fanĂŠlie pardon fanelie.pardon@wanadoo.fr architect
The architecture is a matter of "sense", in all its definitions. The teachings received during my studies have opened my mind and made discover the rich universe in architecture, where converge and complete the various disciplines, serving complex projects. Several trips have enriched on me, an emergent sensibility. One education year led me into the arteries of Berlin where I discovered the wealth of historical experience, the questions subjected to this city in reconstruction and in rebirth, in terms of architecture and society. My varied contributions in shows have built my passion for performing arts. I like innovate and transmit ideas, always trying to give them a sense, a meaning, a right answer. This, to justify and legitimize my intervention on the existing, to target the problems of a site and value its potential. My interest in architecture bases at once the research for sense (meaning), the experience of space, as much as on humanist issues, in social or aesthetic dimension. The list of work presented here is not exhaustive but reflects the evolution of my academic work and personal commitments.
fanélie pardon architect CV∞1 Diploma∞1 Germany 08-09∞4 France 07-09∞4 Rehabilitation∞1 Written research∞2 Art and Show in Partnership∞2
CV
Fanélie Pardon architect graduate status born on november 2nd, 1987 french nationality
address1 : Pankstrasse 24 - 13357 BERLIN mob.1 : +49(0)1 57-76 55 35 84 (germany) adress2 : Les Verchères - 71460 BURZY mob.2 : +33(0)6 88 45 86 76 (france) mail : fanelie.pardon@wanadoo.fr web : http://issuu.com/faneliepardon/docs/
education 2010
france/armenia_ Research Master - Architectural Heritage department with Honors, EnsaLyon
2009-2010
france_ Architect Diploma Master - final project, EnsaLyon
2008-2009
germany_ Erasmus exchange program, Technische Universität Cottbus
2005-2008
france_ Bachelor in Architecture, EnsaLyon
2005
france_ Baccalaureate Diploma - Life and Earth Science, speciality Math with Honors
prizes 2011
france_ Winner of the Young Architecture Prize of Lyon - category Architecture and Heritage Final diploma_ http://pfe.lyon.archi.fr/2010:laureats
2011
france_ Winner of the Staging Prize of Meyzieu's theater festival - Group creation "Ricordi"
experience (ongoing) 2011
france_ house rehabilitation, Bourgogne. freelance : design of a space to live and staircase (90m2)
april-june 2011
germany_ architectural office United Architektur, Berlin participation in Europan competition
mar-sept. 2010
france/armenia_ Laboritary Analysis Forms, Ensalyon, Aix-en-Provence, Erevan Master Research work on earthquake rocks switchgear of medieval Armenian churches meetings with other specialists, creating partnerships for the laboratory
sept. 2009 july 2007
france_ architectural office ArchĂŠe, Paris internship : rehabilitation project design, visual communication (sign drawing), photomontage, construction details
france_ architectural office Ateliers Traversier, Valence internship : discovery of trades, project design, participation in building permits and drawings
april 2006
French_ English_ Spanish_ German_
france_ opera's workshops scenery, Lyon internship : set design (carpentry, painting, sculpture, steel)
languages
computer skills (mac/pc)
mother language commonly known commonly known beginner
Archicad+++ Vectorworks+++ Autocad++ Archplus+
Photoshop+++ InDesign+++ Illustrator++
Sketchup+++ 3DSmax+ iMovie+++ Pack Office+++
interests Travels_ Music_ Danse_ Theater_ Other_
Europe, Transcaucasia, North Africa, South America france/morocco_ Percussionist in a Batucada for one year france/germany_ (10 years of practice) Classical, Contemporary Jazz, Flamenco france_ Actress (4 years of practice), participation in Ricordi's play creation, performed 10 times Humanitarian association Architectes sans Frontières
∞ Diploma 2010 Winner of the Young Architect Price of Lyon category "Architectural Heritage" - 2011
http://pfe.lyon.archi.fr/2010:laureats
Conversion of Grand Hôtel-Dieu de Lyon, Social Palace A Humanitarian and Solidary Federation
By adressing the issue of the conversion of the Grand Hôtel-Dieu of Lyon, we questionned the definition of its heritage. More than a unique architectural complex, the Hôtel-Dieu is the witness of the humanist tradition of Lyon, from charity to medical excellence. Our project is centered around the notion of «immaterial heritage» refering to the meaning and the memory of this symbolic building. This approach aims to preserve and perpetuate this heritage in the 21st century city of Lyon. From an asylum giving shelter to the pilgrims and the sick to a reference for international medecine, the program living in the Hôtel-Dieu has always kept its humanist and solidarity vocation. Today, in order to allow an international efficient solidarity, we need to compose alliances and generate a coordinated effort between the associative network in Lyon, the pionniers of the humanitarian action, economic partners and the public.
actors and virtuous circle of the Humanitarian Project
Partners
initiative
diffusion
investment
sensibilization
Federation
cooperation
involvment
coordination
initiative
Public
IMPLANT
1. Take advantage of HotelDieu's ground floor : remarkables courtyards and areas / galleries and arcades. The structure was conceived in order to respect the existing arcades rythm and spatial composition.
2. Federation in the groundfloor being the mediator : create a nonpolarized fluid and porous space to allow emulation interactions between all the actors.
3. Temporary and permanent offices are established for associations and economic investors in the aisles, revealing an autonomy of distribution and access, while remaining connected with the Federation and the public gallery. 4 areas: geopolitical, health and solidarity, society and emergency.
4. A public promenade is designed in the main gallery of the fa莽ade Soufflot, facing the Rhone river. A place of interaction and curiosity.
5. Annexes fonctions, the independant sets around the 4 noncovered courtyards (C.H.R.S., Museum of H么tel-Dieu, Hotel)
1.concrete pillars
2.assembly wood-concrete : steel
We wanted to develop a project of interactions and emulations to enable the emergence of major humanitarian projects in Lyon. The program for a Humanitarian and Solidary Federation would be established in the courtyards network of the HĂ´tel Dieu. By installing the Federation in four out of nine courtyards, a continuous space is created on the ground floor, linking all the parallel aisles together.
3.imbedded timber cross-beam
4.mezzanine floors
5.laminated timber structure
6.glass roof
7.solar removable protection
8.The roof as a fifth facade, a vector of public awareness
Thereby, all the actors of the Humanitarian project are interacting in the ground floor for the Federation where Work spaces are designed in the courtyards. A laminated timber structure lies on a concrete socle, enhancing two spatial layers : _on the ground floor, circulation and collective workspaces, _on the mezzanines, work cells and private offices. The glass roof structure is animated and shaded by a sliding solar protection, which creates a variable rooftop and therefore a fifth façade from the gallery. The frame of intervention is extended in the gallery and on the street Bellecordière.
Entrance at H么tel-Dieu, rue Bellecordi猫re
circulation and collective workspace in an atelier's courtyard
contact with existing building : gutter between glass roof and ledge
plan and transversal section chaufferie Courtyard
work's cells on a mezzanine
∞ Projects in Germany 08-09 Urbanism - july 2009 Library - december 2008 / march 2009 Social project Construction - winter 2008-2009
Urbanism
Spatial dialectics - New urbanism for the southern Friedrichstadt Berlin
This urban project was based on the analysis’ results of Henri Lefebvre’s works made previously. He approaches in various books the notions of Urbanity; of Art to act; of Rhythm; of Daily; of Spaces Designed, Perceived and Lived. It is through the apprehension of these notions that we then elaborated an urban restructuring in the south extremity of Friedrischstrasse, near Halleches Tor, in Berlin. The idea was to break the centered and symmetric plan of departure by a subtle perforing and a new pedestrian way. The creation of public activities (traders, galleries and workshops of art, cultural sites) involved with a restructuring of housing, allowed a mix of activities and the idea of porosity expressed in the plan and materiality. All the analyses on Lefebvre and the urban projects of Mr. Heinz Nagler’s students’ group, were the object of an exhibition in July, 2009 in Friedrischstr.
Schließung
Perforation
Aktionsgebäude
Masse vs. Raum
Wege zu den Räumen B
C
C
B
Produktion von amorphen Räumen
Library Project 1
a Fault
a breaking in the continuity
CONCEPt
Extrusion
This project, in phases and at different sites, addressed the program of a public library. The first project site is marked as a fault or weakness on the continuity of the facade. In the city of Cottbus, the typology of surrounding buildings is very composed and a NOTCH eclectic. The space of the project is created by a horizontal extrusion, from the facade. a FAULT It identifies and highlights the flaw on its an INCISION lateral ends, and by several parameters: the vertical circulation continues; the contribution of light overhead or front, straight; the views focused on areas in depth. Very raw and pure in its materiality, it can harmonize with the neighborhood and give itself the identity of a public place.
LIGHT
SMOOTH PURE RAW
SPACE
floor and furnitures_wood walls_white concrete second structure_steel
Library Project 2
2 Directions - 2 Fonctions - 2 Tubes - 2 Materials
The second project site is larger, also located in Cottbus. The peculiarities of the existing building covered my concept: maintain and enhance the qualities of this old factory typical of the region (brick red: strong element), located opposite to a river by its new library function. Three of the four loadbearing walls without a roof and a wall of plot, become support to create. The space created in the library is the arrangement of ÂŤtubesÂť, following the brick. A pipe in the basement gathering hall, reception and administration, in a heavier material nature (concrete white overhead light), lighter in a tube that goes around the original wall, alternating areas of reading, research, work (ground wood, facades: structural steel / glass front light). Thus, from the outside, it is possible to see the floor space take shape, and grip around the brick. This harmonization between the old and new elements and the program provides specific spaces, outlooks, ways.
undergroung
groundfloor
1st floor
Layers of Landscape
ÂŤSeating on the landscapeÂť - Social Design
For a social project in a German clinic in Senftenberg, we imagined and built a seat with playful purpose for people staying in the establishment. The idea is to illustrate a painting, metaphor of a green landscape with a body of water, by various painted wood panels which compose the armchair. From the intent of the project to the realization, by the drawings and the search for a method of a simple and economical construction, we have took into account the issues and questions that arise during the real construction of a project. After cut of elements in the workshop, and try of assembly, we had to fix one by one each element in the original wall of the clinic. Then, choice of colors, coats of paint, mattress, and enjoy ...
∞ Projects in France 07-09 School Extension, Ombrosa - nov Urban study : Urbanism and Art - dec Art Museum : Architecture and Scenography - june Studies : Architecture for musicians - avr-june
2009 2008 2008 2007
Gymnasium School Ombrosa
Extension, staging
The school of Ombrosa is located in a beautiful site, below a hill covered with woods and facing the Sa么ne river, in Lyon's suburbs. As we walk or ride along the road, imposing residences punctuate the way. During a one week workshop, the school of Ombrosa asked the students of the department of architectural heritage to work on a extension project of the gymnasium. In between two outstanding houses, with a main fa莽ade, the gymnasium appears like a simple concrete building.
vegetation rythmic
built rythmic perception depth
1 Vegetation 2 Gymnasium 3 Block coated steel 4 Path 5 Covered playground 6 Palisade perforated steel 1
2
3
4
5
6
Our proposition consists in re-creating a main front façade, by playing with perspectives, with a trompe l’oeil building. Thanks to a composition of three new buildings, more inner space is created as well as defined exterior spaces, like playgrounds and bleachers in the natural slope. Moreover, the old gymnasium front façade is concealed by the new trompe l’oeil façade made of a metallic net.
1
2 1 2 3 4
3
4
1 Gymnasium 2 Storage lockers 3 Multi-purpose rooms 4 Youth club bar toilets 1 Courtyard 2 Covered playground 3 Bleachers 4 Scene
Blocked coated steel
Palisade perforated steel
Front view of the trompe l'oeil extension : smooth facade concealing subspaces
An enclosure revealed by the void
On a non-entity to an urban place to live
Ground plan
The intervention site located in Vaulx-enVelin (next to Lyon city) is structured by natural forms that create a void. This gap highlighted in the urban project reveals the peculiarity of this site. The tightening of the intersection of frames and frames of buildings causes a confrontation (densification side). The types of housing included on the conservation of plants produce a succession of breathing spaces within the urban route. An empty, silent, which is expressed by the site, its history, its temporality.
Strategy
work of city block
The void
Body Art/Urban Art creation of a movie about traffic (walk-rhythm) work on historic photographs
We can characterize this site as varied by its composition (suburban, industrial zone, housing estate, large housing), as landlocked, ignored, bypassed, or protected: its boundaries are defined mainly by roads with heavy traffic. In a pragmatic vision, inside the area is a safe place with risk into its limits and off-site. On a more psychological, we can feel the reverse : as the site is without life, closed on him, it may give rather an insecure, anxious empty place, while the site boundary and beyond give security feeling by the emergence of activities, movement, life : the real risk is not perceived. The first work consisted in addressing the contradiction between the perceived risk and the real risk of the site : a movie about traffic expresses the ratio risk/safety, and the place of the body into the risk. In a second work, I connected the absence, void, past history (time), to the empty feeling in the current urban project site (spatial). I used old photos of the same place, showing life a century ago, expressing a past history, a current gap in time. I recreated the same photographic expression from old postcards of the site, on the actual pictures.
Among these pictures, find the original old postcards !
Institute of Contemporary Art ÂŤWaking the waters which sleepÂť
This project, a continuation of the urban site is the conception of an entire museum until the staging of the works exhibited. The principle of the building is to reveal the remarkable progress on the site, from a calm water river to a turbulent water of the canal, as much in the architecture as in the staging. The idea was to produce a continuity between interior and exterior in a subtle way, thus giving free ambulation of the body and the mind to the visitor. As follows is composed the architecture of the building :
_a base accompanying visitors and landscape _blades intersecting, creating zigzag passage _a path defined, organized between the sails _zigzag passages giving an effect of surprise, centered on precise views _ramps, transitions in the linear path, a new announcement, a change from landscape to another
Structure
Drainage
Ventilation
ATELIER
ARCHIVES ATELIER
BIBLIOTHÈQUE
ATELIER
ATELIER
LIBRAIRIE
CRITIQUE HUMOUR NATURE
ATELIER MAINTENANCE
ATELIER ANIMATION
VUE SUR PARC
VUE SUR RIZE
RÉSERVES MATÉRIALITÉ
INTIMITÉ CORPS
VUE SUR TOURS ARCHITECTURE JEUX DE PERCEPTIONS
SOCIÉTÉ
VUE SUR PÉRIPH' ET CANAL
THÈMES BRUTAUX FEMME
VUE SUR CIRCULATION PONT
The analysis of works of art and artists helped to integrate them to the museum by a logic scenic path : in a slow ascent, from calm exhibition topics, to interrogation topics, arriving grew until an upheaval by exterior views centered related with the exhibition.
transversal sections detail of drainage and shed : arrival overhead of homogeneous light
Music pavilion
«Gotan or Tango ?»
Between the tango and electronica... ...a group of musicians, a music, a place... ...a paradox, in contrast, a strong bond... ...between path, intrigue ...and enchantment, seduction... The members of the group Gotan Project become established to Villeurbanne to create a subtle mixed music, combining electronics at Tango. We can find the expression of this music in the architecture: the continuity of an exotic wood floor enhances the idea of a progress, punctuated by obstacles that align the sights, sounds, senses.
Music students’ rooms
a new tipology a new web circulation
For a residence for music students, on a site torn between, housing estates, housing scheme and ring road, the idea of the project was to create a new typology, starting from the most collective street, which is the impasse, to extract it from the ground, and to raise it in a gentle slope. As a transition, this ÂŤstreetÂť becomes urban, in autarchy. In winding on itself, it creates a volumetric that faces the complexes, as a connection link with the urban. By rising, it steps back on the city and overlooks the park and the residential impasses neighborhoods in, on the belvedere : the musicians, by bike, go in autarky. room
∞ Rehabilitation House in Bourgogne : construction, conception in freelance - 2011 ongoing
House in Bourgogne
Construction Conception of an expansion slot 90m2
House situated in Saône-et-Loire in renovation for seven years. works «made by hand». I had the opportunity for many summers to participate in interior and exterior work, small or large (kitchen, arrangment of attic, rebuilding a dry stone wall, roof, terrace).
previous works = roof, stone wall, terrace
I made the conception of a currently uninhabitable part, to enlarge existing living spaces, with independent vocation and connected to the current home : _expansion slot, with three rooms on three floors 90m2 _adaptation instead of the stairwell left page, bottom right : drilling of the openings in the terrace level right page : the project plans and picture of the attic level
dependent building
drilling of openings of the project niv 0m
I am in the initial phase of a planning and rehabilitation’s project, of a dependent building (holiday cottage+sauna, art and music’s workshop, artists in residence) Photo left page, bottom left.
8
90
10
15
201
30 20
50
107
90
23
190
10
50
30
10 10
420
10 10
50
10
10
200
210
50
10
96
8
96
8
D 850
708
850
C
120
D
C
850
20
75
D
C
120 150
D
C
92
40
8
10
121
200
294
275
260
275
74
7
47
80
21
15
50
96
A
50
20
A
50
30
A
50
A
212
167
420
205
150
245
50
65 475
430
B
niveaux -1.75 et -2.20
1:50
2
niveau ±0.00
1:50
975
105
205
5
50
B
3
niveau +1.10
1:50
4
niveau +4.00
CD
1:50
AB 10
200
210
50
288
447
40
24
847
80
96
30 590
32
+1.10
236
232
366
400
20
258
57
114
87
30
+4.00
30
+4.00
stairwell
+1.10
±0.00
24
20
±0.00
210
200
159
260
20
-1.75
-1.75
41
10 -2.20
-2.20
10
isolation niv+4m
20
finished openings
200
1
120
10
405
B
50
50
51
15
21
172
314
294
75
475
450
B
155
A
5
50
coupe longitudinale AB
80
120
115
80
10
325
125
15
50
B
C
30 20
96
coupe transversale CD
4 4
96
10
195
15
50
D
1:50
∞ Written research Stones' equipments of Armenian buildings - 2010 Scenographic project / Architectural Project - 2007
Stones' equipments_ buildings of Heritage_Armenia
Study of the morphological indications of a constructive culture at the Armenian builders, between 5th and 13th century later JC
In a research laboratory of my university and in partnership with the University of Yerevan in Armenia, I was at the initiative of a proposed research. It consisted partly of a six-month internship as well as the development of my report for Master research’s degree. If you criss-cross one day the winding roads of Armenia, you can perceive through the vast pastures of the mountains, scattered churches which come to mark out and to punctuate valleys and summits. They are churches typical of the construction in the Armenian Architecture, constituting its patrimonial inheritance. The majority were built between the beginning of the Christianization of Armenia in 3rd century later JC and the beginning of the 1st millennium after JC, golden age of the Armenian architecture. Armenia is situated on a geologic fault line, it is a characteristic territory very seismic. Thus, the architectural shape of these buildings is clean for the Armenian constructive culture and determines its a style at once in the general appearance, to certain architectural details on which I supported the search : the equipments of stones, irregular.
_The general question is to determine the genesis of the architecture related to earthquakes : What are the determinants of architectural form? What technical knowledge are operating in the construction process? > Morphological indications in the construction of Armenian buildings since over a thousand years > geographical situation of Armenia on a strongly seismic territory > the interactions strengths / forms in earthquake-resistant genius are very important => Armenian churches establish an interesting corpus _I approached the question by the study of the irregular stony equipment because it can have an influence on the behavior in the earthquake of churches, and participates in the architectural expression. _I mortgage that the builders set up devices to reduce the vulnerability to earthquakes = hypothesis of an earthquake-resistant scientific culture primal _Methodology From the simple analysis and the demonstration, I kept the method of morphological analysis proposed by the research laboratory, and I also looked for correlations between the geographical, historical, formal (architectural sense), constructive, resistence, reflecting a process of building knowledge.
_Process Step 1: Collection of input data of the problem A-Benchmarks (Armenian architecture, principles of construction, seismic) B-Geographic Context (seismic risk of Armenia) C-Historical Context (seismic events occurred in the period) D-Graphic supports (for each church in the corpus of study) alignment type of stones in elevation :
> Discontinuities on the verticality > Privileged horizontal joints
seismic risk Armenia traditional local technical ÂŤMidiceÂť of walls' construction
/25_40_25/ Dimensions (cm) Freestone
historical earthquakes
Cements + rubbles
consequences in front of seismic movements
> Modes of break evoking the likely influence of the dihedral
> Sliding in case of applied horizontal strength
> solutions today : rough intermittent surfaces
Brevet moderne pour limiter le glissement (http://www.freepatentsonline.com/6629393.html).
caracterisation of the equipment Ligne d’Assise continue Pierre non rectangulaire
typologies Ligne d’Assise discontiinue
types HYPOTHÈSES
Forme et Position Systématiques
un effet mécanique est consciemment recherché
Step 2: Morphological Analysis E-Global morphological analysis (global vision of each church of the corpus) F-Morphological analysis of the stone equipment (typologies, presence on buildings) technical card of morphological type for each specimen of corpus (E+F)
Forme et Position SANS LOGIQUE ÉVIDENTE
% irregular equipment by building
l'effet mécanique est-il anticipé ?
Chaînage endenté TYPE 1 Date d'apparition_ 13 e siècle Localisation_ Haghpat et Sanahin Disposition_ chaînage disposé en bandeau autour du clocher Proportions_ clocher décomposé en 2 parties A et B dont chacune comporte un
statistical results of the corpus
Amberd S Stephanos
Dchoulfa
Dadi Vank Tzitzernavank Tzitzernavank
%non rect
% vuln
4,1
41,17
40,7
44,8
7,3
58,8
69,3
76,6
bandeau Type 1 dans sa moitié inférieure
1650
5,9
41,17
81
86,9
1214 500
1026
5
29,4
50
55
Thugh Manuk
Zovuni
8,1
23,5
38,3
46,4
550
St Karapet Ererouk
Ani-Pemza
3,7
41,17
91,4
95,1
450
St Georges
Baiburd
6,95
29,4
71,4
78,35
450
St Gevorg
Sverdlov
6,9
52,9
38,7
45,6
550
Mankanots Surb Sion
Oshakan
4,7
35,3
16,7
21,4
650
St Mariam
Arthik
10,8
35,3
48,7
59,5
450
St Gevorg
Pemzashen
7,1
47
20,4
27,5
500
St Gevorg
Archhovit
6,7
35,3
31,4
38,1
550
St Stepanos
Arthik
3,85
47
20
23,85
550
Karmravor Astvatsatsin
Ashtarak
4,43
35,3
10,3
14,73
650
St stepanos
Kosh
5,5
47
40,7
46,2
650
Astvatsatsin
Voskepar
3,8
35,3
13,6
17,4
650
Khachgunt
Odzun
2,4
52,9
38,2
40,6
550
St Gayané
Echmiadzin
7,12
64,7
58,5
65,62
630
1,7
17,6
31,7
33,4
550
Poghos-Petros Zovuni
ajout des dates %interro % de constructi mpues pierres et on lignes
A
A’
B
B’
Façade ouest clocher Haghpat
Step 3: Correlation between the results of the morphological analysis of the stone equipments, and the other data FB Influence of seismic hazard on the shape? FE Convergence of the reduction factors of vulnerability? FC Historical events triggers of earthquakeresistant capacities, influence the evolution of the form?
EXaMPLES of CONFRONTATION
% of stones no rectangular buy building according to its localisation (F-B) Hypothesis : more the risk is important, more there are irregular stone presence to resist on earthquakes Results : coherent parts, but many exceptions, little evident correlation.
%
Ans
churches treated situated in the time according to its stone's equipments quantity (F-C) Hypothesis : evolution of the equipments in the time, according to the earthquakes Results : difficult location of an evolution
_Conclusion > This diagnosis allows to encircle better the stakes bound to the constructive culture Armenian. > The study is a first approach: the method of laboratory reappropriated, the morphological analysis of the stone equipment shines on its various typologies, the index cards of stone equipments and churches are precious to pursue the study. > However, the results did not bring evident correlations : the unconfirmed hypothesis of departure; the questioning on the resistance in earthquakes remains opened; while bringing requestionnements. > The elaborated method asks for a much more spread corpus. The current results don't bring a new lighting on the intuitive conjecture previously developed. > Besides, the experimental part of mechanical simulation misses certainly in the study and would maybe have been able to help to bring out some descriptors of stone equipments, more relevant.
Scenographic project / Architectural project
This report was elaborated in the term of my first three years of my Bachelor’s degree.
«The consideration of the issues and architectural constraints in the scenographic project»
«Student in architecture and enthusiast of the performing arts, the experiences which I lived in both domains bring me to consider that there is a correlation between the world of the architecture and the performing arts. The analysis of my personal practice, made within the framework of the school of architecture or in that of my artistic activities, brought me another glance on these approaches. That is why, I wanted to centre my reflection on the analogies but also on the direct links which we can spot in their conduct.
ou «By staging, the architectural project tested the living»
The work of scenography is based on a project. It thus requires a particular reflection and working approach, proceeding in stages, since the conception until the realization. In theater or opera, performing arts with multiple modes of expression, the scenography has to take into account the space, the body, the movement. Answering necessities of expression but also for precise use, the scenographic project incorporates a number of constraints similar to those to whom is confronted the architecture.
Thus, from a general observation and natural enough, my question has therefore focused on a thorough comparative study and projects developed in an architectural context and a scenographic one. [...] By this research work about the project in scenography and in architecture, the confrontation of these two approaches work allowed me to better understand how each area is different, but also how one and both were likely to meet, or even grow rich mutually. _Detail of the study area The architectural conception is for me the conception of a non-specialized potential space. I define the scenographic conception as an ephemeral planning in a space designed by the architect, what already differentiates him. In the rich and complex range of the scenographic world, I limited my axis of study to the scenography in the theater. It where the meetings with professionals were the most effective there. The challenge seemed to me then interesting. We find in the question of the theater of the common and rather important notions, face to the architectural context.
_Pertinence Of the problem Initiate a comparative study of architectural and scenographic project might seem unusual. However, I consider that the link between architecture and culture is very important. Etymologically, the architecture or the art of building, is not that technical. For a long time in particular in the ancient and vernacular architecture, it gives itself social, cultural and humanist visionary ambitions. [...] So, by considering while the architecture is a staging of everyday life that its ambition is to carry farther the culture, take a detour into the theater stage design, allows to re-examine the draft architecture in its theoretical dimensions and to question me again about the relevance of the approach in architectural project. The issue raised could then be formulated as follows: ÂŤ In what, the scenographic project in performing arts, re-examines the the project approach in architecture? Âť _Methodology 1_Support on theoretical texts and on my own literary culture gained during my training = to become clearer the formulation of my hypothesis. 2_Reviews of four case studies of projects of scenography in the performing arts, following meetings with artists, designers, director, architect, visual artist. 3_Analyse determining whether the two design approaches can coexist and how they can mutually provide each other, returning to the fundamentals of the project design in architecture, specifying the links between architecture and the performing arts. _Conclusion [...] I have been convinced that there is a possibility, as much in a professional plan as personal, of putting in link these two approaches.
∞ Art and Show in Partnership Performance Symposium - dec 2007 Theater on tour - juin 2010-oct 2011
Performance
Danced Space
As part of an exchange between the National Conservatory of Music and Dance in Lyon and the Lyon School of Architecture, and at a symposium about the landscape, we had a possibility of creating and being part of a perfomance. The aim was to understand the world view of the dancers, the world view of the architects, and to cause a meeting between both. This meeting is ultimately the landscape, a landscape that is expressed in the form of a new ÂŤreportÂť at the intersection of two approaches, two emotions. On the same background, the same meaning (here the landscape), for two different disciplines, forms of expression vary over time, and also the support the result, reflection, interpretation. The pictures show the effect of the interaction between body and architecture (modification of the perception of the real space), or the one between the invited and the performance group.
Comedy/Theater on tour Ricordi
«For 2000 years, the land of Italy irrigates the world of his talent. For 150 years, thirty million Italians left their country, one quarter of them in France. We listened to Italian of France, their French children, their families, they told us. We wrote what they inspired us. Under the leadership of Karine Revelant, a show was born.» In 2010, we set up this play on immigration, integrating music, songs, dance. Further to its success, we have represented it ten times in fifteen months with associations and theaters in the region of Lyon and in Ardèche. It received the award of staging of Meyzieu’s theater festival, in March 2011. We plan to go to play it in the Aosta Valley in Italy.
fanĂŠlie pardon fanelie.pardon@wanadoo.fr architect