S2-EU 3 : 1° CYCLE LICENCE
S02-AR-3-1 : Plastic and visual arts
Persons in charge : Luc PerrotLaurent Sfar
Objectives
The objectives of this course are to explore and practice the relationship between body, space and sound.
Content
This teaching is built in several sequences:
- From an attentive and fine listening of their daily life, the students will document their familiar sound environments, by taking samples. They will try to draw and qualify these different ambiences crossed during their day;
- This inventory will serve as a data bank for the composition of sound pieces. These pieces are not the story or the sound replica of their personal universe but the experimentation of the notions of writing, composition, structure, theme, color, mixing, rhythm, speed, duration, ... all this from a re-interrogation and a re-reading of the sound materials of their daily life;
- In a last time, a visual, spatial and corporal research will come to constitute the image band of this sound composition; to play with its body, spaces and sounds. It will not be a question here of illustrating but of accompanying and sublimating the sound by a work of shooting and editing. This video will give an account of the relations and tensions between :
- sound, image and movement ;
- sound, body and space ;
- sound, rhythm and editing ;
- etc.
To elaborate all the compositions, made from a database of sounds recorded at the home of each student and its periphery, a graphic work will accompany in parallel the audio-visual researches and will allow to invent a writing, to imagine how to draw an original score respecting movements, pitches, intensities, rhythms, caesuras... but also silences.
This will give rise to an exploration of tools, gestures, colors, materials and textures, symbols, the use of Indian ink, graphite, paint, torn or cut paper, collage ...
This sound production allows for the manipulation of mechanical instruments as well as electronic or digital instruments, but also any object, existing or created, that produces a sound. The student will have to seize all these material and technical means to build his practice, produce his sounds and elaborate his proposals.
At each session, a set of works, sound pieces, experimental compositions, modern and contemporary musical productions, noisy poems and other proposals will be the object of attentive listening and analysis.
There is no prerequisite for the student to participate in this course, except the desire to discover and manipulate an unusual material.
- From an attentive and fine listening of their daily life, the students will document their familiar sound environments, by taking samples. They will try to draw and qualify these different ambiences crossed during their day;
- This inventory will serve as a data bank for the composition of sound pieces. These pieces are not the story or the sound replica of their personal universe but the experimentation of the notions of writing, composition, structure, theme, color, mixing, rhythm, speed, duration, ... all this from a re-interrogation and a re-reading of the sound materials of their daily life;
- In a last time, a visual, spatial and corporal research will come to constitute the image band of this sound composition; to play with its body, spaces and sounds. It will not be a question here of illustrating but of accompanying and sublimating the sound by a work of shooting and editing. This video will give an account of the relations and tensions between :
- sound, image and movement ;
- sound, body and space ;
- sound, rhythm and editing ;
- etc.
To elaborate all the compositions, made from a database of sounds recorded at the home of each student and its periphery, a graphic work will accompany in parallel the audio-visual researches and will allow to invent a writing, to imagine how to draw an original score respecting movements, pitches, intensities, rhythms, caesuras... but also silences.
This will give rise to an exploration of tools, gestures, colors, materials and textures, symbols, the use of Indian ink, graphite, paint, torn or cut paper, collage ...
This sound production allows for the manipulation of mechanical instruments as well as electronic or digital instruments, but also any object, existing or created, that produces a sound. The student will have to seize all these material and technical means to build his practice, produce his sounds and elaborate his proposals.
At each session, a set of works, sound pieces, experimental compositions, modern and contemporary musical productions, noisy poems and other proposals will be the object of attentive listening and analysis.
There is no prerequisite for the student to participate in this course, except the desire to discover and manipulate an unusual material.
Evaluation method
Evaluation is based on continuous assessment (attendance and commitment of the student throughout the semester) and on the successful completion of the various assignments.
Work required
Sound pieces
Photographic works
Filming
Video editing
Putting the productions in space
Photographic works
Filming
Video editing
Putting the productions in space
Hours
Lectures : 0.00
Tutorials : 32.00
ECTS credit
3.00
Coefficients
3.00
S02-AR-3-2 : Ambiance 1: Ambient source phenomena
Managers: Théo Vinceslas
Objectives
'Indeed, environmental control systems tend to be treated somewhat like the Cinderella of architecture, dressed in stripped-down clotheś and relegated to the back room to do the drudgery in order to maintain the elegant lifestyle of the other sisters: light, form, structure, and so on.'
Preface to the book 'Thermal Delight in Architecture' (MIT Press 1979), Lisa Herschong.
Being an introduction to the environmental approach, developed in the upper semesters of the Bachelor's degree and in the Master's cycle, this teaching unit́ must allow the acquisition of the fundamental bases concerning building physics. In particular, the aim is to introduce students to the complex notions related to the production and control of ambiences (thermal, luminous and acoustic), in order to integrate essential dimensions of architecture, such as the physics of construction, sensitive perception and the qualitý of use. These studies will be complemented by deeper investigations of the material in the fourth semester.
The tutorials are associated with the theoretical courses and should provide an understanding of the phenomena that regulate the relationship between architecture, man and environment, in order to learn how to design the physical, material and technical conditions that are the basis for the environmental control of the architectural project.
Preface to the book 'Thermal Delight in Architecture' (MIT Press 1979), Lisa Herschong.
Being an introduction to the environmental approach, developed in the upper semesters of the Bachelor's degree and in the Master's cycle, this teaching unit́ must allow the acquisition of the fundamental bases concerning building physics. In particular, the aim is to introduce students to the complex notions related to the production and control of ambiences (thermal, luminous and acoustic), in order to integrate essential dimensions of architecture, such as the physics of construction, sensitive perception and the qualitý of use. These studies will be complemented by deeper investigations of the material in the fourth semester.
The tutorials are associated with the theoretical courses and should provide an understanding of the phenomena that regulate the relationship between architecture, man and environment, in order to learn how to design the physical, material and technical conditions that are the basis for the environmental control of the architectural project.
Content
The group work is an experimental type of practice, associating to the tools of analysis, control and simulation of the atmospheres, the experimentation and the representation of the phenomena stated in class.
First, an 'analysis' phase in the existing rooms of the school:
- The climatic analysis of the site and representation of the graphic elements
- The sensitive analysis of the room
- The survey and the quantitative measurements of the interior physical phenomena and their representation
Possibly an intermediate visit of the exemplary projects
With a second phase 'mastery' of a 'simple' project of a space designed from the theme of physical atmosphere in priority:
- Analysis of the luminous comfort, including protocol, experimentation and representation
- Analysis of the thermal comfort, in particular in the behavior of the natural ventilation, including protocol, experimentation and representation
- Analysis of the acoustic comfort (if any)
- Possible experimental models
First, an 'analysis' phase in the existing rooms of the school:
- The climatic analysis of the site and representation of the graphic elements
- The sensitive analysis of the room
- The survey and the quantitative measurements of the interior physical phenomena and their representation
Possibly an intermediate visit of the exemplary projects
With a second phase 'mastery' of a 'simple' project of a space designed from the theme of physical atmosphere in priority:
- Analysis of the luminous comfort, including protocol, experimentation and representation
- Analysis of the thermal comfort, in particular in the behavior of the natural ventilation, including protocol, experimentation and representation
- Analysis of the acoustic comfort (if any)
- Possible experimental models
Evaluation method
Continuous work, compulsory attendance at the workshop. Weekly collective and personal production and presentation, pré intermediate reports, and final presentation.
Work required
Based on an exercise of thematic analysis of existing buildings, the learning of theoretical concepts is achieved by linking the acquired scientific knowledge with the study of iconographic representations of atmospheres produced during the architectural design process and the experimentation of the analysed physical phenomena. The use of experimentation - through the manipulation of the architectural devices adopted - thus becomes essential for an intuitive understanding of complex notions by questioning the students in a concrete way on the relationship of the body to sensitive perception.
Hours
Lectures : 0.00
Tutorial : 40.00
ECTS credit
3.00
Coefficients
3.00
S02-AR-3-3 : Languages
Responsible for : Zelda VoseZelda Vose
Objectives
The courses will aim to develop vocabulary and expressions in English related to the different building materials and their applications, especially for the construction of public buildings.
The course will also review the grammar points of CEFR levels A1, A2, B1 and B2 and familiarize students with TOIEC-type exercises.
The course will also review the grammar points of CEFR levels A1, A2, B1 and B2 and familiarize students with TOIEC-type exercises.
Content
Exercises to do together in class, watching videos, reading articles.
We will cite examples of iconic public buildings and architects for each type of material.
Compare the advantages and disadvantages of each material studied, how to accurately describe and contrast the different moods and styles created.
We will cite examples of iconic public buildings and architects for each type of material.
Compare the advantages and disadvantages of each material studied, how to accurately describe and contrast the different moods and styles created.
Evaluation method
Oral presentation in class (40%)
Written exam (multiple choice and essay) at the end of the semester (40%)
Attendance and participation in class (20%)
Written exam (multiple choice and essay) at the end of the semester (40%)
Attendance and participation in class (20%)
Work required
Participation in the oral presentation in class.
Research and oral presentation to be done in small groups.
Regular homework (30 minutes per class hour).
Research and oral presentation to be done in small groups.
Regular homework (30 minutes per class hour).
Hours
Lectures : 0.00
Tutorial : 0.00
ECTS credit
1.00
Coefficients
1.00
