{"id":29509,"date":"2022-07-17T16:46:20","date_gmt":"2022-07-17T14:46:20","guid":{"rendered":"https:\/\/diploma2022.ecolecamondo.fr\/memoire\/edgar-jayet\/vienne-est-un-tombeau\/"},"modified":"2022-10-07T21:06:32","modified_gmt":"2022-10-07T19:06:32","slug":"vienne-est-un-tombeau","status":"publish","type":"dissertation","link":"https:\/\/diploma2022.ecolecamondo.fr\/en\/memoire\/edgar-jayet\/vienne-est-un-tombeau\/","title":{"rendered":"Vienna is a tomb"},"content":{"rendered":"\n

Miroir d’une \u00e9poque dont je tente de saisir le reflet, ce sujet fait projet. Il esquisse une m\u00e9thode de r\u00e9flexion, propre \u00e0 l\u2019architecte et au designer, visant \u00e0 d\u00e9velopper une architecture de sa pens\u00e9e, \u00e0 spatialiser sa r\u00e9flexion. <\/p><\/div><\/div><\/article>\n\n\n\n

“Je parcourais la ville, tout ce qu\u2019elle a \u00e0 offrir de mus\u00e9es, d\u2019antiquaires. J\u2019\u00e9pluchais, anottait une somme impressionnante de livres dans les caf\u00e9s de la ville et pourtant j\u2019\u00e9tais face \u00e0 une incapacit\u00e9 totale d\u2019\u00e9crire. Deux semaines \u00e0 Vienne et pas une ligne rien, travers\u00e9 par un immense sentiment de frustration. <\/em><\/p><\/div><\/div><\/article>\n\n\n\n

Ce que je ne r\u00e9alisais pas alors c\u2019est que je n\u2019\u00e9crivais pas certes, mais au gr\u00e9 de mes ballades je d\u00e9posais \u00e0 chaque coin de rue, sur chaque d\u00e9tail de fa\u00e7ade, dans chaque caf\u00e9 des pens\u00e9es qui germaient de ce que j\u2019avais vu ou lu. Vienne devenait l\u2019espace mental de ma recherche.”<\/em>
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Amedeo Abello \u00a9\n<\/figcaption>\n <\/article>\n\n\n\n

\u00ab C\u2019est l\u2019angoisse de regarder au fond \u2013 au lieu \u2013 de ce qui me regarde, l\u2019angoisse d\u2019\u00eatre livr\u00e9 \u00e0 la question de savoir ce que devient mon propre corps, entre sa capacit\u00e9 \u00e0 faire volume et sa capacit\u00e9 \u00e0 s\u2019offrir au vide, \u00e0 s\u2019ouvrir. \u00bb<\/p>

DIDI-HUBERMAN Georges<\/span> – <\/span>Ce que nous voyons, ce qui nous regarde.<\/span><\/p><\/div><\/div><\/div><\/article>\n\n\n

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\n \n \n \n <\/svg>\n <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/article>\n","protected":false},"author":83,"featured_media":27588,"template":"","meta":{"_acf_changed":false,"_metafield_presentation":"Here, I offer a contemporary perspective of Vienna from 1857, the symbolic date on which its fortifications were destroyed, opening it up to the world, to 1938, the year of the Anschluss that led definitively to its end as a European centre of creation. Through the use of documentary material \u2013 more specifically, all the publications and images that may inform this approach \u2013 the reader is given insight into the basis for this research. Documents are organised in such a way as to create a train of thought, complementing theoretical research with methodological research in order to understand a period unable to yield to linearity. Along the lines of Jean Clair\u2019s exhibition in 1986, it will view the testament left behind by the Viennese generation as necessary.","_metafield_image_toggle":true,"_metafield_image_legend":"Amedeo Abello \u00a9","_metafield_gallery":[]},"keywords":[17,19,30],"teachers_list_1":[8],"class_list":["post-29509","dissertation","type-dissertation","status-publish","has-post-thumbnail","hentry","keywords-champ-artistique","keywords-demarche-de-recherche","keywords-patrimoine","teachers_list_1-laure-fernandez"],"acf":[],"yoast_head":"\nVienna is a tomb - Diploma Camondo \u00e9dition 2022<\/title>\n\n\n\n\n\n\n\n\n\n\t\n\t\n\t\n\n\n\t\n