portfolio 2014 Master in Landscape Architecture France

Lise MARCHAL

Lise MARCHAL17 rue de schnersheim67117 FESSENHEIM le BAS(+33)6-58-91-15-76liz_marchal@hotmail.com

Leisure

horse back riddingclimbingcooking

AdditionAL informAtion

Driving licence BLanguages studied : german, fluent in englishSoftware competence : Adobe Suite ( inDesign, Photoshop, Illustrator ), Autocad, SketchUp, Vectorworks, Excel, Word.

readingphotography

travelling

responsible active thoughtful methodical enthusiastic persevering

educAtion

2014: MLA Master degree in Landscape Architecture, with honoursFinal year project : The time for the difference, how to rethink parks and gardens regarding another perceptive and sensory world : autism.2009-2013: ENSNP, National School of higher studies in Nature and Landscape Architecture, France2007-2009: Intensive program preparing for entrance into engineering schools, France2004-2007: A level in sciences obtained with honours and European label, France

experience

2014 / A three month training at Swanson and Associates, design office in landscape architecture, NC, USAAssisting the design process of several public and private projects, including North Carolina Botanical Garden Entrance Masterplan. In charge of the design of private gardens, horse farms, and graphic rendering for all the projects.A month training at Pierre Leclercq Paysage, design build office in landscape architecture, Bordeaux, FranceDesigning residential city gardens. Planting plans for Winery Castle. Commercial projects: hotel, real estate and business development. In depth study of a 1000 sqf green wall : in charge of the technical study (operation and improvements); plant selection; cost study for restoration and annual maintenance.A three-month internship at Loup&Co, design office in landscape architecture, Paris VIII, FranceAssisting the design process and to the follow-up of construction works of high end private gardens.. In charge of the stands of the firm at House and Object Fair in Paris: conception; marketing practice (partnership agreements), suppliers management (materials, plants, furniture), sourcing, price cotation, specifications to contractors, planning the building/dismantling phases, graphic communication. 2013 / A semester as an exchange student in landscape architecture at Victoria University of Wellington, New ZealandTaking urban space class, theory and criticism, design studio. Bi-cultural project on maori coastal land. 2012 / A four-month internship at Swanson and Associates, design office in landscape architecture, NC, USAAssisting the design process of several public and private projects. In charge of the design of private gardens and graphic rendering for all the projects.2011 / A five-week internship at Swanson and Associates, design office in landscape architecture, NC, USA Assisting design process of public and private projects. Topographic survey work and CAD drafting plans. Series of watercolors at Deer Chase Gardens.A two-month internship as a gardening assistant at NCBG (North Carolina Botanical Garden), NC, USAAssisting the creation of new spaces with the horticultural department. Interventions of protection in natural zones with the department of preservation. Gain of knowledge on the native flora of North Carolina.2010 / A two-month internship as a gardening assistant at Killarney House and Gardens, Co.Kerry, IrelandVaried spring maintenance works in a Victorian garden.

GrAphic expression

reAdinG the LAndscApe

desiGn

Translate or invent a space through various techniques to express his qualities, from hand drawings to computer aided rendering.Express the permanent link between the body and space.

The project is the result of both reading landscape and applying different learnings ...Graphic expression is in the service of the project communication and understanding.

Apprehend space in its different levels: a garden, a territory, a region...Understand that the discovery of a territory is carried out through a multitude of inputs.

Speaking about space 4 - 5

The landscape at the scale of a garden : internships in botanical gardens 6 - 7 A large-scale land : medium-altitude mountains, seashore and countryside 8 - 11

A public garden in Blois Castle, Loire Valley 16 - 17Rethinking a historical park : La Croix-Montoire in Tours, Loire Valley 15

From a former military camp to a new neighborhood: Rochambeau District in Vendôme, Loire Valley 23 - 25

Deer Chase Garden 12 - 13

Planing development at a scale of a village : Champigny en Beauce 26 - 30

Ephemeral settlements 34 - 37 The time of the difference : rethink space through autism perspective 38- 43

North Carolina Botanical Garden Entrance Masterplan 32- 33Experimental garden, permeaculture 31

Private garden projects : Taylor’s Garden, Brewer’s Garden 20 - 22

Ephemeral gardens at Maison & Objet Paris Fair 14

A space for a common memory : the Veteran’s Memorial in Chapel Hill 18 - 19

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BodySpace Lignespatiality Rhythm Temporality

Talking about space can be done through the body study: the contours echo back those of the space or thwart them ... By scenographing this in a small volume held in a box, the relationship between living and inert takes another dimension.

On the right, a few pictures from my pho-tography portfolio about the different rhythms existing in a city. Superimposing architectural rhythms gives a vibration effect. Living in a city is living with the ci-ty’s rhythm, being part of it : what exists a few moments ago is maybe not still here... These pictures express city’s moments.

Below is a picture from one point of view of the inside of the box. This scenography expresses the relationship between body and lines and is a 3D collage of black and white pictures, drawings and text used as a graphic element.

Through photography, time can lengthen and moments superimpose themselves to enhance a temporality. This

is expressing the movement by what is fixed, talking about the time by immortalizing a moment.

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The body interacts with space totally and permanently. Chosing the best point of view to express a space is as important as knowing how to approach to appreciate details or, conversely, more away to capture the whole space.Drawing an imaginated space can free ourselves from drawing conventions: overcoming plans and prospects to express another qualifity of space. Even the body is a space in itself, almost a landscape through its structure, shapes, fullness and emptiness...

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Killarney National Park County Kerry Muckross House & Gardens Lakes Mountains Peat Bog

The first year internship in Ireland was an opportunity to observe how a 15-hectare historical Garden and Arboretum could be integrated into a National Park and make good use of the dramatic landscape surrounding it. The National Park becomes part of the Garden. The boundaries are not physical ones but actually the furthest you can look at the view.My job during these two months was mainly basic maintenance like cleaning, weeding, watering...

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NCBG natural habitats horticultural display native plants protection conservation program

The second-year internship at the North Carolina Botanical Garden was a demonstration of the art of creating a garden combining aesthetics and educational purposes. In order to show the different habitats of North Carolina, this garden uses native plants and offers the opportunity to take a fresh look at those too often considered as weeds. Its success is the result of concerted work by the horticultural and conservation departments in which I performed a variety of tasks, from planting «rescues» to building new paths and beds...

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Causses sediments

relief vegetation geologyhabitat granite-dry meadow cultural practices

CévennesAubrac volcanic

Exploring a territory and giving ourselves the means to understand a landscape at a larger scale is the main goal of the field trip in the Causses, Cévennes and Aubrac, hilly regions in South of France. Geology, soil science, botany, history ... entries in landscape are numerous but it is only by understanding the information they provide that you get to read a whole territory.

On the left, some sketches while we were driving though different landscapes. On the left bottom corner, a geology diagram. Below, a watercolor presenting a panorama and identification of several habitats.

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Shade CaussesPlane Sketches AtmosphereSketch book Diary Details

Reading a landscape can also be done through a pencil’s point. Shades, lights, shapes ... the eye observes in a different way the landscape that surrounds it and sometimes likes to linger on a few details kept in a sketchbook, besides scientific explanations.

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seashore Belle Ile en mercliffs volcanic tuff beachsand dune halophilic plant foreshore

The interdisciplinary field trip in Belle-Ile en Mer is an opportunity to observe the notions studied in geography, botany and soil science: the Atlantic coast is composed of various particular habitats in which people and plants have adapted themselves or even take advantage of the difficult conditions related to wind, salt ...

All observations are reconciled in a logbook in which layout, drawings and texts are produced simultaneously on site.

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agriculture clay silt suburban sprawl waste landponds historical features Cheverny Sologne forest patchwork of habitats

Traveling all over the Sologne region allows one to observe a complex and scrappy landscape affected by suburban sprawl. It is a patchwork of vineyards, agriculture, wasteland, grassland and forestry...

This land is the result of physical constraints, in particular, soil types: here lies a mosaic of soil from sand to silt and clay. Very wet soils in Great Sologne become drier in the part of Sologne where wine is produced thanks to porous sand and a limestone bottom. The omnipresence of water is obvious through wetlands and fish ponds.

Sologne pond for fish farming

place called «les ébats», a landscape mosaic

fish pond and traditional dwelling

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Angle-Trustin’s Garden Swanson and Associates, P.A Watercolor Highlights Mapping

Deer Chase Garden is a wide property in North Carolina whose owners are fond of gardens and use their place as much for private uses than to entertain important fund raising parties.

The first job was to record points with topographical gear in order to create the whole map of this garden, still unexisting despite the complexity and the high interest of such a place. Then followed both a hand and a computer aided rendering of the map. I also worked on highlighting through watercolor drawings some features of the different outdoor rooms.Those drawings and renderings are currently used on a website dedicated to this garden.

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ephemeral gardenMaison & Objet fair in Paris

There are multiple approaches to design a project, but usually commercial isn’t the first one we think about. However, in the case of the conception of a stand in a Fair, the commercial aspect is quite central and partnerships make theproject evolves at every step of the conception process.

What kind of methodology is the most suitable for this kind of project? At LOUP&Co, it seems like doing some «collage» is the answer.

decorative approach

3000 sqf

Tthe relationship between the designer and the partner, who knows its products best, aims to beas complementary as possible to make the most of every opportunity, and produce an ephemeral space that speaks to designers and meets its commercial goals. The firm approaches the design from a decorative point of view. LOUP & CO imagines and creates dialogues between plants, minerals, furnishings, lighting, accessories and other decorative items.

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The gist of this second year project is to inspire cheerfulness and vitality to a ‘back’ space that will soon become a ‘front’, while paying attention to uses and practical needs.The cedar forest is enhanced by the creation of a ‘hedge garden’ punctuating the discovery of the place. Buhler Park is not forgotten: its quality and heritage trees deserve a requalification through the collectively proposed management plan. The function of ‘outdoor lounge’ for the terrace is reinterpreted in a contemporary way and participates in the history and the identity of the place.

ToursParc de la Croix-Montoire Bühler

historical featurescontemporary garden

Top: map of the project in the Croix-Montoire Park Middle : section elevation of the «Hedge Garden»Bottom : bird view of the whole project Top right : the contemporary terraceRight bottom : Hedge Garden

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Renaissance Garden sculpture exhibition Architecture and history Highlights Blois castle Terraces

Master plan of the project

stabilisé

haie de buis

pelouse

pavés béton

bordure en brique

parterre fleuri

tour du foix

chapelle saint-calais

aile Gaston d’orléans

statues

boulets de canon

bloc Marche calcaire

coupe lonGitudinale

coupe transversale

stationneMentaire fonctionnelle

banc filant

vestiGe historique

donnée topoGraphique projet

donnée topoGraphique Modifiée

tilleul

sophora

Marronier

cèdretilleul

Marronier

Marronier

Marronier

Marronier

MaGnolia

pavés de la cour du château

n

The back space of Blois’ castle, a wide sloping terrace,currently seems somewhat abandoned. However,it provides a unique view of Blois and could be thefocus of landscaping. The council aimsto develop a project that combines gardens, sculptureexhibition and relaxation areas. My proposal focuseson highlighting an old fountain from which gardens ofRenaissance inspiration would extend. Building someterraces facilitates access and allows everyone toenjoy the view and a shaded area, highly appreciatedas the courtyard of the castle is entirely mineral.

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R=1.1mdépart: 356°balayé: 63°fin: 59°longueur arc: 1.19mcorde: 1.13m

R= 13.9mdépart: 94°balayé: 63°fin: 124°longueur arc: 7.3mcorde: 7.2m

R=2.4mdépart: 123°balayé: 66°fin: 189°longueur arc: 2.8mcorde: 2.6m

lonGitudinal section elevation : froM weeded terraces to the statues’ Garden cross section : froM saint-calais chapel to town’s panoraMa

weeded terraces cedar’s walk statues’ vestibule statues’ Garden cedar’s walk balcony over the town

cedar’s stairs technical details

statue’s vestibule technical details

cedar’s stairs

Gravepavés béton

bordure brique

sol naturel

b.b.b.b.pelousepelouse

pelouse

Mur de soutenneMent

pavés béton

Mur de soutenneMent

stabilisé

terre véGétale aMendée

Gravesol coMpacté

sol coMpacté Gravepavés bétonliMite de stationneMent

Mur de soutenneMent

sol coMpacté

Grave pavés bétonb.b. pelouse

Gravepavés béton

b.b. b.b. stabilisé

Mur poids de la terrassesol naturel

sol naturel

Grave

bloc Marche calcaire

stabilisé

pareMent calcairepierre apparente (pareMent) enduit Mural

pierre apparente (pareMent)enduit Mural

pareMent calcaire

Grave

béton

sol coMpacté

sol naturel

pente 1%

stabiliséterre véGétale aMendée

haie de buis

chaque courbure est un arc de cercle aux caractéristiques connues

cotations en cM

cotations en cM

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Cimetery art-architecure-landscape Landscape and memory Veterans memorial Chapel Hill

This project was designed by a multidisciplinary team (an architect, an artist and a landscape architect). In the middle of Chapel Hill cimetery was a very poorly designed space used for ceremonies. The town wanted to create a real outdoor room with a memorial for the Veterans : a place celebrating a common memory. The process was divided in five steps, each punctuated by a meeting between the design team and the committee. I have been part of three of those. I worked on the design with the landscape architect and was also on charge of the graphic rendering for the whole team. On the second meeting, we presented three sketches (each one keeping the specificity of its designer) that you can see on the left page. On the third one, we worked on a new design and presented the one on the right page that we kept improving until the fourth meeting.

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Top of the left page: master plan of the three sketches - landscape architectural one - architectural one - artistic oneMiddle of the left page: section elevation of a technical detail of the refined sketchBottom of the left page: views of the architectural sketch - view of the landscape architecural sketch Top of the right page : the refined design, sketch up view and autocad master planBottom of the right page: sketch up views of the refined design

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21

Outdoor rooms drainage and topo Japanese style Contemporary Renovation

The owners did a lot of renovation on this deck house and added a porch. These constructions were an a opportunity to rethink their garden.

A major concern dictating the design was to improve the drainage because this house is on a slope and the pool acts somewhat like a concrete dam. A second concern was to rethink the car access to the house.The garden is thought as a successions of ourdoor rooms, giving an echo to the inside organization of the house. The strong axis gets from the former entry to the dining room. We strengthen it by creating a japanese-style Garden with two small overflowing basins. On the left, as a connection with the new porch, a patio is

created with two flights of stairs leading to the lawn, hold by a wall. A light boardwalk allows to get from the wall level to the main lounge (which is at a higher level than the other parts of the house). The front and the side of the house are rarely used and seem to need a more natural aesthetic. On the front side of the house, a steep slope leads to a wetland and small intermittent source. We enhance this wet character and keep the japanese style.

I took part in every stages of this project: from the site analysis, the design ( both artistic and technical aspects of drainage and topography ) and its drawing on autocad. I was responsible for all the graphic renderings and presented the project at the meeting with the owners.

22

parking space Retaining wall Patio Sense of privacy

This small house in the historical district of Chapel Hill has a poorly organized backyard which doesn’t allow its owners to park their two cars and enjoy this space with a sense of intimity. I minimized the slope where the cars park and expand the access of the parking space using a stone retaining wall that also helps reducing the visual impact of the parking. A flight of steps leads to the upper part of the backyard,

redesigned as a garden. The beautiful oak was too big an opportunity not to organize the Garden around it with four small alleys crossing at its center. I proposed two new patios : a brick patio (Herrington pattern with dividing bands) used as a terrace for outdoor entertaining and an informal extension of the patio (flagstones and a brick border). The sense of privacy is enhanced by a variety of plantings to screen.

23

Renovation of Rochambeau district VendômeRochambeau was an old military camp in Vendôme turned into wasteland. Local councilors want to reinvest the buildings to create a mixed neighborhood (housing, rest-home, exhibition hall, studios...).

Creating new uses for a dynamic, rethinking space, enhancing the Loir’s banks and architectural heritage are some of the issues of this project.

Blocks are connected by Loir’s banks walks and perpendicular ‘hooks’. A wide sidewalk in front of the builings; landscaped parking mixed with an urban park by trees lines.

A dynamic shared space between housing and the rest-home. Various interactions between built-up areas.

Exhibition hall and studios are connected by a floral meadow and exhibition terrace.

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From one branch of the Loir to another

Through the exhibition hall Parking and urban park Axonometric view

Shared gardens between housing and rest-home. Global view of the exhibition hall and studios

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Even though Rochambeau is a wasteland, it keeps some charms that could be enhanced before the entire neighborhood will be under construction for the new project. A lighting project is one of these actions which could lead the population to have a new look at this area. Sounds also have great importance : many sites can be recognized through identical sounds and every place has its own accoustic : on the right, a graphic rendering of two thirty-minute listening sessions in two different spaces.

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Using density as a means to recover cohesion

1/ All unbuilt piece of land

planinG out an urbanization liMit by assessinG the value of landscapes surroundinG the villaGe

2/ Discrimination of plots according to project related standards

3/ Parcelles where the project will be

4/ Five 70m² housing units each year during 30 years; phasing of the projet

MethodoloGy of the project

a richness in the treatMent of the liMits with the open space to reinforce public spaces’ network aiMs to be developped, More particularly in its relationship with the valley

Main project ideas

Insert new buildings in the local urban typology

Emphasize links between the village and its surrounding landscape

Enhance treatment limit’s richness with the open spaceParcelles discriminées sur les critères :- d’utilisation actuelle- de forme urbaine projetée- d’intention paysagères- de soucis d’économie de voirie - de largeur.

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master plan of the project

N

lise marchal

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contemporary variations of the traditional beaUceron farm hoUse and limit management

individUal cohoUsing individUal and collective cohoUsing

dense collective cohoUsing

dimensionnements généraUx

mur en pierres apparentes

haute cloture en bois

mur aveugle en pierres apparentes

mur, parement pierres apparentes

bande enherbée

grillage (base de panneaux béton)

grillagemur en pierres apparentes

portail d’entrée (style similaire à celui du château)

mur en pierres apparentes

double alignement de fruitiers

haie mixte

haie mixte

stationnement

façades aveugles

façade avec ouvertures

mur

jardin privé

cloture haie de bambou

jardin très planté,boisé

grillage

grillage

bande enherbée

haie mixte

plantes ornementales

stationnement

bande enherbée (2m)

0 10 20 30 m

N

N

N

jardin

pignon aveuglegrillage

grillage + haie caduque

jardin

jardin

pignon aveuglegrillage

jardinjardinfaçade ouverte

haiejardin privé (4m20)

haie persistante

portail

stationnement planté

haie persistante + mur de soutennement

haie persistante

chemin, bande enherbée (5m) puis champ

N

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Di

Sm

Cb

PtPa

Ps

Ms

Ms

Ms

Ms

Ms

Me

Ms

N0 10 20 30 m

ornaMental trees in the courtyard Ps: Prunus serrulata (14/16, MG=motte grillagée)Pa: Prunus avium ‘plena’ (14/16, MG) Ms: Magnolia x soulangiana (8/10, MG) Me: Malus everest (8/10, RN= racines nues)Pt: Paulownia tomentosa imperialis (18/20, MG)Sm: Salix matsudana ‘tortuosa’ (18/20, MG)

plantinG of the parkinG area

Di: Davidia involucrata (18/20, MG)Cb: Carpinus betulus (125/150, RN)Sj: Spirea japonica shirobana

Ct

Hm

Ct

Hm

Ct

Ef

Ca

Hs

Ef

Ca

Hs

Ef

Ca

Hs

St

St

St

St

Sj

Sj

SjSj

Sj

1

N0 10 m

plants’ chroMatic ranGe of the different areas

perennials (shade) low shrubs (shade) parkinG courtyard

low ornaMental shrubs for shady area

Ef: Euonymus fortunei ‘sarcoxie’ (C=conteneur 25/30, inf 5L)Hm: Hortensia macrophylla ‘vietchii’ (C 5/7 branches)Hs: Hydrangea serrata ‘blue bird’ (C 5/7 branches)Sj: Skimmia japonica ‘fructu-albo’ (C 20/30, inf 5L)St: Spiraea thunbergii (C 40/50)Ca: Cornus alba elegantissima (C40/60)Ct: Choisya ternata ‘aztec pearl’ (C30/40)

1/ perennials for daMp shade planted on a 80 cM strip alonG the frontaGe

Cm: Convallaria majalis var roseaDf: Dactylorhiza foliosaCf: Corydalis flexuosaDc: Deinanthe caeruleaGp: Glaucidium palmatumTc: Trillium cernuum

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reconnecting the village and its sUrroUnding landscape

redevelopping the area aroUnd the treatment plant to enhance its presence

reUsing the local architectUral vocabUlary to fit in its territory

encoUraging walking towards the valley

emphasizing the link to the valley throUgh a planting strategy : trees’verticality to mark the horizontal movement of water flowing into the valley

grass strips, biodiversity’s vectors and pleasUre for hikers thread in the landscape

enhancement of landscape qUalities of beaUce: perspective’s dizziness

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Permeaculture habitats residence Experimental garden environmental consciousness

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Masterplan accessibility entrance sequence North Carolina Botanical Garden experience

The overall goal for the Visitor Education Center is to provide a gateway into the Garden by helping to focus visitors’ attention by creating a «sense of place» and continuity of experience through the Garden. Thus, the proposed design intends to be inviting, interactive, engaging and invoking exploration in children and adults, while remaining accessible to all.

It also establishes a model of sustainable development by a design that places a value on all living things; using hardscape in a way that fades into the landscape and enhance natural features. Several site issues, such as drainage, are also adressed in the design. Materials are being part of the discussions and charts are used as a methodical way to ease choices. We also estimated costs for each budget.

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NCBG - ProPosed imProvemeNts

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The western civilisation has been built over centuries on the idea of developing a prosperous, durable, everlasting world. The character of the architecture and the way we settle in a landscape are a great expression of this idea. Is it possible to shift our mind about this? Can we imagine another way to settle in an ever-changing world, creating some experiences helping us to be more aware of our environment, and thus be more prepared to those changes?

The pine forest acts as an ante-room for one of the most striking landscape of this coastal area of New Zealand : the bowl, formerly called Manga Pirau lagoon. However, this dry, flat and sandy land doesn’t look in any way like a lagoon: it has been metamorphosed. Through this entities meanders Waikawa River, which has constantly be realigned and its mouth has been moving north and south over a kilometre. During the winter, the bowl is flooded by ten centimetres whereas during the summer, the bowl looks very dry.

We are dealing with an ever-changing site. «Ephemeral, durable and make a second last an eternity» refers to the emphasize on time I do through my design : the present expands

in the bowl, but also plays about the concept of ephemerally and durability for the structure itself, but also the houses taking place there and the ritual of construction of ephemeral buildings.

The core of my project is composed by a wooden structure supporting a boardwalk which runs into the site and leads to a group of ephemeral community buildings. They will be rebuilt regularly, adjusting to people’s need, creating a series of incarnation of architecture. Then, later in time, a ritual of constructing more ephemeral buildings could take place. The uses and the shapes of these buildings may change over time, maybe leading to a more durable settlement. These places will be not only a base for the community to be : the process by which they are created cement relationships and pass on construction skills to the next generations.

The whole project evolves also on a longer time period through a virtuous cycle of material uses on site. The construction of the boardwalk and the ephemeral buildings use the pine trees present on site, allowing the forest to be replaced over time by better quality trees.

Manga Pirau lagoon community series of incarnations Ephemeral durable ever changing world

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ephemeral settlement

artist’s residence [1] - playing on people’s natUral inclination to reach the sea shore - contrast by framing the horizon -

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restoration project [20] - a mUlti-level platform accommodating the character of the sand dUnes system -

scientific stUdy [3] - the board walk being the base to settle lightly in this qUick shifting environment

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festival [100] - settlement on pilings takes place in the bowl at the end of the cross strUctUre -

I created a scenario : a sequence of different events that could occur on site and here is the way it would impact the development of the design over time, What is important to understand is that the growth of this settlement is incremental but is also allows the deconstruction of part of the design when it isn't used any more.

The structure/the project couldn’t only take advantages on the site. Also, the board-walk and system on piles disturbs the site as less a possible. The site needed also to take advantages from the human presence. Not only it help hosting events that can greatly help the site restoration/improvement/gain of knowledge, but also, from an ecological point of view, the fact that there are some remaining frames (when dismantling living modules) might create small new habitats because natural materials would accumulate, thus providing shelter for small species.From a human point of view, It would help people realize the changes of our environment, be more in contact with nature, it makes the bowl experience last longer : it is a stopping place, and even an “aim” to walk, not only a place we cross to reach the sea shore.

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Le temps de la difference Le château de fervaques, un site «pilote»

L’envers de leur exil, L’endroit de notre existence ?Une autre façon d’être au monde

600 000 autistes en France67 000 000 dans le monde

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uealtération qualitative des relations sociales

intérêts restreints et répétitifs

altération de la communication

stimulus sensation interprétation compréhension (concept)

Troubles d’intégration sensorielle

---------- Lise MARCHAL - Le temps de la différence - TFE 2014 ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Ecole Nationale Supérieure de la Nature et du Paysage ----------

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« Je vie dans une bouteille de verre et je vois le reflet de la ville

autours de moi. »

« Regarder dans les yeux d’un autre, c’est comme tomber dans un puits sans fond. »

« Je suis une femme puzzle. Je suis fragmentée.

Je ne vois pas l’ensemble. »

« Je luttais pour utiliser le langage du monde, afin de décrire une façon de penser, d’être, d’expérimenter, pour laquelle ce monde ne nous donne ni

mots, ni concepts. »

« je ne voyais pas un tout. Je voyais des yeux, un nez, une bouche, un

menton... pas un visage. »

perception littérale : C’est

«voir» des choses sans les interpréter ou les comprendre.

Aucun concept ne naît de la sensation. Ils voient le monde

comme il est vraiment, d’une certaine façon.

perception gestaltiste : Ils

souffrent d’une incapacité à distinguer les informations de

premier plan et celle d’arrière plan. Ils ne peuvent discriminer les stimuli pertinents. Lorsqu’une personne change un détail, c’est la scène

entière qui n’est plus familière pour la personne

autiste.

hyper/ l’hyposensibilité

L’hypersensibilité est due au à un canal sensoriel trop ouvert : il y a trop de

stimulations arrivant au cerveau pour pouvoir être traitées. Au contraire, en hyposensibilité, le canal est

trop fermé, privant le cerveau de stimulations, ce qui est néfaste pour son fonctionnement. les informations ne parviennent pas en quantité suffisante au cerveau qui semble alors vide et arrête de traiter l’information. Les autistes semblent alors ne rien voir ni ne rien entendre. En conséquence, ils s’autostimulent afin de faire

parvenir des informations à leur cerveau pour « le relancer ». Parfois, le canal fonctionne

mal et « grésille », créant ses propres stimulations.

perception f r a g m e n t é e : l e s

autistes n’arrivent pas à « découper » leur vision gestaltiste

en « morceaux signifiants » et peinent donc à interpréter les objets, les personnes et l’environnement comme constituant d’une situation globale. Leur

attention reste fixée sur des morceaux souvent dépourvus de sens, ou en

tout cas du sens que nous leur donnons.

perception déformée : l’espace,

le son, la forme peuvent être déformés, ce qui empire souvent

en cas de surexcitation nerveuse ou de surcharge d’information. Certains autistes semblent voir le monde en deux dimensions, d’autres ont une

vision double, l’espace peut se dilater ou au contraire se

rétrécir...

agnosie sensorielle : ce

terme définit la difficulté à interpréter un sens. La personne

se retrouve noyée par des stimuli sensoriels à une vitesse ne permettant pas de faire face. Elle éprouve alors des sensations sans signification. En

état d’angoisse sensorielle, elle peut agir comme si elle avait

vraiment perdu ses sens.

surcharge s e n s o r i e l l e :

elle peut conduire à l’hypersensibilité mais peut

aussi survenir indépendamment. Il se produit alors une accumulation de connaissances non reconnues engendrant parfois une fermeture

totale du système. L’agnosie sensorielle survient.

perception différée : c’est le

délai induit par le traitement de l’information. Donner un sens

au monde demande alors une véritable réflexion. Or, les autistes ne savent pas généraliser, ni appliquer ce qu’ils ont appris à d’autres situations. Tout prend alors plus de temps puisqu’il faut

traiter l’information de façon totale à chaque fois que la situation

diffère légèrement.

Plan des sensations visuelles, auditives et gustatives

1- ombre | 2- bruits des chutes d’eau | 3- fruits à goûter | 4- râle de la circulation5- chants des oiseaux | 6- voix humaines | 7- Jacquot l’âne

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L’autisme, un mystère

ouvert,

perception gestaltiste perception fragmentéerelation actuelle d’ignorance entre le château et le village

patrimoine arboricole, deux arbres classés

des bâtiments désaffectés

des activités d’accueil d’un public handicapé

gravitation d’acteurs divers autour et sur le site

un village au coeur de la vallée d’Auge en Normandie

un parc arboré de 7ha organisé en chambres autour d’un château Renaissance

hypersensibilité visuelle

vision périphérique

healing sharing education Autism final year project

Landscape is an experiment we renew every day. Our look on what surrounds us is only an interpretation of a reality given for everyone. Testimonies of autistic people sketch the outlines of a sensory world that is completely different from ours and somehow has a sens of poetry. Nevertheless, it would be an error to forget the fact that it is often the reason of lots of sufferings.

My ambition in this work is to rethink the landscape from an other perspective, without trying to bring it back towards the normality; my project tries to sketch landscaped spaces to accompany autistic people on the way of self-fulfillment. This project requires to write two stories at the same time, to articulate two approaches: the landscape and a subject which was unknown for me : autism.

The chosen site is a 7 ha park nested in the heart of the Auge valley, in Normandy. It is the property of an association promoting the integration of the disabled people. The functioning of the site is influenced by a strong central pulsation: the main courtyard is the beating heart of the park, but engender a tendency to condense everything, thus abandoning the rest of the park. It is necessary to distribute the activities so that everything is not supported by the same place. There are potentialities, in particular in the abandoned spaces: the

former school building and 1ha in the back seem amenable in welcome a program which allows me to propose more that a simple support to the associative project.

My project aims to be more ambitious, even experimental, concerning autism disorder. Thus, I introduce a second heart by including a group of autistic people living permanently in the property in the former school complex. Between these two poles, the castle and the space dedicated to autistic people, beneficial tensions occur.

These poles are constituted by people which needs and objectives are quite different. The autistic people need to be helped, taking into account their learnings, sensory and relational difficulties. The rest of the public want to take advantage of the qualities of the site ( a glorified park) and, if they wish, open themself to the difference : the handicap.

As my subject is mainly about autism, it is from their perspective that is developed a kind of route which takes them of the intimate, orderly, small heart to the bigger and more complex, public outside world... This course is made in three stages, the stakes being: educating, healing and sharing.

The sensory garden offers a kaleidoscope of sensations, optical atmospheres, smells, and colors... I am not aiming to offer an «exhaustive» sampling of sensation but rather a variety. A path is a branch, a fragment of the route which meaning is held by the solidity of the whole : each of the gardens proposes a different environment, offering itself to specific explorations. But there is a methodology inherent to the specificity of the autism: the need to be in a quiet place before bringing a sensation; that is why the intermediate spaces are neutral, very uncluttered.

What was rewarding in this project, was to invent a landscape while submitting myself to a sensibility which we ignore. The genius loci, so important to landscape architect, had few power at thr small scale because it is the particular needs for the autistic that dictated the architecture of the project, and not the spirit of the place. Nevertheless, it always prevailed on a larger scale in the articulation of elements and the way they interfere with the surrounding territory, conferring its unique character.

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