que les représentations de la ville telle qu’elle apparait dans la littérature pour enfants, le cinéma, et la presse. Pour chacune de ces époques, nous avons identifié un modèle de comportement récurrent des changements. Ainsi sont discernés les modes d’influence des trois coefficients de planification - architectes, décideurs, et le grand public - et leur influence réciproque sur la ville est démontrée. / After its creation in 1909, the city of Tel Aviv continued to develop until the years 1930 – 1948 during which the Modern style was predominant. That took place under the remarkable influence of the urban planner sir Patrick Geddes whose vision on the extension of the city was published in 1925 inspired by the ideas of Garden-City. The site of the White City includes 3,000 buildings designed by Jewish immigrants under the influence of Modern European architects such as Mendelssohn, Le Corbusier and Gropius. The Declaration of Independence of the state of Israel in 1948 brought about the establishment of national institutions and the need for the quick solutions of construction of public buildings and social housing, meant for thousands of refugees. The awareness and importance of the conservation of the White City brought about significant changes in the local approach towards the existing urban tissue, and its architecture (1977-2003). This research aims at identifying the factors susceptible to trigger the architectural mutations that took place during the years 1948 – 2003 up until the final inscription of the White City as world heritage site by UNESCO. We have analyzed the emergence of a number of types of adjustment to changes within the City, from the field of organic biology. The various mechanisms of adjustment are analyzed according to three different factors: Planning process, the political decision making, and the reception of the values and myths of the city by the Public. In order to understand the different representations of each of those 3 factors, we have checked the historical archives of the City Planning Department, including protocols, debates and official publications. We have then gone through the representation of the city as it materializes in children literature, movies and the media. For each time period, a recurrent pattern of behavior of changes was identified. This method allows pinpointing the various types of influence of each of the three coefficients of planning: architects, Decision Makers, and the Public. The reciprocal influence of those factors on each other can then at last conclusively be established.

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.