Дисертації з теми "Dais (architecture)"
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Rouille, Christelle. "Le dais. Lexiques, symboles et représentations, XVe et XXe-XXIe siècles." Electronic Thesis or Diss., Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLP057.
Повний текст джерелаIf the medieval canopy of state remains until the end of the European monarchies, the enthusiasm for it faded rapidly after their collapse, leading to the loss of the object and its name. It is thus stunning to realize how the canopy of state and its twins, the liturgical canopy and the gothic canopy, are nowadays totally unknown and unexploited structures. If we vaguely know the canopy for having encountered it during a touristic visit of a castle or on the facade of Gothic cathedrals, we do not know any more what the word canopy [dais in French] refers to. Has the canopy disappeared from our contemporary world? If we adopt an anthropological viewpoint and think, after Aby Warburg, of a time which is always reborn, then we can imagine that the structure of the medieval canopy may have survived in contemporary art. Why and how do the notion and the shape of the canopy persist in Western contemporary art while today they seem confused and outdated? The words persistence and survival have to do with the collective unconscious, which implies that the artists reuse some forms that already appeared in the past without looking for reproducing them consciously, deliberately. The strategy of this study is to select French, Flemish and Italian artworks of the 15th century and from 1960 to nowadays in order to investigate the possible similarity between the new and the ancient forms of the canopy. The goal is to define rigorously what the reminiscences of the shape of the old canopy are, which we call “manners of canopy” [“manières de dais”]. It is thus needed to know exactly what a canopy is and what concerns are related to it in terms of lexicons, symbols and representations
Dehan, Philippe. "« Pertinence d’une approche globale de la qualité architecturale dans l’optique de la construction d’un jugement critique raisonné »." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC1176/document.
Повний текст джерелаSeeking to answer the questions:1- A unified definition of architectural quality can it still exist or should it be modulated according programs and observers?2.Is architectural quality timeless or does it vary over time, depending on reference values?3.Does the decomposition of architectural quality in a set of indicators to substantiate the judgment allows to reduce or even eliminate the "black box" of quality, especially its art value usually reserved for specialists ?My thesis is based on my previously published three books ( "Jean Ginsberg", "The Habitat of the elderly" and "Architectural quality and innovation") and my teaching experience and builder to explore the relevance of qualitative approaches also exploring lhe actuality of Vitruvian triptych, old theories, contemporary doctrines and practices
Raulet, Mickaël. "Optimisations Mémoire dans la méthodologie « Adéquation Algorithme Architecture » pour Code Embarqué sur Architectures Parallèles." Phd thesis, INSA de Rennes, 2006. http://tel.archives-ouvertes.fr/tel-00124276.
Повний текст джерелаLa chaîne de prototypage a été élaborée autour de SynDEx, outil développé à l'INRIA basé sur la méthodologie AAA. Cette dernière vise à améliorer l'implantation d'un algorithme sur une architecture multi-processeurs en déterminant une distribution et ordonnancement optimaux. SynDEx réalise la phase d'adéquation proprement dite, et génère un exécutif indépendant de la cible. Nous avons dans un premier temps contribué à l'automatisation du processus sur cible multi-processeurs, en rajoutant d'une couche fonctionnelle, et en développant de nouveaux noyaux spécifiques pour des processeurs de traitement numérique du signal.
Dans un contexte embarqué, nos préoccupations se sont ensuite penchées sur la minimisation de la mémoire pour le code généré. C'est un problème encore très ouvert pour des architectures multi-composants. La solution trouvée, grâce aux algorithmes de coloriage de graphe, aboutit à une amélioration significative des résultats d'implantation distribuée. Le portage vers des plates-formes multi-composants est aujourd'hui automatique, notamment en intégrant directement dans l'outil SynDEx l'optimisation mémoire.
Une autre partie importante de ces travaux a concerné le développement et l'intégration, à travers notre processus de prototypage, d'applications conséquentes dans les domaines du traitement des images (MPEG-4, LAR) et celui des télécommunications (MC-CDMA, UMTS). Les résultats obtenus valident l'ensemble du processus proposé, et démontrent son adaptation à des systèmes globalement orientés traitement de l'information. Le mémoire se conclut en ouvrant sur de nouvelles perspectives, en s'intéressant notamment à des systèmes multi-couches réunissant des couches « transport » de télécommunication numériques et des couches « services » de traitement des images.
Faure, Anne. "Architecture/arts visuels : une expérimentation de la perception visuelle, par la vidéo numérique, considérée comme instrument de la pensée architecturale." Paris 1, 2010. http://portaildocumentaire.citechaillot.fr/pdfjs/web/viewer.html?file=/Infodoc/ged/viewPortalPublished.ashx?eid%3DIFD_FICJOINT_0000302.
Повний текст джерелаLaurent-Brière, Chantal. "Victor Hugo, architecture et roman mêlés : dela représentation architecturale dans l'oeuvre romanesque de Victor Hugo." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10090.
Повний текст джерелаGuennoun, Mohammed Karim. "Architectures dynamiques dans le contexte des applications à base de composants et orientées services." Toulouse 3, 2006. http://www.theses.fr/2006TOU30236.
Повний текст джерелаAdaptability for software applications can be separated into two categories. First relates to the behavioral adaptation also called algorithmic adaptation. This adaptation addresses the redefinition of the behavior of the application and its components and implies, for example, adding a new method into the interface of a component or updating the orchestration protocol that coordinates a set of services. Second category, in which we can classify our work, relates to the structural adaptation and implies a reconfiguration at the architectural level. This kind of reconfiguration deals with the organization of the architecture and involve, for instance, the substitution of a failing component by another with same functionalities or the redirection for a customer of a service which does not respect the QoS contract towards a service likely to offer better guarantees. In this thesis, we specify a meta-model relating to the description and the automatic management of dynamic architectures. Architecture instances are described by extended graphs where components (or services) are represented by vertices, and interdependencies (e. G. Connections, relations of control. . . Etc) are described by edges. The architectural styles are specified by extended graph grammars. The meta-model considers descriptions by admitting various abstraction levels and offers mechanisms to either abstract or refine descriptions according to specific points of view. It, also, makes it possible to describe architecture management protocols and to characterize the architectural properties to be preserved for each considered architectural level. We developed an algorithm for graph homomorphisms building and an algorithm for graph transformation in the context of extended graph grammars defined for our meta-model. .
Fourcade, Anne-Marie. "L'architecture monumentale à l'époque nationale-socialiste : la tentative d'un retour aux formes fondamentales dans l'architecture d'Etat." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010658/document.
Повний текст джерелаAs early as 1934, the official National-Socialist architecture takes a stand which sets it apart from ail things past, bringing out the very peculiar monumentality of the period. Analyzing the characteristics and the sources of this state architecture during the early years of the Third Reich, constitutes the main theme of the present thesis. P.L. Troost, who designed the first buildings of the Party in Munich, Ernst Sagebiel, author of the Tempelhof Airport and Göring's Ministry in Berlin, Hans Reissinger who designed a building with a composite envelop meant for the Reich teachers' Association in Bayreuth, and finally Ludwig and F. Ruff who designed a gigantic hall to accommodate the Party's conventions in Nuremberg, are the architects who se works are being reviewed. Their buildings present monumental forms which are quite remote from simplistic neo-classical references. These works are marked by great representational demands and yet, in some cases, they also respond to functionality in a highly efficient way. This study of the chosen buildings attempts to observe, from the moment of conception through the evolution of sketches and models, an ever-increasing monumentality: the establishment of a mode of composition favoring organizing symmetries of plans and elevations and the final embellishment of the facades with added-on elements, the reached-for effect being always more important than any other consideration. A sculptured iconography glorifying the regime and the Reich, with its signs, symbols and freezes, completes this setting. The concept of a German tectonic, so privileged by historians of the regime, expressing the essence of this official architecture in its search for original forms, is therefore examined in detail, revealing the roots it refers to: at its center is a newly-recreated mythical Germany as cradle of the universe. The analysis of the chosen buildings is thus first architectural, then completed by examining the editorial apparatus which has ensured its official presentation during the Third Reich. On the other hand, the numerous publications spurred by this architecture in Germany since the 1970's, have also been taken into account
Mira, Pascale. "Penser l'architecture environnementale, des idées aux formes et des formes aux idées : dans quel processus de néomorphisation sommes-nous ?" Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20147/document.
Повний текст джерелаArchitecture is changing because the world is changing.The impact of environmental issues on the way of thinking architecture, and also on architectural ideas and architectural forms, is the subject of this research.The building sector is now considered as an important tool in order to solve the environmental crisis. However, discrepancies are increasing between, on the one hand, urgent and regulatory requirements to achieve specific quantitative targets and, on the other, the need for architecture to be thought of in connection with a new environmental culture.Energy transition. Environmental transition. Architectural transition?How to define this neomorphisation process.This research concerns the transition period that started in the late 1990s and where the scenarios are projected up to the 2050s. The objective is to define concepts and tools, to characterize the architectural transition towards an environmental architecture, in an open and multidisciplinary manner, and to provide food for thought.The concepts of “architectural neomorphism” and “Neomorphic Potential” (PN) are created, in response to the context of a transition in progress. By analogy with the neologism which designates a new word that renews and enriches language, architectural neomorphism indicates a new form. In the same way, it results from a morphological process, creative, experimental, rich and complex, specific to transition periods. The resulting “Neomorphic Potentials” of environmental architecture describe the ideas which are behind the new architectural forms.The specific quality of this research work is based on an original approach to architectural thought, from ideas to forms and from forms to ideas, and on the creation of “analogical spaces”. They are composed as a result of the confrontation of three corpora : a corpus of ideas (PN), a corpus of manifest architectural forms and a corpus of subversive artistic forms. They are designed to active debate, to question the concept of accuracy and to stimulate our thinking about architecture, to escape standard ways of thinking and to promote outside-the-box thinking.These theoretical elements are reinvested in making a model of a thesaurus.The "Thesaurus of environmental architecture, from ideas to forms and from forms to ideas" is both a monitoring tool and a resource centre. It gives the opportunity to discover, to take on board and to think environmental architecture through a new descriptive framework using analogical spaces. Offered on the principle of an online collaborative tool, it calls for a multicultural approach to architecture so that knowledge can be shared in a lively, interactive way.The model of the Thesaurus of environmental architecture opens up the way for new teaching methods directed towards the identification of new references. Its ambition is to contribute to a contemporary history of ideas and forms of environmental architecture
Spiechowicz, Pauline. "« Ut Architectura poesïs » : la description architecturale dans le Roland furieux de Ludovico Ariosto (1532)." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4026.
Повний текст джерелаThis dissertation investigates the relationships between architecture and literature. Its aim is to understand in which way literature describes and represents architecture. After an examination of the similitude between these two disciplines, an analysis is made on the rhetoric of the architectural description. The manners of the “ut architectura poesis” are represented by the concepts ekphrasis, descriptio, enargeia, evidentia, amplificatio and digressio. Architectural description was formalised in poetry through the Progymnasmata, ancient Greek rhetoric exercises for the orator. Here, the representation of imaginary places is called Topothesia. Once the link between the two arts is explained, the dissertation focalises on the analysis of the architectural description in the Orlando furioso (the “Orlando enraged”) by Ludovico Ariosto. We consider especially the last redaction of the manuscript which took place in Ferrara in 1532. In the poem appear many architectural buildings. Few of them emulate the architectural mania of the Renaissance nor the typical buildings of the period. Others represent the original fantasy of the poet. Through architecture, the Orlando furioso reveals a deep relation with the court of Ferrara and the Este’s family. Many architectural descriptions are dedicated to the court and work in praise of their power. Moreover, and on a deeper level, architecture operates as a mise en abyme of the story, a metaphor which plays like a mirror with the plot of the Orlando furioso
Duchene, Fabien. "L'architecture dans la machine. Le jeu vidéo, d'une représentation architecturale à une représentation architecturée." Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASD002.
Повний текст джерелаVideo games simulate the informational complexity of reality. In this task, it is subject to the calculation limits of the digital machine. Unconsciously, and as the machine evolves, the video game rewrites a history of architectural representation by seeking its optimum: the most effective architectural design figure to display the information that makes it playable. The figures generated by the two disciplines allow us to demonstrate that video games restore a form of habitability in the architect's project. It is defined above all as an architectured two-dimensional representation. The BIM model that integrates the physical data of the material is the only figure in the architectural project that has not yet been exploited by video games. In the experimental part of this study, we will undertake the realization of a game that tests our hypotheses: RUCKBALL. We will try to understand the modalities of the architectural project in this bodyless environment. We will observe the current limitations of reality simulation in this field. Finally, we will conclude by formulating a prospective study on the future of these two disciplines
Burniat, Patrick. "Le plan libre, syncrétisme de la modernité corbuséenne: essai de clarification du concept de plan libre dans l'oeuvre architectural de Le Corbusier." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210512.
Повний текст джерелаA cet égard, le concept de plan libre occupe une position de choix. Célèbre « mot-force » du manifeste corbuséen de 1927 —« Les Cinq points d’une nouvelle architecture »—, devenu un concept central —mais aussi “nomade”— de l’historiographie de l’architecture moderne, il se trouve donc à l’articulation des questions relatives à la modernité et à la conception. De plus, une simple confrontation de sa définition originale, tant à l’œuvre de Le Corbusier qu’à l’historiographie du Mouvement Moderne, révèle la polysémie du concept et, en particulier, les ambiguïtés et paradoxes que suscitent sa double interprétation :comme “modèle d’organisation spatiale” d’une part et comme “intention libératoire” de l’autre, au point qu’elle laisse le chercheur perplexe à l’égard de ce qu’en l’état, un tel concept peut bien apporter à la connaissance de l’architecture.
Pour surmonter ces difficultés d’interprétations, deux hypothèses sont proposées.
La première envisage le plan libre comme mode opératoire de “libre” conception propre à Le Corbusier. La seconde renvoie à la construction discursive du plan libre comme oxymore, c’est-à-dire comme figure de rhétorique qui, en associant deux termes de sens contraires, construit un ou plusieurs sens nouveaux.
En conclusion, leur vérification conduit à interpréter le plan libre comme mode spécifique de conception —qui assure tout autant l’autonomie du créateur que la fertilité du processus de création—, lui-même basé sur un processus récurrent de “mises en tension” et de recherches de nouveaux “équilibres” :du regard dialogique que Le Corbusier porte sur le monde —en particulier sur le processus de modernisation— à l’expression duale qu’il donne à ses compositions. Au final, cette double optique fonde notre interprétation du plan libre comme syncrétisme de la modernité corbuséenne. Elle se valide également comme clés de lecture particulièrement riches pour la compréhension de l’oeuvre corbuséenne et des processus de conception qui l’animent.
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Tout au long des chapitres de l’étude, nous nous sommes attaché à interroger le concept de plan libre au-delà des compréhensions conventionnelles et “familières” qu’on pouvait en avoir de prime abord, à savoir :d’une part, le plan libre comme “modèle d’organisation spatiale” —défini par opposition au “plan paralysé”—et, d’autre part, le plan libre comme “intention libératoire”, lequel marque un large désir d’émancipation, en particulier —sans y être restreint— à l’égard des pratiques académiques. Dès le premier chapitre en effet, nous avions montré que ces premières définitions “communes” du plan libre —clairement identifiables tant dans l’œuvre corbuséenne que dans les instrumentalisations dont il fut l’objet par la critique spécialisée— formaient “obstacles”, dans ces deux champs, à une claire compréhension de ce qu’il pouvait signifier.
Bien que l’on ne puisse douter de la validité des définitions proposées par Le Corbusier lui-même, nous avons dû relever à leur égard un certain nombre d’ambiguïtés ou de contresens qui nous obligeaient à questionner ces termes au-delà de ce qu’on y voit habituellement. De la sorte, nous mettions aussi en évidence qu’il n’y avait pas, dans le concept de plan libre, un, mais bien deux “niveaux de libération” à identifier :d’une part, un mouvement d’émancipation de la nouvelle architecture à l’égard de tout ce qui pouvait, de manière hétéronome, “préformer” sa conception ;d’autre part, une liberté interne au système mis en place, assurant à l’auteur de projet la mise à disposition de moyens innovants et permettant la « permanente mise à l’épreuve » (A. Rivkin) de l’architecture face aux conditions changeantes du projet.
Ces différentes observations nous invitaient à approfondir la réflexion et, surtout, à la déplacer vers ce processus qui, justement, permettait de lier la “virtualité” de l’intention à la “matérialité” d’une solution, soit le propre de la conception architecturale. En effet, entre ces premières définitions du plan libre qui, déjà, le situaient aux “extrêmes” de la conception architecturale — intention versus expression— il semblait opportun d’en revenir là aussi à l’investigation de cette problématique “intermédiaire” :par quels moyens Le Corbusier passait-il du plan libre comme intention au plan libre comme expression ?
L’hypothèse fut alors posée de considérer le plan libre corbuséen comme “méta-opérateur” d’une libre conception du projet, le terme désignant selon Robert Prost « l’ensemble des modes opératoires que réclame toute formulation de solution ». Dans ce sens, on pouvait aisément présumer que ce mode de conception était lui-même animé par le regard doctrinal porté par Le Corbusier sur cette même modernité au service de laquelle il avait précisément défini la « nouvelle architecture » et les « Cinq points » qui en étaient « les moyens ».
L’objectif de nos développements ultérieurs fut dès lors, tout à la fois, de montrer ce “statut” opératoire du plan libre comme libre conception; de déterminer les moyens —procéduraux et substantiels— qui l’organisaient ;de montrer ce qu’ils construisaient dans l’œuvre en termes d’innovation ;de relever, en parallèle, en quoi et comment ils étaient révélateurs du point de vue de Le Corbusier sur la modernité.
Les hypothèses et l’intérêt des questions soulevées furent définitivement fondés après l’exposé des cadres généraux à l’intérieur desquels elles devaient être discutées :les champs de la conception d’une part et de la modernité de l’autre. C’est l’objet du chapitre 2.
L’étude s’est alors développée en quatre parties, basées sur des temporalités et/ou des corpus spécifiques et orientées vers des questions particulières.
Dans un premier temps —chapitre 3—, nous avons pris comme cadre d’interrogation l’exposition du Weissenhof à Stuttgart en 1927, moment de la publication du célèbre manifeste corbuséen des « Cinq points d’une nouvelle architecture » et lieu de la construction de ces maisons par lesquelles Le Corbusier exposa concrètement ses points de vue théoriques.
Le concept de plan libre y a été évalué à l’aune :des Cinq points dans le cadre desquels il a été énoncé; de l’ossature Dom-Ino qui en fonde l’émergence et la nature particulière; des maisons du Weissenhof qui en concrétisent la portée et les ambitions. Bien que cette matière ait déjà été abondamment retournée par les labours de la critique architecturale, un exposé exhaustif se devait d’être fait pour fonder notre propre compréhension des événements, construire nos propres observations et conclusions, eu égard à nos hypothèses. Par ailleurs, ce chapitre a permis d’éclaircir le mode de fonctionnement des Cinq points et de l’ossature Dom-Ino quant à leurs rôles et objectifs dans le processus de conception corbuséen.
Dans le 4e chapitre, nous nous sommes plus particulièrement interrogé sur ce qui fondait le choix et la définition de ces moyens particuliers. Il fut donc consacré à l’étude du plan libre comme édification d’une “théorie” du projet. Jamais Le Corbusier n’a produit un discours coordonné sur sa pratique —à la manière du traité d’Alberti— et les nombreux textes par lesquels il commente son œuvre et justifie les Cinq points comme « Eléments objectifs de discussion sur le phénomène architectural » présentent ces questions selon des points de vue fragmentaires :seul l’enchaînement des sources a permis d’extraire des thèmes dont la récurrence, voire la redondance, fait sens. La variation des énoncés des Cinq points que nous avons pu relever invitait par ailleurs à voir là une pensée en “construction” plutôt qu’une doctrine “arrêtée”, le manifeste étant dès lors compris comme un “arrêt sur images” ponctuant le parcours d’une pensée elle-même en permanente évolution.
Le corpus de cette analyse fut constitué de conférences, articles et livres rédigés par Le Corbusier, pour l’essentiel entre 1918 et la fin des années 20. Sur base de ce matériel, un certain nombre de thèmes récurrents ont été identifiés qui étayent la compréhension de ce que peuvent être les éléments de doctrine qui sous-tendent la conception du projet corbuséen et la manière dont il construit la validation de son propos. L’intérêt de cet examen fut aussi de permettre l’identification de quelques-unes de ces références procédurales qui font partie du fond culturel du concepteur et par lesquelles Le Corbusier organise ses processus de conception à l’égard de ce qui constitue l’architecture comme « problème en soi ». Dans un second temps, la comparaison de ces observations avec ce qui fait, selon Françoise Choay, théorie chez Alberti, a conforté l’idée de ce que cette construction doctrinale était propre à sous-tendre et qualifier un mode de conception et d’en confirmer, pour une part, les moyens de son ambition “émancipatrice”.
Dans le chapitre 5, nous avons procédé à l’examen de quatre références procédurales de conception que nous avions précédemment identifiées :la re-programmation, la dissociation, l’inversion et la réconciliation des contraires. L’intérêt était double. Il s’agissait, d’une part, de comprendre —et de vérifier— en quoi et comment ces procédures permettaient de rencontrer les objectifs d’une libre conception du projet —ce que nous avons traduit là par leur capacité à innover sur le plan formel et spatial et à assurer une relative autonomie du concepteur— et, d’autre part, de saisir —et montrer— en quoi et comment ils servaient le point de vue de Le Corbusier sur la modernité. Le corpus considéré ici était constitué d’une sélection de réalisations architecturales des années 20. Leur examen permit de saisir concrètement ce vers quoi les procédures conduisaient en examinant ce qu’elles construisaient dans l’œuvre. Bien que non exemptes d’observations personnelles, ces analyses se sont appuyées sur divers travaux antérieurs menés par les exégètes de l’œuvre corbuséenne dont, en particulier, Alan Colquhoun, Colin Rowe, Jacques Lucan, etc, auprès desquels nous avons trouvé matière à étayer nos hypothèses par l’articulation de leurs points de vue au nôtre, réduisant également quelques-unes des fractures de compréhension énoncées dès l’introduction.
Le chapitre 6 a, quant à lui, été plus particulièrement réservé à l’observation des références substantielles présentes dans le système de conception corbuséen au moment des Cinq points, que ce soit sur un plan concret ou à un horizon théorique. Dès l’exposé introductif de nos hypothèses, nous avions en effet relevé la relative incompatibilité que l’on pouvait discerner dans la mise au point d’un système de conception dont on attendait, d’un côté, qu’il puisse en permanence apporter des réponses innovantes en l’appuyant, de l’autre, sur des références de formes —celles des Cinq points— qui ne pouvaient qu’en restreindre l’ordre des possibilités. Deux discussions nous ont permis, sur le plan théorique au moins, de saisir les raisons de cette incompatibilité :celle de l’autoréférentialité du système d’une part et celle du miroir de l’inversion d’autre part, toutes deux conduisant nécessairement à restreindre le champ de la création à l’ordre d’une forme d’imitation.
Le chapitre 7, de conclusion, est revenu plus spécifiquement sur la discussion de l’objectif —et des conditions— dans lesquelles Le Corbusier poursuit cette volonté d’autonomie propre à la posture de l’artiste moderne, et l’objective. Si l’on s’accorde à reconnaître que le processus de modernisation à conduit à l’effritement des traditions stabilisatrices sur lesquelles se fondait ce qui faisait “sens commun”, la question est posée, entre autres, de savoir comment créer et objectiver ce “sens commun” à partir d’une vision subjective du “moi” créateur. La démonstration porte là sur la mise en exergue des invariants sur lesquels Le Corbusier fonde ses discours de validation :les principes pérennes qu’il “reconnaît” dans l’histoire, tout autant que les invariants de “l’homme”, qu’ils soient de nature socio-anthropologique, anthropomorphique ou psycho-physiologique. De la sorte, la posture émancipatrice de Le Corbusier se révèle fondée sur le respect d’un cadre normatif, intemporel, par lequel il tente d’objectiver sa propre subjectivité.
Cette approche duale nous est finalement apparue récurrente à tous niveaux de son processus de conception, et donc comme forgeant l’une de ses spécificités. Quel que soit le niveau auquel on l’envisage, Le Corbusier fonde son approche sur la mise en tension de termes, d’idées ou de figures qu’il oppose et entre lesquels il semble tout à la fois réfléchir, résoudre et exprimer les questions particulières de la conception, visant au final un nouvel équilibre entre les pôles identifiés, ce qu’énonce de manière métaphorique l’oxymore “plan libre”.
Doctorat en Art de bâtir et urbanisme
info:eu-repo/semantics/nonPublished
Nassar, Rachad. "Une architecture convergente pour une continuité et personnalisation de services : aspects architectural et fonctionnel." Thesis, Paris, ENST, 2012. http://www.theses.fr/2012ENST0025/document.
Повний текст джерелаNowadays, with the advent of deregulation, service providers aim to be more competitive and to attract more subscribers in order to cope with the high market pressure. For this purpose, today's providers support a user-centric approach that consists on quickly providing user oriented services. This user-centric approach becomes more and more significant with the emergence of the next generation networks and services (NGN/NGS) context. Within this context, where network convergence and service convergence are omnipresent, the end-user becomes more nomadic and claims the access to any service, anywhere, anytime and by any means. His goal is to dynamically compose a personalized service session while converging a set of multi-domain services (Telco, Web and IT). Then, he wants to maintain the continuity of this service session throughout his spatial and temporal mobility. Within the scope of this thesis, we propose a novel service architecture, namely the NGN/NGS Middleware, that adopts an horizontal distributed event-driven and service oriented approachn and that is based on a novel service model. In addition, we propose two solutions for service continuity management, that are based on virtual communities and on a semantic handover. These solutions take into consideration the user's preferences and ambiant context. At the end, we think we could answer some cloud computing challenges by integrating our solutions to manage cloud users
Jacquet, Benoît. "Les principes de monumentalité dans l' architecture moderne : analyse du discours architectural dans les premières oeuvres de Tange Kenzo (1936-1962)." Paris 8, 2007. http://www.theses.fr/2007PA082874.
Повний текст джерелаSince its creation, the modern movement in architecture broke away from the classical criteria of monumentality (19th century), but the context of World War II has been propitious for a reinterpretation of the issue of the monument. Between 1936 and 1962, the textual and graphic discourses produced by the architect Tange Kenzô, for the competitions of architectural and urban planning in which he participated in the 1940s, were funded on universal principles characteristics of the Japanese culture, adapted to the contemporary world. First motivated by a wish to “overcome” Western modernity, these principles led to a new monumentality, on the base of an original reflection on the concepts of tradition and creation, environment, and architectural and territorial scales
Venot, Claire. "Bois architecturés dans la construction rurale rupestre médiévale - Le cas de la basse Provence : architecture rupestre, anthracologie, dendrologie." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM4702.
Повний текст джерелаThe lake of wood in archeological sites is a problem to work about wood and forest during the Middle ages. This work purpose a new methodological approach, to treat the wood question in rupestrian architecture. This study uses anthracological, dendrological, and architectural éléments.The print of wood in médieval walls gives the diametre of the trees used during construction. Anthracology gives the species used on archéological sites and the dendrological study purpose an age for each diametre and each species used on site.All these results give the opportunity to purpose forest reconstitution for lower Provence in Middle ages
BOTLER, Léo Happ. "An IOT architecture for counting people." Universidade Federal de Pernambuco, 2017. https://repositorio.ufpe.br/handle/123456789/25234.
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CNPq
Knowing whether a room is occupied or not is crucial for improving electrical energy efficiency. For instance, if a given room is empty there is usually no need for the lights to be turned on. Usually in small spaces such as elevator halls, a Passive Infrared (PIR) sensor is used together with the lighting, but as it lacks accuracy, people often are left in the dark after a few minutes. Another factor that deteriorates energy efficiency is that these sensors are seldom connected to a network, limiting the application scenarios to simple tasks, such as controlling lamps. The same data could be used to improve other services such as adjusting the temperature of an air conditioner, which usually has a high impact on energy costs in countries with warm weather. In the present dissertation a wireless device capable of counting people in a room is implemented using Infrared (IR) Light Emitting Diode (LED)s. The implemented device is analyzed regarding energy consumption, cost, error count and installation time. It is also compared to other existing solutions. An architecture for interfacing this device with the Internet of Things (IoT) is provided as well as some of its applications in real scenarios. The results show that the architecture provided as well as the device implemented are useful in the presented scenarios, presenting a distance range of up to 30cm, a false negatives percentual error around 4% and an energy consumption of 1.519W.
Saber se um cômodo está ocupado ou não é crucial para melhorar a eficiência de energia elétrica. Por exemplo, se um quarto está desocupado, geralmente, não há necessidade de as lâmpadas estarem ligadas. Geralmente, em ambientes pequenos como em halls de elevador, um sensor Infravermelho Passivo (PIR) é usado em conjunto com as lâmpadas, mas como estes sensores não são precisos, as pessoas são frequentemente deixadas no escuro após alguns minutos. Outro fator que prejudica a eficiência energética é que raramente estes sensores estão conectados a uma rede, limitando os cenários de aplicação a tarefas simples, como controlar lâmpadas, enquanto os dados do sensor poderiam ser utilizados para melhorar outros serviços, como ajustar a temperatura de um aparelho de ar condicionado, que geralmente tem um alto impacto nas contas de energia, em países quentes. Nesta dissertação, um dispositivo sem fio capaz de contar pessoas em um quarto é implementado utilizando Diodos Emissores de Luz (LED)s Infravermelhos (IR). O dispositivo implementado é analisado nos seguintes aspectos: consumo de energia, custo, contagem de erros e tempo de instalação. Este também é comparado a outras soluções existentes. Uma arquitetura para fazer a interface entre este dispositivo e a Internet das Coisas (IoT) é fornecida, assim como alguns cenários em que esta pode ser aplicada. Os resultados mostram que a arquitetura, assim como o dispositivo implementado são úteis nos cenários apresentados, apresentando um alcance de 30cm, um percentual de erros do tipo falso negativo da ordem de 4% e um consumo de energia de 1.519W.
Castori, Pierre. "Architecture de systèmes dans l'environnment MMS /." [S.l.] : [s.n.], 1996. http://library.epfl.ch/theses/?nr=1501.
Повний текст джерелаSemat, Aude. "L’image de la tombe en Égypte ancienne. Histoire iconographique d’un motif (XVIIIe – XXIIe dynasties)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040043.
Повний текст джерелаThe study examines the representation of architecture in painting (or architectura picta) in ancient Egypt, through a case study of the tomb as an iconographical motif during the New Kingdom and the early Third Intermediate Period.After an overview of the principles of Egyptian representation and the architectural images in ancient Egypt, in all their diversity, the study focuses on the iconographical evocation of the necropolis and the tomb’s surroundings. An important part of this study concerns the mountain as an object of representation and in particular, its origins during the XVIIIth Dynasty, as well as dealing with landscape depictions in ancient Egypt.The funerary architecture is put in painting during the XVIIIth Dynasty, within depictions of funerary rites in private tombs. If the first tomb depictions refer to sacred architecture, according to representational conventions ; they show realistic elements in the course of the XVIIIth Dynasty, being modeled after the tomb architecture as it is during the New Kingdom, which is to say a pyramid-topped tomb. This tomb motif is integrated into the Egyptian iconographical repertoire and remains on coffins and funerary papyri, after the pyramid tomb itself disappeared from architecture in the Third Intermediate Period.The underlying question in this study is the relation to reality in Egyptian painting, but also the function of the tomb image
Lemattre, Thibault. "Allocation de fonctions de commande de systèmes critiques par recherche d'atteignabilité dans un réseau d'automates communicants." Phd thesis, École normale supérieure de Cachan - ENS Cachan, 2013. http://tel.archives-ouvertes.fr/tel-00916583.
Повний текст джерелаFétro, Sophie. "Étude critique du merveilleux en design : tours et détours dans les pratiques d'assistance au projet." Paris 1, 2011. http://www.theses.fr/2011PA010545.
Повний текст джерелаRemaud, Romain. "De l'architecture organique à l'architecture environnementale, itinéraire dans l'autre tradition constructive du XXe siècle." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040064.
Повний текст джерелаWhat if architecture could be lived as an oriented element of intercession between human and his environment ? This idea was supported by a coherent architectural movement, organic architecture, forming an alternative building tradition through the entire 20th century and noticeable throughout the world. Considering that an appropriate architectural practice promote a peaceful relationship between man and his built environment and a reconnection between man and his natural environment, organicism can truly be considered as an environmental architecture. However, in spite of what we thought originally, this architectural tradition is not easy to define by its formal aspect. Rather, it is necessary to go through architectural theory to see the emergence of a common vision to a group of theorists and architects. This way of practising or considering architecture can appears in the ideas of Kenneth Frampton or Christian Norberg-Schulz, in the opinion on the key question of function in architecture, or through the theory of pure visibility and its corollary, physical knowledge. Bruno Zevi, among others, also contributes to the theoretical edifice but it is Frank L. Wright who is the great builder of organic architecture both literally and figuratively. However, he is not the only proponent of this type of architecture and the careers of other major architects such as Eladio Dieste, Hassan Fathy, Antoni Gaudí, the Griffin’s, Friedensreich Hundertwasser, Alistair Samuel Knox, Rudolf Steiner or Gustav Stickley, especially, can be analyzed with interest from the perspective of environmental architecture
Itzykson, Raphaël. "Architecture clonale des leucémies myélomonocytaires chroniques." Paris 7, 2013. http://www.theses.fr/2013PA077005.
Повний текст джерелаClironic Myelomonocytic Leukemia (CMML) is a rare clonal disorder of the elderly with poor prognosis. CMML is defined by myelomonocytic hyperplasia contrasting with cytopenias. In addition to mutations in the Ras pathway, recurrent mutations in genes encoding epigenetic regulators (TET2, ASXL1) and splicing factors (SRSF2) have been reported in recent years. We have described recurrent genetic abnormalities in a cohort of 312 CMML patients and their phenotypic consequences. Mutations in the TET2, ASXL1 and SRSF2 genes are the most frequent. A prognostic score including clinical and genetic variables has been established. It highlights the poor prognostic value of ASXL1 mutations. The architecture of the leukemic clone was studied by genotyping colonies of hematopoietic progenitors grown in liquid medium. CMML is characterized by early clonal dominance during hematopoietic differentiation, at the CD34+/CD38-/CD90+ hematopoietic stem cell stage. In most cases, mutations are acquired sequentially in a single clone. The order of acquisition is stereotyped; with TET2 (± SRSF2), orASXLl mutations often preceding mutations in the Ras pathway. Complex clonal architectures can result from mitotic recombinations, generating minor subclones. Early clonal dominance, notably ofTET2 mutations, may cause an expansion of common myeloid and multipotent progenitors and skew their differentiation towards granulomonocytic lineages, while aberrant response of myeloid progenitors to GM-CSF induced by mutation in the Ras pathway worsen myelomonocytic hyperplasia in 40% of patients. These studies lead to propose a model for CMML pathophysiology linking clonal architecture and phenotypic presentation
Chavardès, Benjamin. "Paolo Portoghesi et la voie post-moderne : le débat architectural dans l’Italie de la seconde moitié du XXe siècle." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30100.
Повний текст джерелаFollowing the fall of the Fascist regime, Italy enters a phase of rebuilding and reconstruction, also on an ideological and cultural level. In the field of architecture, this phenomenon triggers debates about the link to the tradition, the dialog between history and practice of the architectural project, and a renewed relationship between the buildings and the city. This environment and the First Venice Biennale are conducive to Post-modernism theories to develop themselves. This intellectual renewal of the discipline is here analyzed via a particular focus: Paolo Portoghesi's one. This architect holds throughout his carrier several major positions in the educational field, research field, press sector, book publishing and also as a practitioner.The thesis aims at highlighting the role Portoghesi played in the history of the second half of the twentieth century, through his texts and works, and the testimonies of his contemporaries. After examining his work as an architectural historian and a Roman Baroque specialist (Chapter One), the study shows how his researches are used in the architectural conception, making him a representative of the operative criticism (Chapter 2). Considering his action as a teacher, Editor in Chief and President of the architectural section of the Venice Biennale, enables to position him in the Roman School of Architecture (Chapter 3) and as one of the major characters of Post-Modernism in Europe (Chapter 4). His life's path illustrates the transition between willing to stick to the spirit of the time and the theory of the genius loci, firstly through contemporary city conception (Chapter 5), then with the concept of “geo-architecture”
Marc-Blin, Séverine. "Architecture monumentale et décoration architecturale en Gaule de l’est et dans les Germanies à l’époque impériale : Les monuments publics de Mandeure." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20070.
Повний текст джерелаIn Eastern Gaul and Germanies, several monuments still standing witness of the quantity and the quality of public buildings in lingon, aeduan, leuquan, sequan, raurac and helvet territory during the Imperial period. Our knowledge of this monumental architecture remains however incomplete, since there is no monograph dealing with those monuments or any lapidary collection catalog. This study, devoted to the city of Mandeure, reveals an ambitious display of monuments from the augustean period to the tetrarchian's. It is based on the fieldwork carried out since 2001, including digging and more specifically prospecting of all kind. Mandeure, the city where the largest sequani civic sanctuary was located, displayed during the imperial period every monumental elements of a classic roman city: theatre, temples, thermae, monumental gates, horrea, etc. The study of the preserved remains in situ and of isolated blocks unables us to re-establish all the differents process of construction, restitution or redevelopment from the medio-augustean era to the severinian's. The study of the decoration programs allowed us aswell to restore a very rich ornemental repertoire. The influence of italian models, probably coming from Northern Italy and the Narbonese Gaul, is a sign of the classic dimension of those realizations. Several set of large Carrare marble capitals constitute a rare testimony of the work of Italian craftsman in this area
Nguyen, Manh Tri. "Les significations du concept d'harmonie entre l'être humain, architecture et nature dans la théorie architecturale d'Alberti et les philosophies en Orient." Master's thesis, Université Laval, 2008. http://hdl.handle.net/20.500.11794/19935.
Повний текст джерелаDe, la Cova Morillo Velarde MiguelAngel. "Objets : Projet et Maquette dans l'oeuvre de Le Corbusier." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC1175.
Повний текст джерелаThe architectural project and its representation are indivisible, as are the tools used at the beginning of the creation process; hence the interest in their study. In the models made under the supervision of Le Corbusier, aspects such as materials, scales, presentation and objectives reach another dimension, since this worknot onlycomes from an architect but also from a plastic artist.As Jean Louis Cohenpointed out, models can be seen as having two forms, which in French are calledœuvre and ouvrage. In this sense,a model is more than the resulting object of a scaled representation of a building; it is also an intellectual work, like another state of that architecture. In Le Corbusier's case, the identification of objects of different sizes (stones, bottles, matchboxes, shells, cells, landforms, etc.) with his architecture, painting and sculpture maintains the scaling metamorphosis that characterises his creative process. Models appear as intermediaries between the poetic values of those inspiring objects and the future architecture.As Le Corbusier and his collaborators were trained in Arts and Crafts, models are created with methods and techniques used in Fine Arts and Arts and Crafts. As a result, those creation methods are transferred to the architectural works in process, as well as to the drawings. Models favour an initial three-dimensional experience, which is especially relevant taking into account the pictorial condition of space in Le Corbusier's work. Beyond illustrating execution times for the designed building, the assembly or disassembly of those anatomies—represented by photographs or films—show the relations of its construction with the dematerialisation of the object through filming, typical in the art of the 20th century and, therefore, with the represented architecture.Through the comparative study of models and drawings, several relations between both tools have been established which prove the active role of the architectural model in the projecting process of Le Corbusier. In order to compare the used data (planes, letters, agendas, bibliographies, photographs, etc.), a database was created containing the over two hundred identified models. A compilation of the most significant models can be found attached to the document of the doctoral thesis.This thesis is organised in chapters titled by different artistic or craft methods, as a testimony to the manual nature of these works. The chapters are organised in two parts —Plastique and Texturique—depending on the ability to represent the inside of the object-architecture. In addition tothe proper review of Le Corbusier's important legacy, it is relevant to reconsider the relationship between form and craft, which was dealt with in works read by this artist and architect. Among those works,Henri Focillon's "Vie des formes. Eloge de la main" outstands and links with current thinkers such as Richard Sennett. A hand reaching out to the digital time
Bouffard, Émilie. "Conception de bâtiments solaires : méthodes et outils des architectes dans les phases initiales de conception." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29945/29945.pdf.
Повний текст джерелаGaitán, Salinas Candela. "Principes vitruviens dans l'architecture italienne et espagnole entre les années 1540 et 1575. Deux exemples de l'architecture périphérique dans le contexte du plan impérial : Jaén et Gênes." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP021.
Повний текст джерелаThis thesis project, developed under the tutorship shared by Málaga University and L’EPHE, focuses on the transformations which the architectural languages experience in Italy and Spain, particularly in Andalusia, during the second half of the sixteenth century. In comparison to Italy, the Spanish architects’ assimilation of the Vitruvian principles occurred later in time and it was based on the treatises. During the thirties decade, Diego de Sagredo’s treatise The Roman’s Measures was published, which deals with the human body proportions and the architectural orders. The translation of Sebastiano Serlio’s Quarto and Terzo Libro, by Francisco de Villalpando, happened in 1552, and subsequently two more translations of the Vitruvian treatise were written by Miguel de Urrea in 1568, though published in 1582, and Lázaro de Velasco, between 1554 and 1568. In Andalusia we may observe the process of assimilation of Antiquity principles in Andres de Vandelvira’s works, as in the Sacred Chapel of the Saviour and in the Sacristy of Jaén’s Cathedral, one of the most remarkable testimonies of the Spanish Renaissance. In the profane architecture domain, Pedro Machuca, in the Palace of King Charles the Fifth, circa 1527, had already incorporated the Vitruvian principles that he had acquired during his voyage to Rome between 1517 and 1520. The the long building process of this monument shows the manner in which the specificities of the architectural vocabulary changed in the following decades, evolving from a more honest Classicism to a more ornamental one. This project proposes a detailed analysis of the influence of artistic treatises on the evolution of architectural languages, concentrating on a classification of the most representative works in this period in Jaén and Geneva. This study will elucidate the manner in which imported models merge with local traditions. We devote especial attention to the technical craftsmanship that, in the case of Spain, is narrowly linked to the stonemasons’ skill and the building system for the later medieval cathedrals. We proceed through a detailed study of the monuments, mainly works of Vandelvira and Alessi, based on architectural and archival research. The objective is distance our conclusions from generally assumed concepts, like Mannerism, in favour of an analysis determined by testimonies. Once we identity the models that emerge from the adapted treatises, we question ourselves about the way those models are assimilated at a formal and technical level. The study of the historical context in which this adaptation develops will reveal the significance of the models, often related to political legitimizations. This parallelism between Italy and Spain shows the importance that local traditions gain in the event of these progressive transformations. On the other hand, we will evince in our reflection the persistence of the classical principles established during this period, some of which would endure for centuries. This project ensures a better understanding of Classicism between 1540 and 1575 in Spain, supported by a parallelism with Italy. Thus we may clarify the role local traditions play and the way they produce a new synthesis with the models extracted from the artistic treatises
Pradines, Stéphane. "L`influence indienne dans l`architecture Swahili." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92273.
Повний текст джерелаMaligorne, Yvan. "Architecture et décor architectonique dans les cités de l'ouest de la Gaule." Paris 13, 2004. http://www.theses.fr/2004PA131021.
Повний текст джерелаThe study deals with seven civitates of western Gaul : those of the Osismi (Carhaix), Corio-solites (Corseul), Veneti (Vannes), Riedones (Rennes), Namnetes (Nantes), Aulerci Diablintes (Ju-blains) and Andecavi (Angers). Its aim is to examine the public and private monuments and to get new data about the integration of these western territories within the Roman empire. Part one is concerned with the study of the ornamentation, whose blocks and fragments are largely unpub-lished. Part two offers an examination of the main types of monuments : forums and all their monumental components ; temples ; domus and villae ; monumental tombs. Part three studies the chronology of urbanization and building activity (construction of buildings during the early empire as well as their destruction), and examines the geographical distribution of the monuments, point-ing out to the similarities and the differences beetween the civitates. The study ends with three in-ventories : namely that of the blocks composing the architectural decoration ; that of the temples ; that of the best-known villas
Caradant, Dominique. "Application du concept d'objet a la representation et a l'utilisation de connaissances dans un systeme de conception assistee par ordinateur en architecture." Toulouse 3, 1987. http://www.theses.fr/1987TOU30082.
Повний текст джерелаIMBAULT, DANIEL. "L'esthetique dans la production architecturale de masse." Paris 8, 1987. http://www.theses.fr/1987PA080178.
Повний текст джерелаWith the dawn of the modern era all countries, whatever their ruling economic principles, have seen the disappearance of regional architectural production involving traditional techniques and materials and its replacement by a modern architecture considered by esthetes - rightly or wrongly - as inesthetic. This judgment particularly concerns architecture without architect which lacks any theoretical foundations. In 1913 legislation was first intro- duced to improve the quality of architectural production - an official admission that this was unesthetic. But despite the intro- duction since that date of a series of regulations and incentives, in our view, the esthetic problem remains. We will show why this is so in the case of architecture without architect. This research is devoted to the analysis of architecture without architect in france. It explains the rules and principles which made formal and esthetic coherence possible in traditional architecture without architect and the reasons for the disappearance of this coherence with the arrival of modern architecture. More specifically we show how the introduction of such institutions as the metric system, training schools, planning permission, legislation and normalization had disastrous effects on the esthetics of architecture. We draw up an exhaustive inventory of the materials and building techniques invented between 1900 and 1930 and this enables us to fix a date for the disappearance of the regional architectural current in france
Le, Goaer Olivier. "Styles d'évolution dans les architectures logicielles." Phd thesis, Université de Nantes, 2009. http://tel.archives-ouvertes.fr/tel-00459925.
Повний текст джерелаLaplante, Yan. "Le concept d'enveloppe éolienne dans l'intégration du phénomène vent à la conception architecturale." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/24108/24108.pdf.
Повний текст джерелаBrais, Sioui Gregory. "Architecture Ambiantale : définir le rôle de l'eau dans l'expérience esthétique des ambiances sensibles en architecture." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/38115.
Повний текст джерелаAs part of an aesthetic approach, this design-driven research crosses two methodologies to determine what is common in the perception of atmospheres. First, a case study led to the identification of ambiance's generators. These generators were used as an input into a creative process leading to the design of an architectural project. In a more detailed way, five different atmospheres present in the Vals' thermal baths were analysed in the book L'Eau et les rêves by Gaston Bachelard. This bachelardian bezel, that of the oneiric images of matter, served to identify some common generators of sensitive atmospheres. The literary symbols explained by Bachelard resonate in the water contained in the massive stone walls of Vals. Secondly, the construction of this dialogue between Gaston Bachelard and Peter Zumthor leads to the development of a Scotch whiskey tasting path through a deliberately emotional architecture that introduces the elements that generate ambience, identified with the case study, as formants of the sensitive atmosphere. This design-driven research is therefore based on Grégoire Chelkoff's theory of formants as vectors of transmission of atmosphere, pre-existing to the experience of a place, of an ambiance, which itself is understood as a sensitive result of the perception of the space. The present work therefore questions the role of water as a sensitive vector, from the architecture to its visitor. The goal is to determine how water, in varying manifestations, can be used by architects to create a “mise en scène” for a voluntarily emotional architecture.
Chateau-Dutier, Emmanuel. "Le Conseil des bâtiments civils et l’administration de l’architecture publique en France, dans la première moitié du XIXe siècle." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4068/document.
Повний текст джерелаAt the end of the Revolution, the rationalization of the architectural policy that engendered a centralisation based on a strict hierarchical administrative division would, in less than a century, allow to give to the new institutions the buildings they needed and to inscribe their symbolic existence in the built. As a consultative commission established next to the Interior ministry in 1795, the Conseil des bâtiments civils was called to decide on all architectural matters submitted to it by the Minister. His competences were equally relevant to the examination of all architectural projects built at public expense under the art point of view, or on topics as diverse as the payment of fees, road alignments or liquidation of amounts due to contractors. Main tool of the architectural policy of the State, the Conseil des bâtiments civils would frame the architectural practice. By controlling access to the most lucrative public command and the most determinant for the reputation of the architect, the standardization of architectural production process that the Conseil des bâtiments civils introduced, was a true "system of civil buildings" whose role was probably even more important than that of the École des Beaux Arts or the Académie in the early nineteenth century
Goasguen, Leven Yves. "Architecture coloniale à l'île de La Réunion." Lyon 2, 1997. http://www.theses.fr/1997LYO2A001.
Повний текст джерелаMosser, Sébastien. "Composition comportementale dans les Architectures Orientées Services." Phd thesis, Université de Nice Sophia-Antipolis, 2010. http://tel.archives-ouvertes.fr/tel-00531024.
Повний текст джерелаRippert, Christophe. "Protection dans les architectures de systèmes flexibles." Phd thesis, Université Joseph Fourier (Grenoble), 2003. http://tel.archives-ouvertes.fr/tel-00004377.
Повний текст джерелаSyska, Michel. "Communication dans les architectures à mémoire distribuée." Nice, 1992. http://www.theses.fr/1992NICE4562.
Повний текст джерелаEdem. "Tierno Monénembo : écriture de l'exil et architecture du moi." Cergy-Pontoise, 2005. http://biblioweb.u-cergy.fr/theses/05CERG0278.pdf.
Повний текст джерелаThe question of exile is recurrent in the Guinean writer Tierno Monénembo's works. In the fiction, it refers to precise situations: the reality of oppressive power witch put to flight characters, the quest of roots. But beyond these different situations, the author is talking about the tour of a self marked by this confrontation with the plurality of crossed worlds, the other and oneself. The aim of our work is to render the complexity of this reasoning but, above all, to question these different positions of exiled self. The most evident position would be the recovery of freedom through exile but, also, it is a matter of suggest the possibility that this position is opening up the think in opening up the writing to the variety of worlds. In theparticular case of african literatures, this exile, though it is distressing, allowing the writer to go beyond the community circle, touching inthis way his universal part
Py, Frederic. "Contrôle d'exécution dans une architecture hiérarchisée pour systèmes autonomes." Phd thesis, Université Paul Sabatier - Toulouse III, 2005. http://tel.archives-ouvertes.fr/tel-00011514.
Повний текст джерелаBérard-Deroche, Émilie. "Distribution d'une architecture modulaire intégrée dans un contexte hélicoptère." Phd thesis, Toulouse, INPT, 2017. http://oatao.univ-toulouse.fr/19923/1/BERARD_DEROCHE_Emilie.pdf.
Повний текст джерелаPy, Frédéric. "Contrôle d'exécution dans une architecture hiérarchisée pour systèmes autonomes." Toulouse 3, 2005. http://www.theses.fr/2005TOU30199.
Повний текст джерелаThere is an increasing need for advanced autonomy in complex embedded real-time systems such as robots or satellites. Still, this raises a major problem : on one side we have complex sys-tems - therefore, hard to validate - with little human intervention, on the other side these systems are used in domains where safety is critical. How can we guaranty that an autonomous system, with high level decisional capabilities, will exhibit a proper behavior and will not jeopardize the mission? The work we present here integrate an on-line execution control component for hierar-chical architectures. We first describe the role of this program. Then we introduce the R2C, our controller based on synchronous hypothesis, and the tool used to generate it. We then discuss why it is important to take into account the decisional components in our controller. We eventu-ally illustrate our contribution with some experimental results. We then conclude and give some possible future work in this area
ROUMAFZAY, FARHAD. "L architecture et son role dans la civilisation persane." Paris 8, 1989. http://www.theses.fr/1990PA080487.
Повний текст джерелаThe aim of the present study is to show the existing relations between civilisation and part in general. Accordingly, we consider architecture as a symbol of art in society. Art is considered, in turn, asthe symbol of the evolution of civilisation. We try to study particularly the relations between persian art and civilisation. The summery of the present study consists of four major parts. Each part deals with the different essential underlying aspects of the subject : - the first part situates man in relation to his surrounding. - the second part underlines geographical aspects proper to iran. - the third part presents the historical foundations of persian art. - the fourth part deals with the types of architectures. It shows a triologie encompassing social architecture and its elements, muslim architecture and architectural transformations, and popular architecture as it exists in its three geographical versions (forest, mountain and desert). Finally, it shows the mode of decoration used, proper to the whole of the divers types of constructions, in order to conclude in terms of style and meaning. This. Study consists of three inseperable aspects : historical, technical and philoso- phical
Muller, Pierre-Alain. "L'intégration dans les systèmes logiciels complexes : modélisation et architecture." Mulhouse, 1993. http://www.theses.fr/1993MULH0296.
Повний текст джерелаAraguas, Philippe. "Brique et architecture dans l'Espagne médiévale, XIIe-XVe siècle /." Madrid : Casa de Velázquez, 2003. http://catalogue.bnf.fr/ark:/12148/cb40040436d.
Повний текст джерелаEn appendice, choix de documents. Bibliogr. p. 331-361. Glossaire. Index. Résumés en français, espagnol et anglais.
Fakhfakh, Inès. "Semantic based cloud broker architecture optimizing users satisfaction." Thesis, Evry, Institut national des télécommunications, 2015. http://www.theses.fr/2015TELE0008/document.
Повний текст джерелаCloud Computing is a dynamic new technology that has huge potentials in enterprises and markets. The dynamicity and the increasing complexity of Cloud architectures involve several management challenges. In this work, we are interested in Service Level Agreement (SLA) management. Actually, there is no standard to express Cloud SLA, so, providers describe their SLAs in different manner and different languages, which leaves the user puzzled about the choice of its Cloud provider. To overcome these problems, we introduce a Cloud Broker Architecture managing the SLA between providers and consumers. It aims to assist users in establishing and negotiating SLA contracts and to help them in finding the best provider that satisfies their service level expectations. Our broker SLA contracts are formalized as OWL ontologies as they allow hiding the heterogeneity in the distributed Cloud environment and enabling interoperability between Cloud actors. Besides, by combining our ontology with our proposed inference rules, we contribute to detect violations in the SLA contract assuring thereby the sustainability of the user satisfaction. Based on the requirements specified in the SLA contract, our Cloud Broker assists users in selecting the right provider using a multi attribute utility theory method. This method is based on utility functions representing the user satisfaction degree. To obtain accurate results, we have modelled both functional and non functional attributes utilities. We have used personalized utilities for each criterion under negotiation so that our cloud broker satisfies the best consumer requirements from functional and non functional point of view
Beringer, Hubert. "Habitat 67 dans la presse architecturale." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010577/document.
Повний текст джерелаHabitat 67 is a residential complex of 158 modular apartments, designed by Moshe Safdie, and built in Montreal for the 1967 World Exhibition. Preliminary explorations of its unprecedentedly abundant, widespread and long-lasting coverage in the architectural press had revealed enigmatic synchronicity with the rise and fall of megastructure, ending in death and mourning of the whole Modern Movement. Taking advantage of theories of reception, this study is a methodical and exhaustive survey of the specialised mediatisation of Habitat 67, in itself and in its own context, aiming to establish the autonomy and critical historiographic impact of the phenomenon. After a methodological introduction, the report opens with a prologue unveiling early, academic related, self-training of Safdie as an analyst of editorial policies and their relationship to modern architecture. This portrait of a student pioneering in reception studies by militant commitment is giving brand new and much deeper understanding of the still historiographically vivid «student project that got built» diagnosis emitted in 1967 by critic Reyner Banham. The essay is then structured along the chronological succession of architectural projects and objects to which the media coverage is supposed to refer to, starting with thesis project of 1961. Safdie’s formerly published analysis of editorial policies appears to be fully integrated in the original design as well as in its mediatisation strategy, resulting in lasting and international diffusion as a highly relevant avant-garde feature, providing a progressive dimension to the capitalistic media-favourite «New Montreal Skyline», until 1963. [...]
Placin-Geay, Amandine. "La sculpture dans sa relation à l'architecture, en France, de 1900 à 1937." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30072.
Повний текст джерелаIn France, from 1900 to 1937, the relationship between architecture and sculpture is changing. The question about their correlation, mainly focused on the relationship between structure and aestheticism, on the integration of work of arts within the architectural space, remains in the heart of architectural theories, led by the mutation of construction which started during the XIXth century. This, added to the face-lift towns has been given, technical novelties and economic difficulties, oblige sculptors to look for new plastic solutions able to meet these new demanding requirements in order to integrate, once again, scenery and architecture. Sculpture is constantly challenged, leading to arguments, controversial discussions regarding style, the evolution of ornament, monuments as well as the decoration of concrete buildings. Different views arise between people for or against decoration having a strong impact on the re-evaluation of its role, its function and its use. Programs, in which sculpture is still used, weaken and begins a time of uncertainty for artists who react differently according to the school they belong to. They mainly undergo and build commemorative monuments, public and cultural monuments, attending various exhibitions such as the exhibition of the Decorative Arts in1925, the Colonial exhibition in 1931 and the exhibition of Arts and Technics in 1937 and trying to take into consideration the construction; thus creating an unusual links and a monumental art
Sevastyanov, Aleksey. "Architecture et irreprésentable. Pour une critique du sublime." Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H027.
Повний текст джерелаThrough the philosophical debate opposing the unrepresentable to representation in art, this study analyzes contemporary architectural theories' aspiration towards the idea of "self-definition" of the architectural work. The generic term “unrepresentable” (irreprésentable), following Jacques Rancière's definition in Le destin des images, here stands for an event or an idea whose singularity exceeds any representation provided by architectural iconography. We contend that the idea of "self-definition" of architecture is, from a conceptual standpoint, an attempt to represent the unrepresentable. The internal contradiction generated by such a project requires an additional technique transforming this contradiction into a new affirmation of the work's novelty. Such a technique is no recent invention: its historical name is the sublime.We show that in its various forms the concept of the sublime is involved in the architectural discipline's mutations, to the point that the historicity of the sublime can be identified with the historicity of architecture. Not so from the point of view of iconography, the evolution of styles and architectural forms, nor either as a specific way of seeing architecture; but precisely so in terms of a relationship between form and content, between a way of doing and a way of saying, or rather of a certain condition of possibility allowing operations of inclusion and exclusion of heterogeneous theoretical elements within the architectural discourse