000126001 001__ 126001
000126001 005__ 20181205220240.0
000126001 0247_ $$2doi$$a10.5075/epfl-thesis-4205
000126001 02470 $$2urn$$aurn:nbn:ch:bel-epfl-thesis4205-8
000126001 02471 $$2nebis$$a5649806
000126001 037__ $$aTHESIS
000126001 041__ $$afre
000126001 088__ $$a4205
000126001 245__ $$aStratégie versus composition
000126001 269__ $$a2009
000126001 260__ $$aLausanne$$bEPFL$$c2009
000126001 300__ $$a163
000126001 336__ $$aTheses
000126001 520__ $$aTo avoid chaos and arbitrariness architects have traditionally looked for ways to structure buildings as wholes that can be factorised into parts. This approach to the nature of architecture is that of composition. After the Second World War, the world of architecture saw the development of new ways of conceiving of buildings. One of the most prominent of which appeals to strategies. This development, which first occurred in painting and sculpture, leads to a rejection of composition. In their rejection of composition, many post-war American artists abandoned the notion that there should be any equilibrium or relational properties between the parts that constitute a work of art. In architecture, rejecting composition goes by looking for strategies that are determined by the programmatic, urbanistic and cultural contexts to which a contemporary building has to adapt. Also, lack of land entails an urban density so that by necessity – by non-choice – buildings have to be shaped by contextual boundaries, which makes it impossible to conceive of these buildings according to the precepts of composition. Since the 1960s, buildings or architectural complexes have had to be able to evolve, to adapt to new usage. This requires architects to think of them in a new way, according to a logic of indeterminate – thus non-composed – planes. Further, architects abandon composition in that they start looking for arrangements that are already present in the surrounding visible world and integrate them to the projection of buildings by the strategy of transfer. The key hypothesis of this study is that composed planes came to be replaced by strategies such as non-choice and transfer that generate neutral arrangements – neutral because their parts cannot be factorised from the whole; because these parts are without intrinsic individuality. Understood as a body of actions mapping shapes to contextual parameters, these strategies also require us to rethink the notions of subjectivity and of the self-effacing of a project's author. For instance a transfer is generated by a certain automatism of the form, as opposed to a preconceived architectural intention. This study reviews and analyses these strategies, these new modes of architectural arrangements. It does so by examining recent buildings and projects and also by drawing parallels with the plastic arts. Its aim is to articulate these new complex forms so as to offer a conceptual grid of contemporary architecture.
000126001 6531_ $$aarchitecture
000126001 6531_ $$aplastic arts
000126001 6531_ $$aprocess
000126001 6531_ $$atheory of architecture
000126001 6531_ $$ahistory of architecture
000126001 6531_ $$acontext
000126001 6531_ $$acomposition
000126001 6531_ $$anon-composition
000126001 6531_ $$anon-choice
000126001 6531_ $$atransfer
000126001 6531_ $$aindeterminacy
000126001 6531_ $$arepetition
000126001 6531_ $$aunitary form
000126001 6531_ $$agrid
000126001 6531_ $$aall-over
000126001 6531_ $$afield
000126001 6531_ $$aconstellation
000126001 6531_ $$aextrusion
000126001 6531_ $$astrategy
000126001 6531_ $$aspace
000126001 6531_ $$afound object
000126001 6531_ $$asystem
000126001 6531_ $$aautomatism
000126001 6531_ $$aintuition
000126001 6531_ $$aarchitecture
000126001 6531_ $$aarts plastiques
000126001 6531_ $$aprocessus
000126001 6531_ $$athéorie de l'architecture
000126001 6531_ $$ahistoire de l'architecture
000126001 6531_ $$acontexte
000126001 6531_ $$acomposition
000126001 6531_ $$anon-composition
000126001 6531_ $$anon-choix
000126001 6531_ $$atransfert
000126001 6531_ $$aindétermination
000126001 6531_ $$arépétition
000126001 6531_ $$acorps unitaire
000126001 6531_ $$agrille
000126001 6531_ $$aall over
000126001 6531_ $$amilieu
000126001 6531_ $$aconstellation
000126001 6531_ $$aextrusion
000126001 6531_ $$astratégie
000126001 6531_ $$aespace
000126001 6531_ $$aobjet trouvé
000126001 6531_ $$asystème
000126001 6531_ $$aautomatisme
000126001 6531_ $$aintuition
000126001 700__ $$aBesson, Adrien
000126001 720_2 $$0241978$$aLucan, Jacques$$edir.$$g105709
000126001 8564_ $$s32836086$$uhttps://infoscience.epfl.ch/record/126001/files/EPFL_TH4205.pdf$$yTexte intégral / Full text$$zTexte intégral / Full text
000126001 909C0 $$0252219$$pLTH1$$xU10222
000126001 909CO $$ooai:infoscience.tind.io:126001$$pDOI$$pthesis$$pthesis-bn2018$$qDOI2
000126001 917Z8 $$x108898
000126001 918__ $$aENAC$$cIA$$dEDAR
000126001 919__ $$aLTH1
000126001 920__ $$b2009
000126001 970__ $$a4205/THESES
000126001 973__ $$aEPFL$$sPUBLISHED
000126001 980__ $$aTHESIS