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Couverture : Illustration d’après photographieDu lien entre architecture et société de consommation. © Quentin Dauvergne

Redacteur en chef : Tarik AbdelgaberRedacteur en chef adjoint : Clément Nouvel

Secrétaire de redaction : Mathilde SauvagnacSecrétaires de redaction adjoint : Etienne Kirsch, Bruno Péculier

Direction artistique : Quentin DauvergneGraphisme et maquette : Quentin Dauvergne, Jonathan Fleurance, Clara Halioua, Calypso Poret, Clément Schwab

Photographie : Jun Hao Shi, Emma Despres Garcia, Paul Seban

Chargé erasmus : Sylvain Massoué

Rubriqueurs : Hugo Ballaire, Clément Ciesiolka, Léo Clénet, Nicolas Charles, Alice Curoy, Melchior Grimaldi d’Esdra, Clypso Poret, Maxime Deschepper, Marie Cabrol, Fleur Alliet, Venetia Molin, Miora Raharinelina,

Relecture : Tarik Abdelgaber, Quentin Dauvergne, Clara Halioua

Typographie : - FF Mark, by Hannes von Döhren, Christoph Koeberlin and the FontFont Type Department - Aperçu, by Entente / Colophon Foundry

Imprimé à l’atelier de Reprographie de l’ENSA Paris Val de Seine.

Nous désespérions que la pourriture gagne peu à peu notre belle France. Chaque jour nous étions de plus en plus pris à la gorge par la grisaille et le mépris.Il nous aura fallu perdre dix sept concitoyens et pas des moins valeureux pour relever la tête.Cette année aura débuté dans le deuil, elle commence réellement dans l’espoir. C’est avec fierté que nous pouvons nous élancer pour 2015 car aujourd’hui et pour le moment, la fraternité est de retour dans notre République.

NÉANMOINS, en l’honneur de notre très cher ex-rédacteur en chef M. Sylvain Massoué actuellement en train de se peler les michetons à Bucarest, nous avions décidé de faire de cette quatrième édition sous le signe de la Thug Life, car quoi de plus gangsta que d’affronter l’hiver en Roumanie ? C’est aussi involontairement un hommage à Charlie Hebdo, le journal tellement Thug et irresponsable que sa rédaction en est morte de rire. Irrévérence et solennité sont donc de mise dans ce numéro de la gazette.

Nous avons ainsi constitué un dossier de vos plus belles réalisations en hommage à Charlie Hebdo et à la fraternité. On sort du ghetto pour aller faire un tour dans les tunnels d’Istanbul et dans la grande, la sublime, l’ultra-fraiche Bucharest. On fait dans le bling bling avec la fondation Louis Vuitton et dans la culture pas du tout hydroponique avec l’expérience du jardin botanique de l’automne dernier. On pose un flow sur l’architecture de la partition de musique classique (eh ouais). Et on discute au calme du film intersidéral de la fin 2014. Vous trouverez également dans ces pages les habituelles recommandations musicales et culturelles, la météo, et les dernières informations de source contradictoires.

Pour ce premier numéro de l’année, passons les habituelles bonnes résolutions, votre journal n’en prendra qu’une: continuer à étancher votre soif d’infos. Et si 2015 ne rime avec rien, faisons ensemble que cette année rime à quelque chose.

In the year of Our Lord two thousand and fifteen

We despaired that France got slowly rotten. Each day we would

choke a little more on gloom and disdain. Seventeen fellow

citizens, and none of the less valiant, had to go down for us to lift

our chin up.

This year has begun in mourning; it actually started in hope. We

can proudly jump into 2015 beacause today Fraternity is back in

our Republic.

NEVERTHELESS, in honour of our beloved ex-director Mr. Sylvain

Massoué who’s currently having his balls frozen in Bucarest,

we have decided to put this edition under sign of the Thug Life,

because what’s more gangsta than facing up to the romanian

winter ? It’s also an unwitting tribute to Charlie Hebdo, the

so Thug and irresponsible journal that its journalists died of

laughter.

Irreverency and sollenity are definitly appropriate for this issue.

Therefore, we have built a file of your most beautiful pieces

of Charlie’s tributes. Stepping out fromff da ghetto we go

roaming into Istanbul tunnels and in the great, sublime, hell’a’hot

Bucarest ! Bursting all in pimp style with the Fondation Louis

Vuitton, we also take time to appreciate some not at all

hydroponic culture at last fall Jardin Botanique experience. We

also drop our flow on some sick classical music score architecture

(yeah bitch) and chillingly talking about that Interstellar film

of late 2014. Of course, you’ll find the usual recommandations,

weather report, and other shitty informations about ongoing

events and facts of the world from contradictory sources. Have

fun boys, gals or other life form who can read this shit !

Even of this is the first publication of the year, let us pass on the

usual good resolutions, your journal will only make one : to keep

on satisfying your thirst for more information.

In the year of Our Lord two thousand and fifteen

We despaired that France got slowly rotten. Each day we would

choke a little more on gloom and disdain. Seventeen fellow

citizens, and none of the less valiant, had to go down for us to lift

our chin up.

This year has begun in mourning; it actually started in hope. We

can proudly jump into 2015 beacause today Fraternity is back in

our Republic.

NEVERTHELESS, in honour of our beloved ex-director Mr. Sylvain

Massoué who’s currently having his balls frozen in Bucarest,

we have decided to put this edition under sign of the Thug Life,

because what’s more gangsta than facing up to the romanian

winter ? It’s also an unwitting tribute to Charlie Hebdo, the

so Thug and irresponsible journal that its journalists died of

laughter.

Irreverency and sollenity are definitly appropriate for this issue.

Therefore, we have built a file of your most beautiful pieces

of Charlie’s tributes. Stepping out fromff da ghetto we go

roaming into Istanbul tunnels and in the great, sublime, hell’a’hot

Bucarest ! Bursting all in pimp style with the Fondation Louis

Vuitton, we also take time to appreciate some not at all

hydroponic culture at last fall Jardin Botanique experience. We

also drop our flow on some sick classical music score architecture

(yeah bitch) and chillingly talking about that Interstellar film

of late 2014. Of course, you’ll find the usual recommandations,

weather report, and other shitty informations about ongoing

events and facts of the world from contradictory sources. Have

fun boys, gals or other life form who can read this shit !

Even of this is the first publication of the year, let us pass on the

usual good resolutions, your journal will only make one : to keep

on satisfying your thirst for more information.

Edito

Carnet de voyage

BucarestIstanbul

Jardin Botannique

DescriptifInterview

Conférences

.

.

.

La minute

Rem Koolhaas

.

Musique et Archi

La portée de l’architecte

.

.Chroni’culte

Charlie HebdoUn Avion sans ElleDeltron 3030Interstellar

Agenda Sportif

HandballVolleyBasket ...

.

8

12

38

56

60

64

PAR TARIK A. & SYLVAIN S.

PAR HUGO BALLAIRE

Hommage

Charlie Hebdo

Fanfares

Brigade du Cuivre Les fanf’ Interview

Dossier Spécial

Fondation Louis Vuitton

.

.

.

.

Agenda Culturel

Les expositions parisiennes

.

Plan Séquence

Art décol’École de la Prairie

. Détente

PapararchiMétéoJeu

4

36

48

58

48

PAR FLEUR ALLIET

PAR VENETIA MOLIN

PAR CLÉMENT C. ET TARIK A.

PAR BRUNO PÉCULIER

PAR LA GAZETTEAM

10

18

SYLVAIN MASSOUÉ CAK

PAR CLÉMENT SCHWAB

PAR ALICE CUROY

PAR CLÉMENT CIESIOLKA

Composition n°1:

Et toi, qui ne voit plus sur ton fusil accoudé,Plains-tu l’absent aimé qui ne pourra te voir.Laisse pleuvoir, ô cœur solitaire et douxSous l’orage qui passe,il renaitra tant de choses.Le soleil sous la pluie n’ouvre-t-il pas les roses?

And you, who do not see anymore on your rifle leaned, You Pity the loved absentee who cannot see you.Let rain, o solitary and soft heart Under the thunderstorm which passes, he will be reborn so many things.Does not the sun in the rain open the rose?

And you, who do not see anymore on your rifle leaned, You Pity the loved absentee who cannot see you.Let rain, o solitary and soft heart Under the thunderstorm which passes, he will be reborn so many things.Does not the sun in the rain open the roses?

O alone, friends in the truceThe republic liftsOn the serene horizonIts foot of the sorrow

O alone, friends in the truceThe republic liftsOn the serene horizonIts foot of the sorrow

Compostion n°2:

Ô seuls, amis à la trêveLa république soulèveSur l’horizon sereinSon pied du chagrin

Hommage

©Calypso Poret

4

Ah Lord what have I done ?Would I have had the terror to be chosen?Before being bruised.Full of humble prayers confusion dresses me and buries me in the powder magazine.I laugh, I cry, I disheart myselfA drama on fields of butters.The clarion of weapons as barbaric banner.Would there be anything in my innards?

Ah Lord what have I done ?Would I have had the terror to be chosen?Before being bruised.Full of humble prayers confusion dresses me and buries me in the powder magazine.I laugh, I cry, I disheart myselfA drama on fields of butters.The clarion of weapons as barbaric banner.Would there be anything in my innards?

Composition n°3:

Ah seigneur qu’ai je fait?Aurais je eu la terreur d’être choisi?Avant d’être meurtri.Pleins d’humbles prières trouble m’habilleet m’enterre dans la poudrière.Je ris, je pleurs, je m’é-coeurUn drame sur le champs des beurres.Le clairon des armes comme étendard barbare.Y aurait-il quelque chose dans mes entrailles?

©Pablo LavielleDessin : AOB

Poèmes du Collectif Pic.

5

Lève toi Liberté Chérie! Marche toute droite, fière et insoumise.À tes côtés, les nations se soulèveront,L’oppression et la tyrannie tomberont.Lève toi Guide de nos vies!Apprends nous la tolérance,Aide nous à combattre l’injustice.Debout Mère meurtrie!Ne te laissons pas sans défense,Face à l’agression, soyons unis.

Je suis Charlie.

Lève toi Liberté Chérie! Marche toute droite, fière et insoumise.À tes côtés, les nations se soulèveront,L’oppression et la tyrannie tomberont.Lève toi Guide de nos vies!Apprends nous la tolérance,Aide nous à combattre l’injustice.Debout Mère meurtrie!Ne te laissons pas sans défense,Face à l’agression, soyons unis.

Stand up beloved

Freedom!

Walk straight,

proud and

untamed.

By your side,

nations will rise up,

Oppression and

Tyranny will fall.

Stand up guide of

our lives !

Teach us tolerence,

Help us fight

injustice.

Rise bruised

mother !

Let us not leave

you helpless,

Facing aggression,

let us be united.

Stand up beloved

Freedom!

Walk straight,

proud and

untamed.

By your side,

nations will rise up,

Oppression and

Tyranny will fall.

Stand up guide of

our lives !

Teach us tolerence,

Help us fight

injustice.

Rise bruised

mother !

Let us not leave

you helpless,

Facing aggression,

let us be united.

I am Charlie.

Le workshop a commencé vers 16h de l’après-midi un vendredi très ensoleillé. Gautier et Simon nous ont informé sur comment nous allions travailler. On s’est tous déplacé à la parcelle qui se trouve juste derrière l’école afin d’observer les espèces naturelles qu’elle engendre en étant en chantier, donc en faisant partie du tiers paysage. Située juste en dessous de la petite ceinture, la parcelle nous a permis d’identifier ainsi que de classifier les plantes qui réussissent à grandir sur ce terrain limitrophe à notre école.

Chacun de nous a donc choisi une plante qui l’intéressait. On a fait très attention à ne pas arracher les racines des plantes et donc parfois on mouillait la terre autour d’elles pour les enlever gentiment. On a tous choisi des plantes différentes, ayant comme but de créer une vitrine diversifiée. L’identification des plantes était pourtant l’étape la plus compliquée du processus. Certaines plantes se ressemblaient et d’autres nous étaient complètement inconnues. Pourtant on s’est tous entraidé afin de réussir à les nommer.

La découverte des petites plantes différentes était très intéressante, notamment après avoir croisé nos recherches. La mienne s’appelait arroche étalée (atriplex patula si vous voulez le nom latin) et elle fait partie de la famille des dicotylédones annuelles, chenopodiacées. Sa hauteur est de 20 à 80 cm et elle fleurit de Juillet à Octobre. Elle aime les sols riches dans les décombres, les bords de fossés ainsi que les endroits incultes. Elle est commune en général, mais par contre on la trouvera pas sur les montagnes.

Jardin botannique du

Tiers Paysage

Au début du mois d’octobre Gautier, Simon, Juliette, Louis,

Chloé, Lucia, Camille, Pierre, Sevan, Patricia, Pierre, Caroline

et moi ont participé à un workshop organisé par le ‘Jardin

Botanique du tiers paysage’. À l’issue de l’exposition de Gilles

Clément à ENSAPVS, Gautier Durand et Simon Ferré se sont

mis en contact avec le paysagiste et ont invité leurs amis et ceux qui s’intéressaient à participer

à la création d’un laboratoire dynamique du tiers paysage situé à l’entrée arrière de notre école

d’architecture.

The workshop started around 4 p.m on a very sunny Friday

evening. Gautier and Simon informed us about how this

workshop was going to be held. We all moved to the plot right

behind the school in order to observe the natural species that

happen to grow on this land. This plot is still under construction

and is thus part of the Third-Landscape. Situated right beneath

the ‘little belt’ of Paris, the plot provided us the chance to

identify and classify the plants that grow on this terrain.

Each one of us chose the plant that interested him the most. We

were very careful in order not to rip out the roots, so sometimes

we wet the earth around them in order to remove them from

the ground in a gentle way. Everybody chose different plants,

keeping in mind our major goal: to create a diversified showcase

of different species. Identifying the plants was one of the most

difficult steps of the procedure. On one hand some of them

were really close to others, in terms of buds, leaves and general

structure and on the other hand, others were total strangers to

us. Nevertheless we all helped each other in order to name them.

Discovering the different natural species was very interesting,

especially after sharing our research to each other. The plants’

name I chose to save and breed is ‘spreading artiplex’ (atriplex

patula in latin) and it’s a plant that is part of the broadleaf

family, also called chenopodiacea.

The workshop started around 4 p.m on a very sunny Friday

evening. Gautier and Simon informed us about how this

workshop was going to be held. We all moved to the plot right

behind the school in order to observe the natural species that

happen to grow on this land. This plot is still under construction

and is thus part of the Third-Landscape. Situated right beneath

the ‘little belt’ of Paris, the plot provided us the chance to

identify and classify the plants that grow on this terrain.

Each one of us chose the plant that interested him the most. We

were very careful in order not to rip out the roots, so sometimes

we wet the earth around them in order to remove them from

the ground in a gentle way. Everybody chose different plants,

keeping in mind our major goal: to create a diversified showcase

of different species. Identifying the plants was one of the most

difficult steps of the procedure. On one hand some of them

were really close to others, in terms of buds, leaves and general

structure and on the other hand, others were total strangers to

us. Nevertheless we all helped each other in order to name them.

Discovering the different natural species was very interesting,

especially after sharing our research to each other. The plants’

name I chose to save and breed is ‘spreading artiplex’ (atriplex

patula in latin) and it’s a plant that is part of the broadleaf

family, also called chenopodiacea.

Après ça on a transféré nos plantes sur les pelouses travaillées par les membres de l’équipe pendant l’étape numéro 2 du workshop, à l’entrée arrière de l’école. Le sol était arrosé et la terre était bien fraiche après avoir été retournée par Gauthier, Simon, Louis et Juliette. On s’est mis en rangée, on a plantée nos plantes et on les a arrosé.

Ce travail m’a permis de voir non seulement que l’observation et l’identification des espèces naturelles qui nous entourent est très importante, mais aussi le fait que la conservation et la poursuite de ce genre de vie est belle et bien possible.

Suivez les actions et les événements du Jardin Botanique sur leur site, http://jardinbotanique13.e-monsite.com/ et aussi

sur leur page facebook (Jardin Botanique), afin d’observer l’avenir et l’évolution de cette démarche. Sachant que Gautier

et Simon continuent à effectuer des relevés toutes les semaines pour voir l’évolution du jardin et des espèces qui s’y

présentent, leur intention est aussi que les gens fassent des observations eux mêmes avec les étiquettes qu’ils ont mis à

disposition avec les explication du jardin. Dans pas longtemps, ils auront une carte des mouvements du jardin avec un

catalogue des espèces qui s’y sont présentées.

The height of the plant ranges from 20 to 80 centimeters and it

flourishes from July to October. It prefers rich soils in rubble or

debris, boards of ditches and non-cultivated areas. It’s a common

plant, but one cannot find it during winter.

Having completed one of the most important steps, we

transported our plants on the soil of the school. The earth had

been renewed, sprinkled and returned by Gautier, Simon, Louis,

Juliette and thus it was clean and fresh. We all found a place, we

planted our species and sprinkled them again.

This work gave me the opportunity to see not only that the

observation and identification of the natural species that

surround us is very important, but also that the fact that we can

conserve and gave them further life is beautiful and possible.

Follow the actions and events organized by the Botanical Garden

on their internet site, http://jardinbotanique13.e-monsite.com/,

as well on their facebook page: Jardin Botanique, in order to

observe the future and the evolution of this initiative. Knowing

that Gautier and Simon are going to continue their research

and information gathering in order to observe the evolution

of the garden, we should not forget their intention to increase

the awareness of the student community. Students can make

observations on their own, following the labels and explications

of the species.

The height of the plant ranges from 20 to 80 centimeters and it

flourishes from July to October. It prefers rich soils in rubble or

debris, boards of ditches and non-cultivated areas. It’s a common

plant, but one cannot find it during winter.

Having completed one of the most important steps, we

transported our plants on the soil of the school. The earth had

been renewed, sprinkled and returned by Gautier, Simon, Louis,

Juliette and thus it was clean and fresh. We all found a place, we

planted our species and sprinkled them again.

This work gave me the opportunity to see not only that the

observation and identification of the natural species that

surround us is very important, but also that the fact that we can

conserve and gave them further life is beautiful and possible.

Follow the actions and events organized by the Botanical Garden

on their internet site, http://jardinbotanique13.e-monsite.com/,

as well on their facebook page: Jardin Botanique, in order to

observe the future and the evolution of this initiative. Knowing

that Gautier and Simon are going to continue their research

and information gathering in order to observe the evolution

of the garden, we should not forget their intention to increase

the awareness of the student community. Students can make

observations on their own, following the labels and explications

of the species.

GZ - Vous avez récemment effectué un workshop au sein de notre école autour du thème du tiers paysage. Pourriez-vous nous expliquer les principes de base de votre démarche?GD - En écho avec l'exposition de Gilles Clément, le but du jardin botanique 13 est de sensibiliser les élèves au tiers paysage. C'est ainsi l'occasion de changer de regard sur le paysage immédiat qui entoure l'école, notamment la petite ceinture et les chantiers. Il convient alors de revaloriser ces espaces et prendre conscience des richesses végétales et animales qu'il renferme. Le Jardin Botanique 13 propose d'être un terrain d'observation où chacun pourra aller observer et nommer les différentes espèces qui s'y présentent.

GZ - Comment vous êtes vous intéressés au tiers paysage?GD - C'est d'abord l'appropriation de lieux délaissés comme les jardins partagés qui m'a interessé et inévitablement, mes recherches m'ont conduites vers l'étude même des composantes des délaissés, des friches et donc du Tiers Paysage.

GZ - Croyez-vous que vos voyages - notamment ton séjour au Mexique, Gauthier - ont influencé votre point de vue autour du sujet?GD - Je pense que c'est la facilité et la rapidité de mise en œuvre que l'on peut trouver au Mexique qui m'ont encouragées à développer des projets concrets et rapides à mettre en œuvre, plus particulièrement agir sur l'espace public.

GZ - Voyez-vous une manière d'intégrer cette démarche dans notre processus de conception architectural?GD - Dans la mise en place de ce jardin botanique nous avons délibérément compté sur la participation des gens pour enrichir le projet notamment pour les supports de communications. Cette liberté donnée aux participants a permis un résultat beaucoup plus riche que ce que nous aurions pu faire seuls. Je pense que le travail participatif est toujours enrichissant pour un projet.

VM - You recently carried out a workshop in our school around

the theme of the Third-Landscape. Could you explain to us the

main attributes of your initiative?

GD - In echo to the Gilles Clément exhibition, the goal of the

Botanical Garden 13 was to increase the awareness of the

students around the topic of Third-Landscape. This was an

occasion to change the vision of most people on the immediate

landscape that surrounds our school, especially the ‘little-belt’ of

Paris and its construction sites. Reevaluating the natural species

and understanding their richness of the fauna and the flora was

one of the goals. The Botanical Garden 13 is a terrain dedicated

to observation where anyone could possible identify and name

the different species that happen to grow in its boundaries.

VM - How did you become interested on the Third-Landscape?

GD - It was primarily through the appropriation of abandoned

territories like shared gardens that I became interested on

this topic and inevitably my research guided me towards the

components of the abandoned landscapes and fallows and thus

the Third-Landscape.

VM - Do you believe that your extended stay in Mexico last year

influenced your point of view on the subject?

GD - I believe that the readiness and the speed of realizing

something and applying it in real life that we can find in Mexico

encouraged me to develop projects that were solid and fast to

implement, especially on public spaces.

VM - Can you see a way of integrating this initiative in our

process of architectural conception?

GD - During this project we deliberately counted on people in

order to enrich the project, especially on what concerns that

communication. This liberty provided to the participants boosted

the results in an incredible way that we couldn’t have imagined,

especially without their help. I believe that teamwork can always

bring enriching elements in projects.

VM - You recently carried out a workshop in our school around

the theme of the Third-Landscape. Could you explain to us the

main attributes of your initiative?

GD - In echo to the Gilles Clément exhibition, the goal of the

Botanical Garden 13 was to increase the awareness of the

students around the topic of Third-Landscape. This was an

occasion to change the vision of most people on the immediate

landscape that surrounds our school, especially the ‘little-belt’ of

Paris and its construction sites. Reevaluating the natural species

and understanding their richness of the fauna and the flora was

one of the goals. The Botanical Garden 13 is a terrain dedicated

to observation where anyone could possible identify and name

the different species that happen to grow in its boundaries.

VM - How did you become interested on the Third-Landscape?

GD - It was primarily through the appropriation of abandoned

territories like shared gardens that I became interested on

this topic and inevitably my research guided me towards the

components of the abandoned landscapes and fallows and thus

the Third-Landscape.

VM - Do you believe that your extended stay in Mexico last year

influenced your point of view on the subject?

GD - I believe that the readiness and the speed of realizing

something and applying it in real life that we can find in Mexico

encouraged me to develop projects that were solid and fast to

implement, especially on public spaces.

VM - Can you see a way of integrating this initiative in our

process of architectural conception?

GD - During this project we deliberately counted on people in

order to enrich the project, especially on what concerns that

communication. This liberty provided to the participants boosted

the results in an incredible way that we couldn’t have imagined,

especially without their help. I believe that teamwork can always

bring enriching elements in projects.

Part II : Interview

GZ - Trouvez-vous que votre démarche nourrira nos pensées architecturales ?GD - En ce qui concerne le tiers paysage c'est l'occasion peut être de réfléchir à des programmes contenant des espaces non déterminés plus flexibles pouvant accueillir ce que nous ne pouvons pas toujours prévoir. C'est l'occasion d'apprécier la beauté de l'inattendu et de la spontanéité.Patick Bouchain: " Très tôt j'ai décidé de travailler sur des lieux qui laissent libre un tiers du temps pour pouvoir recevoir l'inattendu."

GZ - Comment s'est passé le deuxième workshop avec les étudiants ?GD - C'était très agréable de découvrir et de faire découvrir un nouvel environnement avec un groupe motivé. L'exercice relevait surtout de la balade et de l'observation mais je crois que chacun a pu y faire des découvertes et a ainsi changer de regards sur les délaissés et le Tiers Paysage.

GZ - Allez-vous organiser un nouveau workshop dans les mois qui suivent ?GD - Nous attendons le printemps mais nous réfléchissons évidemment à d'autres évènements de découverte du Tiers Paysage. Les formes restes encore à définir.

GZ - Est-ce que vous travaillez sur un autre projet autour du tiers paysage en ce moment ?GD - L'Atelier avec Gilles Clément nous a permis de développer un peu plus notre réflexion et les possibilités d'utilisation su Tiers Paysage pour améliorer notre environnement. Certaines de ces pistes donneront peut être une suite mais c'est encore en travail.

VM - Do you believe that your initiative can possibly nourish our

architectural thought?

GD - On what concerns the Third-Landscape, this is the occasion

to start thinking of programs and functions in spaces not yet

determined and flexible that could possibly host what we cannot

yet predict. It’s the occasion to predict that beauty of the

unintended action and of the spontaneity.

Patick Bouchain: « Très tôt j’ai décidé de travailler sur des

lieux qui laissent libre un tiers du temps pour pouvoir recevoir

l’inattendu.»

« Early on I decided to work on spaces that let go off of restraints

one third of a time in order to receive the unexpected.»

VM - What was the outcome of the second workshop with the

students?

GD - It was very pleasant to discover and give the opportunity

to the students to discover new environments. The group was

very motivated and the exercise consisted of a promenade and

of an observation through the citys’ Third-Landscape. I believe

that each of the students made their own discoveries and thus

changed its point of view on the derelict Third-Landscapes.

VM - Is there going to be a third workshop?

GD - We are waiting for spring to come so we are still thinking

about the rest of the events for the discovery of the Third-

Landscape. It’s yet to be announced.

VM - Are you working on another project right now in relation to

the Third-Landscape theme?

GD - The Atelier with Gilles Clément, gave us the opportunity

to develop a bit further our reflection on the possibilities and

utilization of the derelicts in order to improve our immediate

environment. Some of the plausible paths to follow are there, but

we are still thinking about them

VM - Do you believe that your initiative can possibly nourish our

architectural thought?

GD - On what concerns the Third-Landscape, this is the occasion

to start thinking of programs and functions in spaces not yet

determined and flexible that could possibly host what we cannot

yet predict. It’s the occasion to predict that beauty of the

unintended action and of the spontaneity.

Patick Bouchain: « Très tôt j’ai décidé de travailler sur des

lieux qui laissent libre un tiers du temps pour pouvoir recevoir

l’inattendu.»

« Early on I decided to work on spaces that let go off of restraints

one third of a time in order to receive the unexpected.»

VM - What was the outcome of the second workshop with the

students?

GD - It was very pleasant to discover and give the opportunity

to the students to discover new environments. The group was

very motivated and the exercise consisted of a promenade and

of an observation through the citys’ Third-Landscape. I believe

that each of the students made their own discoveries and thus

changed its point of view on the derelict Third-Landscapes.

VM - Is there going to be a third workshop?

GD - We are waiting for spring to come so we are still thinking

about the rest of the events for the discovery of the Third-

Landscape. It’s yet to be announced.

VM - Are you working on another project right now in relation to

the Third-Landscape theme?

GD - The Atelier with Gilles Clément, gave us the opportunity

to develop a bit further our reflection on the possibilities and

utilization of the derelicts in order to improve our immediate

environment. Some of the plausible paths to follow are there, but

we are still thinking about them

Fanfares

La brigade du cuivre

La Brigade du Cuivre est l’association qui regroupe les fanfares nées dans les actuels locaux de l’ENSA-Paris Val de Seine. Créée en 2011 à l’initiative d’Inès de Ribaucourt « Vendredi » et d’autres jeunes fanfarons de sa génération, La Brigade nait dans l’espoir de promouvoir le solidarité entre les différents groupes et faciliter le dialogue avec les autres institutions et associations, qu’elles soient intérieures ou extérieures à l’école. Ces dernières années, nombreuses sont les fanfares qui ont vu le jour alors que d’autres nous ont quitté ; chacune laissant derrière elle de bons souvenirs des nombreuses fois où elles ont égayé les foules, que ce soit sur les pelouses de Paris 7 ou aux soirées de l’école. À l’heure actuelle nous sommes heureux de compter 8 fanfares 100% « Val de Seine Style » pour un total d’environ 140 étudiants et jeunes diplômés.Une équipe a pris la relève de la Brigade depuis quelques mois, motivée par la conviction que la fanfare peut et doit jouer un rôle centrale dans la sauvegarde de l’esprit de cohésion, d’entraide et de partage entre les étudiants.

Président : Amine SLIMANI Vice-présidente : Marina BEAN Trésorière sans ressources : Caroline MERCIER Communication organes internes : Lorenzo SCHITO Communication rétinienne : Aurélie TEUZIET Brigadière Fed : Pauline VERNIER Bonheur des papilles : Maria HABRE

Mail: brigadeducuivre@gmail.comFacebook : Bri Gade Du Cuivre Téléphone : 06 99 08 38 08

(or Brass Brigade in english. Brigade du Cuivre is a play on

words reffering to the Brigades du Tigre, name of the french

special police forces early 20th century (the Tiger was Georges

Clemenceau, Minister of Homeland security then President later

on).

The Brigade du Cuivre is the association regrouping all the

“fanfares” (brass bands-marching bands) of our school. It was

born within its walls in 2011 thanks to the initiative of Inès de

Ribaucourt, “Vendredi” and other “fanfarons” (fanfares players)

of their generation; the Brigade’s goal is to prmote solidarity and

dialogue between the bands but also the different institutions

they can come in contact with, whether they belong or not to the

school.

The last years, many fanfares were born when others left us,

each one leaving behind it happy memories of their gigs they did

at the parties or on Paris 7 lawns. Nowadays, we’re proud to

have 8 pure “Val-de-Seine’s style” bands, representing about 140

students and young graduates. A new team took the head of the

Brigade these past few months, convinced that the fanfares can

and must play a central part in saving the cohesion, team spirit

and sharing valors between the students

(or Brass Brigade in english. Brigade du Cuivre is a play on

words reffering to the Brigades du Tigre, name of the french

special police forces early 20th century (the Tiger was Georges

Clemenceau, Minister of Homeland security then President later

on).

The Brigade du Cuivre is the association regrouping all the

“fanfares” (brass bands-marching bands) of our school. It was

born within its walls in 2011 thanks to the initiative of Inès de

Ribaucourt, “Vendredi” and other “fanfarons” (fanfares players)

of their generation; the Brigade’s goal is to prmote solidarity and

dialogue between the bands but also the different institutions

they can come in contact with, whether they belong or not to the

school.

The last years, many fanfares were born when others left us,

each one leaving behind it happy memories of their gigs they did

at the parties or on Paris 7 lawns. Nowadays, we’re proud to

have 8 pure “Val-de-Seine’s style” bands, representing about 140

students and young graduates. A new team took the head of the

Brigade these past few months, convinced that the fanfares can

and must play a central part in saving the cohesion, team spirit

and sharing valors between the students

12

Pikolo brass band

Caviars extrêmes

Press//Beat Milfshake

Capables du meilleur comme du pire, les Caviars Extrêmes excellent dans l’art de se répandre sur votre canapé. Accessoirement fanfarons voire même un peu musiciens pour certains, ils sauront régaler vos oreilles avec leurs sets subtils et raffinés pour toutes vos (ré)jouissances.

« FAITS D’HIVER : L’autodérision au service du crime. » Les PRESS//BEAT ont encore frappé, une cavale extraordinaire.200 kilogrammes de groove pur à 98% ont été dérobés dans la nuit de la Saint-Roger. Les malfaiteurs ont été repérés de sources pas sûres du tout dans une cave parisienne où ils auraient installé un laboratoire clandestin qui leur permet de couper la marchandise.Le 36 est sur le qui vive pour retrouver la came avant qu’elle ne soit revendu au bistrot du coin. Il paraîtrait que Gérard, un des parrains du milieu, planquerait quelques membres de l’équipe. Serge, autre gros poisson, aurait effacé les bandes vidéo prises dans son troquet pour protéger les petits malfrats.Tout le monde est au courant pourtant, les PRESS//BEAT revendent du groove coupé à la fausse note. Mais c’est ça qu’est bon.

Les Milfshake, fanfare frappée et brassée, s’inscrit dans la tradition Débôzart. Réunis autour de la passion du houblon, du son et du blé, les Milfs s’invitent dans vos plateaux de fruits de mère, pour vos événements longs comme éphémères. De tous bords et horizons, pas forcément musiciens, les Milfs c’est avant tout une bande de copaings, partie un beau matin à la quête au fanfaron.Nous recherchons d’ailleurs activement percussionnistes et saxophonistes, expérimentés et motivés.Amour et crème fouettée, bonheur et cheeseburger .

Le Pikolo Brass Band, vétéran des actuelles fanfares de l’ENSAPVS, est crée en 2008, labellisée fanfare des Beaux-Arts en 2010. Comme Rome, le PBB ne s’est pas construit en un jour et c’est à grands coups de souffle qu’il a vécu différentes vagues identitaires, faisant de lui un groupe hétéroclite : la quinzaine de Pikolo encore actif sont étudiants ou diplômés de l’ENSAPVS et d’autres origines, pour un éclectisme maximum et toujours plus de boucan.L’année 2014 a été riche pour le PBB : soirées, contrats, manches, Pete the Monkey Festival, la Masterclass avec les Youngblood, le Concours des Météors qu’ils ont gagné ! Les voilà donc organisateurs du prochain concours, qui s’annonce faste !Un Pikolo Brass Band pas si chill finalement. Quoique...

Président : Natan Mawas « Cardy »Facebook : Pikolo BrassBand

Président : Pierre-Yves Thominet Facebook : Caviars Extremes

Millésime : 2009Président : BoBoFacebook : PRESS//BEAT Artisanal Fanfare

Présidente : Négar Ghassempouri « Néné»Facebook : Milfshake Fanfare Frappée

Président : Natan Mawas « Cardy »Facebook : Pikolo BrassBand

Considered by many as the veteran band of the school. It was

created in 2008 and got prmote to Fanfare des Beaux-Arts in

2010. Like, PBB didn’t build itself in a day and many blows (in

their instruments) were required to keep up through multiple

“identity” winds of change, making it a very motley crew (sic).

The filthy fifteen of the PBB, graduates or not and coming from

multiple horizons, still blow the shit out of their brass to be as

loudy as possible !

Furthermore, 2014 has been a rich year for them : contracts, gigs,

a masterclass with the Young Blood Brass Band and a first place

at the Concours des Météors !

Pikolo Brass Band, a not so chill brass band…

Considered by many as the veteran band of the school. It was

created in 2008 and got prmote to Fanfare des Beaux-Arts in

2010. Like, PBB didn’t build itself in a day and many blows (in

their instruments) were required to keep up through multiple

“identity” winds of change, making it a very motley crew (sic).

The filthy fifteen of the PBB, graduates or not and coming from

multiple horizons, still blow the shit out of their brass to be as

loudy as possible !

Furthermore, 2014 has been a rich year for them : contracts, gigs,

a masterclass with the Young Blood Brass Band and a first place

at the Concours des Météors !

Pikolo Brass Band, a not so chill brass band…

Able to be the best or the worst of their kind, the Caviars

Extremes perform at laying on your couch ( canapé in french,

which also means the toast you rub the caviar on).

Fear not for they also can play music and will delight your ears

with some subtil sets.

Able to be the best or the worst of their kind, the Caviars

Extremes perform at laying on your couch ( canapé in french,

which also means the toast you rub the caviar on).

Fear not for they also can play music and will delight your ears

with some subtil sets.

The Milfshake, stirred and iced brass band, put itself in the

Bôzarts tradition. Brought together by the passion of hop, sound

and money, the Milfs bring the heat to your party. Coming from

all sides of the world, musicians or not, the Milfshakes are before

all a groupof pals who went on a glorious day seeking brass

players. We’re right now recruting skilled drummers and sax

players.

Love and whipped cream on your face, happiness and burgers in

your stomachs.

Automockery in the service of the crime.PRESS//BEAT has still struck, an extraordinary mare.200 kilograms of pure groove 98 % were stolen at Saint Roger’s night. The criminals were spotted by not-so-sure sources in a Parisian cellar where they would have settled a clandestine laboratory which allows them to cut the goods.36 struggles to find the drugs before it is resold to the nearest bar. It would seem that Gérard, one of the godfathers of the middle, would hide some members of the team. Serge, other big fish, would have erased video tapes taken in his small café to protect the gangsters.Everybody knows nevertheless, Pressbeat resells wrong note-cut groove. But that’s what is good.

The Milfshake, stirred and iced brass band, put itself in the

Bôzarts tradition. Brought together by the passion of hop, sound

and money, the Milfs bring the heat to your party. Coming from

all sides of the world, musicians or not, the Milfshakes are before

all a groupof pals who went on a glorious day seeking brass

players. We’re right now recruting skilled drummers and sax

players.

Love and whipped cream on your face, happiness and burgers in

your stomachs.

Automockery in the service of the crime.PRESS//BEAT has still struck, an extraordinary mare.200 kilograms of pure groove 98 % were stolen at Saint Roger’s night. The criminals were spotted by not-so-sure sources in a Parisian cellar where they would have settled a clandestine laboratory which allows them to cut the goods.36 struggles to find the drugs before it is resold to the nearest bar. It would seem that Gérard, one of the godfathers of the middle, would hide some members of the team. Serge, other big fish, would have erased video tapes taken in his small café to protect the gangsters.Everybody knows nevertheless, Pressbeat resells wrong note-cut groove. But that’s what is good.

Tapage Noc’burnes

Originaires de l’école, les Tapages Noc’Burnes débutent en 2012. C’est une bande de potes désireux de porter à leur tour le flambeau qu’est le bel héritage des « Fanfare des Beaux-Arts » et s’initie à une large variété de styles musicaux, des classiques du bon fanfaron aux mélodies tropicales et autres symphonies d’aujourd’hui. Les joyeux fanfarons ont distillé de la bonne humeur le temps d’un « Tapage Tour » cet été, de Vannes à Deauville, en passant par Saint-Malo. Loin de s’arrêter, ils participeront au Concours International organisé en juillet prochain par la Grande Masse. Toujours heureux de faire vibrer leurs cuivres dans les rues de paris, sur la route du phare ouest, dans des événements nationaux et internationaux, tonitruants et noctambules, les Tapages sont prêts à échauffer le clair de lune du crépuscule jusqu’à l’aube !

Les Brass’Eins sont une fanfare Débozarts crée en 2012 sous l’impulsion amicale des ateliers Tabet et Le Normand. De moult péripéties ont meublé leur parcours, mais un jour en 2013, elle a tétonné très pointu… Et cette soirée là, on ne l’oubliera pas !Histoire de pimenter leurs belles robes dorées, la fanfare se voit amputée de 7 membres à la rentrée ! BIM. Comme ça, sans crier gare. Sans plus attendre, la campagne de recrutement est en marche, et c’est ainsi que fin 2014, on voit éclore de tous nouveaux fanfarons tous ronds, tellement mignons…Les Brass’eins comptent aujourd’hui 20 membres + 7 expat’. Une sacrée compagnie gérée initialement par Jaqueline (RIP) et qui est passée aux douces mains de Marie, avec l’aide inestimable de Aurélie et Cécé. La persévérance, l’autodérision et la grosse marrade sont quelques unes de nos qualités. En tous cas, on tétonne toujours.

Président : Valentine Robichon « Robich »Facebook : Tapages Noc’Burnes

Président : Marie Houdret-LobjoitFacebook : Brass’Eins

Coming from the school, Tapages Noc’Burnes began in 2012.

It is a group of friends wanting to hold the torch that is the

great legacy of «Fanfare of Fine Arts» and become acquainted

with the wide variety of musical styles, from classic marching

to good tropical melodies and other symphonies today. The

happy boasters have distilled cheerfulness time of «Tapage Tour

« this summer from Vannes to Deauville, via Saint-Malo. Far

from slowing down, they will participate at an International

Competition held in July by the Grand Masse. Always happy to do

vibrate their horns in the streets of Paris, on the road to national

or international events and thunderous night owls, the Tapages

are ready to warm up the moonlight from dusk till dawn!

Coming from the school, Tapages Noc’Burnes began in 2012.

It is a group of friends wanting to hold the torch that is the

great legacy of «Fanfare of Fine Arts» and become acquainted

with the wide variety of musical styles, from classic marching

to good tropical melodies and other symphonies today. The

happy boasters have distilled cheerfulness time of «Tapage Tour

« this summer from Vannes to Deauville, via Saint-Malo. Far

from slowing down, they will participate at an International

Competition held in July by the Grand Masse. Always happy to do

vibrate their horns in the streets of Paris, on the road to national

or international events and thunderous night owls, the Tapages

are ready to warm up the moonlight from dusk till dawn!

Brass’eins

The Brass’Eins are a Bôzarts band created in 2012 under the

friendly impulsion of Tabet and LeNormand workshops . Many

adventures have furnished their journey, but one day in 2013,

she titted up ... And that’s one day the History will not forget

! To spice up their beautiful golden robes, the band sees itself

amputated of 7 members in September! BIM. Like that, without

warning. Without further ado, the recruitment campaign is

running, and it is and the end of 2014, we see all new hatch

boasters all round, so cute ... The Brass’eins count today 20

members + 7 expat ‘. A sacred run company initially by Jaqueline

(RIP) and is passed to the gentle hands of Mary, with the

invaluable help of Aurélie Cécé. Perseverance, self-deprecating

and fat «marrade» are some of our qualities.

The Brass’Eins are a Bôzarts band created in 2012 under the

friendly impulsion of Tabet and LeNormand workshops . Many

adventures have furnished their journey, but one day in 2013,

she titted up ... And that’s one day the History will not forget

! To spice up their beautiful golden robes, the band sees itself

amputated of 7 members in September! BIM. Like that, without

warning. Without further ado, the recruitment campaign is

running, and it is and the end of 2014, we see all new hatch

boasters all round, so cute ... The Brass’eins count today 20

members + 7 expat ‘. A sacred run company initially by Jaqueline

(RIP) and is passed to the gentle hands of Mary, with the

invaluable help of Aurélie Cécé. Perseverance, self-deprecating

and fat «marrade» are some of our qualities.

Fanfares 14

Président : Tristan WeltyFacebook : Zôtres

Président : Fabien FreicheFacebook : Nyctalopes

«What is this thing? They want explanations, but they’ll know

nothing!

Z’ont not understood the need to keep a little bit of mystery.

Just like chocolate mystery But should put a genre label... What

it looks like foo, foo or foo ?

And you, thingy, what do you look like ?

Besides Pipo has already eaten all the chocolate. »

Zôtheringy yours,

The Zothers.

When you hear the name nyctalopic you say to yourself «Nique ta

What bastard? Go on repeat!

«Or still «Pff still nostalgic for the old Supreme». Well no,

disabused you! Is a nyctalope

just an animal who sees in black uncultivated strip!

Our life in a few lines to short, this is a band nyctalopic coterie of

sixteen boasters

(in both senses) which is found around a few coppers to exercise

their lungs clogged with tar. One can also see the beverage

tastings

based fresh hops, or certified monoprix discount terrines.

When our green bottles are finished we have fun playing the hits

of the 80s including «I Love

Rock And Roll, «» Gimme Gimme Gimme «or» Demons De Minuit

«but also good rock

like «Banquet» by Bloc Party and «Dragostea Din Tei» by O-Zone

(LOL as the under 16 year-old say). We still have lots of songs

but it will surprise you later! And as for

is the goal or political convictions acharnements was to reuse the

old classics

fashion!

It was the night vision kissing your ass!

«What is this thing? They want explanations, but they’ll know

nothing!

Z’ont not understood the need to keep a little bit of mystery.

Just like chocolate mystery But should put a genre label... What

it looks like foo, foo or foo ?

And you, thingy, what do you look like ?

Besides Pipo has already eaten all the chocolate. »

Zôtheringy yours,

The Zothers.

When you hear the name nyctalopic you say to yourself «Nique ta

What bastard? Go on repeat!

«Or still «Pff still nostalgic for the old Supreme». Well no,

disabused you! Is a nyctalope

just an animal who sees in black uncultivated strip!

Our life in a few lines to short, this is a band nyctalopic coterie of

sixteen boasters

(in both senses) which is found around a few coppers to exercise

their lungs clogged with tar. One can also see the beverage

tastings

based fresh hops, or certified monoprix discount terrines.

When our green bottles are finished we have fun playing the hits

of the 80s including «I Love

Rock And Roll, «» Gimme Gimme Gimme «or» Demons De Minuit

«but also good rock

like «Banquet» by Bloc Party and «Dragostea Din Tei» by O-Zone

(LOL as the under 16 year-old say). We still have lots of songs

but it will surprise you later! And as for

is the goal or political convictions acharnements was to reuse the

old classics

fashion!

It was the night vision kissing your ass!

Les Zôtres

Nyctalopes

« Qu’est ce que c’est ce truc ?Ils veulent des explications, mais ils sauront rien !Z’ônt pas compris qu’il faut garder qu’un tout petit peu d’mystèreExactement comme le mystère au chocolatMais faut qu’y mettent une étiquette genre ça ressemble à machin, machin ou machinEt toi machin, tu ressembles à quoi ?D’ailleurs Pipo a déjà tout mangé du chocolat. »

Zôtrement vôtres,Les Zôtres

Quand t’entends le nom Nyctalopes tu te dis « Nique ta quoi espèce de bâtard ? Vas-y répète ! » Ou encore « Pff encore des vieux nostalgiques du Suprême ». Et bien non, détrompes toi ! Un nyctalope est tout simplement un animal qui voit dans le noir bande d’incultes !

Notre vie en quelques lignes, pour faire bref, la fanfare Nyctalopes c’est un cénacle de seize fanfarons (dans les deux sens du terme) qui se retrouve autour de quelques cuivres pour faire faire un peu d’exercice à leurs poumons encrassés de goudron. On peut aussi y voir des dégustations de boissons fraiches à base de houblon, ou encore de terrines certifiées monoprix discount.

Quand nos bouteilles vertes sont finies on s’amuse à jouer des hits des années 80 notamment « I Love Rock And Roll », « Gimme Gimme Gimme » ou encore « Les Démons De Minuit » mais aussi du bon rock comme « Banquet » de Bloc Party ou encore « Dragostea Din Tei » de O-Zone (LOL comme disent les moins de 16 ans). On a encore pleins de chansons mais on vous fera la surprise plus tard ! Et pour ce qui est des convictions ou des acharnements politiques on a pour but de remettre les vieux classiques au goût du jour !

C’était les Nyctalopes la bise sur vos fesses !

15

GZ : Nous ce qu’on connaît de la fanfare, c’est ce qui rythme les soirées de l’école ! Mais en coulisse, comment ça se passe ? Tu nous explique un peu ?M : Je fais pas du trombone, les coulisses j’y connais rien ! Excuse-moi. Quoi dire... Je peux juste parler de mon expérience personnelle. Pour moi la fanfare est avant tout une discipline humaniste. Déjà parce que c’est bien une discipline, contrairement à ce que l’on peut croire de l’extérieur. Il y a les bons et les mauvais élèves par exemple. Il y a des facilités pour certains et la bonne volonté pour tous les autres. On doit assez vite maitriser des outils spécifiques. Il y a comme partout ceux qui oublient leur carnet, ceux qui arrivent en retard, ceux qui se mettent à huiler leur instrument en plein set. Il y a ceux qui sont passionnés, ceux qui sont archi-passionnés psychorigides, ceux qui s’en foutent un peu mais le font quand même. N’oublions pas ceux qui ne peuvent pas s’empêcher de swinger constamment leur booty en répet’ ou ceux qui soufflent dans leur embouchure sans avoir levé la main ; ok techniquement ça veut rien dire, mais bon ! Malheureusement j’ai du faire tout ça au moins une fois dans ma vie mais en générale il faut un minimum de discipline pour être fanfaron oui.

GZ : D’accord pour la discipline. Mais il y n’y a pas que ça, si ? Toute cette effervescence de la part des fanfarons pour leur fanfare, elle est due à quoi ? M : Il y a deux aspects différents dans ta question il y a l’effervescence et l’attachement à sa propre fanfare. Déjà, souffler dans son instrument et se concentrer : rien que ça c’est incroyablement libératoire et légèrement addictif. Cela pourrait nous réduire tous à une bande de junkies sans espoir, or il y a plus. Ca doit rejoindre ce que je voulais dire à propos du coté humaniste. Tel l’homme de Vitruve, la fanfare aborde la question des parties par rapport au tout. La complicité étroite qui s’instaure entre membres de la même fanfare est due en grande partie à l’interdépendance de chacun d’entre eux.

GZ : The most we know about the fanfares is when they’re on

stage, performing. Can you tell us how you work backstage ?

M : For me the band is primarily a humanistic discipline. First,

because that’s actually a discipline, contrary to what one

might think from the outside. There are good and bad guys for

example. There are some facilities for some and good will to

the others. We must quickly master specific tools. There are, as

everywhere, some who forget their book, those who arrive late,

those who start oiling their instrument during the set. There are

enthusiasts, ultra-psychorigid enthusiasts, those who do not

care for one bit but unvevitably do anyway. Do not forget those

who can not help but constantly swinger their booty during the

rehearsals or those who blow in their mouth without having

raised their hands; ok technically it means nothing! (Aaah,

whatever...)

Unfortunately I’ve done at least once in my life but generally it

takes a minimum of discipline to be a fanfaron.

GZ : Okay for the discipline. But it’s not the only thing, right ? All

the excitement from the fanfarons for their band, to what is it

due?

M : Haha. There are two different aspects to your question : there

is the excitement and commitment to his own marching band.

Firstly, blowing into the instrument and focusing : just that. It’s

incredibly liberating and slightly addictive. This could reduce us

to a hopeless junkies band,but there is more. It must reach what I

wanted to say about the humanistic side. Like the Vitruvius Man,

the band addresses the issues of the parts relating to the whole.

The close complicity that develops between members of the

same band is largely due to the interdependence between each

of them.

GZ : The most we know about the fanfares is when they’re on

stage, performing. Can you tell us how you work backstage ?

M : For me the band is primarily a humanistic discipline. First,

because that’s actually a discipline, contrary to what one

might think from the outside. There are good and bad guys for

example. There are some facilities for some and good will to

the others. We must quickly master specific tools. There are, as

everywhere, some who forget their book, those who arrive late,

those who start oiling their instrument during the set. There are

enthusiasts, ultra-psychorigid enthusiasts, those who do not

care for one bit but unvevitably do anyway. Do not forget those

who can not help but constantly swinger their booty during the

rehearsals or those who blow in their mouth without having

raised their hands; ok technically it means nothing! (Aaah,

whatever...)

Unfortunately I’ve done at least once in my life but generally it

takes a minimum of discipline to be a fanfaron.

GZ : Okay for the discipline. But it’s not the only thing, right ? All

the excitement from the fanfarons for their band, to what is it

due?

M : Haha. There are two different aspects to your question : there

is the excitement and commitment to his own marching band.

Firstly, blowing into the instrument and focusing : just that. It’s

incredibly liberating and slightly addictive. This could reduce us

to a hopeless junkies band,but there is more. It must reach what I

wanted to say about the humanistic side. Like the Vitruvius Man,

the band addresses the issues of the parts relating to the whole.

The close complicity that develops between members of the

same band is largely due to the interdependence between each

of them.

Fanfares : Interview 16

GZ : Ce n’est pas trop ennuyeux de rejouer toujours les mêmes morceaux ? M : Non, mais je ne sais pas trop pourquoi. Peut être que c’est un peu comme une pièce de théâtre qui est jouée et rejouée chaque soir par les mêmes comédiens. Le spectateur attentif pourra toujours discerner une légère inflexion du texte ou une inclinaison de la voix. Or la fanfare comme toute musique, immatérielle par excellence, est un dialogue qui peut se passer de mot.

GZ : Alors pourquoi faire autant de bruit ?M: Parce que More is More en fanfare.

GZ : Il y a donc un lien entre la fanfare et l’architecture ? M : C’est peut être pas un hasard si cette tradition a survécu, tout particulièrement dans les écoles d’architecture, notamment françaises. La fanfare des beaux-arts, issue du XIXème siècle, est un des seuls éléments qui a traversé presque intact l’énorme bouleversement stylistique des années 30. « D’un combat de trente années, je suis sorti vainqueur. J’ai libéré l’humanité de l’ornement superflu » écrit Loos en 1903, le reste c’est de l’histoire. La fanfare a gardé quant à elle une approche symbolique à la création : stade embryonnaire de l’histoire de l’art où la forme excède le contenu. Elle est en cela bien plus proche de l’art oriental et du baroque que de la période classique. Tout se joue sur l’accumulation et la répétition. Plus de lunettes : une, deux, voire trois paires, les unes sur les autres, pourquoi pas. Plus de plumes, plus de colliers, plus de poils ! Un peu comme Shiva qui à six bras ou l’extase de Saint Thérèse. De l’ornement je vous en prie donnez nous de l’ornement ! On n’en fait jamais trop en fanfare.

GZ : C’est pour ça que le fanfaron a souvent un air « excentrique » ? M : Euh peut être qu’il est plus dans le dionysiaque que l’apollinien, peut être... Quelque part entre la furie des bacchantes et l’innocence de l’enfance.

GZ : Concernant la Brigade du Cuivre vous parliez d’entraide entre les étudiants? M : Oui, dans cette grande famille qui est la fanfare, certains gèrent l’argent tandis que d’autres conduisent ou font à manger. Chacun est un peu enfant perdu et en même temps un peu Peter Pan là dedans. Plus tard le moment des grandes épreuves arrivent : le diplôme reste un des meilleurs exemples de solidarité et de travail en équipe. Le réseau de la fanfare permet d’échanger les expériences des uns et des autres tout en brisant les frontières entre anciens et nouveaux.

GZ : As-tu un message pour les aspirants fanfarons ?M : Oh oui ! Contactez Clément Schwab et Thibault Mazevet chez Massena, pas besoin d’un papa et d’une maman pour monter une fanfare mais quand même... Ne ratez pas cette belle occasion dans la vie et jetez vous à l’eau, vous n’allez pas regretter d’en sortir tout mouillé. On s’en fout si vous ne savez pas nager pour l’instant !

GZ: Isn’t it boring to always replay the same songs?

M: No, but I do not know why. Maybe it’s like a play that is

played and replayed every night by the same actors. The

attentive viewer will still discern a slight inflection of the text

or an inclination of the voice. So the fanfare music, ultimately

immaterial, is a dialogue that can get rid of words.

GZ: So why make so much noise?

M: Because More is More for the fanfare.

GZ: So there is a connection between fanfares and architecture?

M: It may not be a coincidence that this tradition has survived,

particularly in architecture schools, especially French ones. The

band of Fine Arts, of the XIXth century, is the only element that

crossed the enormous stylistic upheaval of the 30s. «From a

thirty years fight, I came out the winner. I freed humanity from

superfluous ornament» wrote Loos 1903, the rest is history. The

band kept a symbolic approach to creation : embryonic stage

in the history of art where form exceeds the content. In that, it

is much closer from oriental art and Baroque than the classical

period. Everything is played on the accumulation and repetition.

More glasses: one, two, or three pairs on each other, why not.

More feathers, more necklaces, more hair! Much like Shiva with

6 arms or the ecstasy of Saint Theresa. Ornament please give us

the ornament! We never do too much as a fanfare.

GZ: That’s why the fanfaron often has an «eccentric» look?

M: Well maybe he is more in the Apollonian than Dionysian,

maybe ... Somewhere between the fury bacchantes and

innocence of childhood.

GZ: On the Brass Brigade, were you talking about mutual aid

among students?

M: Yes, in this great family that the band is, some manage

money while others drive or cook. Everyone is a little lost child

and at the same time a little Peter Pan here. Later, the time of

great trials come: the degree remains one of the best examples

of solidarity and teamwork. The band network is excellent

for exchanging experiences of each others while breaking the

boundaries between old and new.

GZ : Do you have a message for the wanabe fanfaron ?

M: Oh yeah ! Contact Clément Schwab and Thibault Mazevet at

Massena, no need for a dad and a mom to put a fanfare together

but still... Don’t let the opportunity fly away and just dive in it,

we won’t regret getting wet. Nevermind if you can’t swim !

GZ: Isn’t it boring to always replay the same songs?

M: No, but I do not know why. Maybe it’s like a play that is

played and replayed every night by the same actors. The

attentive viewer will still discern a slight inflection of the text

or an inclination of the voice. So the fanfare music, ultimately

immaterial, is a dialogue that can get rid of words.

GZ: So why make so much noise?

M: Because More is More for the fanfare.

GZ: So there is a connection between fanfares and architecture?

M: It may not be a coincidence that this tradition has survived,

particularly in architecture schools, especially French ones. The

band of Fine Arts, of the XIXth century, is the only element that

crossed the enormous stylistic upheaval of the 30s. «From a

thirty years fight, I came out the winner. I freed humanity from

superfluous ornament» wrote Loos 1903, the rest is history. The

band kept a symbolic approach to creation : embryonic stage

in the history of art where form exceeds the content. In that, it

is much closer from oriental art and Baroque than the classical

period. Everything is played on the accumulation and repetition.

More glasses: one, two, or three pairs on each other, why not.

More feathers, more necklaces, more hair! Much like Shiva with

6 arms or the ecstasy of Saint Theresa. Ornament please give us

the ornament! We never do too much as a fanfare.

GZ: That’s why the fanfaron often has an «eccentric» look?

M: Well maybe he is more in the Apollonian than Dionysian,

maybe ... Somewhere between the fury bacchantes and

innocence of childhood.

GZ: On the Brass Brigade, were you talking about mutual aid

among students?

M: Yes, in this great family that the band is, some manage

money while others drive or cook. Everyone is a little lost child

and at the same time a little Peter Pan here. Later, the time of

great trials come: the degree remains one of the best examples

of solidarity and teamwork. The band network is excellent

for exchanging experiences of each others while breaking the

boundaries between old and new.

GZ : Do you have a message for the wanabe fanfaron ?

M: Oh yeah ! Contact Clément Schwab and Thibault Mazevet at

Massena, no need for a dad and a mom to put a fanfare together

but still... Don’t let the opportunity fly away and just dive in it,

we won’t regret getting wet. Nevermind if you can’t swim !

Propos reccueillis par Fleur Alliet

17

Bien que certains se demandent ce qu’est devenu monsieur Gazette, j’aimerais vous dire que je profite actuellement d’une année bien tranquille au sein de la ville qu’on appelle le petit Paris : Bucarest, capitale de la Roumanie. Je me rappelle l’an dernier lorsque j’ai écrit le premier article de cette rubrique voyage sur Amsterdam destiné aux étudiants de cette école, tous aventuriers, les uns comme les autres. C’était un sacré bon souvenir que de vous faire découvrir le monde par nos yeux curieux et je ne demande qu’à vous offrir davantage, encore et encore. Nous vous avions également présenté le Japon et l’Australie. Désormais il est temps de changer votre vision de la Roumanie. Oui, j’ai vu des charrettes en Roumanie et non, les moyens de locomotion ne se limitent pas seulement aux caddies ! Alors jeunes gens, j’espère que vous adopterez un tout nouveau regard sur un très beau pays d’Europe. Welcome to Romania !

Even though some of you wonder what has become of mister Gazette, I would like to tell you that I am actually taking advantage of a very

peacefull year within the city that we call small Paris: Bucharest, capital of Romania. I remember last year when I wrote the first

article of this travels’ column on Amsterdam for the students of this school, all of them adventurers. It was a very good memory making

you discover the world through our curious eyes and I only ask to offer you more, again and again. We also presented you Japan and Australia. From now on it’s time to change your vision of Romania.

Yes I saw carts in Romania and no the means of transport don’t limit themselves only to shopping carts! So young people, I hope that you

will adopt a new vision on a beautiful country of Europe. Welcome to Romania!

Even though some of you wonder what has become of mister Gazette, I would like to tell you that I am actually taking advantage of a very

peacefull year within the city that we call small Paris: Bucharest, capital of Romania. I remember last year when I wrote the first

article of this travels’ column on Amsterdam for the students of this school, all of them adventurers. It was a very good memory making

you discover the world through our curious eyes and I only ask to offer you more, again and again. We also presented you Japan and Australia. From now on it’s time to change your vision of Romania.

Yes I saw carts in Romania and no the means of transport don’t limit themselves only to shopping carts! So young people, I hope that you

will adopt a new vision on a beautiful country of Europe. Welcome to Romania!

18Carnet de Voyage

Sylvain Massoué

Photographies Sylvain massoué, Evie Menez, Roberta Gravina

Bucarest

20

21

CharlieJardin BotaniqueFanfInterviewCarnet de voyage-roumanie-turquie

Minute junkspaceFondation vuittonAgenda culturelMusique et archiPlan séquenceChroniculteDetente

CharlieJardin BotaniqueFanfInterviewCarnet de voyage-roumanie-turquie

Minute junkspaceFondation vuittonAgenda culturelMusique et archiPlan séquenceChroniculteDetente

26

27

Istanbul

À chaque pas fait dans la ville, vous pouvez tomber sur une ruine, un vestige racontant une histoire fascinante venue du passé. Il faut toujours garder en tête que chaque histoire mélange généralement vérité et légende.On raconte que les tunnels d'Istanbul partaient de l'église Sainte Sophie et un peu plus à l'ouest de la Citerne Basilique Yerebatan. Toujours selon la légende, ils s'étendaient de Sainte Sophie jusqu'à l'ile du Prince qui se trouve du côté asiatique de la ville. Beaucoup de portes menaient à ces tunnels mais la plupart ont été condamnées depuis. Le réalisateur Göksel Gülensu explore depuis 15 ans les mystérieux et secret tunnels labyrinthiques sous Sainte Sophie. Il partait à l'origine avec l’autorisation de filmer l'intérieur de l'église pendant huit heures. Son équipe et lui ont notamment réussi à entrer dans un tunnel long de 488 mètres et totalement immergé. Dans ce labyrinthe, ils ont découvert deux pièces datant probablement des empires romain et byzantin. Là, ils ont trouvé des ossements qu'ils ont identifiés comme ceux de l'enfant Saint Antinegenos (XIIIème siècle) et de Patric Athanasius du (XVeme siècle). Ces deux figures historiques de l'époque où la ville s'appelait Constantinople avaient été enterrés à cet endroit. Ils ont également déniché dix bouteilles d'eau britanniques de 1917, ce qui signifie que des soldats anglais étaient présents à cet endroit il y a un siècle de cela. Certains se sont mis à spéculer que la présence de ces étrangers expliquait certains vols et pillages. Malheureusement, le film de Gülensu n'a pas encore été distribué au grand public mais de nombreuses vidéos sur YouTube montrent de quoi nous parlons dans ce dossier. CAK

Istanbul is full of history and legendary stories. At every step

you can find a historical ruin or something that has a fascinating

story from the past.

The thing to keep in mind is that each story usually consists of a

mix of truth and legend.

It is said that the tunnels should start from Hagia Sophia and

Yerebatan Bazlica Cistern.

According to legend, they stretch all the way from Hagia Sophia

to the Asian Side or The Prince’s Islands. There were lots of

enterances to the tunnels but they have since been closed or

hidden over the course of history.

Movie director Göksel Gülensu started a documentary 15 years

ago about the secrets, tunnels and labyrints under Hagia Sophia

after being given permission to spend only 8 hours working and

filming in the museum.

The crew entered the tunnel and measured it to be 488 metres

long. Everything was under water. In the labyrinths they

discovered two rooms believed to be from Roman and Byzantio

times.They found pieces of bones there believed to be from the

child saint Antinegenos from 13th century and Patric Athanasius

from the 15th century. Both had been buried there at the time

the city was still named Constantinople.

They also found 10 British water bottles from 1917; meaning

that British soldiers had been there a century ago. These water

bottles have drawn some to speculate that the presence of

foreigners means that some treasure could have been stolen

during their stay.

Gülensu’s movie has yet to be edited but there’s many videos on

YouTube showing what we’re talking about here.

Istanbul is full of history and legendary stories. At every step

you can find a historical ruin or something that has a fascinating

story from the past.

The thing to keep in mind is that each story usually consists of a

mix of truth and legend.

It is said that the tunnels should start from Hagia Sophia and

Yerebatan Bazlica Cistern.

According to legend, they stretch all the way from Hagia Sophia

to the Asian Side or The Prince’s Islands. There were lots of

enterances to the tunnels but they have since been closed or

hidden over the course of history.

Movie director Göksel Gülensu started a documentary 15 years

ago about the secrets, tunnels and labyrints under Hagia Sophia

after being given permission to spend only 8 hours working and

filming in the museum.

The crew entered the tunnel and measured it to be 488 metres

long. Everything was under water. In the labyrinths they

discovered two rooms believed to be from Roman and Byzantio

times.They found pieces of bones there believed to be from the

child saint Antinegenos from 13th century and Patric Athanasius

from the 15th century. Both had been buried there at the time

the city was still named Constantinople.

They also found 10 British water bottles from 1917; meaning

that British soldiers had been there a century ago. These water

bottles have drawn some to speculate that the presence of

foreigners means that some treasure could have been stolen

during their stay.

Gülensu’s movie has yet to be edited but there’s many videos on

YouTube showing what we’re talking about here.

Istanbul est une ville

chargée d'histoire et

de légendes.

32

33

In the absence of concentration

- of simultaneous presence - we can find (...)

particular «moments» spaced out to create

a trance from almost insensitive aesthetic

experiences : the color variations in the

fluorescent lighting of an office building

near sunset, the subtleties of whites on a

light signal at night. Like Japanese food,

these sensations can be reconstituted and

intensified in the mind, or not - they can be

ignored. This intrusive lack of pressure and

acuteness acts as a hard drug : it induces the

hallucination of the normal.

In the absence of concentration

- of simultaneous presence - we can find (...)

particular «moments» spaced out to create

a trance from almost insensitive aesthetic

experiences : the color variations in the

fluorescent lighting of an office building

near sunset, the subtleties of whites on a

light signal at night. Like Japanese food,

these sensations can be reconstituted and

intensified in the mind, or not - they can be

ignored. This intrusive lack of pressure and

acuteness acts as a hard drug : it induces the

hallucination of the normal.

Minute Culture 36

généralement perçue d’un point de vue sédentaire.

À défaut de concentration - de présence simultanée- on

trouve (...) des «moments» particuliers espacés pour créer

un état de transe à partir d’expériences esthétiqus presques

insensibles : les variations de couleurs dans l’éclairage

fluorescent d’un immeuble de bureaux à l’approche du coucher du soleil, les subtilité»s de blancs

légèrements fdifférents sur une suignalisation lumineuse la nuit.

Comme pour la nourriture japonaise, ces sensations peuvent

être reconstituées et intensifiées dans l’esprit, ou non - elles

peuvent être simplement ignorées. Ce manque envahissant de

pression et d’acuité agit comme une drogue dure : elle induit une

hallucination du normal.Pour un renversement complet

de ce qui est sensé être la caractéristique majeure de la ville

- les « affaires » -, la sensation dominante dans la ville générique

s’attaque

À défaut de concentration - de présence simultanée- on

trouve (...) des «moments» particuliers espacés pour créer

un état de transe à partir d’expériences esthétiques presque

insensibles : les variations de couleurs dans l’éclairage

fluorescent d’un immeuble de bureaux à l’approche du coucher du soleil, les subtilités des blancs

légèrement différents sur une signalisation lumineuse la nuit.

Comme pour la nourriture japonaise, ces sensations peuvent

être reconstituées et intensifiées dans l’esprit, ou non - elles

peuvent être simplement ignorées. Ce manque envahissant de

pression et d’acuité agit comme une drogue dure : elle induit une

hallucination du normal.

Koolhaas, Rem, 2001, Junkspace (pp 51)

à Sophie.

Fondation Louis Vuitton 38

L’emprise au sol ferme l’accès au parc, notamment en prolongeant le bâti par cette grande déclivité qu’est la cascade, la marée que semble remonter le navire. Tout cela est d’une grande théâtralité, très romanesque et c’est à se demander si l’architecte n’a pas poussé trop loin sa métaphore. Si c’est d’une totale gratuité, tout est complètement assumé et ça a le mérite d’être efficace.On pourrait considérer, comme le voulait le programme d’origine, que le batiment de la Fondation fait office de portique d’entrée menant au parc. Et quel portique. Le hall se trouve être traversant de l’entrée coté rue à la sortie coté parc. En cela, et vu la configuration des accès vers le reste du batiment, la fonction de portail d’entrée du jardin est assurée.

En prenant du recul dans le parc pour ensuite rebrousser chemin jusqu’à la fondation, c’est peut être là qu’on apprécie le mieux le travail plastique de Gehry. Si l’on a cette fois un réel recul, il est contrasté par les arbres qui forment de nouveaux panneaux qui révèlent ce nuage au fur et à mesure que l’on s’en approche. Cependant, si les voiles sont d’aspect léger et beaux par leur structure en poutres de contrecollé et acier, leur légèreté se trouve quelque peu alourdie visuellement par les éléments structurels qui les rattachent aux blocs solides. Non pas que le choix de laisser ces poutres de métal apparentes soit disgracieux, bien au contraire. C’est d’avantage le fait qu’elles ressortent uniquement comme les éléments porteurs d’un dessin très sensible, se rejoignant dans des articulations très complexes et plutôt chaotique, sans en faire partie.

When you’re visiting the Louis Vuitton

Fondation, you expect to see the long

façade with its overlapping glass sails.

But the main way to get to the fondation

comes facing the pointing edge of the

building so that even if there is a small

square in front of the main entrance,

there’s no real way to stand back enough

to get a global view. We can really feel the

sails overhanging over us. Thus the only

way to see the building in its whole, as we

can find it in the press, is to walk around it.

The building’s footprint closes the access

to the park. The waterfall, this tide the ship

seems to be sailing against, extends the

building in that purpose. All of this is quite

glorious and romanesque. It seems like the

architect pulled the metaphor a bit too far.

It seems like Gehry shoulders it all and the

result is quite effective in the looks.

We could consider that the original building

is the entrance gate to the park. What an

entrance indeed. The main hall is crossing

from the street to the park. Considering

the accesses to the other stories and

exhibitions, this gate function is well

assured.

The best way to appreciate Gehry’s plastic

work may be by standing back in the

park. The cloudy building progressively

emerges from the trees as we’re walking

towards it. This lightness of the sails -quite

beautiful themselves with their steel and

laminated wood structure is a bit weighed

by the connecting elements to the solid

blocks. These beams don’t have anything

disgraceful but quite the reverse. They

just appear like the bearing elements of a

sensible drawing of the steel articulations

and its chaotic pattern without ever being

a part of it.

When you’re visiting the Louis Vuitton

Fondation, you expect to see the long

façade with its overlapping glass sails.

But the main way to get to the fondation

comes facing the pointing edge of the

building so that even if there is a small

square in front of the main entrance,

there’s no real way to stand back enough

to get a global view. We can really feel the

sails overhanging over us. Thus the only

way to see the building in its whole, as we

can find it in the press, is to walk around it.

The building’s footprint closes the access

to the park. The waterfall, this tide the ship

seems to be sailing against, extends the

building in that purpose. All of this is quite

glorious and romanesque. It seems like the

architect pulled the metaphor a bit too far.

It seems like Gehry shoulders it all and the

result is quite effective in the looks.

We could consider that the original building

is the entrance gate to the park. What an

entrance indeed. The main hall is crossing

from the street to the park. Considering

the accesses to the other stories and

exhibitions, this gate function is well

assured.

The best way to appreciate Gehry’s plastic

work may be by standing back in the

park. The cloudy building progressively

emerges from the trees as we’re walking

towards it. This lightness of the sails -quite

beautiful themselves with their steel and

laminated wood structure is a bit weighed

by the connecting elements to the solid

blocks. These beams don’t have anything

disgraceful but quite the reverse. They

just appear like the bearing elements of a

sensible drawing of the steel articulations

and its chaotic pattern without ever being

a part of it.

Lorsque l’on se rend à la fondation Louis Vuitton, on s’attend à voir la longue façade latérale où s’entrecroisent les immenses voiles de verre. Or l’approche côté rue se fait face à la pointe, et bien qu’une petite place soit aménagée devant l’entrée rue, elle ne permet pas d’avoir un véritable recul puisqu’on est cerné par la route et le bois. Ainsi on a l’impression d’être véritablement surplombé par ces voiles.

40

42

L’intérieur est comme attendu, beaucoup plus simple. Il s’articule en rejetant les circulations sur les flancs, permettant ainsi d’isoler les espaces d’exposition, plus cartésiens. Le résultat est que le bâtiment devient une gigantesque promenade, entre les différentes entités que forme le programme. Promenade dont le point d’orgue est le toit, où le Paris lointain se dessine entre les gigantesques voiles dont qui nous abritent par endroits. Mais là encore on ne fait que passer, là où c’est le plus décevant. On aimerait pouvoir prendre son temps, s’approprier pendant quelques minutes ce toit parisien, mais il n’en est rien et ce toit terrasse en devient un couloir à ciel ouvert.

In Fine, dans la plupart des batiments de Frank Gehry, le programme se résume à un ensemble de parallélépipèdes, volumes simples dans lesquels la liberté d’utilisation est la plus complète. Un ensemble de salles silencieuses où le génie formel de l’architecte est souvent hors d’atteinte sous la forme d’un twist du volume au niveau de la baie d’éclairage zénithal située à plus de quinze mètres du sol.

On ne ressent pas véritablement l’espace Gehrien dans toutes ces circonvolutions de volumes. L’expression de l’espace se cantonne aux circulations qui bien que concentrées sur les parois, entre les voiles et les volumes capables, proposent dilatation, compression et soumettent le visiteur à une promenade architecturale des plus troublantes.

On ne se rend jamais vraiment compte du moment où l’on passe de l’intérieur à l’extérieur grâce aux grandes baies vitrées parfois remplacées par les voiles de verre en tant qu’enveloppe protectrice.Un détail semble assez révélateur. Le toit est évidemment cerné de gardes corps, ceux-ci sont le prolongement des volumes blancs qui forment le bloc solide de la fondation. Ils sont donc d’une épaisseur d’environ soixante centimètres et totalement opaque. L’expérience de cet instant architectural s’en trouve gâchée.

Evidemment cela ne gêne en rien la vue, mais le corps lui en est limité. Ces voiles vertigineux avec ces magnifiques poutres sont décollés de la façade en plongeant depuis le dessus de nos têtes sur toute la hauteur du bâtiment. On a envie de s’approcher du vide, de les voir dans la totalité de leurs mouvements, d’être plongé dedans. Or c’est complètement impossible avec un muret pratiquement aussi large que la longueur de votre bras. Il y a un seul garde corps qui est en verre avec une structure acier. S’y positionner change radicalement l’expérience mais il fait moins de deux mètres de long et est positionné dans un coin contre un mur.

As expected, the inside is way more simpler. The circulations

are pushed on the flanks of the building. It manages to isolate

the more cartesian exhibition rooms. Therefore the building

becomes a big promenade between the small entities composing

the program. Everything leads to the roof where Paris’ skyline

emerges in the distance behind the sails all around us. But again,

we’re only disappointingly passing by. We’d like to take our time

to make our own this Parisian roof just for a few minutes. But no.

This terrace is just another open-air corridor.

In the end, just like in Gehry’s other buildings, used spaces are

just a bunch of parallelepipedic simple boxes free for any use.

Just a few silent rooms in which the architect’s formal genius is

way above us in the form of a twist in the shape of the fifteen-

metre-high ceiling window. We never really feel any “Gehrian

space” in all these volume contortions. Spatial experience is

limited to the circulations. They’re pushed on the sides of the

building, between the boxes and the sails but they still offer the

best expansion and compression of space. It submits the visitor

to one of the most troubling architectural promenade. We never

quite realise whether we’re inside or outside thanks to the huge

glass panels sometimes replaced by the sails as a protective

layer.

There’s an telling detail about the guardrails. Here they’re just

the top of the white structural blocks of the building. They’re

about sixty-centimetre-wide and fully opaque. This architectural

spot’s experience is quite wasted by the railings. It doesn’t

restrain any of the view but more of the body. These huge sails

and beautiful beams are floating along the façade, diving from

above our heads all the way down to the basin surrounding the

building. We’d like to get closer to the edge to see these elements

in their whole movement. To dive into it. But it’s completely

impossible with this barrier almost as long as your arm. There’s

still one steel and transparent glass guardrail though. Stepping

against it radically changes the experience of the place but it’s

only two-metre-long and placed in a corner, against a wall.

As expected, the inside is way more simpler. The circulations

are pushed on the flanks of the building. It manages to isolate

the more cartesian exhibition rooms. Therefore the building

becomes a big promenade between the small entities composing

the program. Everything leads to the roof where Paris’ skyline

emerges in the distance behind the sails all around us. But again,

we’re only disappointingly passing by. We’d like to take our time

to make our own this Parisian roof just for a few minutes. But no.

This terrace is just another open-air corridor.

In the end, just like in Gehry’s other buildings, used spaces are

just a bunch of parallelepipedic simple boxes free for any use.

Just a few silent rooms in which the architect’s formal genius is

way above us in the form of a twist in the shape of the fifteen-

metre-high ceiling window. We never really feel any “Gehrian

space” in all these volume contortions. Spatial experience is

limited to the circulations. They’re pushed on the sides of the

building, between the boxes and the sails but they still offer the

best expansion and compression of space. It submits the visitor

to one of the most troubling architectural promenade. We never

quite realise whether we’re inside or outside thanks to the huge

glass panels sometimes replaced by the sails as a protective

layer.

There’s an telling detail about the guardrails. Here they’re just

the top of the white structural blocks of the building. They’re

about sixty-centimetre-wide and fully opaque. This architectural

spot’s experience is quite wasted by the railings. It doesn’t

restrain any of the view but more of the body. These huge sails

and beautiful beams are floating along the façade, diving from

above our heads all the way down to the basin surrounding the

building. We’d like to get closer to the edge to see these elements

in their whole movement. To dive into it. But it’s completely

impossible with this barrier almost as long as your arm. There’s

still one steel and transparent glass guardrail though. Stepping

against it radically changes the experience of the place but it’s

only two-metre-long and placed in a corner, against a wall.

46

Sur un coup de tête ou de pub, Gehry répondit par un majeur au journaliste qui lui posa la fatidique question de l’architecture de

spectacle. On peut comprendre l’agacement d’un homme qui malgré toutes les critiques est aujourd’hui admiré dans le monde entier

pour son travail. On peut accepter les choix de démesure, de luxe et la gratuité de cette architecture pour considérer ce bâtiment,

d’autant qu’il s’agit d’un financement totalement privé. Cependant il ne s’agit pas d’une folie réalisée dans le jardin d’un milliardaire mais bel et bien d’un bâtiment accueillant du public et peuplant une ville, à la fois porteur d’un message sur l’architecture et notre société. Et quand bien même cet édifice demeure monumental, techniquement

inégalé et tout simplement magnifique, on peut s’interroger sur la lubie formelle d’un architecte dont l’oeuvre tend parfois vers un

maniérisme éclairé.

Clément Ciesiolka et Tarik Abdelgaber

On a whim or as a communication stunt

Gehry gave the finger to the journalist who

asked him about showy architecture. This

worldly praised Starchitect can be vexed by

all these critics, let’s give him that. Excess,

luxury and gratuity can be accepted about

this building, all the more so since it’s been

completely privately funded.

However it is not a folly built in a billionaire’s

private garden but a building that receives

public and is part of the city. It conveys

a message both about architecture and

our society. Even if this building remains

monumental, technically unequalled and

simply magnificent, we can wonder about the

whimsical formality of an architect whose

work sometimes tends towards enlightened

mannerism.

On a whim or as a communication stunt

Gehry gave the finger to the journalist who

asked him about showy architecture. This

worldly praised Starchitect can be vexed by

all these critics, let’s give him that. Excess,

luxury and gratuity can be accepted about

this building, all the more so since it’s been

completely privately funded.

However it is not a folly built in a billionaire’s

private garden but a building that receives

public and is part of the city. It conveys

a message both about architecture and

our society. Even if this building remains

monumental, technically unequalled and

simply magnificent, we can wonder about the

whimsical formality of an architect whose

work sometimes tends towards enlightened

mannerism.

Photographies Quentin Dauvergne, Antoine Pecclet, Melchior Grimaldi d’Esdra

"La Musique est l'espace entre les notes."

- Claude Debussy

Musique et Architecture

La partition

de l'architecte

par Clément Ciesiolka

Respectivement outil du musicien et du bâtisseur, la partition et le plan sont les intermédiaires entre le créateur et l'exécutant. Ils permettent une communication entre les différents acteurs, s'accordant sur un même langage régi par des codes, assurant la cohésion de l'information dans le but d'une retranscription finale. Mais chaque langage est soumis à des évolutions qui sont dûes d'une part à des innovations, des mutations ou encore des collisions venant de n'importe quel champs d'étude (technologie, sociologie, philosophie, biologie...); des facteurs qui sont donc extérieurs à la discipline. D'autre part, il faut prendre en compte une réflexion interne et théorique sur le langage et son aboutissement. Avec évidemment un échange entre ces deux facteurs extérieurs et la théorie puisqu'ils se nourrissent l'un l'autre.

Le langage, dans notre cas la partition ou le plan, n'est donc pas seulement un outil de communication, mais également de conception. Il permet de travailler l'immatériel en représentant de manière abstraite l'intangible, ici le son et l'espace. Si il peut certes représenter une future concrétisation, il en devient aussi le matériaux même que modèle mentalement le concepteur. Pour faire l'analogie avec le langage oral, lorsque l'on exprime une idée complexe, on choisit avec soin ses mots afin que le discours soit intelligible, ce qui implique l'utilisation d'une grammaire, d'un vocabulaire, d'une syntaxe. Cependant avant cette étape il y a eu une réflexion non pas sur la forme mais sur le fond, l'idée même - "quel est mon avis ?" - et tous les questionnements que cela implique. Et bien cela s'est fait à l'aide du même langage alors qu'il n'y a pas encore eu un seul mot prononcé, il est donc complètement intégré par le sujet qui s'en sert comme outil de pensée.

S'il instaure des codes afin de communiquer, représenter; il en met donc aussi en place pour concevoir. L'expérience, le passé, ce que l'on en tire et la réflexion théorique qui s'en suit permettent de façonner les codes d'écriture. Un bon exemple d'écriture musicale codifiée est le contrepoint. Il s'agit d'une élaboration rigoureuse par la superposition de lignes mélodiques, chacune ayant son indépendance mais formant à elles toutes la musique. C'est une conception très horizontale (l'évolution dans le temps) donnant à chaque portée la même importance mais répondant toutes à la même verticalité (l'harmonie). Les règles d'écriture sont ici primordiales puisque l'on écrit d'abord une première ligne mélodique à partir de laquelle se concevront les autres par superposition.

Respectively the tool of the musician and the builder, the

partition and the plan are the intermediates between the creator

and the performer. They allow a communication between the

different actors, agreeing on a same language governed by

codes, ensuring the cohesion of the information with the aim

of a final retranscription. But each language is subjected to

evolutions which are due on one hand to innovations, mutations

or again collisions coming from any fields of study (technology,

sociology, philosophy, biology…); factors which are foreign to the

discipline. On the other hand, it is necessary to take into account

an internal and theoretical reflection on the language and its

outcome. With obviously an exchange between these two outer

factors and the theory because they feed each other.

The language, in our case the partition or plan, is not only a tool

for communication, but also for conception. It allows to work the

immaterial by representing in an abstracted way the inviolable,

here the sound and space. If it can certainly represent a future

realization, it becomes also the material that the designer

models mentally. To make the analogy with the oral language,

when we express a complex idea, we choose carefully our words

so that the speech is understandable, which involves the use of

a grammar, vocabulary and syntax. However before this stage

there was a reflection not on the shape but on the content,

the idea -”what is my opinion?”- and all the questionings which

it involves. Well it was made by means of the same language

while there has not yet been a single word pronounced, it is

thus completely joined by the subject which uses it as a tool of

thought.

If it establishes codes in order to communicate, represent,

it also sets it up to conceive. The experience, the past, what

we learn from it and the theoretical reflection which follows

itself allow the shaping of the writing codes. A good example

of codified musical writing is the counterpoint. It is about a

rigorous elaboration by the overlapping of melodic lines, each

having its independence but forming altogether the music. It is

a very horizontal design (the evolution through time) giving to

every scope the same importance but all answering to the same

verticality (the harmony). The rules of writing here are essential

because start by writing a first melodic line from which will be

conceived the others by overlapping.

Respectively the tool of the musician and the builder, the

partition and the plan are the intermediates between the creator

and the performer. They allow a communication between the

different actors, agreeing on a same language governed by

codes, ensuring the cohesion of the information with the aim

of a final retranscription. But each language is subjected to

evolutions which are due on one hand to innovations, mutations

or again collisions coming from any fields of study (technology,

sociology, philosophy, biology…); factors which are foreign to the

discipline. On the other hand, it is necessary to take into account

an internal and theoretical reflection on the language and its

outcome. With obviously an exchange between these two outer

factors and the theory because they feed each other.

The language, in our case the partition or plan, is not only a tool

for communication, but also for conception. It allows to work the

immaterial by representing in an abstracted way the inviolable,

here the sound and space. If it can certainly represent a future

realization, it becomes also the material that the designer

models mentally. To make the analogy with the oral language,

when we express a complex idea, we choose carefully our words

so that the speech is understandable, which involves the use of

a grammar, vocabulary and syntax. However before this stage

there was a reflection not on the shape but on the content,

the idea -”what is my opinion?”- and all the questionings which

it involves. Well it was made by means of the same language

while there has not yet been a single word pronounced, it is

thus completely joined by the subject which uses it as a tool of

thought.

If it establishes codes in order to communicate, represent,

it also sets it up to conceive. The experience, the past, what

we learn from it and the theoretical reflection which follows

itself allow the shaping of the writing codes. A good example

of codified musical writing is the counterpoint. It is about a

rigorous elaboration by the overlapping of melodic lines, each

having its independence but forming altogether the music. It is

a very horizontal design (the evolution through time) giving to

every scope the same importance but all answering to the same

verticality (the harmony). The rules of writing here are essential

because start by writing a first melodic line from which will be

conceived the others by overlapping.

On peut aussi citer la dodécaphonie de Schönberg qui a apporté l'atonalisme dans la musique occidentale en établissant une écriture basée non plus sur des gammes de huit notes mais de douze. Le blues lui est majoritairement pentatonique, comme une grande part de la musique asiatique, c'est à dire basé sur des gammes de cinq notes, supprimant ainsi la notion de tonalité majeure ou mineur. La chanson a elle aussi ses codes. Rien que le découpage couplet/refrain en est un bon exemple, différent de celui de la fugue : l'Exposition (sujet, réponse puis contre-sujet), le Développement ou Divertissement puis la Strett. L'objet n'est pas ici de vous faire un cours de théorie musicale mais de vous donner un bref aperçu de sa dimension et comment le compositeur va faire des choix comparables à ceux de l'architecte lorsque ce dernier décide d'élaborer son plan à partir d'une architecture modulaire, à la manière des japonais, quand le Corbusier utilise le modulor comme base de conception; ou encore les architectes classiques usant des archétypes du temple grec.

Je vous donne ici une vision très théorique de la conception. Il existe des exemples d'une musique moins portée par des techniques de composition. J'ai cité Schönberg et sa dodécaphonie qui chronologiquement se situe au début du XXème siècle. Le 29 mai 1913 est crée à Paris au théâtre des Champs Elysées une œuvre qui va retentir comme un coup de tonnerre et marquer à jamais les deux disciplines qu'elle emploie : la danse et la musique. Vaslav Nijinski et Igor Stravinsky livrent la première du Sacre du Printemps. Il s'agit là aussi d'une rupture avec la tonalité, mais pourtant sans usage de la dodécaphonie. Le ballet retrace un rituel païen au cours duquel une jeune fille se donne en sacrifice. Stravinsky a cherché à écrire une musique primaire et très rythmique, ayant une approche plutôt instinctive de cette nouvelle forme musicale qu'il créait. Il s'est laissé guidé par l'essence de ce qu'il voulait écrire, la "nécessité intérieur", pour reprendre les mots de Kandinsky, qui selon lui trouve sa source dans trois paramètres : l'individualité du créateur; celle de l'époque et enfin "ce qui est propre à l'art en général"1. Stravinsky ne répond à aucune méthode d'écriture, il est ici dans l'élaboration d'un langage beaucoup plus subjectif tout en ayant une très grande connaissance des effets qu'il utilise et maîtrise parfaitement. Il ne s'agit pas d'une écriture empirique.

We can also quote the dodecaphony of Schönberg which brought

the atonality in the western music by establishing a writing

based not a gamut of eight notes but twelve. The blues is mainly

pentatonic, as is a big part of the Asian music, meaning that it’s

based a gamut of five notes, therefore eliminating the notion

of major or minor tone. The song has too its codes. The cutting

stanza/tune is a good example of it, different from that of the

fugue: the Exposure (subject, answer then anti-subject), the

Development or Entertainment the the Strett. The object here

is not to give you a musical theory speech but to give you a brief

overview of its size and how the composer is going to make

choices comparable to those of the architect when the latter

decides to develop its plan from modular architecture, in the

Japanese’s style, when Le Corbusier uses the modulor as a design

base; or again the classic architects using archetypes of the

Greek temple.

I give you here a very theoretical vision of design. There exists

examples of a music less worn by techniques of composition. I

quoted Schönberg and his dodecaphony which is chronologically

situated at the beginning of the XXth century. On May 29th, 1913

is created in Paris in the Théâtre des Champs Elysées a work

which will resound as a thunderclap and brand for ever the two

disciplines that it uses: the dance and the music. Vaslav Nijinski

and Igor Stravinsky deliver the premiere of the Rite of Spring.

This is also a break with the tone, but nevertheless without the

use of the dodecaphony. The ballet retraces a heathen rite during

which a girl gives herself in sacrifice. Stravinsky tried writing

a primary and very rhythmic music, having a rather instinctive

approach of this new form of classical music that he’s creating.

He let himself be guided by the essence of what he wanted

to write, the “interior necessity”, to resume Kandinsky words,

who according to him finds his source in three parameters: the

individuality of the creator; that of the era and finally “what is

peculiar to art in general”. Stravinsky answers to no method of

writing, he is here in the elaboration of a much more subjective

language while having a very wide knowledge of the effects that

he uses and masters perfectly. It is not an empirical writing.

We can also quote the dodecaphony of Schönberg which brought

the atonality in the western music by establishing a writing

based not a gamut of eight notes but twelve. The blues is mainly

pentatonic, as is a big part of the Asian music, meaning that it’s

based a gamut of five notes, therefore eliminating the notion

of major or minor tone. The song has too its codes. The cutting

stanza/tune is a good example of it, different from that of the

fugue: the Exposure (subject, answer then anti-subject), the

Development or Entertainment the the Strett. The object here

is not to give you a musical theory speech but to give you a brief

overview of its size and how the composer is going to make

choices comparable to those of the architect when the latter

decides to develop its plan from modular architecture, in the

Japanese’s style, when Le Corbusier uses the modulor as a design

base; or again the classic architects using archetypes of the

Greek temple.

I give you here a very theoretical vision of design. There exists

examples of a music less worn by techniques of composition. I

quoted Schönberg and his dodecaphony which is chronologically

situated at the beginning of the XXth century. On May 29th, 1913

is created in Paris in the Théâtre des Champs Elysées a work

which will resound as a thunderclap and brand for ever the two

disciplines that it uses: the dance and the music. Vaslav Nijinski

and Igor Stravinsky deliver the premiere of the Rite of Spring.

This is also a break with the tone, but nevertheless without the

use of the dodecaphony. The ballet retraces a heathen rite during

which a girl gives herself in sacrifice. Stravinsky tried writing

a primary and very rhythmic music, having a rather instinctive

approach of this new form of classical music that he’s creating.

He let himself be guided by the essence of what he wanted

to write, the “interior necessity”, to resume Kandinsky words,

who according to him finds his source in three parameters: the

individuality of the creator; that of the era and finally “what is

peculiar to art in general”. Stravinsky answers to no method of

writing, he is here in the elaboration of a much more subjective

language while having a very wide knowledge of the effects that

he uses and masters perfectly. It is not an empirical writing.

1 Wassily Kandinsky, Du Spirituel dans l'art, et dans la peinture en particulier (1910)

51

Mettre en parallèle Schönberg et Stravinsky est donc intéressant puisque leurs approches sont très différentes alors qu'il écrivent à la même époque, répondant à la même "individualité" de celle-ci. On peut établir une comparaison avec deux architectes du mouvement moderne. Le Corbusier avec sa conception très théorique basée sur le modulor et Oscar Niemeyer qui a un trait bien plus intuitif et n'établit pas de codes de conceptions. Vous visualisez tous les dessins de Niemeyer formés de quelques lignes très simples. Les croquis d'architectes sont très parlant eux aussi, représentatifs de sa pensée et sa sensibilité, il en va de même pour la partition manuscrite dont nous allons parler à travers l'exemple des trois compositeurs phares.

J'ai parlé plus haut de contrepoint. Cette technique d'écriture apparue à la Renaissance a été portée aux nues par Jean-Sébastien Bach (1685-1750), et ce alors qu'elle était déjà ancienne et passée de mode. Il maîtrisait parfaitement cette forme très rigoureuse et en avait une utilisation extrêmement fluide. Son écriture est à l'image de sa musique, c'est à dire d'un flot continu et prolifique. Il superposait ses mélodies avec facilité et aisance. Mais ce qui est passionnant chez lui c'est que bien qu'il composait grâce à sa rigueur, puisque comme je l'ai dit en contrepoint on fait découler les mélodies les unes des autres par un raisonnement théorique; il semblait pourtant complètement libéré , s'autorisant même certaines libertés le tout dans une déconcertante perfection. A l'écoute on a finalement une musique qui parait totalement innée, bien qu'en vérité très mathématique.

Wolfgang Amadeus Mozart (1756-1791) est le génie par excellence, non pas que sa musique soit la meilleure, c'est absurde à dire, mais parce qu'il est à tel point doué qu'il est difficile de parler chez lui de partition manuscrite. Mozart écrit de tête. Lorsqu'il prend la plume tout est déjà là, il sait ce que va jouer chaque instrument. Si vous avez vu le film Amadeus que je vous avais conseillé, vous visualisez très bien que la partition manuscrite n'est plus qu'un travail de copie pour lui. Il n'y a pas de rature, le produit fini est déjà là. C'est l'écriture la plus innée qui soit car il a tellement bien intégré les codes qu'il peut en jouer instinctivement. La musique de Mozart chante du début à la fin; tout est clair, limpide et d'une incroyable évidence.

Enfin arrive Ludwig Van Beethoven (1770-1827). Avec lui il n'y a pas de codes d'écriture, pas de langage à respecter, pas de naturelle fluidité, de confortable évidence. Des trois c'est celui qui se sépare le plus de codes, qui cherche le plus à une expression intérieure et nouvelle. Si Bach est éthéré, Mozart évident, Beethoven lui est charnel. Son écriture est la plus raturée, la plus éprouvante, il prend plusieurs années pour écrire ses symphonies, dix ans pour son unique opéra ; mais lorsque l'on joue sa musique, avant même que ne résonne la première note, on retient son souffle et l'on s’y consacre pleinement. Sa musique est inclassable car si il clôt le classicisme et ouvre le romantisme, il n’y verse pas pour autant.

To put in parallel Schönberg and Stravinsky is therefore

interesting because their approaches are very different even

though they’re writing at the same era, answering to its

same “individuality”. We can establish a comparison with two

architects of the modern movement. Le Corbusier with his very

theoretical design based on the modulor and Oscar Niemeyer

who has a more intuitive stroke and does not establish codes of

conception. You visualize all of Niemeyer’s drawings formed by

some very simple lines. Architects’ sketches are very eloquent

too, representative of their thought and sensibility, it’s the same

for the handwritten partition which we are going to speak of

through the example of three key composers.

I spoke before of a counterpoint. This writing technique

appeared at the Renaissance was praised to the skies by Jean-

Sébastien Bach (1685-1750), and while it was already old and

old-fashioned. He mastered perfectly this very rigorous style

and had an extremely fluid use of it. His writing is just like his

music, meaning as a continuous and prolific flow. He stacked his

melodies with fluency and ease. But what is fascinating about

him is truly that he composed thanks to his rigor, because as

I said before we ensue melodies ones from the others through

a theoretical reasoning; he seemed nevertheless completely

liberated, adducing even certain liberties all in a disconcerting

perfection. In the listening we finally have a music which is totally

innate.

Wolfgang Amadeus Mozart (1756-1791) is the archetypal

genius, not that his music is the best, it is absurd to say, but

because he is so talented that it is difficult to speak in his case

of handwritten partitions. Mozart writes out in his head. WHen

he takes the feather everything is already there, he knows what

each single instrument is going to play. If you saw the movie

Amadeus that I had recommended you, you visualize very well

that the handwritten partition is no more than paperwork for

him. There is no deletion, the finished product is already there.

It is the most innate writing because he so well integrated the

codes that he can play them instinctively. The music of Mozart

sings from the beginning to the end; everything is clear, limpid

and of an incredibly obvious fact.

Finally arrives Ludwig Van Beethoven (1770-1827). With him

there are no writing codes, no language to be respected, no

natural flow, comfortable obvious fact. Out of the three he is

the one who parts most from codes, who looks the most for an

internal and new expression. If Bach is ethereal, Mozart obvious,

Beethoven is carnal. His writing is the most crossed-off, the

most testing, he takes several years to write his symphonies,

ten years for his unique opera; but when we play his music, even

before the resound of the first note, we hold our breath and we

dedicate ourselves to it completely. He forces our attention, sets

in the body. His music is unclassifiable because if he closes the

classicism and opens the romanticism, he does not overturn it all

as far as that. Beethoven writes the Beethoven.

To put in parallel Schönberg and Stravinsky is therefore

interesting because their approaches are very different even

though they’re writing at the same era, answering to its

same “individuality”. We can establish a comparison with two

architects of the modern movement. Le Corbusier with his very

theoretical design based on the modulor and Oscar Niemeyer

who has a more intuitive stroke and does not establish codes of

conception. You visualize all of Niemeyer’s drawings formed by

some very simple lines. Architects’ sketches are very eloquent

too, representative of their thought and sensibility, it’s the same

for the handwritten partition which we are going to speak of

through the example of three key composers.

I spoke before of a counterpoint. This writing technique

appeared at the Renaissance was praised to the skies by Jean-

Sébastien Bach (1685-1750), and while it was already old and

old-fashioned. He mastered perfectly this very rigorous style

and had an extremely fluid use of it. His writing is just like his

music, meaning as a continuous and prolific flow. He stacked his

melodies with fluency and ease. But what is fascinating about

him is truly that he composed thanks to his rigor, because as

I said before we ensue melodies ones from the others through

a theoretical reasoning; he seemed nevertheless completely

liberated, adducing even certain liberties all in a disconcerting

perfection. In the listening we finally have a music which is totally

innate.

Wolfgang Amadeus Mozart (1756-1791) is the archetypal

genius, not that his music is the best, it is absurd to say, but

because he is so talented that it is difficult to speak in his case

of handwritten partitions. Mozart writes out in his head. WHen

he takes the feather everything is already there, he knows what

each single instrument is going to play. If you saw the movie

Amadeus that I had recommended you, you visualize very well

that the handwritten partition is no more than paperwork for

him. There is no deletion, the finished product is already there.

It is the most innate writing because he so well integrated the

codes that he can play them instinctively. The music of Mozart

sings from the beginning to the end; everything is clear, limpid

and of an incredibly obvious fact.

Finally arrives Ludwig Van Beethoven (1770-1827). With him

there are no writing codes, no language to be respected, no

natural flow, comfortable obvious fact. Out of the three he is

the one who parts most from codes, who looks the most for an

internal and new expression. If Bach is ethereal, Mozart obvious,

Beethoven is carnal. His writing is the most crossed-off, the

most testing, he takes several years to write his symphonies,

ten years for his unique opera; but when we play his music, even

before the resound of the first note, we hold our breath and we

dedicate ourselves to it completely. He forces our attention, sets

in the body. His music is unclassifiable because if he closes the

classicism and opens the romanticism, he does not overturn it all

as far as that. Beethoven writes the Beethoven.

52

Pour certains le langage en place devient une limite, conditionne trop la conception et entrave cette "nécessité intérieure". Il y a toujours eu de l'architecture sans plans et de la musique sans partitions. L'architecture vernaculaire n'utilise que le savoir faire, l'intelligence collective qui s'étale sur plusieurs générations et il en va de même pour les musiques folkloriques ou populaires. Mais la grande révolution a été l'informatique car elle a permis de franchir cette barrière du langage. On peut enfin travailler directement la matière et ce alors que le projet n'en est qu'à l'esquisse. La projection mentale de l'objet fini n'est plus nécessaire puisqu'on modélise déjà une version. Je vais prendre un exemple actuel et parlant dans chaque discipline. Frank Gehry que vous connaissez tous et Hans Zimmer que l'on entends partout au cinéma depuis vingt ans. La technique de travail de Gehry lui permet d'établir le modèle 3D directement à partir de la maquette , le modelage se faisant donc à la main. Puis il y a un aller-retour entre les plans sortis du modèle 3D et les maquettes pour faire en sorte que tout cela fonctionne. Zimmer compose tout depuis son clavier, il utilise la MAO (Musique Assistée par Ordinateur) pour pouvoir, par son clavier, directement écrire sa musique. Par la main, ici le jeu, il façonne ses morceaux . Dans les deux cas il y a modelage direct de la forme, par là j'entends les formes architecturales qui vont composer le bâtiment et les sons que l'on va entendre dans le morceau. Par conséquent, un grand travail sera apporté à cette forme, libérée de l'intermédiaire du langage. Cependant n'a t il pas une limite lui aussi ?

La grande force de la main est de pouvoir travailler la forme, de lui donner consistance et vie instantanément. En revanche sa grande faiblesse est de n'avoir aucune prise sur le vide. Le toucher comme tout sens a besoin de concret, ce que lui interdit le langage. Alors ce travail incroyable et d'une grande qualité sur la forme ne cache-t-il pas une incapacité de la méthode à travailler le fond ? Qu'en est il de l'ombre taillée par la lumière, de ce rythme des émotions que provoque la promenade architecturale et de cette harmonie du corps et de l'espace ? Ces accords aux couleurs surprenantes tenus par des rythmes dont les silences nous tiennent en haleine ? Que peut faire le geste de la main lorsqu'il s'agit de travailler sur la position de ces deux murs dans un rapport au corps et à la lumière ou sur l'intervalle crée entre ces deux notes lorsque se rejoignent le hautbois et le basson ? Le passage par l'abstraction est nécessaire pour maitriser ces choses telles que le rapport du corps à la structure ou l'effet des harmonies sur l'auditeur. Le langage est une abstraction.

For some the language in place becomes a limit, it conditions

too much the design and hinders this “internal necessity”. There

was always an architecture without plans and music without

partitions. The vernacular architecture uses only the know-

how, the collective intelligence that spreads out on several

generations and the same goes for the folk or popular music. But

the big revolution was the computer science because it allowed

to cross this language barrier. We can finally work directly the

subject and this while the project is only a draft. The mental

projection of the finished object is not necessary anymore

because we already have a modelized version. I am going to take

an current and eloquent example in each discipline. Frank Gehry

that you all know and Has Zimmer whom we all hear everywhere

in the movies for twenty years. The working technique of Gehry

allows him to establish the 3D model directly from the model,

the modelling thus made by hand. Then there is are goings and

comings between the plans extracted from the 3D model and

the models to ensure that everything works. Zimmer composes

everything from his keyboard, he uses MAO (Computer-aided

music) to be able to, through his keyboard, write directly his

music. By hand, here the set, he shapes his pieces. In both cases

there is a direct modelling of the shape, there I understand the

architectural forms which are going to compose the building and

the sounds which we are going to hear in the piece. Consequently,

a big work will be brought to this shape, freed from the

intermediary of the language. However does it have a limit too ?

The great strength of the hand is to be able to work the shape,

to give it consistency and life immediately. On the other hand its

great weakness is to have no grip on the empty space. The touch

like any sense needs concrete, which forbids it the language. Then

this incredible work and of a high quality on the form does not

hide an incapacity of the method to work the essence? What of

its shadow cut by the light, this rhythm of the emotions caused

by the architectural promenade and of this harmony of the body

and the sapce? These agreements in surprising colors held by

rhythms that the silences captivate us? What can the movement

of the hand do when it is a question of working on the position

of thse two walls in relationship with the body and with the

light or the interval created between these two notes when are

joined the oboe and the bassoon? The passage by the abstraction

is necessary to master these things such as the relationship of

the body in the structure or the effect of the harmonies on the

listener. The language is an abstraction.

For some the language in place becomes a limit, it conditions

too much the design and hinders this “internal necessity”. There

was always an architecture without plans and music without

partitions. The vernacular architecture uses only the know-

how, the collective intelligence that spreads out on several

generations and the same goes for the folk or popular music. But

the big revolution was the computer science because it allowed

to cross this language barrier. We can finally work directly the

subject and this while the project is only a draft. The mental

projection of the finished object is not necessary anymore

because we already have a modelized version. I am going to take

an current and eloquent example in each discipline. Frank Gehry

that you all know and Has Zimmer whom we all hear everywhere

in the movies for twenty years. The working technique of Gehry

allows him to establish the 3D model directly from the model,

the modelling thus made by hand. Then there is are goings and

comings between the plans extracted from the 3D model and

the models to ensure that everything works. Zimmer composes

everything from his keyboard, he uses MAO (Computer-aided

music) to be able to, through his keyboard, write directly his

music. By hand, here the set, he shapes his pieces. In both cases

there is a direct modelling of the shape, there I understand the

architectural forms which are going to compose the building and

the sounds which we are going to hear in the piece. Consequently,

a big work will be brought to this shape, freed from the

intermediary of the language. However does it have a limit too ?

The great strength of the hand is to be able to work the shape,

to give it consistency and life immediately. On the other hand its

great weakness is to have no grip on the empty space. The touch

like any sense needs concrete, which forbids it the language. Then

this incredible work and of a high quality on the form does not

hide an incapacity of the method to work the essence? What of

its shadow cut by the light, this rhythm of the emotions caused

by the architectural promenade and of this harmony of the body

and the sapce? These agreements in surprising colors held by

rhythms that the silences captivate us? What can the movement

of the hand do when it is a question of working on the position

of thse two walls in relationship with the body and with the

light or the interval created between these two notes when are

joined the oboe and the bassoon? The passage by the abstraction

is necessary to master these things such as the relationship of

the body in the structure or the effect of the harmonies on the

listener. The language is an abstraction.

53

Je ne veux cependant pas avoir l'air de discréditer le travail qui peut être apporté sur l'évolution des formes architecturales et la morphologie des archétypes; ainsi qu'en musique sur les nouveaux sons grâce à l'informatique. Toute architecture produit un objet et toute musique résulte de sons, cela doit évidemment être pris en compte.

Je prendrai ici l'exemple de John Cage (1912-1992) et son travail pour piano préparé. C'est une méthode de jeu qui vise à préalablement disposer des objets et matériaux sur les cordes du piano pour en modifier le son. John Cage a élaboré cette pratique en passant des jours, penché dans son piano à queue; à déplacer des morceaux de bois, de plastique, ou encore des boulons, centimètres par centimètres et sur chaque corde. Mais à coté de cela Cage se veut aussi un élève de Schönberg et du dodécaphonisme qui d'ailleurs ne lui convenait pas complètement. Il a donc élaboré sa propre méthode d'écriture : "J'admirai à cette époque la théorie de la musique dodécaphonique, mais je n'aimais pas le son qui en résultait. J'ai inventé une nouvelle façon de l'écrire, qui consistait non seulement à établir un ordre pour les douze tons, mais aussi à diviser la série en une succession de motifs fixes et invariable, en donnant à chacun une accentuation rythmique propre. Le rythme se retrouvait intrinsèquement lié à la tonalité."2

"Le piano préparé permet aussi l'emploi de micro-intervalles, c'est à dire de sons d'une hauteur inférieure à celle de nos demis tons conventionnelles." Il a fait aller de paire sa recherche de nouveaux sons avec un travail sur la théorie musicale.

Pour l'architecture il me semble approprié de parler du pavillon Phillips de Iannis Xenakis. Considéré comme le premier exemple d'une architecture élaborée purement par volumétrie et non pas par l'élévation d'un plan, ce pavillon a fait l'objet d'un grand travail sculptural, notamment en maquette. Mais il a découle d'une pensée sur l'emprise au sol du bâti et son accueil du public, ainsi que sur les propriétés à la fois acoustiques et visuelles que devait avoir le pavillon. "On voit clairement la rigueur logique des raisonnements qui m'ont imposé la solution finalement adoptée : composition autant que possible totale en P.H. et en conoïdes."3 dit-il après avoir exposé le tableau des propriétés que devait posséder le bâtiment. Et bien que Xenakis soit, en plus d'un architecte et compositeur, un ingénieur et mathématicien, il déclare ensuite : "Il est impensable de travailler à des combinaisons de telles formes, avec des fonctions algébriques totalement arbitraires. Dans une recherche comme celle-ci, les finesses des courbures et leur dynamisme ne peuvent jamais être imaginés à travers des équations. Ce pavillon devait être éminemment plastique. Il n'était pas déterminé par des fonctions. Parmi une infinité de courbures possibles il fallait choisir la meilleure combinaisons."3

I do not however want to seem to compromise the work which

can be brought on the evolution of the architectural forms and

the morphology of archetypes; thus in the music of the new

sounds thanks to computer science. Any architecture produces

an objects and any music results from sounds, it must obviously

be taken into account.

I shall take here the example of John Cage (1912-1992) and

his work for prepared piano. It is the game play that aims at

arranging beforehand objects and materials on the cords of the

piano to modify the sound. John Cage developed this practice by

spending days, hunched over his grand piano; moving pieces of

wood, plastic, or again bolts, centimeters by centimeters and on

every cord. But next to this Cage also is a pupil of Schönberg and

the dodecaphony which by the way did not suit him completely.

He thus developed his own writing method: “I admired at the

time the theory of the dodecaphonic music, but I did not like the

sound which resulted from it. I invented a new way of writing

it, which consisted not only in establishing an order for twelve

tones, but anso in diving the series into an invariable and fixed

succession of patterns, by giving each an appropriate rhythmic

accentuation. The rhythm found itself intrinsically connected

to the tone. The prepared piano also allows the use of micro-

intervals, meaning the sounds of a height lower than that of our

conventional half-tones. He made of pair with his research for

new sounds with a work on the musical theory.

For architecture it seems to me appropriate to speak about

Phillips de Iannis Xenakis’ villa. Considered as the first example

of architecture elaborated purely by volumetry and not by the

rise of a plan, this villa was the object of a big sculptural work,

in particular in model. But it has ensued from a thought on the

footprint of the building and its reception of the public, as well as

on the acoustic and visual properties that the villa should have.

“We clearly see the logical rigor of the reasonings which imposed

me the finally adopted solution: composition as far as possible

in P.H. and in conoids.” he said having displayed the board of

properties that the building had to possess. And although

Xenakis was, besides an architect and a composer, an engineer

and a mathematician, he then declared: “it is unthinkable to

work on combinations of such forms, with totally arbitrary

algebraic functions. In a research such as this one, the acuteness

of the curvatures and their dynamism can never be imagined

through equations. This villa was to be eminently plastic. It

was not determined by functions. Among an infinity of possible

curvatures it was necessary to choose the best combination.

I do not however want to seem to compromise the work which

can be brought on the evolution of the architectural forms and

the morphology of archetypes; thus in the music of the new

sounds thanks to computer science. Any architecture produces

an objects and any music results from sounds, it must obviously

be taken into account.

I shall take here the example of John Cage (1912-1992) and

his work for prepared piano. It is the game play that aims at

arranging beforehand objects and materials on the cords of the

piano to modify the sound. John Cage developed this practice by

spending days, hunched over his grand piano; moving pieces of

wood, plastic, or again bolts, centimeters by centimeters and on

every cord. But next to this Cage also is a pupil of Schönberg and

the dodecaphony which by the way did not suit him completely.

He thus developed his own writing method: “I admired at the

time the theory of the dodecaphonic music, but I did not like the

sound which resulted from it. I invented a new way of writing

it, which consisted not only in establishing an order for twelve

tones, but anso in diving the series into an invariable and fixed

succession of patterns, by giving each an appropriate rhythmic

accentuation. The rhythm found itself intrinsically connected

to the tone. The prepared piano also allows the use of micro-

intervals, meaning the sounds of a height lower than that of our

conventional half-tones. He made of pair with his research for

new sounds with a work on the musical theory.

For architecture it seems to me appropriate to speak about

Phillips de Iannis Xenakis’ villa. Considered as the first example

of architecture elaborated purely by volumetry and not by the

rise of a plan, this villa was the object of a big sculptural work,

in particular in model. But it has ensued from a thought on the

footprint of the building and its reception of the public, as well as

on the acoustic and visual properties that the villa should have.

“We clearly see the logical rigor of the reasonings which imposed

me the finally adopted solution: composition as far as possible

in P.H. and in conoids.” he said having displayed the board of

properties that the building had to possess. And although

Xenakis was, besides an architect and a composer, an engineer

and a mathematician, he then declared: “it is unthinkable to

work on combinations of such forms, with totally arbitrary

algebraic functions. In a research such as this one, the acuteness

of the curvatures and their dynamism can never be imagined

through equations. This villa was to be eminently plastic. It

was not determined by functions. Among an infinity of possible

curvatures it was necessary to choose the best combination.

2 John Cage, Confessions d'un compositeur (1992)3 Iannis Xenakis, Musique de l'architecture (2006)4 Stein Eiler Rasmussen, Découvrir l’Architecture (1957)

54

This short book is the transcript of a lecture in New York in 1948. John Cage describes his whole course , including his construction as composer and the choices he made about his writing methods and his sound research.

This short book is the transcript of a lecture in New York in 1948. John Cage describes his whole course , including his construction as composer and the choices he made about his writing methods and his sound research.

I. Stravinsky, Le Sacre du PrintempsIncontournable.

J. S. Bach, La Passion selon Saint JeanUn peu de contrepoint.

H. Zimmer, InterstellarCe qu'il a fait de plus récent.

I. Maalouf, Illusions (CD)Trompettiste aux nombreuses inspirations, Maalouf est inspiré par de nombreux styles musicaux, dont la musique arabe (utilisant notamment les quarts de tons), qu'il arrive habilement à gérer pour produire le sien.

John Cage, A Book of MusicUn peu de piano préparé pour les plus courageux.

I. Stravinsky, Le Sacre du Printemps

J. S. Bach, La Passion selon Saint Jean

H. Zimmer, Interstellar

I. Maalouf, Illusions (CD)

John Cage, A Book of Music

Que ma joie demeure, de Alexandre AstierPendant une heure et demie sur scène A. Astier est Bach ; c'est drôle, intelligent, émouvant et il arrive même à nous faire comprendre ce compositeur dont le géni se trouve sans doute dans sa capacité à retourner la rigueur qu'il s'impose à son avantage.

Sketches of Frank Gehry, de Sydney PollackOn y comprend le réel apport des techniques de travail de Gehry.

Que ma joie demeure, by Alexandre AstierPendant une heure et demie sur scène A. Astier est Bach ; c'est drôle, intelligent, émouvant et il arrive même à nous faire comprendre ce compositeur dont le géni se trouve sans doute dans sa capacité à retourner la rigueur qu'il s'impose à son avantage.

Sketches of Frank Gehry, by Sydney PollackOn y comprend le réel apport des techniques de travail de Gehry.

L'architecte façonne le vide avec une conscience de la forme et le compositeur le silence par une maîtrise des sons. Leurs outils ne sont pas les mêmes et les sens qu'ils touchent chez chacun sont radicalement différents. Mais ce qui les rejoint dans leur conception c'est ce travail en creux et l'immatérialité de la conception de l'œuvre. Steen Eiler Rasmussen évoque ce dernier point "Enfin il y a un trait important à ne pas négliger lorsqu'on tente de définir la vraie nature de l'architecture . C'est le processus créatif, la façon dont la construction vient à l'existence. L'architecture n'est pas produite par l'artiste lui-même, comme par exemple la peinture."4 et il ajoute "Il compose la musique que d'autres vont jouer"4. Rasmussen fait cependant une remarque où il différencie l'architecture de la musique déclarant que "les gens qui l'interprètent ne sont pas des musiciens sensibles qui jouent la partition de quelqu'un d'autre."4 Je nuancerai ici son propos, car ce qu'il dit est vrai pour l'architecture moderne, mais certainement pas pour l'architecture ancienne réalisée par des artisans et pas nécessairement pour celle à venir. Quant à la musique d'aujourd'hui je ne suis pas certain qu'elle soit toujours interprétée par des "musiciens sensibles". Cette similitude d'un travail par l'abstraction du langage amène donc des processus créatifs communs aux deux disciplines ; et le travail de l'immatériel amène des correspondances dans l'expérience qu'auront chacune des œuvres.

The architect shapes the space with a consciousness of the form

and the composer the silence by a control of sounds. Their tools

are not the same and the senses they each feel are radically

different. But what joins them in the conception is this work on

the emptiness and the immateriality of the design of the work.

Steen Eiler Rasmussen evokes this last point “finally there is an

important feature not to be neglected when we try to define

the real nature of architecture. It is the creative process, the

way the construction comes to existence. Architecture is not

produced by the artist himself, as for example the painting.” and

he adds “He composes the music that others are going to play”.

Rasmussen however makes a remark where he differentiates the

architecture of the music declaring that “people who interpret

it aren’t sensitive musicians who play the partition of others”.

I shall qualify here his words, because what he says is true

for the modern architecture, but certainly not for the ancient

architecture realized by craftsmen and not inevitably for that

to come. As for today’s music I am not certain that it is always

interpreted by “sensitive musicians”. This similarity of a work

by the abstraction of the affable language thus leads creative

processes common to both disciplines; and the work of the

immaterial brings correspondences in the experience that each

will have.

The architect shapes the space with a consciousness of the form

and the composer the silence by a control of sounds. Their tools

are not the same and the senses they each feel are radically

different. But what joins them in the conception is this work on

the emptiness and the immateriality of the design of the work.

Steen Eiler Rasmussen evokes this last point “finally there is an

important feature not to be neglected when we try to define

the real nature of architecture. It is the creative process, the

way the construction comes to existence. Architecture is not

produced by the artist himself, as for example the painting.” and

he adds “He composes the music that others are going to play”.

Rasmussen however makes a remark where he differentiates the

architecture of the music declaring that “people who interpret

it aren’t sensitive musicians who play the partition of others”.

I shall qualify here his words, because what he says is true

for the modern architecture, but certainly not for the ancient

architecture realized by craftsmen and not inevitably for that

to come. As for today’s music I am not certain that it is always

interpreted by “sensitive musicians”. This similarity of a work

by the abstraction of the affable language thus leads creative

processes common to both disciplines; and the work of the

immaterial brings correspondences in the experience that each

will have.

à écouter listen

à voir see

à lire read

John Cage, Confessions d'un compositeurCe court ouvrage est la retranscription d'une conférence donnée à New York en 1948. J. Cage y décrit de tout son parcours, notamment sa construction en tant que compositeur et les choix qu'il fit quant à ses méthodes d'écriture et de recherche sonore.

John Cage, Confessions of a Composer

For an hour and a half on scene A. Astier is Bach ; it’s funny, in-telligent , moving and sometimes even makes us understand this composer whose genius is pro-bably its ability to turn the rigor that is needed to an advantage.

For an hour and a half on scene A. Astier is Bach ; it’s funny, in-telligent , moving and sometimes even makes us understand this composer whose genius is pro-bably its ability to turn the rigor that is needed to an advantage.

It includes the actual contribu-tion of Gehry's work techniques .It includes the actual contribu-tion of Gehry's work techniques .

A must.

A bit of counterpoint.

His last piece of work.

Trumpet with many inspirations, Maalouf is inspired by many musical styles including Arabic music (especially using quarter tones) , which he happens to manage well to produce his own.

piano for the brave .

A must.

A bit of counterpoint.

His last piece of work.

Trumpet with many inspirations, Maalouf is inspired by many musical styles including Arabic music (especially using quarter tones) , which he happens to manage well to produce his own

piano for the brave .

55

Plan Séquence

L’un des premiers chefs d’œuvre de science-fiction de Fritz Lang montre un futur divisé entre des élites puissantes et une classe ouvrière au travail, symptôme de l’industrialisation qui profondément modifier le tissu social européen durant les décennies qui ont précédé le film. Le scénario est centré sur un jeune homme qui doit faire le médiateur entre les propriétaires de l’usine et les travailleurs, alors qu’un conflit grossissant entre les deux sème le chaos dans la ville. Bien que Metropolis intègre des éléments d’autres styles architecturaux –du gothique au futurisme- Lang a été fortement influencé par les grands buildings Art Deco new-yorkais lors de sa visite en 1924.

L’Art Deco a eu des débuts houleux à Paris lors des salons de 1912. Raymond Duchamp-Villion, le frère de Marcel Duchamp, dessina un ensemble de décorations d’intérieur cubiste qui furent présentées au Salon d’Automne et aux Salons de Paris. Ce fut un tour de force quand on sait que les salons étaient des évènements majeurs dans le monde international de l’art. Ces expositions représentaient une opportunité pour les artistes de trouver à la fois une reconnaissance et un mécénat, ainsi que pour des idées et des styles de se répandre dans la communauté artistique.

Le style de Duchamp-Villion s’est effectivement propagé au travers les traits d’architectes reconnu comme Peter Behrens et Josef Hoffmann. Cependant, contrairement à Duchamp-Villion, ces architectes étaient plus intéressés par la nouvelle ère industrielle et le design industriel. Il en naquit un style contrasté par les plumes de différents designers au cours des années 1920, caractérisé par des lignes avec des angles, de grandes surfaces et des formes stylisées. Le nom d’Art Déco vint plus tard, lors de l’Exposition Internationale des Arts Décoratifs, Industriels et Moderne de 1925.

Fritz Lang’s early sci-fi masterpiece depicts a future divided

between controlling elites and a toiling underclass—symptoms of

the industrialization that had been intensely reshaping the social

fabric of Europe over the previous decades. The plot is of a young

man who must mediate between the factory owners and their

workers as escalating conflict between the two groups creates

chaos throughout the city. Though Metropolis contains elements

of other architectural styles—from the Gothic to the Futurist—

Lang was heavily influenced by New York City’s towering Art

Deco skyscrapers when he visited there in 1924.

Art Deco had nebulous beginnings in Paris during the salons of

1912. Raymond Duchamp-Villion, Marcel Duchamp’s brother,

designed a set of Cubist interior ornaments that were displayed

at the Salon d’Autumne and the Paris Salons. This was quite the

coup, as salons were pivotal events in the international art world.

These exhibitions represented an opportunity for artists to

compete for recognition and patronage, as well as for ideas and

styles to propagate through the artistic community.

The Duchamp-Villion style did indeed propagate through the

hands of more established architects such as Peter Behrens

and Josef Hoffmann. However, unlike Duchamp-Villion, these

architects were more interested in the coming Machine Age

of industrialization and industrial design. The resulting mixed

style took on a life of its own in the hands of various designers

throughout the 1920s, characterized by angular lines, rich

surfaces, and stylized figures. It earned its name «Art Deco» later

from the 1925 International Exposition of Modern Decorative

and Industrial Arts.

Fritz Lang’s early sci-fi masterpiece depicts a future divided

between controlling elites and a toiling underclass—symptoms of

the industrialization that had been intensely reshaping the social

fabric of Europe over the previous decades. The plot is of a young

man who must mediate between the factory owners and their

workers as escalating conflict between the two groups creates

chaos throughout the city. Though Metropolis contains elements

of other architectural styles—from the Gothic to the Futurist—

Lang was heavily influenced by New York City’s towering Art

Deco skyscrapers when he visited there in 1924.

Art Deco had nebulous beginnings in Paris during the salons of

1912. Raymond Duchamp-Villion, Marcel Duchamp’s brother,

designed a set of Cubist interior ornaments that were displayed

at the Salon d’Autumne and the Paris Salons. This was quite the

coup, as salons were pivotal events in the international art world.

These exhibitions represented an opportunity for artists to

compete for recognition and patronage, as well as for ideas and

styles to propagate through the artistic community.

The Duchamp-Villion style did indeed propagate through the

hands of more established architects such as Peter Behrens

and Josef Hoffmann. However, unlike Duchamp-Villion, these

architects were more interested in the coming Machine Age

of industrialization and industrial design. The resulting mixed

style took on a life of its own in the hands of various designers

throughout the 1920s, characterized by angular lines, rich

surfaces, and stylized figures. It earned its name «Art Deco» later

from the 1925 International Exposition of Modern Decorative

and Industrial Arts.

Art Déco (1912 – 1929) + Metropolis (1927)

Le grand thriller d’Alfred Hitchcock avec Cary Grant dans le rôle d’un publicitaire qui passe peu à peu dans un monde dangereux fait d’intrigues et d’espions alors qu’il est kidnappé par erreur dans les rues de New York. Au cours du film, le personnage de Cary Grant s’introduit dans le chalet de l’ennemi, en photo ci-dessus, dessiné sciemment comme une maison de style Prairie de Frank Lloyd Wright. L’extérieur est un décor peint tandis que l’intérieur a été construit comme un studio de cinéma. L’Ecole de la Prairie, qu’elle soit réelle ou non, se caractérise par des horizontales marquées, des intérieurs ouverts et des matériaux locaux.

Cette Ecole que la production de La Mort Aux Trousses a si bien imité (au moins à l’extérieur) est le résultat de deux mouvements : une réaction contre l’industrialisation de l’Art (le mouvement Arts and Crafts) et la recherche d’un style architectural américain unique. Le mouvement Arts and Crafts est né en Grande-Bretagne et s’est étendu en Europe pendant la seconde moitié du XIXe siècle. Il était mené par des designers et des éclairagistes comme William Morris (1834 – 1896) et John Ruskin (1819 – 1900). Dans le même temps, des architectes comme Louis Sullivan (1856 – 1924) et son disciple Frank Lloyd Wright (1867 – 1959) puisèrent leur inspiration dans les grands paysages américains pour créer une «native architecture» unique. Ces différentes philosophies créèrent la pensée « organique » de l’Ecole de la Prairie, prônant une architecture devant à la fois provenir et s’intégrer dans son milieu naturel. Elle est surtout connue par les travaux de Wright, ainsi que quelques autres architectes américains.

Prairie School (late 19th to early 20th century) + North by

Northwest (1959)

This classic thriller from Alfred Hitchcock features Cary Grant

as an ad executive who’s swept into a dangerous world of spies

and intrigue when he’s mistakenly kidnapped on the streets of

New York City. During the film, Grant’s character sneaks into

the villain’s mountainside residence, pictured above, which

was purpose-made to resemble a Prairie-style Frank Lloyd

Wright home. The exterior is a matte painting, while the interior

was built as a movie set. Prairie School architecture, real or

otherwise, usually features strong horizontality, wide-open

interiors, and local materials.

The Prairie School that the production team of North by

Northwest so accurately imitated (on the exterior at least) was

the result of two trends: a reaction against industrialization

in the arts (called the Arts and Crafts movement) and the

search for a uniquely American architectural style. The Arts

and Crafts movement began in Britain and flourished in Europe

in the second half of the 19th century. It was led by designers

and luminaries such as William Morris (1834–1896) and John

Ruskin (1819–1900). Concurrently, architects like Louis Sullivan

(1856–1924) and his disciple Frank Lloyd Wright (1867 - 1959)

sought inspiration from the open American landscape to devise

a new uniquely native architecture. The resulting confluence of

philosophies created the Prairie School’s «organic» philosophy

that architecture should seamlessly arise from, and fit within,

its natural settings. It was most famously practiced by Wright in

addition to a slew of other American architects.

Prairie School (late 19th to early 20th century) + North by

Northwest (1959)

This classic thriller from Alfred Hitchcock features Cary Grant

as an ad executive who’s swept into a dangerous world of spies

and intrigue when he’s mistakenly kidnapped on the streets of

New York City. During the film, Grant’s character sneaks into

the villain’s mountainside residence, pictured above, which

was purpose-made to resemble a Prairie-style Frank Lloyd

Wright home. The exterior is a matte painting, while the interior

was built as a movie set. Prairie School architecture, real or

otherwise, usually features strong horizontality, wide-open

interiors, and local materials.

The Prairie School that the production team of North by

Northwest so accurately imitated (on the exterior at least) was

the result of two trends: a reaction against industrialization

in the arts (called the Arts and Crafts movement) and the

search for a uniquely American architectural style. The Arts

and Crafts movement began in Britain and flourished in Europe

in the second half of the 19th century. It was led by designers

and luminaries such as William Morris (1834–1896) and John

Ruskin (1819–1900). Concurrently, architects like Louis Sullivan

(1856–1924) and his disciple Frank Lloyd Wright (1867 - 1959)

sought inspiration from the open American landscape to devise

a new uniquely native architecture. The resulting confluence of

philosophies created the Prairie School’s «organic» philosophy

that architecture should seamlessly arise from, and fit within,

its natural settings. It was most famously practiced by Wright in

addition to a slew of other American architects.

L’École de la Prairie (fin XIXe – début XXe)

+ La Mort Aux Trousses (1958)

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Agenda Culturel

L’agenda c’est une relique du passé, un objet délaissé sur les bancs du lycée de même que ton sac aux sangles étirées parce que trop plein de livres trop lourds. L’agenda c’est une madeleine de Proust pour certains. C’est juste le planning de ce qui vient pour d’autres. En l’occurence, une sélection d’exposisions presques originales à faire les weekends où tu ne seras pas trop charrette...

Bruce Nauman, exposition

majeure à Paris

« La Fondation Cartier se prête aux jeux insensés de Bruce Nauman à l’occasion d’un point sur sa carrière, 15 ans après sa dernière exposition en France. L’artiste utilise l’environnement architectural varié de Jean Nouvel afin de sublimer son oeuvre invite le spectateur à s’impliquer dans son oeuvre sculpturale. »

à la Fondation Cartier pour l’art contemporain261 boulevard Raspail, 14e arrondissementvia Métro 4 & 6 (Raspail)Ouvert tous les jours sauf le lundi

Jusqu’au 21 Juin 2015

Marcel Breuer en Normandie

« Cette exposition sur la villa normande de Breuer, construite mi-‘70 est un vvzoom sur le fruit de ses recherches durant les années ‘60. Son travail mis à profit pour la villa Sayer est un manifeste de son tralent et de son soucis accentué de la précision et du contrôle absolu sur sa création. »

Jusqu’au 1er juin 2015

Antony Gormley, Second Body

« Une exposition où ces sculptures noires, ces corps ou espaces, ont pour effet de désorienter le spectateur et de l’entraîner dans un parcours d’auto-observation. »

Jusqu’au 18 juillet 2015

Bruce Nauman, a major

exibition in Paris

Until June 21th 2015

Until June 1st 2015

Until July 18th 2015

au Palais de Tokyo13 Avenue du Président Wilson, 16e arrondissementvia Métro 9 (Alma Marceau - Iena)Ouvert tous les jours sauf le mardi

Le bord des mondes

« Une réponse à la célèbre question de Marcel Duchamp : Peut-on faire des oeuvres qui ne soient pas « d’art » ?. Cette exposition aux limites de l’art et de la création casse les barrières afin de les unir au cours d’un périple prolifique et fascinant. Une trentaine de créateurs se déclarants non-artistes prônent ici l’expérience, la réinvention, le dépassement des clivages. »

Jusqu’au 17 mai 2015

Until May 17th 2015

à la Cité de l’Architecture et du Patrimoine de Chaillot1 place du Trocadéro, 16e arrondissementvia Métro 6 & 9 (Trocadéro)Ouvert tous les jours sauf le mardi

à la Galerie Taddaeus Ropac Paris Pantin69, avenue du Général Leclerc, 93500 Pantinvia Métro 5 (Église de Pantin)Ouvert du mardi au samedi

Marcel Breuer in Normandy

Antony Gormley, Second Body

Le bord des mondes

“ The Cartier Foundation will be the new Bruce Nauman’s playground, 15 years after his last exibition in France.The artist use the architectural environment made by Jean Nouvel to makes his work better and to invite the witness to be a piece of the art. ”

“ After spending much effort into re-searches during the sixties, « La villa normande de Breur » was ultimatly built in mid seventees. Thus, the amount of work the villa Sayer had benefited from reflects his talent, as well as hir obsession with precision and utter control over his creation. ”

“ Black sculptures, black bodies, empty spaces.This exibition will make the spectator confused by a work of introspection. ”

“ Marcel Duchamp once wondered if we could we ever produce masterpieces which aren’t art related. A question that attracted many creators who claim that success comes with experience, hardwork, change and compulsive teamwork, and not merely with art . Through a fruitful journey, the exhibition tents to put an end to the many confines that isolate art from creation, and consolidate both notions. ”

“ The Cartier Foundation will be the new Bruce Nauman’s playground, 15 years after his last exibition in France.The artist use the architectural environment made by Jean Nouvel to makes his work better and to invite the witness to be a piece of the art. ”

“ After spending much effort into re-searches during the sixties, « La villa normande de Breur » was ultimatly built in mid seventees. Thus, the amount of work the villa Sayer had benefited from reflects his talent, as well as hir obsession with precision and utter control over his creation. ”

“ Black sculptures, black bodies, empty spaces.This exibition will make the spectator confused by a work of introspection. ”

“ Marcel Duchamp once wondered if we could we ever produce masterpieces which aren’t art related. A question that attracted many creators who claim that success comes with experience, hardwork, change and compulsive teamwork, and not merely with art . Through a fruitful journey, the exhibition tents to put an end to the many confines that isolate art from creation, and consolidate both notions. ”

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Le Corbusier, Mesures de

l’homme

« Notre bon ami Charles-Édouard nous présentera dans les plus infimes détails comment et pourquoi il a conçu le modulor en 1944. Cette exposition sera aussi un moyen de faire un point sur l’architecte moderne le plus influent de son temps. »

au Centre PompidouPlace Georges-Pompidou, 4e Arrondissementvia Métro 1-4-11 (Chatelet les halles - Rambuteau)Ouvert tous les jours sauf le mardi

Du 29 avril au 3 août 2015

Qu’est-ce que la photographie ?

« Que reste-t-il lorsque tout a déjà été photographié ?Lorsque des décennies d’enregistrements photo-graphiques sem-blent avoir épuisé tous les sujets, l’ensemble des mises en scène imaginables et la totalité des angles de vue possibles ? Que reste-t-il lorsque le réel semble exténué à force d’avoir été redupliqué ? Il reste la photographie elle-même. »

Jusqu’au 1er juin 2015

From April 29th to August 3rd 2015

Until 7th March 2016

Until June 1st 2015

au Centquatre-Paris5 rue Curial, 19e Arrondissementvia Métro 2, 5 & 7 (Stalingrad)Ouvert tous les jours sauf le lundi

De Koning, Espace — couleurs

« La dernière installation de Krijn De Koning est une œuvre architecturale épousant le bâtiment tout en le repoussant, lui donnant une autre fonction que celle de simple porteur. L’artiste interroge le public en le confrontant à des formes paradoxales et amène à une réflexion intense sur le lieu. »

Jusqu’au 5 avril

Until April 5th

à la Galerie See Studio7 Rue Saint-Claude, 3e Arrondissementvia Métro 8 (Sébastien Froissart)Ouvert tous les jours sauf le dimanche

Andrés Ramirez, To keep the

darkness sealed within

« Fondé sur l’analyse et la réappropriation de paradigmes de la production industrielle et de la communication visuelle, son travail d’installation assume un arbitraire poétique, une forme « harsh-noise » de romantisme spectral. L’exposition se comprend comme une installation globale qui investit le lieu dans sa totalité, une structure en dialogue avec les images et les volumes. »Jusqu’au 11 avril 2015

Until April 11th 2015

Une Histoire, Art, Architecture

et Design, des années 80 à

aujourd’hui.

« Nouvelle présentation des collections contemporaines du Centre Pompidou, « Une histoire » permet de découvrir au musée plus de quatre cents œuvres des années 1980 à nos jours, offrant pour la première fois la possibilité d’un retour sur l’art des trente dernières années. Peintures, sculptures, installations, vidéos, films, dessins, photographies, maquettes d’architecture, design. »Du 2 Juillet 2014 au 7 Mars 2016

Le Corbusier, The measure of

man

A History, art, architecture and

design from the 80’s until now.

What is photography ?

De Koning, Space — colors

Andrés Ramirez, To keep the

darkness sealed within

“Our great friend Charles-Edouard will show us why and how he conceived his famous Modulor in ‘44.This exibition will be a timely opportunity to take stock on the life of one of the greatest architect of his period. ”

“A new presentation of the contemporary collections of the Centre Pompidou, «Une histoire», enables viewers to discover over 400 works in the Museum dating from the Eighties to the present day: a first-time opportunity to look back at the art of the last 30 years.”

“ What remains when everything has already been photographed ? When decades of photographic recordings seem to have exhausted all subjects, all imaginable set-ups and all possible angles? What remains when reality itself seems extenuated by dint of being duplicated? Photography itself is what remains. ”

“ The last Krijn De Koning’s installation is an architectural work which fits perfectly with the building and it repulse it at the same time. It gives to the place another fonction that we expected. The artist makes us thinking about the place in a whole new dimension with his paradoxal shapes. ”

“ Its installation work requires on the one hand a poetic soul, a kind of « harsh noise », and a transitory romance, but also on the other hand a profound analysis and study of the several apects of the industrial production and visual communication.The exhibition stands out thanks to the wise running of space, as well as becoming a place where pictures and volumes converge and communicate.. ”

“Our great friend Charles-Edouard will show us why and how he conceived his famous Modulor in ‘44.This exibition will be a timely opportunity to take stock on the life of one of the greatest architect of his period. ”

“A new presentation of the contemporary collections of the Centre Pompidou, «Une histoire», enables viewers to discover over 400 works in the Museum dating from the Eighties to the present day: a first-time opportunity to look back at the art of the last 30 years.”

“ What remains when everything has already been photographed ? When decades of photographic recordings seem to have exhausted all subjects, all imaginable set-ups and all possible angles? What remains when reality itself seems extenuated by dint of being duplicated? Photography itself is what remains. ”

“ The last Krijn De Koning’s installation is an architectural work which fits perfectly with the building and it repulse it at the same time. It gives to the place another fonction that we expected. The artist makes us thinking about the place in a whole new dimension with his paradoxal shapes. ”

“ Its installation work requires on the one hand a poetic soul, a kind of « harsh noise », and a transitory romance, but also on the other hand a profound analysis and study of the several apects of the industrial production and visual communication.The exhibition stands out thanks to the wise running of space, as well as becoming a place where pictures and volumes converge and communicate.. ”

Charlie Hebdo, ce journal satirique et libertaire tant de fois critiqué, jamais vraiment soutenu jusqu’à ce qu’une goutte de bétise humaine fasse déborder le vase. Ce canard fait bel et bien parti du paysage culturel français.À la base, il y avait Hara Kiri, le mensuel bête et méchant. En 1969, l’équipe alors menée par Georges Bernier (alias le Professeur Choron) et François Cavanna décide de passer au format hebdomadaire malgré les diverses interdictions de publication du gouvernement français. Le journal sera malgré tout maintenu et vivotera avec un public de fidèles riant aux unes de Cabu, Delfeil de Ton, Willem et Wolinski désormais mythiques et toujours à l’humour décapant.

Relancé dans les années 90, avec l’équipe historique et des nouveaux comme Charb, Luz et Tignous, Charlie Hebdo a souvent fait polémique provoquant le politiquement correct et poussant le bien pensant dans ses derniers retranchement. Il y avait toujours l’argument de la liberté d’expression. Trop souvent suivi d’un “oui, mais”. Ces mêmes personnes sensées défendre à tout prix une liberté durement acquise se désolidarisaient régulièrement des propos tenus par cette bande de grands enfants incorrigibles.

Aujourd’hui, l’assassinat de la plupart de ces héros libertaires nous regroupe et certains Charlies auront acheté le premier Charlie Hebdo de leur vie. Mais Charlie Hebdo c’est avant tout un esprit. Rebelle et acide, qui riait de tout mais ne se moquait de rien. À nous d’en faire quelque chose maintenant, nous leur devons bien ça.

As tu entendu parler de…

Chronikulte

Charlie Hebdo, this satirical and libertarian journal. Too many

times it was criticised and never really supported until a straw of

human stupidity made the camel’s back break. This paper really is

a part of the French cultural landscape.

Initially, there was Hara Kiri, the monthly “Bête et méchant”

newspaper. In 1969, the rédaction team lead by Georges Bernier

(aka Professor Choron) and François Cavanna decided to adopt

a weekly publishing rythm in spite of various French government

censorship. The journal kept on being published and survived

thanks to a loyal audience. The same audience that never

stopped laughing with Cabu, Delfeil de Ton, Willem and Woliski’s

legendary and pungeantly humorous front pages.

Relaunched in the 90s by the joining of Charb, Luz and Tignous’

team to the historical one, the journal never stopped provoking

the politically correct and the do-gooders. There always was the

freedom of speech défense to what they did. Too many times it

was followed by a “yes, but”. These same people supposed to

defend at all costs a freedom hardly obtained regularly detached

themselves from the words of these incorrigible grown-up kids.

These libertarian heroes were murdered and it made us come

together. Many Charlies will have bought their first Charlie

Hebdo ever. Charlie Hebdo is above all a mindstate. Rebel and

acid, laughing about everything but never laughing at it. It’s on us

to do something with it from now on. We at least owe them that.

Charlie Hebdo, this satirical and libertarian journal. Too many

times it was criticised and never really supported until a straw of

human stupidity made the camel’s back break. This paper really is

a part of the French cultural landscape.

Initially, there was Hara Kiri, the monthly “Bête et méchant”

newspaper. In 1969, the rédaction team lead by Georges Bernier

(aka Professor Choron) and François Cavanna decided to adopt

a weekly publishing rythm in spite of various French government

censorship. The journal kept on being published and survived

thanks to a loyal audience. The same audience that never

stopped laughing with Cabu, Delfeil de Ton, Willem and Woliski’s

legendary and pungeantly humorous front pages.

Relaunched in the 90s by the joining of Charb, Luz and Tignous’

team to the historical one, the journal never stopped provoking

the politically correct and the do-gooders. There always was the

freedom of speech défense to what they did. Too many times it

was followed by a “yes, but”. These same people supposed to

defend at all costs a freedom hardly obtained regularly detached

themselves from the words of these incorrigible grown-up kids.

These libertarian heroes were murdered and it made us come

together. Many Charlies will have bought their first Charlie

Hebdo ever. Charlie Hebdo is above all a mindstate. Rebel and

acid, laughing about everything but never laughing at it. It’s on us

to do something with it from now on. We at least owe them that.

60

Une histoire qui commence par la fin, des vies qui s’entremêlent, un narrateur qui vous manipule à souhait, et une énigme au dénouement magistral mais surtout insoupçonnable.Dans son 6ième roman, Bussi nous offre une enquête dans laquelle deux familles se disputent le destin d’une petite fille de 3 mois, seule survivante d’un tragique crash d’avion. Crédule Grand-duc, détective privé, va consacrer 18 ans de sa vie à chercher l’identité de ce nourrisson afin de savoir laquelle des deux familles est vraiment apparentée à cette miraculée.Entre passé et présent, à travers des flashbacks et une mise en abyme prenante, vous vous trouvez plongés dans cette histoire qui vous coupera le souffle à plusieurs reprises, et qui laissera sans voix à la fin….

Ce disque est sorti il y a quinze ans déjà et est passé assez inaperçu en France à l’époque. C’est une heureuse redécouverte dont on vous fait part. Ce supergroupe se compose de trois grands noms de l’electro hip hop : Kid Koala connu pour ses nombreux projets solos sous le label Ninja Tune et surtout pour sa participation au premier album de Gorillaz, Dan the Automator, le producteur japonais de ce même album de Gorillaz et Del the Funky Homosapian dont la voix et le flow sont entrés dans la culture pop avec Clint Eastwood toujours de Gorillaz.

Vous l’aurez compris, si vous avez aimé les phases rappées de Gorillaz, vous aimerez Deltron 3030. Tout l’album est composé comme un opéra Hip Hop se situant à l’orée du XXXIème siècle où Del incarne Deltron Zero, un soldat cyborg qui se rebelle contre le nouvel ordre mondial qui a supprimé les droits de l’Homme et le Hip Hop en faisant des rap battle à travers la galaxie. Epique et rudement bien posé.

As tu écouté…

Deltron 3030 - Deltron 3030

As-tu lu…

Un avion sans elle

de Michel Bussi

A story which starts from the beginning, intermingled lives, a

manipulating narrator, and an remarkable ending to the enigma.

In his 6th novel, Bussi gives us an enquiry in which two families

argue the destiny of a three-month-old baby girl, only survivor of

a tragic airplane accident. Crédule Grand-duc, private, will spend

18 years of his life searching the identity of this baby, aiming to

know which family’s really related to her.

Between past and futur, through fkashbacks and a captivating

metatheatre, you will find yourselves drown into this story which

will take your breath away several times, leaving you speechless

in the end.

This record came out fifteen years ago and went quite unnoticed

in France at the time. We dug it out and were quite happily

surprised. This supergroup is formed by three gréât artists of the

Electro Hip Hop scene. Kid Koala is known for his numerus solo

projects under the indie label Ninja Tune and his participation

to Gorillaz’ first album. Dan the Automator is the japanese

producer of the same album and Del the Funky Homosapian

whose voice and flow made it to pop culture in Clint Eastwood

again from Gorillaz.

Obviously if you liked rap songs from Gorillaz you’ll love Deltron

3030. The whole album is written as a Hip Hop opera casting Del

in the role of Deltron Zero, a disillusioned mech soldier rebelling

against a 31st-century New World Order. In a world where evil

oligarchs suppress both human rights and hip-hop, Del fights rap

battles against a series of foes. Epic and very well set up.

A story which starts from the beginning, intermingled lives, a

manipulating narrator, and an remarkable ending to the enigma.

In his 6th novel, Bussi gives us an enquiry in which two families

argue the destiny of a three-month-old baby girl, only survivor of

a tragic airplane accident. Crédule Grand-duc, private, will spend

18 years of his life searching the identity of this baby, aiming to

know which family’s really related to her.

Between past and futur, through fkashbacks and a captivating

metatheatre, you will find yourselves drown into this story which

will take your breath away several times, leaving you speechless

in the end.

This record came out fifteen years ago and went quite unnoticed

in France at the time. We dug it out and were quite happily

surprised. This supergroup is formed by three gréât artists of the

Electro Hip Hop scene. Kid Koala is known for his numerus solo

projects under the indie label Ninja Tune and his participation

to Gorillaz’ first album. Dan the Automator is the japanese

producer of the same album and Del the Funky Homosapian

whose voice and flow made it to pop culture in Clint Eastwood

again from Gorillaz.

Obviously if you liked rap songs from Gorillaz you’ll love Deltron

3030. The whole album is written as a Hip Hop opera casting Del

in the role of Deltron Zero, a disillusioned mech soldier rebelling

against a 31st-century New World Order. In a world where evil

oligarchs suppress both human rights and hip-hop, Del fights rap

battles against a series of foes. Epic and very well set up.

Beaucoup de succès pour le dernier film du réalisateur d’Inception.Beaucoup de « C’est le meilleur film de l’année ».Beaucoup de « Whaow » et d’éloges en tout genre.Mais la Gazette n’est pas dupe et se méfie de ces avis un peu trop utopistes. Elle est donc allée vérifier par elle-même.Conclusion : Oh.My.Fucking.God.Il a fallut 10 minutes à la Gazette pour se lever de son siège quand le générique de fin a démarré. Une salle qui est restée silencieuse, et un sentiment général de « Je l’ai vu. »En plus des effets spéciaux époustouflants, le scénario qui porte le film est véritablement bien construit. Nombreux articles ont critiqués la vraisemblance de ce dernier, expliquant que certains calculs sont en réalité impossibles ou que les codages binaires utilisés sont bien trop complexes pour être traités de cette façon. Une seule réponse possible à ces personnes cherchant à tout prix à trouver un défaut à une magnifique œuvre cinématographique : n’oubliez pas que ce film est classé dans la catégorie « science-fiction ». Le but premier du cinéma est avant tout de distraire, de vous emmener dans un autre univers et c’est littéralement le cas d’Interstellar. Et si cette réponse ne convient pas aux plus cartésiens d’entre nous, vous pouvez vous intéresser aux travaux de Kip Thorne sur lesquelles s’est basé ce long métrage. Seul petit bémol du sénario (et du film tout court d’ailleurs), certains moments un peu compliqués où l’on n’est pas sur d’avoir compris. Moment de doute vite évincé lorsque les événements avancent et explicitent les dialogues incompris.

Mais l’impact du film n’aurait pas été le même sans les musiques bouleversantes de Hans Zimmer, qui a (enfin!) réussi à se renouveler, laissant légèrement de coté les cordes pour se consacrer majoritairement à l’orgue qui renforce l’aspect apocalyptique de certains passages. La bande son provoque un véritable sentiment d’angoisse, accélère votre cœur et vous intègre totalement au film, si bien que vous craignez autant pour votre vie que pour celles des personnages à certains moments…Nolan a su doser musiques épiques et moment de tranquillité, comme ceux de silence absolu, de calme plat lors des plans dans l’univers. Ce contraste donne une envergure impressionnante au film, et met encore plus en valeur la bande son de Zimmer.Pas simple pour un film de 3 heures de tenir un public intéressé, mais le défi est relevé ! Pas de longueur ou de moment d’ennui. Les heures passent extrêmement rapidement, pas d’inquiétude pour ceux qui ne l’on pas encore vu !

Petit secret de tournage que vous confie la Gazette : Zimmer a du composer la musique à l’aveugle. En effet, Nolan ne voulait pas que le musicien voit les images du film pour créer la musique. Difficile à croire quand l’on constate l’incroyable cohésion du son et de l’image.

As-tu vu…

Lot of success for the last movie of Inception’s

director.

Lots of « That’s the best movie of the year! »

Lots of « Whaow » and all types of compliments.

But La Gazette is not that fool and doesn’t trust all

those strargazer comments. So we went verifying

by ourselves. Conclusion: O.M.G.

It took us 10 minutes to stand up when the credits

started. A quiet room and a general feeling of « I’ve

seen it. »

In addition to the incredible visual effects, the

screenplay which carries the movie really is well-

constructed. Many articles and reviews have

criticised the believability of the movie, explaining

that some of the sums were impossible or that

the binary codes used are way too complicated to

be dealed with like this. Only one possible answer

to those people who absolutely need to seek

something wrong to this cinematic masterpiece;

don’t forget it is considered as a “Science fiction”

movie. The major purpose of the cinema being

to entertain, Interstellar perfectly responds to it,

literally taking you in another universe. And if this

answer doesn’t satisfy the most Cartesians of us,

you can take a look at Kip Thorne’s researches, on

which is based the feature.

Only little flaw of the storyline (of the whole movie

in fact), some moments are a bit complicated

making you confused and not sure if you really

understood what’s going on. A doubt that quickly

disappear, when goings on clarify misunderstood

conversations.

But the impact of the movie wouldn’t have been

the same without the sumptuous soundtracks of

Hans Zimmer, who (finally!) succeed in renewing his

style, slightly putting aside the strings and focused

on the organ, emphasizing the apocalyptic aspect

of some moments. The soundtrack causes feelings

of panic and anxiety, speeds up your heartbeat,

and puts you into the movie so well that you’ll

be fearing for your own life as much as for the

characters’.

Nolan knew how to proportion epic music and still

moments, as the ones of absolute silent, dead calm

during scenes in space for example. This contrast

gives a masterly scale to Zimmer’s music.

Not that simple for a movie to keep an audience

interested for 3 hours but challenge completed! No

length or boring part. Hours pass extremely fastly,

no worries for those who haven’t seen it yet.

Little shooting secret : Zimmer had to compose

the soundtrack in a blind way. Indeed, Nolan didn’t

want the musician to see the movie before the

music. Hard to believe it when you observe the

perfect cohesion between sounds and images.

Lot of success for the last movie of Inception’s

director.

Lots of « That’s the best movie of the year! »

Lots of « Whaow » and all types of compliments.

But La Gazette is not that fool and doesn’t trust all

those strargazer comments. So we went verifying

by ourselves. Conclusion: O.M.G.

It took us 10 minutes to stand up when the credits

started. A quiet room and a general feeling of « I’ve

seen it. »

In addition to the incredible visual effects, the

screenplay which carries the movie really is well-

constructed. Many articles and reviews have

criticised the believability of the movie, explaining

that some of the sums were impossible or that

the binary codes used are way too complicated to

be dealed with like this. Only one possible answer

to those people who absolutely need to seek

something wrong to this cinematic masterpiece;

don’t forget it is considered as a “Science fiction”

movie. The major purpose of the cinema being

to entertain, Interstellar perfectly responds to it,

literally taking you in another universe. And if this

answer doesn’t satisfy the most Cartesians of us,

you can take a look at Kip Thorne’s researches, on

which is based the feature.

Only little flaw of the storyline (of the whole movie

in fact), some moments are a bit complicated

making you confused and not sure if you really

understood what’s going on. A doubt that quickly

disappear, when goings on clarify misunderstood

conversations.

But the impact of the movie wouldn’t have been

the same without the sumptuous soundtracks of

Hans Zimmer, who (finally!) succeed in renewing his

style, slightly putting aside the strings and focused

on the organ, emphasizing the apocalyptic aspect

of some moments. The soundtrack causes feelings

of panic and anxiety, speeds up your heartbeat,

and puts you into the movie so well that you’ll

be fearing for your own life as much as for the

characters’.

Nolan knew how to proportion epic music and still

moments, as the ones of absolute silent, dead calm

during scenes in space for example. This contrast

gives a masterly scale to Zimmer’s music.

Not that simple for a movie to keep an audience

interested for 3 hours but challenge completed! No

length or boring part. Hours pass extremely fastly,

no worries for those who haven’t seen it yet.

Little shooting secret : Zimmer had to compose

the soundtrack in a blind way. Indeed, Nolan didn’t

want the musician to see the movie before writing

the music. Hard to believe it when you observe the

perfect cohesion between sounds and images.

Interstellar

de Christopher Nolan

avec Matthew McConaughey, Anne Hathaway, Michael Caine, Jessica Chastain.

Jean Nouvel pris par surprise par l’ouverture de la philarmonie : 2 mois de retard au lieu de 6…On aurait retrouvé des plans de la philarmonie dans le traité de Vitruve.

ARCHI

Jean NOUVEL taken aback

by the opening of the

Philarmonique : 2 months late

instead of 6… Some say the

plans of the Philarmonique

have been found in the Vitruve

treaty.

BDE

Ski resort Les 2 Alpes : A bunch

of a hundred of students

would have been caught by

the police, singing naked in the

snow, a mysterious song about

firemen. The leader would have

declared : Oh com’ on, it’s just

a tradition, it’s only friendly »

SPORT

At the ceremony of football

trophy Ballon d’or, #CR7 gives

his opinion about the Charlie

Hebdo affair :

« TschuUuIiI(…)iH’ ! »*

*JesuisCharlie

WEB

The Anonymous declare : we’re

ready to attend a traning

course of video editing.

INVESTIGATION

Who has switched off my

alarm clock ?

CINEMA

Christian BALE, Brad Pitt and

Ryan GOSTLING gathered

in the same movie about

finances, supported by the

International Monetary Fund

and by Nicolas SARKOZY.

#JesuisNico

POLITICS

Nicolas SARKOZY tries to

steal Odile DECQ’ s place

at the head of the school of

Confluences. #JesuisNico

IN-HOUSE

Job opportunity : chief editor

assistant

ECONOMICS

Because of the terrorist

attacks, the shops have been

deserted during the sales. The

galeries Lafayette sue Daesh.

The Printemps launches

its collection of

bulletproofjackets.

JOB ADVERTISEMENT

Young journalist with

experience as a chief editor is

looking for training period.

AERONAUTICS

A ski pist in Roissy, BIG sees

always bigger.

minimum : this cold kinda

sucks (put on your socks)

maximum : for now we can just

call it an alternative

After quite a resting month

of February, as we all know

came the workshop week : a

transition reference (in your

mind) between holidays and

school. Damn workshop... The

«intensive week» as we also

call it found it’s true meaning

again.

April, and its early April

Showers welcomes us.

Convenient temperatures

right in the season’s average

and about the same than last

year’s at the same time.

Only one solution to better

withstand teamwork : one

glass of natural carrot juice

every morning. Perfect to get

the full measure of vitamins

and look at the bright orange

side of life.

And for loners : just a sip.

ARCHI

Jean NOUVEL taken aback

by the opening of the

Philarmonique : 2 months late

instead of 6… Some say the

plans of the Philarmonique

have been found in the Vitruve

treaty.

BDE

Ski resort Les 2 Alpes : A bunch

of a hundred of students

would have been caught by

the police, singing naked in the

snow, a mysterious song about

firemen. The leader would have

declared : Oh com’ on, it’s just

a tradition, it’s only friendly »

SPORT

At the ceremony of football

trophy Ballon d’or, #CR7 gives

his opinion about the Charlie

Hebdo affair :

« TschuUuIiI(…)iH’ ! »*

*JesuisCharlie

WEB

The Anonymous declare : we’re

ready to attend a traning

course of video editing.

INVESTIGATION

Who has switched off my

alarm clock ?

CINEMA

Christian BALE, Brad PITT and

Ryan GOSTLING gathered

in the same movie about

finances, supported by the

International Monetary Fund

and by Nicolas SARKOZY.

#JesuisNico

POLITICS

Nicolas SARKOZY tries to

steal Odile DECQ’ s place

at the head of the school of

Confluences. #JesuisNico

IN-HOUSE

Job opportunity : chief editor

assistant

ECONOMICS

Because of the terrorist

attacks, the shops have been

deserted during the sales. The

galeries Lafayette sue Daesh.

The Printemps launches

its collection of

bulletproofjackets.

JOB ADVERTISEMENT

Young journalist with

experience as a chief editor is

looking for training period.

AERONAUTICS

A ski pist in Roissy, BIG sees

always bigger.

minimum : this cold kinda

sucks (put on your socks)

maximum : for now we can just

call it an alternative.

After quite a resting month

of February, as we all know

came the workshop week : a

transition reference (in your

mind) between holidays and

school. Damn workshop... The

«intensive week» as we also

call it found it’s true meaning

again.

April, and its early April

Showers welcomes us.

Convenient temperatures,

right in the season’s average

and about the same than last

year’s at the same time.

Only one solution to better

withstand teamwork : one

glass of natural carrot juice

every morning. Perfect to get

the full measure of vitamins

and look at the bright orange

side of life.

And for loners : just a sip.

Nicolas SARKOZY tente de prendre la place d’Odile Decq à la tête de l’école des Confluences. #JesuisNico

A la remise des ballons d’or, #CR7 s’exprime sur l’affaire Charlie Hebdo :« TschuUuIiI(…)iH’ ! »**JesuisCharlie

Poste de Rédac-chef adjoint à pourvoir

Jeune journaliste avec une expérience de Rédac-chef cherche un stage

Qui a éteint ton réveil à matin ?!

Christian BALE, Brad PITT et Ryan GOSTLING réunis dans un même film sur la finance soutenu par le FMI et par Nicolas SARKOZY. #JesuisNico

Les Anonymous se déclarent prêts à suivre un stage de montage vidéo.

Suite aux attentats à Paris, les soldes ont été désertées. Les Galeries Lafayette attaquent Daesh en Justice.Le Printemps présente sa collection de gilet pare-balles.

Une piste de Ski à Roissy, BIG voit toujours plus gros.

Station de ski des 2 Alpes : Une centaine d’étudiants auraient été interpelés chantant nus dans la neige un mystérieux chant à propos de pompiers. Le meneur aurait déclaré « Rooh ca va c’est juste une tradition, c’est bon enfant»

MINIMUM : en charette (mets des chaussettes)MAXIMUM : pour l’instant…on peut juste parler d’«alternative»

Après un mois de février extraordinairement reposant, comme nous le savons tous, est arrivée la semaine de workshop, modèle de transition (seulement dans notre imaginaire) entre les vacances et la rentrée...Foutu workshop, l’appellation ‘semaine

Archi

Politique

Sport

Interne

Annonce

Enquette

Cinema

Internet

Economie

Bde

Aviation

Météo

Papararchi

intensive’ prend tout son sens. Le mois de Mars puis Avril, avec ses giboulées tardives, nous souhaite la bienvenue. Températures acceptables, avoisinant les moyennes de saison, et correspondant à peu près aux températures de l’année dernière à cette même periode.

La solution pour mieux supporter vos projets en groupe : un verre de jus de carotte bio chaque matin, pour faire le plein de vitamines A et voir la vie en…orange. Pour les solitaires : juste un ver.

62

Jeux

Mais où est donc

Frédéric Borel ?

MERCI BOREL.