References of "Dawans, Stéphane"
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See detailFrom the spirit to the letter of the charters : mind the gap for the future
Houbart, Claudine ULg; Dawans, Stéphane ULg

Conference (2015, June 22)

Since the 1960’s and the foundation of ICOMOS, charters have been considered as a sort of conservation gospel. In this presentation, we would like to question this fact, in the light of the very ... [more ▼]

Since the 1960’s and the foundation of ICOMOS, charters have been considered as a sort of conservation gospel. In this presentation, we would like to question this fact, in the light of the very particular production and reception conditions of the documents. What may be perceived as a mostly provocative approach seems to us a constructive basis for future reflections. When we read and use charters – in this presentation, we will mainly focus on the Venice Charter, the Nara document and the Riga Charter – , we forget too often that they have been written by human beings, sometimes very tired, in a hurry, and even arguing with each other. The study of the archival material related to the writing of the Venice Charter and the Nara document very clearly illustrates that these documents are rather a conceptual “bricolage” than indisputable normative texts as if they had been written by lawyers. In the case of the Venice Charter, the archive as well as the records of Raymond M. Lemaire, Paul Philippot or Gertrud Tripp make clear that the document has been written at the last moment and adopted too rapidly by an assembly too glad to finally have a updated version of the Athens charter. As a consequence, only a few years later, Raymond Lemaire and Piero Gazzola already questioned the validity of the new text in the light of the extension of heritage debates to the city centers. On the other hand, the fact that a French and an English version of the Nara document were written in parallel by Raymond M. Lemaire and Herb Stovel in 1994 has had immediate consequences on the content and the formulation of the text, which logically left both of them unsatisfied with the result. Even so, the Venice charter and the Nara document still have force of law today. Yet, besides the particular circumstances of their writing, we must keep in mind that these texts answered specific questions, closely linked to the context: a critical answer to postwar reconstruction for the first, and apparently opposed visions of authenticity between East and West for the second. As far as the Riga charter is concerned, the influence of the delicate context of the Eastern bloc collapse is evident. For this reason, using such documents today requires at least a critical reading, going back to the spirit beyond the text. Our presentation will illustrate ad absurdum, through recent case studies, how a cynical reading of such documents can lead to interventions dangerously in conflict with this spirit and the fundamental ideals of conservation philosophy. In the era of late capitalism and heritage globalization, are we allowed to forget the conditions and the context in which our doctrinal documents have been written to justify anything and everything and to meet, for example, the “tourist gaze”, the “nouveaux riches” taste or the architect’s egomania? Do architects really want to know what the writers of the Venice charter’s article 9 meant by the “contemporary stamp”? What are the limits of the tolerance towards reconstruction first expressed by the Nara document, and a few years later, the charter of Riga? So many questions that ICOMOS must face if it wants to pursue its guiding mission in a mostly financial world. [less ▲]

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See detailINTERMÈDE. COUP DE THÉÂTRE ET CHANGEMENT DE RÔLES
Dawans, Stéphane ULg

in CLARA Architecture/Recherche (2015), 3

Architecture is often perceived as "not pure". Too much or not enough, It resists in many rankings. But this fundamental indeterminacy can be seen as an obstacle to the rationality or becoming itself a ... [more ▼]

Architecture is often perceived as "not pure". Too much or not enough, It resists in many rankings. But this fundamental indeterminacy can be seen as an obstacle to the rationality or becoming itself a real subject of research. We believe that architecture can help other disciplines' researchers to interrupte their "dogmatic slumber." [less ▲]

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See detailCastelvecchio Calvisio: et pourquoi pas un scénario ruskinien?
Houbart, Claudine ULg; Dawans, Stéphane ULg

in Crisan, Rodica; Fiorani, Donatella; Kealy, Loughlin (Eds.) et al Restoration/Reconstruction. Small Historic Centres. Conservation in the Midst of Change, EAAE IV meeting and workshop (Roma - Castelvecchio Calvisio, October 28-31, 2013) (2015)

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See detailPour une autre “architecturalité” ou la tentation du neutre d’Adolf Loos à Lacaton & Vassal
Dawans, Stéphane ULg

Conference (2014, June 03)

Des philosophes comme Daniel Charles, Daniel Payot et Sylviane Agacinski ont beaucoup insisté sur les implications de l’étymologie – plus précisément du lien que l’architecture entretient avec l’archè ... [more ▼]

Des philosophes comme Daniel Charles, Daniel Payot et Sylviane Agacinski ont beaucoup insisté sur les implications de l’étymologie – plus précisément du lien que l’architecture entretient avec l’archè (ἀρχή) – dans le projet métaphysique qui supporte notre conception occidentale de « l’art de bâtir », depuis l’Antiquité. Selon cette perspective, magistralement résumée par Vitruve au 1er S ACN, l’architecte (architekton) impose un triple dépassement à la simple pratique du constructeur : un supplément d’ordonnance (l’édifice doit être harmonieux), un supplément d’origine (l’édifice prendra, par exemple, la nature - sacrée - comme principe) et un supplément de représentation (l’édifice est digne de susciter une théorie, un traité). C’est pourquoi, dans son travail de déconstruction, Jacques Derrida se voit obligé de souligner, dans les années 1980, que cette « architecture de l’architecture a une histoire » - ce que nous aurions, selon lui, oublié au point de la tenir pour « naturelle ». Dans notre tradition, l’architecture se démarque donc de la construction par du « supplément » -d’âme ?-, le même « plus » sans doute qui distingue la littérature des « mots de la tribu », cet excès que l’on a depuis Jakobson indexé dans les sciences littéraires sous le terme de littérarité - un mot qui n’a encore pour équivalent en théorie d’architecture qu’un hapax : dans un texte tout à fait passionnant, Antonia Soulez risque, en effet, le terme d’ architecturalité, que ne reconnaît pas encore le correcteur orthographique des traitements de texte et qu’elle définit à partir de Valéry (dans Eupalinos), comme ce qui arrive à la construction quand les « colonnes chantent » … un supplément d’ordonnance inspiré par la musique, l’art par excellence depuis l’Antiquité. Et pourtant, l’on peut affirmer que des architectes – nous les qualifierons rapidement de modernes – ont tout mis en œuvre depuis le début du XXe S pour échapper à cet impératif de surplus, désirant ainsi dépasser cette tension entretenue depuis des millénaires entre prose constructive et poésie architecturale (Venustas), cela à partir d’Adolf Loos et jusqu’à Lacaton & Vassal, en passant par toute une série de grands noms qui nous semblent avoir voulu neutraliser cette opposition, au sens où Roland Barthes parlera de neutre durant ses cours au Collège de France en 1977 – 1978 : «toute inflexion qui esquive ou déjoue la structure paradigmatique, oppositionnelle, du sens, et vise par conséquent à la suspension des données conflictuelles du discours». Si Jarry, en ‘pataphysicien, n’avait pas hésité à prôner « l’inutilité du théâtre au théâtre », ces architectes pourraient aussi, dans le même ordre d’idées, affirmer l’inutilité de l’architecture en architecture, en tout cas de l’architecturalité. C’est cette tentative de neutraliser l’architecture – peut-être toujours déjà avortée - que nous voudrions suivre en guise de fil rouge dans notre exposé, cela en traversant des théories qui ont balisé la modernité architecturale depuis Ornement et Crime (1908). Pour éclairer notre propos, nous comptons convoquer des architectes (Loos, Wittgenstein, Mies Van Der Rohe, Bernard Huet, Pawson, Ando, les architectes suisses de « la nouvelle simplicité », Éric Gauthier, Lacaton & Vassal, etc.), mais aussi des philosophes ou essayistes aussi importants que Paul Scheerbart, Walter Benjamin, Roland Barthes, Umberto Eco, Nelson Goodman... Nous comptons aussi nous aider des outils de la sémiologie et de la rhétorique, afin de voir dans quelle mesure une architecture qui tente désespérément d’échapper à l’architecturalité en prônant, par exemple, l’absence d’ornement, l’idéal du « less is more » ou du « presque rien », de la banalité, du minimum ou encore de la simplicité peut tenir le pari, sans tomber dans le piège qu’Umberto Eco a bien décrit, à savoir que la logique des avant-garde architecturales « ne peut pas aller plus loin, parce que désormais elle a produit un métalangage qui parle de ses impossibles textes ». [less ▲]

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See detailPiranesi's Haunt: the fascination for paradoxical spaces in the aesthetics of architecture today.
Dawans, Stéphane ULg

Conference (2013, July 24)

Rem Koolhaas, a major provocative figure on the global scene of architecture theory since 1978—when he published Delirious New York—clearly bases his rhetorics on obsessive patterns such as the loop or ... [more ▼]

Rem Koolhaas, a major provocative figure on the global scene of architecture theory since 1978—when he published Delirious New York—clearly bases his rhetorics on obsessive patterns such as the loop or intertwined spaces claimed as Piranesian. This is notably the case in Euralille, this large urban complex meant to revive the old French industrial city, where the reference to the 18th-century engraver is most obvious in a large destructured hall, in an accumulation of stairs, footbridges and escalators which, on the way out of the railway station, are deliberate reminders of the engravings of imaginary jails that emerged from the Venetian artist’s brain. Of course engraving, painting, photography and cinema have been using similar processes for quite some time to create a dizzying sensation with the spectator. Those high and low angle views of entangled planes based on seemingly paradoxical geometry denote a willingness to use the features of the sublime to create mixed feelings of fascination and anguish or to remind mankind of their mortal condition, in other words, of their finite nature. Romanticism is known to have been quite inspired by this dramatic force. Yet what appeals to us in this revival of an aesthetics of the sublime is that it now crosses a new border as it imposes itself into public space, into city life. If films or 3ds digital games attract informed and consenting viewers, Piranesian spaces—Koolhaas also speaks of Junkspace—impose themselves to all and dramatize the modern man’s anguish without the slightest concern for his opinion. What kinds of ethos and of pathos underlie this contemporary theory of architectural and urban spaces inspired by Piranesi’s or Escher’s engravings? What literary strategies are at play? Why can the same obsessive spatial leitmotivs be found in plane puzzles, in films and in the new urban scenery? What does this aesthetics tell us about man in the 21st century? Can we talk of post-humanism? These are some of the basic questions this paper wishes to address in relation to the symposium’s theme Architecture and Urban Space. [less ▲]

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See detailQuelques considérations sur la préservation de l'authenticité des quartiers résidentiels modernes du nord de Bucarest
Dawans, Stéphane ULg; Houbart, Claudine ULg

in Crisan, Rodica (Ed.) Conservation / Regeneration. The modernist neighborhood (2013)

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See detail"Identical" reconstruction and Heritage Authenticity: introduction to the session
Dawans, Stéphane ULg; Houbart, Claudine ULg; Piplani, Navin

Conference (2012, June 06)

Introduction to the session ""Identical" Reconstruction and Heritage Authenticity", highlighting the most prominent issues of the current debate in an international context.

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See detailLes mégapoles face au défi démographique
Dawans, Stéphane ULg

Conference given outside the academic context (2012)

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See detailLe minimum : une nouvelle utopie de l'écriture architecturale contemporaine
Dawans, Stéphane ULg

in Hyppolite, Pierre (Ed.) Architecture et littérature contemporaines (2012)

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See detailLe patrimoine "à l'état gazeux": Comment le tourisme détourne notre conception de l'authenticité
Dawans, Stéphane ULg; Houbart, Claudine ULg

in Le Patrimoine, moteur de développement. Actes du symposium de la XVIIème assemblée générale de l'ICOMOS (2012)

A l’heure où le tourisme constitue un des secteurs économiques essentiels du capitalisme culturel, il est intéressant de s’interroger sur son influence dans notre perception du patrimoine. En témoigne ... [more ▼]

A l’heure où le tourisme constitue un des secteurs économiques essentiels du capitalisme culturel, il est intéressant de s’interroger sur son influence dans notre perception du patrimoine. En témoigne l’intérêt qu’Umberto Eco, Jean Baudrillard, Yves Michaud et Marc Augé ont porté à cette question à partir de la sémiologie, de la sociologie, de la philosophie de l’art et de l’anthropologie des mondes contemporains. C’est dans leur sillage que nous voudrions proposer ici une approche un peu décalée, qui met en évidence un effet plus subtil, pervers et inattendu du problème : celui de l’hyperréalité et de l’importance du faux dans le jeu symbolique qui nous unit à l’histoire et au patrimoine. En effet, il nous semble qu’un phénomène proche du kitsch – et qu’il convient encore de définir – s’insinue progressivement dans nos critères d’évaluation au risque de modifier profondément ce souci d’authenticité qui reste pourtant essentiel en tant qu’idéal régulateur des politiques patrimoniales. Si l’évocation de Disneyland ou du « Jardin des mondes » de Pairi Daiza dans le Hainaut belge a de quoi faire sourire l’expert, le jeu complexe qui s’opère entre faussement authentique ou authentiquement faux n’est pas aussi éloigné qu’on voudrait le croire de grands projets de restauration ou de reconstruction que l’on observe ces dernières années. Il est parfois éclairant de passer par l’épreuve d’une démonstration par l’absurde pour tester utilement les fondements d’une discipline aussi sérieuse que la conservation du patrimoine. [less ▲]

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See detailLearning from Maasmechelen ou la ville comme décor
Dawans, Stéphane ULg; Houbart, Claudine ULg

in Pinto da Silva, Madalena (Ed.) EURAU12 Porto | Espaço Público e Cidade Contemporânea: Actas do 6º European Symposium on Research in Architecture and Urban Design (2012)

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See detailIdentical Reconstruction and Heritage Authenticity
Dawans, Stéphane ULg; Houbart, Claudine ULg

in Gambardella, Carmine (Ed.) Le Vie dei Mercanti. S.A.V.E. Heritage : Saveguard of Architectural, Visual, Environmental Heritage (2011, June 11)

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See detailInterdisciplinary Research in the Field of Conservation: the Role of Analytical Philosophy and Ontology of Art in the Authenticity Assessment
Dawans, Stéphane ULg; Houbart, Claudine ULg

in D'Amato, Claudio (Ed.) Ist International Congress Rete Vitruvio - Architectural design between teaching and research - Proceedings (2011, April)

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See detailLogique et philosophie analytique au service de l'atelier de conservation du patrimoine
Dawans, Stéphane ULg; Houbart, Claudine ULg

in Musso, Stefano F.; Kealy, Loughlin (Eds.) Conservation / Transformation (2011)

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See detailSartre, inactuel et intempestif ?
Dawans, Stéphane ULg

Article for general public (2010)

It is still worth reading Sartre and now more then ever. The shame's theory he defends and his existential Pyschoanalysis give us a interresting point of vue to think the world from an atheist regard and ... [more ▼]

It is still worth reading Sartre and now more then ever. The shame's theory he defends and his existential Pyschoanalysis give us a interresting point of vue to think the world from an atheist regard and can bring us good keys to build a new ethics, avoiding the religious turn of the french phenomenology. He is one of the few philosophers who defends an ethic whose political and conflictual range is assumed. [less ▲]

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See detailArchitectura & Venustas : la tentation de la folie à l’heure du capitalisme tardif
Dawans, Stéphane ULg

in Amirante, Roberta; Piscopo, Carmine; Scala, Paola (Eds.) Colloque EURAU 10 Venustas : architecture/marché/démocratie (2010, June 24)

Late modernity and its corollary, cultural capitalism, demand that everybody adopt self-sculpture as a life project. This phenomenon, which Bell describes as an « aesthetic justification of everyday life» ... [more ▼]

Late modernity and its corollary, cultural capitalism, demand that everybody adopt self-sculpture as a life project. This phenomenon, which Bell describes as an « aesthetic justification of everyday life», seems to have led cities to exhibit themselves as well –in a Bilbao effect - and architecture to put on a show of itself. But what becomes of the artistic field’s limits and of beauty in the face of this new contemporary injunction? These are the questions we intend to tackle as a contribution to the seminar on venustas in the age of world market. [less ▲]

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See detailLe culte moderne de la mémoire : patrimoine et philosophie du soupçon
Dawans, Stéphane ULg

Conference (2010, April 23)

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See detailL'enseignement universitaire ouvre de nouveaux horizons aux futurs architectes
Dawans, Stéphane ULg

in Dassonville, Chantal (Ed.) Architectures, Wallonie-Bruxelles. Inventaires-Inventories 2005-2010 (2010)

Clearly, the 21st century architect can no longuer adopt the posture of a romantic artist, no more so than he can identify with the figure of demiurge that had seemed to haunt architecture for a good part ... [more ▼]

Clearly, the 21st century architect can no longuer adopt the posture of a romantic artist, no more so than he can identify with the figure of demiurge that had seemed to haunt architecture for a good part of the 20th century and that might still inspire him on occasion under the star system's influence. [less ▲]

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