{"id":11103,"date":"2019-11-12T00:00:48","date_gmt":"2019-11-11T23:00:48","guid":{"rendered":"http:\/\/www.keris-studio.fr\/blog\/?p=11103"},"modified":"2019-11-12T00:00:50","modified_gmt":"2019-11-11T23:00:50","slug":"archirep","status":"publish","type":"post","link":"https:\/\/www.keris-studio.fr\/blog\/?p=11103","title":{"rendered":"Archirep"},"content":{"rendered":"\n

Evolution and assessment of a pedagogy<\/strong><\/p>\n\n\n\n

Since 2002, the Master\u2019s students at the Graduate School of Architecture\nof Nantes who are enrolled in the \u201cArchitecture in Representation\u201d orientation\nhave carried out a pioneering work in the use of digital tools. By adopting the\nmost recent techniques and tools, they have transformed the architectural\ndesign approach, thanks to the integration of \u201cnarrative design\u201d. <\/em><\/p>\n\n\n\n

In fifteen years, students will have gone from the board to digital\ndrawing, to immersion and virtual reality, including short films and\ninteractive devices, without losing sight that the subject of the work is in\nfact the project, and not the tool. In doing so, they have questioned, led by\ntheir professors, the status of synthesis images, the challenges of interactive\nnarrative and of the virtual world. <\/em><\/p>\n\n\n\n

Within the school, time was needed to accept these explorations; the use of digital tools, long criticised, was blocking the appreciation of the content and the students\u2019 experimental approaches. Nowadays, the experience from these past fifteen years lead us to ask this question: do digital tools renew the design paradigms, or are we only involved in the evolution of practices through the integration of other means? <\/em><\/p>\n\n\n\n\n\n\n\n

Introduction of the context <\/h1>\n\n\n\n

The proposition of the Master\u2019s \u201cArchitecture\nin Representation\u201d orientation was born as the first digital rendering tools\n(CG rendering) were starting to be accessible for students. We were the only\nprofessors trained in 3Dstudio, in WRML and in 3D modelisation, and we had been\nmandated to support the projects in their communication phase. However, it soon\nappeared that the making of images without a visual culture turned the exercise\nsterile, and mostly vulnerable to criticism, both aesthetic and formal. At the\nbeginning of the 21st<\/sup> century, examples of digital rendering displaying\narchitecture were characterised by long travelling shots that we could already\nsee in the remarkable and seminal reconstitution of the Cluny Abbey, back in\n1992[1]<\/sup><\/a>. Nevertheless, do the travelling shots reveal something other than the\ndigital prowess? Director Stan Neumann[2]<\/sup><\/a>, guest in a masterclass, reminded us that filming architecture was not\njust moving within a static object. Each camera movement should be significant,\nand each shot, in its duration, should tell something, image after image. The\nchallenges of digital renderings have then articulated themselves between\nfilmed space and the question of temporality. Our pedagogy has therefore been\nstructured around the concept of chronotopia[3]<\/sup><\/a>, enabling the introduction of temporality in architecture. For example,\nit is the light during the day, the life of a street over 24 hours or History\nin the long-term. This approach has given students strong arguments to defend\ntheir project and claim rational choices that we can share. We have then\nreversed the mode of production of the project. Instead of starting from a programme,\nwe asked the students to begin with a story that they would create. This\napproach can be called \u201cnarrative design\u201d[4]<\/sup><\/a>, even if the English-speaking world usually uses this concept to refer\nto interpretation, in addition to creation[5]<\/sup><\/a>. The narrative feeds the formal imagination, and should do a\nhypotyposis[6]<\/sup><\/a>. <\/p>\n\n\n\n

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Archirep, the early films<\/figcaption><\/figure>\n\n\n\n

The \u201cArchitecture in Representation\u201d\nteaching unit was proposed in 2001 at the time when students were switching\nfrom the library to Google. If architectural studies are characterised by the\nheavy use of images, those are images from magazines, websites or\ndocumentaries, as well as produced images, such as photographs, plans,\nsketches, 3D productions, which are wildly enjoyed. Students are also hungry\nfor fictional images, that they find in cinemas, on their computers, and more\nand more rarely on television. They are similar to their elders in their\nstudies, but with a media density and copresence that are unprecedented. <\/p>\n\n\n\n

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Designing a narrative world<\/figcaption><\/figure>\n\n\n\n

A complex appropriation <\/h1>\n\n\n\n

Nowadays, nearly a century after Le\nCorbusier\u2019s first travels and the \u201cJourney\nto the East<\/em>\u201d notebooks[7]<\/sup><\/a>, the young future architects have the opportunity to go all over the\nworld, but they fill out fewer sketchbooks than megabytes of photographs taken without\nany limit in terms of support or storage. The relationship to images is\ndifferent, and the abundance creates a sort of digital bulimia, which is found\nboth in the production and in the consumption. In terms of the architects\u2019 training,\nwe should thus dedicate ourselves as intensely to the modes of production,\ntheir aesthetics and to the forms of speech accompanying any graphic\nproduction, and their evolutions. These past twenty years have seen the\narchitects\u2019 work environment radically change with digital tools. When the\nfirst computers appeared in agencies, in the 1990s, a transfer of skills occurred,\nand a set of new constraints appeared. By moving from the board to the screen,\nthe image of the ongoing project was no longer visible at all times, it needed\nto be printed out to be examined or corrected, or that the designer be at his\ndesk to control the machine. <\/p>\n\n\n\n

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Narritive design and building process
<\/figcaption><\/figure>\n\n\n\n

The diffusion of computer science also\ninfluenced the communication of projects, and, by extension, the economic model\nregarding competitions. Beyond the norms tied to the plans, sections and\nelevations figuration, the communication of an architectural and urban project\nborrowed a lot, both in the style and in the intentions, from paintings and\ncomics, even if one\u2019s intentions diverge from the other\u2019s aims.[8]<\/sup><\/a> The ambiance perspective<\/strong> is\nthe image that conveys the final state of the building after its development,\nand gives it nature and spirit. Noble illustration if anything, it is usually\nthe master\u2019s piece, the architect\u2019s signature. Everyone remembers seeing Franck\nLloyd Wright, Mies Van der Rohe or Aldo Rossi\u2019s sublime boards. Those\nillustrations are even more remarkable that they form with the project a\npowerful and coherent ensemble. <\/p>\n\n\n\n

The digital image has disrupted the\nuniverse of architectural image, both in the form and in the writing of it. In\nFrance, the architects\u2019 commitment to these new technologies is low, mainly\nbecause the personalisation of its aesthetics is complex, even more so than the\ntechnical adoption. <\/p>\n\n\n\n

The first\ndigital images, called synthesis images<\/em>\n\u2013 term that enables the stigmatisation of an artificial origin \u2013 add fuel to\nthe debate over the place of those images in the project\u2019s development. They\nare, for most commentators, misleading. <\/p>\n\n\n\n

In 1997, in its 75th<\/sup> issue[9]<\/sup><\/a>, the professional journal Architecture\n<\/em>compares the merits of synthesis images to images drawn with a pencil or\npainted. Given the youth of digital technology, the arguments work largely in\nfavour of analogue tools. Far from being recognised as an emerging expression,\nthe image that is produced by the computer is accused of not enabling the\ndistinction between real and artificial. The question of resemblance <\/strong>is asked in a peculiar way: the figuration of the\nproject, of an imaginary object, as an element for mental representation, would\nswitch status to become the figuration of an object whose evolution would no\nlonger be discussed. It was, of course, the confusion between the concepts of\nreality and realism, image and discourse that can potentially accompany it, which\nwe can also consider as the confusion between signifier and signified.  <\/p>\n\n\n\n

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Perspective in immersion<\/figcaption><\/figure>\n\n\n\n

The second criticism deals with what we\ncan qualify as likelihood. <\/strong>Therefore,\nthe synthesis image would free itself from the laws of physics, statics and\nnature, as it proposes figurations that have a false likelihood. The images\ncould thus make believable constructions that are free of the laws of statics\nand of what materials and assembling can really achieve. The example of glass\nis also often mentioned. For everyone, glass is transparent and reflecting, and\nthat is how it generally appears. However, one only needs to look around to see\nthat glass windows never seem transparent from the outside, and that they are\nonly passably reflecting, that they are rather black and opaque. In the case of\nprojects promoting glass, there can be major differences between the realistic\nimage and the real built product, which, in fine, questions the idea of\ncontractual image.  <\/p>\n\n\n\n

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Immersion and interaction<\/figcaption><\/figure>\n\n\n\n

Lastly, the third criticism put forward since\nthe dawn of the digital turn, at the beginning of the 21st<\/sup> century,\ncould be organised around the concept of correspondence.\n<\/strong>This concept has many ramifications: we can first mention the question of generation\nof form and correspondences between real and virtual. The ancient paper\narchitecture, naturally associated with names such as Piranesi or Boull\u00e9e, is\nfollowed by digital architecture[10]<\/sup><\/a>–[11]<\/sup><\/a>, whose first virtuality questions the challenges of the relationship to\nreality. But it would be more accurate to ask this question in the past tense.\nIn fact, the latest progress achieved in 3D printing and digital cutting\ntechnology materialise the most ambitious projects[12]<\/sup><\/a>–[13]<\/sup><\/a>. From computers, the designs that we used to call \u201cnon-standard architectures\u201d<\/em>[14]<\/sup><\/a>, at the beginning of the years 2000 are nowadays grouped under the\nbanner of parametric design[15]<\/sup><\/a>. Freeware such as Grasshopper<\/em>[16]<\/sup><\/a> create important communities of users communicating in\ncountless forums and writing mostly for two journals: AD architectural design magazine<\/em>[17]<\/sup><\/a>, the most prestigious one, and EVolo<\/em>[18]<\/sup><\/a>, the most graphic one. The study of the way projects are presented\nshows that the concepts of plans\/sections\/fa\u00e7ades are losing readability the\nmore the presented spaces are complex, giving even more power to the ambiance\nperspective. <\/p>\n\n\n\n

The digital image is now used for almost\nevery project rendering, and it is only rarely possible to recognise the\narchitect\u2019s \u201ctouch\u201d in a competition board, often produced by a perspectivist<\/em>,\nfor whom it is the main activity. In the context of\nreal estate development, the architectural image is standardised by very\nprecise graphic codes. The building is shown in a comfortable environment where\ngroups of passers-by display a young and sunny happiness[19]<\/sup><\/a>. On the contrary, stars-architects, like Jean Nouvel, transfer the personal\ncodes of representation towards codes of graphic communication inherited from\nadvertisement. The message hands over the subject while hiding the sender\u2019s\nidentity, or, in other words, while the illustration carried in itself the\narchitect\u2019s immediate authentication, sometimes more strongly than the project\nitself, this new form of figuration fully tells the project, while giving the\nillusion of anonymity for the designer. This is naturally not the case, and the\narchitect, master of his communication, establishes a process in which the\nimage serves a metadiscourse, where the accompanying text is more important\nthan the project evocation by the ambiance perspective.  <\/p>\n\n\n\n

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Designing lightscape<\/figcaption><\/figure>\n\n\n\n

Writing with image <\/h1>\n\n\n\n

In less than ten years, between 2000 and\n2010, our pedagogy has been completely revamped, given the fast evolutions of\ndigital tools and of the productions\u2019 formal vocabulary. The design of the\nrational argumentation has nevertheless shown its limits by removing the\nlocation\u2019s poetics, the creation\u2019s dynamics and the concept of reference. From\nthis moment on, the project\u2019s mode of production is thus reversed. It was about\nstarting from the desired result to determine the project\u2019s coherence. In a\nconventional approach, after a diagnosis or a feasibility study, an\narchitectural programme is drafted in order to define the objectives of the\nfuture project, whether it is a landscape or urban unit, a building, a house or\nan airport. The programme describes the interactions between the different\nspaces and gives objectives in terms of surfaces and costs. The architect uses\nthis document to transform the formal elements into living spaces, and the\nconstraints are numerous, whether formal, organisational, structural, human,\nwhich makes it one of the most difficult professions. Reversing this process\ndoes not mean starting from a bunch of questions, but from a bunch of answers.\nWe asked our students to imagine a mental and sensory visit of their project,\nwithout paying attention, for now, to the coherence. It would mean, for a\nhouse: \u201cupon waking up, the parents\u2019\nbedroom is bathed in the morning sun\u201d. <\/em>This phenomenological approach,\nworking with perception, with quality, will then be transformed in a formal way\ninto a 12m\u00b2 room with a big bay window facing the East. Qualitative design is\nthus facilitated, thanks to cognitive mechanisms that we will mention later. <\/p>\n\n\n\n

For architect and professor Geoffrey\nBroadbent[20]<\/sup><\/a>, there are four design methods: pragmatic, typological, analogue and\ngeometric. Broadbent\u2019s approach relied on a semiological approach and Chomsky\u2019s[21]<\/sup><\/a> theories. We can perhaps add a meta-category, which would be narrative\ndesign[22]<\/sup><\/a>, even if the English-speaking world also uses this concept for\ninterpretation, in addition to creation[23]<\/sup><\/a>. Narrative feeds formal imagination, needs to become an image, or\nrather a hypotyposis[24]<\/sup><\/a>. Narrative design makes full use of the techniques of scriptwriting:\none needs to create a context, place protagonists, determine a starting point,\na disruptive element and a resolution. All that is embedded in a set of values\nthat the story makes explicit. Figures of speech are used, the metaphor of\ncourse, but also the ellipsis, enumeration, comparison, etc. The project stems\nfrom the narrative, it is one of many elements, and not just the d\u00e9cor-vessel.\nAccording to us, it seems like 90% of the project\u2019s design work is done when\nthe narrative and the \u201cd\u00e9cor-actor\u201d or d\u00e9cor-protagonist is determined. <\/p>\n\n\n\n

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Insolite shelters<\/figcaption><\/figure>\n\n\n\n

Narrative design uses metaphors\nextensively, as the starting point for the creation process. First in the\ndescription, with the example of this beautiful excerpt from Gracq: \u00ab La lumi\u00e8re poudreuse, ocr\u00e9e et presque rousse n\u2019\u00e9gayait pas la petite\nplace ; il lui semblait plut\u00f4t qu\u2019elle \u00e9mergeait devant lui, \u00e9trang\u00e8re,\nplus d\u00e9serte qu\u2019un banc de sable que la mar\u00e9e recouvre.[25]<\/sup><\/strong><\/sup><\/a><\/em>\u00bb The characterisation of spaces with a metaphor creates a mental image\nand gives indication on organisation, proportions, materials, colours,\nsituation, access and openings. A bedroom considered as a nest, for example,\nimplies being small, cosy and not easily accessible, perhaps a little secret. The nest can\nalso be a house: \u00ab Le nid comme toute image de repos, de\ntranquillit\u00e9, s\u2019associe imm\u00e9diatement \u00e0 l\u2019image de la maison simple. De l\u2019image\ndu nid \u00e0 l\u2019image de la maison ou vice versa, les passages ne peuvent se faire\nque sous le signe de la simplicit\u00e9. [26]<\/sup><\/strong><\/sup><\/a>\u00bb<\/em> The change of scale does not change the principle of narrative design.\nIn The Shape of a City<\/em>[27]<\/sup><\/a>, Julien Gracq demonstrated that there is no city without its mental\nimage. The image that he remembers from Nantes, made of passageways and\nfrontiers, structured his vagrancy in a space of subjectivity. However, once\nagain, the evolution of digital tools immediately questions our concepts: would\na generation Y student[28]<\/sup><\/a>, with a smartphone that is also a camera and a GPS, as Julien Gracq\ndid, explore his or her mental memory since everything, places, moments,\nweather, pathways would have been recorded with acute precision? Would he need\nhis digital crutch, or would it have helped him to see better?
<\/p>\n\n\n\n

Going beyond photorealistic aesthetics <\/h1>\n\n\n\n

The use of digital tools in architectural\ndesign carries the risk of becoming ambiguous on what we aim at measuring: is\nit the possibility of making projects using computer science, is it to master\nthose digital tools, evaluate the adherence to new educational forms or the\nteaching\u2019s resistance, despite tooling that articulates real and virtual? Films\ndirected by students between 2000 and 2013[1]<\/sup><\/a> show that digital tools can be integrated to the project, not only to\ndesign volumes, which is often the case with pedagogies centred around methods\nto generate forms, but also to describe perceptions and uses. The projects then\ndevelop a dialectic around the concept of transgression: therefore, the city of\ntransgression counters the city of regulation. The more Space 1.0 is regulated\nand the more Space 2.0 is infringed. How is it expressed? For example, with the\nstaging from augmented reality, which turns the invisible visible, or with the\nability of digital tools to simulate ubiquity and debodyment[2]<\/a>.<\/p>\n\n\n\n

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Auto design with Grasshopper<\/figcaption><\/figure>\n\n\n\n

This transgression is perhaps the result\nof the method that is proposed to students. Starting from a situation in which\nHistory is very strong in a location, we asked them to invent a dramatic\nsituation, whose resolution is solely dependent on the transformation of space,\nwhether through an urban or an architectural project. This dramatic situation\nbecomes the subject of CG short movies. First, the students develop a\nconceptual image, which sets a situation. From this image comes a pitch that\ndescribes, in a few lines, the context and the events of the narrative. Then,\nthe development needs to be written, so that it can be divided into sequences\nand be turned into a storyboard. From there, the students propose an animation\nto understand the pace of the story, as well as the workload. Indeed, this animation\nwill inform on the precise duration and by extension the number of images to\ncalculate. After sketching the aesthetic features of each element, several\nphases will take place: modelling, texturing, lighting, rigging, animating and\nrendering. Knowing the rendering time for one image, it is easy to deduce how\nmuch time, and sometimes how many machines, are needed to present the film in\ntime.  <\/p>\n\n\n\n

\u201cFace \u00e0 Face\u201d[3]<\/sup><\/a> was directed in 2008 while we were working on the anniversary of the\nfall of the Wall of Berlin, and it is a prime example of the method. The first\nconceptual sketch showed two soldiers facing and studying each other with\nbinoculars. The pitch was then as follows: two officers are watching each other\nwith binoculars. They are on both sides of CheckPoint Charlie. The order is\ngiven: they need to build a watchtower that needs to be taller than the\nopposite side. The race starts, while a poor guy tries his hardest to cross to\nthe West. The towers are getting taller, to the point of wavering, swaying and\ncollapsing against one another, frozen in the shape of a giant bridge from East\nto West, wonderful metaphor for the conflict between East and West. Everyone\nruns to this unbelievable gateway. The project of bridge between West and East,\ncelebrating the reconciliation between the two blocks is more original than the\nproposals that everyone has seen around at this time, which consisted in\nrecreating the wall, whether in ice <\/a>[SP1]<\/a> or in another material.  <\/p>\n\n\n\n

Panoramic\nviews <\/h2>\n\n\n\n

After\nabout ten years working for the screen format, the students were asked to\nconsider film narrative for another, bigger, more constraining medium: the\nN\u00e6xus screen. N\u00e6xus takes the form of an immersive bubble with an inner\npanoramic screen and speakers for a 3D sound restitution. Projection happens on\na 1.50-metre-high and 12-metre-long cylindrical screen. The image surrounds the\nuser, offering him or her an intense immersion. This also means that the viewer\nwill not be able to see the whole screen, since the image goes beyond his field\nof vision. It is thus a question of inventing new ways of writing, to provide a\nconfiguration that is both spectacular in its produced effects and also\nconstraining. The viewers are standing in the middle of an open cylinder, on\nwhich is projected an image with a 220\u00b0 orientation. This angle corresponds to\nthe extent of the field of vision, the visual limit being 62\u00b0 on each side, i.\ne. 124\u00b0. The 16\/3 image is 4096 pixels wide and 768 pixels high, which is much\nlarger than the usual standards. <\/p>\n\n\n\n

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360\u00b0 design<\/figcaption><\/figure>\n\n\n\n

With\nimmersive devices, we can immediately imagine an image with four or six\nvanishing points, as it in the case of those we get with a 360\u00b0 camera. It is\nthe case of the \u201cAgrikultur\u201d[4]<\/sup><\/a> and \u201cUnderground\u201d[5]<\/sup><\/a> movies, which chose a classic\nproduction and segmentation. The viewer focuses on the centre of the screen,\nand the extension of the field of vision plays a part in the immersion. In\nterms of segmentation, the duration of the shots does not affect the\nunderstanding of the narrative. However, if the travelling shot offers strong\nvisual sensations, the panels cause an unpleasant effect. The challenge of\nAgrikultur was to focus on a skyscraper within this panoramic format, masterly\nrelieved by the ascending movement and the final zoom out. The solution provided\nby \u201cLa Petite Hollande\u201d[6]<\/sup><\/a> works on a divided screen. It is\nenriched, and carries 2D graphic information as well as 3D scenes. It also\nswitches between real-life shots and synthesis images. The soundtrack,\nparticularly rich, is a simultaneous demonstration to the image, offering\nmodern sounds and what would a city without cars sound like. The point is that\nof a permanent travelling shot as a long sequence-shot, as if recorded by a\ncamera in one of the protagonists\u2019 hand. The produced image looks a lot like\nwhat we imagine being augmented vision.<\/p>\n\n\n\n

The film\n\u201cLavau\u201d[7]<\/sup><\/a>chose an image without perspective,\nin the pure tradition of the Bayeux tapestry. The action moves from right to\nleft, showing the progression of the city towards the Loire estuary. The viewer\nthus follows the action as it develops within the time of the narrative, and on\nthe surface of the screen. Only a few insert points, on the left side of the\nimage (where the plot is), are indicated by sound. <\/p>\n\n\n\n

The \u201cBZH\n\u2013 Bienvenue en Zone Humide\u201d[8]<\/sup><\/a> is built from a unique vanishing\npoint. Nantes is flooded, and Place Royale becomes a theatre stage. The camera\nis fixed, and the action unravels in the viewer\u2019s field of vision. The entrance\nand exit happen within the d\u00e9cor, as it would happen in a classic scenography.\nThe perspective distortions are found in the monocular viewing area. Small\nevents still occur within the limits of the viewing zone, which makes the\noverall scene even more vivid. The film is organised around a long\nsequence-shot.<\/p>\n\n\n\n

Real\ntime and interactions <\/h2>\n\n\n\n
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Interactions
<\/figcaption><\/figure>\n\n\n\n

Created\nin 2005, Unity 3D was a major breakthrough ten years later, providing a tool\nbringing together both developers and artists. While we were inviting students\nto switch to game engines such as Crytech\u2019s SandBox, or to integrated solutions\nlike that of Blender\u2019s Game Engine, Unity allowed the students to integrate a\nnew production chain without altering the existing ensemble. The challenges\nhave thus moved. Used as early as the design phases, the 3D engine invites the\nstudents to solve early questions of volumes and proportions by being immersed\nin their project\u2019s spaces. They thus realise very soon that the classic movie\ngrammar is not used in the same way, and that the questions of framing, plan\nvalues, focal length, are no longer in the hands of the director, but of the\nviewer. They also understand that the pace, the segmentation, the temporality\nand narrative flow are to be tackled with spatial design. In terms of\nnarrative, the management of the off-camera is the most challenging element. In\na classic narrative construction, the off-camera elements determine two spaces:\nfor the viewer, it is an imaginary space. It is there, away from the screen,\nthat the narrative is completed mentally. For the director, the off-camera\nelements represent the space where he can hide the technique \u201cbehind the\nscenes\u201d. <\/p>\n\n\n\n

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Designing in 360\u00b0<\/figcaption><\/figure>\n\n\n\n

The \u201cClairmont\u201d interactive visit proposes what is best in terms of 360\u00b0 and real time. Nowadays, immersion is often assimilated to experiences of virtual reality in which the viewer lives, in real time and with the possibility to influence his actions, to the experience of another place. If that is acceptable to give an easy definition, it represents in fact a limitation of possibilities. As a consequence, many video games develop several temporalities[9]<\/a>. For example, an hour only lasts two minutes, and a whole day happens over 48 minutes. However, everything seems to happen in real time. There are thus two simultaneous chronologies: the viewer\u2019s and that of the diegetic space. The possibility to use several temporalities within one space allows for playing with temporal ellipsis, a major narrative figure of speech. In a story, in order to enhance the interest and the intensity, we move from continuous time<\/em> to discrete time. <\/em>In \u201cClairmont\u201d, the story is developed around the real-time exploration of an abbey cloister. The visitor arrives in a space overgrown by the vegetation, and it is raining. He enters from an arch and starts discovering the ruins. After a first round, he walks under another arch and has already changed season. The rain has stopped and, unnoticed, a construction site has appeared. The structured vegetation has replaced the walls worn out by time. After a few more steps, summer has arrived and the cloister is shining with splendour, the woven rushes redefine the arcades and gives the place some of its past glory. But this proposition is fragile, and it relies on the user\u2019s will to save the building or not. A few more steps can show what would happen if nothing is done. The wild vegetation reclaims its right, the cloister has been destroyed and the abbey is decaying. This temporal compression is explored within a unique, interactive and immersive space.  <\/p>\n\n\n\n

Conclusion<\/h1>\n\n\n\n

We mention more and more the digital\nrevolution as a phenomenon similar to the invention of printing, in the middle\nof the 15th<\/sup> century in Mainz, Germany. It was characterised by a\nwidespread dissemination of knowledge, with, as a result, a more egalitarian\ndistribution of technical knowledge and skills. The observation of younger\ngenerations attempts to confirm this fact with the prevalence of tutorials, defined\nas a mode of self-learning with online classes, whether it is about languages,\nDIY, architecture software or music, philosophy or living together. Tutorials\nrepresent a class without exams, available at the right time, about an\ninteresting subject. These practices, still very generational but spreading\nrapidly, recount quite well the uses and perceptions of what we used to call,\nten years ago, computer sciences. At this time, digital tools appeared as a\nspecificity, sometimes a speciality, cleaving, either by choice or by\nnecessity. In a short amount of time, this landscape has deeply changed, in\nparticular in our students: the digital world is fully part of their life,\nwithout any more discrimination. <\/p>\n\n\n\n

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Hommage to Tati<\/figcaption><\/figure>\n\n\n\n

Paradoxically, the first effect that was generated was the return to the analogue, within a continuum that goes from sketch to 3D model, then to 3D printing or building, then a return to the digital with 3D scan (with photogrammetry, for example) for adjustments and reworks that can feed the loop some more. The questions are thus moving from a series of tools to design, finalise and build, to the development of processes<\/em>, of a set of bridges enabling the succession of tasks, analogue and digital, while preserving the information\u2019s integrity. The expertise is now in the ability to articulate and preserve the coherent implementation of this process. One of the symptoms of this shift is the emergence, or the return, of the \u201cmanager\u201d term, as warrantor for a correct tasks interface, as shown in the BIM universe. As Antoine Picon notes in his book Digital Culture in Architecture: an Introduction for the Design Professions<\/em><\/a>[<\/a> Culture num\u00e9rique et architecture : une introduction, <\/em>the digital theme in architecture represents a \u201cliterature mostly doctrinal, even doctrinaire, originating from proselytes, technophiles and other prophets of microscopic neo-avant-garde<\/em>\u201d. It remains clear that a new culture is emerging, is massively shared, and that this culture defines social ties, work pace and new perceptions of time and space. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Years ago, students came to school and\nsaid that they had tackled architecture via cinema or comics. The new\ngeneration arrives with video game references. This reference works just as\nwell as comics in the past: wariness and disdain from the elders, adoption of\nnew narrative codes from the youngers. Cinema influenced several generations of\narchitects. Similarly, video games are absorbed by the generation that is\ncurrently at school, both for the representation techniques and the design of\nspaces and forms. <\/p>\n\n\n\n

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[1]<\/a>\nAvailable on Youtube\/ensanantes : https:\/\/www.youtube.com\/user\/ENSANantes<\/a>\n<\/p>\n\n\n\n

[2]<\/a>\nMeinold J., Der K\u00f6rper in der modernen Gesellschaft, M\u00fcnchen, GRIN Verlag, 2009<\/p>\n\n\n\n

[3]<\/a>\nDirected by Emeline Termet, Christelle Morisset, Charles Coiffier and Cl\u00e9ment\nPerraudeau, 2008<\/p>\n\n\n\n

[4]<\/a>\nDirected by Margaux Bouvier, C\u00e9dric Dussart and Anaelle Vittaz, 2012<\/p>\n\n\n\n

[5]<\/a> Directed by Charlotte Savoie,\nNicoletta Leone and Lionel Kergot, 2012<\/p>\n\n\n\n

[6]<\/a>\nDirected by Nayara Sampaio Gomez, Coralie Dumont, Fran\u00e7ois Barcelo-Chatelier, Herbert\nMarchessou, 2012<\/p>\n\n\n\n

[7]<\/a> Directed by Alice Moreau,\nJo\u00ebl David and Claire le Cam, 2012<\/p>\n\n\n\n

[8]<\/a> Directed by Monica Loza\nHerrera, Mirwais Rahimi, Sayed Rodullah Sadat and J\u00e9r\u00f4me Sautarel, 2012<\/p>\n\n\n\n

[9]<\/a> As with Grand Theft Auto,\nwhose 3rd<\/sup> version in 3D and 3rd<\/sup> person was released in\n2001. <\/p>\n\n\n\n

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[1]<\/a>\nhttp:\/\/strabic.fr\/Cluny-III-en-3D<\/p>\n\n\n\n

[2]<\/a> Stan Neumann is co-director, with\nRichard Copans, of the \u201cArchitectures\u201d series, available on Arte, http:\/\/www.arte.tv\/fr\/la-collection-architectures\/2798026,CmC=2798770.html<\/p>\n\n\n\n

[3]<\/a> Concept borrowed from Mikha\u00efl\nBakhtine to mention the place and time of action.<\/p>\n\n\n\n

[4]<\/a> Smartt Bell Madison, Narrative\nDesign: Working with Imagination, Craft, and Form by Bell, W. W. Norton &\nCompany, 2000<\/p>\n\n\n\n

[5]<\/a> Coates Nigel, Narrative\nArchitecture: Architectural Design Primers series, AD, Wiley, 2012<\/p>\n\n\n\n

[6]<\/a>\nLe Bozec Yves,  L’hypotypose : un essai\nde d\u00e9finition formelle. In<\/em>: L’Information Grammaticale, N. 92, 2002. pp. 3-7.<\/p>\n\n\n\n

[7]<\/a> Le Corbusier, Journey to the East, MIT\nPress, 1966<\/p>\n\n\n\n

[8]<\/a>\nDethier J., Guiheux A. (Sous la direction\nde<\/em>), La ville art et architecture en Europe 1870 1993, Editions du Centre\nPompidou, 1993<\/p>\n\n\n\n

[9]<\/a>\nArchitectures (D’), le projet en repr\u00e9sentation, Du Croquis A L’image De\nSynth\u00e8se No 75,  01\/06\/1997<\/p>\n\n\n\n

[10]<\/a> Spiller N., Cybrid (s)\nArchitectures virtuelles, Parenth\u00e8ses Editions, 2008<\/p>\n\n\n\n

[11]<\/a> Spiller N., Visionary Architecture:\nBlueprints of the Modern Imagination, Thames & Hudson Ltd, Reprint 2007<\/p>\n\n\n\n

[12]<\/a>\nPicon A., Culture num\u00e9rique et architecture – Une Introduction, Birkhauser,\n2010<\/p>\n\n\n\n

[13]<\/a>\nKottas D., Architecture num\u00e9rique : Nouvelles applications, 2 volumes Links\nBooks, novembre 2013<\/p>\n\n\n\n

[14]<\/a>\nMigayrou F., Architectures non standard, Ed. du Centre Pompidou, 2003<\/p>\n\n\n\n

[15]<\/a> Jabi W., Parametric Design for\nArchitecture, L. King Publishing, 2013<\/p>\n\n\n\n

[16]<\/a> http:\/\/www.grasshopper3d.com\/<\/a> et AAD Algorithms-Aided Design, Parametric strategies using\nGrasshopper<\/p>\n\n\n\n

[17]<\/a> http:\/\/www.architectural-design-magazine.com\/view\/0\/index.html<\/a> <\/p>\n\n\n\n

[18]<\/a>\nhttp:\/\/www.evolo.us\/<\/a><\/p>\n\n\n\n

[19]<\/a>\nMoreno P., Simonnot N., Siret D., Ambiances \u00e0 vendre : la repr\u00e9sentation des\npersonnages dans les supports de promotion des projets immobiliers, in<\/em> Cahiers th\u00e9matiques > 12, F\u00e9vrier\n2013, p. 119-128.<\/p>\n\n\n\n

[20]<\/a> Broadbent G., The deep\nstructures of architecture in Signs, symbol and architecture, ed. by Broadbent,\nR.Bunt, Ch.Jenks, Chichester, Wiley, 1980, p.119-168<\/p>\n\n\n\n

[21]<\/a> \nOp.Cit<\/em>.<\/p>\n\n\n\n

[22]<\/a> Smartt Bell M., Narrative Design:\nWorking with Imagination, Craft, and Form by Bell, W. W. Norton & Company,\n2000<\/p>\n\n\n\n

[23]<\/a> Coates N., Narrative Architecture:\nArchitectural Design Primers series, AD, Wiley, 2012<\/p>\n\n\n\n

[24]<\/a>\nLe Bozec Y.,  L’hypotypose : un essai de\nd\u00e9finition formelle. In<\/em>: L’Information Grammaticale, N. 92, 2002. pp. 3-7.<\/p>\n\n\n\n

[25]<\/a>\nGracq J., La Presqu\u2019ile, Jos\u00e9 Corti, 1970, p.140<\/p>\n\n\n\n

[26]<\/a>\nBachelard G., la Po\u00e9tique de l\u2019espace, Quadrige, PUF, 1957, p.98<\/p>\n\n\n\n

[27]<\/a>\nGracq J., La Forme d’une ville, Jos\u00e9 Corti, 1989<\/p>\n\n\n\n

[28]<\/a>\nLa g\u00e9n\u00e9ration Y d\u00e9crit la g\u00e9n\u00e9ration n\u00e9e entre 1980 et 2000 voir : Dagnaud\nM., G\u00e9n\u00e9ration Y : Les jeunes et les r\u00e9seaux sociaux, de la d\u00e9rision \u00e0 la\nsubversion, Les Presses de Sciences Po, 2013<\/p>\n","protected":false},"excerpt":{"rendered":"

Evolution and assessment of a pedagogy Since 2002, the Master\u2019s students at the Graduate School of Architecture of Nantes who are enrolled in the \u201cArchitecture in Representation\u201d orientation have carried out a pioneering work in the use of digital tools. By adopting the most recent techniques and tools, they have transformed the architectural design approach, … Continuer la lecture de Archirep<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":11104,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,190,179,333,26,205],"tags":[414],"class_list":["post-11103","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-3d","category-architecture-2","category-articles","category-immersion","category-production","category-unity-2","tag-pedagogy"],"_links":{"self":[{"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/posts\/11103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11103"}],"version-history":[{"count":2,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/posts\/11103\/revisions"}],"predecessor-version":[{"id":11142,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/posts\/11103\/revisions\/11142"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=\/wp\/v2\/media\/11104"}],"wp:attachment":[{"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.keris-studio.fr\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}