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                <text>De Maillard, Jacques</text>
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                <text>Après une phase d'expérimentation au cours des années 1990, les métiers de la médiation sociale ont connu une forte croissance avec le dispositif des emplois-jeunes à partir de 1997 au travers du recrutement d'agents locaux de médiation sociale. On a pu voir dans la diffusion de ces nouveaux métiers un renouvellement des fonctions de régulation de l'espace public, assurant la présence d'un garant des lieux dans les espaces collectifs et favorisant une forme d'ordre en public sans recourir exclusivement à la répression ou à la loi. Dans une veine similaire, mais moins centrée sur les questions de contrôle de l'espace public, d'autres ont souligné qu'ils représentaient une nouvelle configuration des métiers du social, en produisant une activité reposant sur la fluidité, la mobilité et l'accompagnement, et instaurant de ce fait un nouveau type de relation avec la population. Sans que le constat soit nécessairement contradictoire, beaucoup ont également relevé la précarité de ces nouvelles activités et les difficultés de la professionnalisation, Philippe Robert parlant symptomatiquement de " néo-prolétariat de la sécurité ". En effet, ces activités souffrent d'un déficit de reconnaissance de la part des professions installées et peinent à rendre visibles leurs compétences.</text>
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                <text>Questions pénales</text>
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                <text>Les correspondants de nuit, nouveaux modes de régulation de l'espace public ?</text>
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                <text>In this paper, we propose an appraisal of combinations of several public policy measures that seem to be the most probable by 2050, for urban goods movement (UGM). The proposed scenarios follow the trends of transportation long-term issues in France and introduce the specificity of the urban geography in freight-related trips. The considered trips are those classical for freight distribution in urban areas plus those related the household purchasing behaviour. A simulation method that combines several land-use and transport interaction (LUTI) models is also proposed, in order to estimate the gains of each scenario respect to the current situation (the emissions calculated on 2006 surveyed data for the city of Lyon). Finally, we present a set of suggestions in order to reach the factor 4 for UGM and if it is realistic.</text>
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                <text>General Proceedings of the 12th World Conference on Transport Research</text>
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                <text>[SHS:ECO] Humanities and Social Sciences/Economy and finances</text>
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                <text>[SHS:GESTION] Humanities and Social Sciences/Business administration</text>
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                <text>CO2 reduction for urban goods movement: is it possible to reach the Factor 4 by 2050?</text>
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                <text>L'objectif majeur de cette communication est d'explorer une méthode pour représenter l'ambiance d'une promenade architecturale sur le mode narratif. L'article suggère que la manière de se déplacer et de regarder contribue à l'ambiance de la promenade architecturale. L'approche narrative de l'ambiance de la promenade devrait relier la cognition humaine avec les facteurs d'espace et de temps. La recherche repose sur une vaste enquête cognitive et psychologique sur l'expérience narrative des gens dans l'espace. Cependant cette contribution sera principalement consacrée à la partie technique de la recherche. Elle examinera minutieusement le projet de Peter Zumthor pour les thermes de Vals comme une étude de cas pour examiner dans quelle mesure l'ambiance de la promenade architecturale peut être représentée sous une forme narrative, en intégrant la réalité virtuelle en 3 D (RT3D) et l'analyse de la " Space Syntax " dans une structure holistique. L'objectif est d'étudier dans quelle mesure la forme narrative sous-tendant l'ambiance de la promenade pourrait être simulée analytiquement par la méthode.</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Cartographier l'ambiance d'une promenade architecturale : simulation analytique sur le mode narratif des thermes de Vals</text>
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                <text>Berenstein-Jacques, Paola</text>
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                <text>Les errances sont un type d'appropriation de l'espace urbain. Errer peut être un outil de cette expérience, un dispositif subjectif et singulier de perception de la ville. L'errance urbaine peut êtrepratiquée par n'importe qui. La question se place dans l'expérience ou pratique urbaine ordinaire. Les pratiquants de la ville actualisent les projets urbains à travers la pratique des espaces urbains. Ce sont les appropriations, ruses et improvisations qui légitiment, ou pas, ce qui a été projeté, ce sont ces expériences qui réinventent ces espaces au quotidien. La ville saisie par le corps écrit ce qu'onpourrait désormais nommer corpographie urbaine. La corpographie serait la mémoire urbaine du corps, son mode singulier d'enregistrement de son expérience de la ville. Cela nous mène à repenser les rapports entre le corps urbain et le corps du citoyen, et à percevoir pluscorporellement les villes.</text>
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                <text>Errances et corpographies urbaines</text>
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                <text>Renevier, Amélie</text>
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                <text>[Sono]graphie, comment transcrire une matière impalpable ? est un travail de recherche qui a pour but d'inventer et de créer de nouveaux outils d'analyse et de représentation de l'espace sonore. Ceux-ci se veulent de proposer un état des lieux de la dimension sonore d'un espace existant afin d'être utilisés et réinvestis en amont de la conception pour mieux maîtriser la qualité et le confort sonore. Dans un premier temps, cette contribution présente de manière succincte les nouveaux outils mis en place, tandis que dans un second temps, elle expose un projet basé sur une analyse sonore établie grâce à ces derniers. Celle-ci permettra de partir d'un programme sonore pour arriver à une mise en forme architecturale.</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/83/39/77/PDF/Ambiance2008_Renevier.pdf</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>[Sono]graphie, comment transcrire une matière impalpable ?</text>
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                <text>Böhme, Gernot</text>
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                <text>The art of stage setting is of central value for the esthetic theory of atmosphere in many respects. Atmospheres seem to be something vague, something of disputable ontological status. But in the artof stage setting we have a long tradition of talking about atmospheres and of practical skills to deal with atmospheres. Atmospheres seemto be something irrational, something numinous. But stage setting proves that we can "make" atmospheres. Atmospheres seem to be something essentially subjective. But the whole art of stage setting would be in vain, if it was not possible to produce atmospheres on the stage which were not perceived in the same way be a broader audience. The theory of atmospheres starts as an esthetic of perception; as such it is a quite recent approach. But much can be learned fromthe perspective of production. Stage setting since antiquity has accumulated quite a lot of knowledge of atmospheres. These are thereason why it is worth to study stage setting and talk with stage setters when trying to enhance the esthetic theory of atmospheres</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>Un paradigme pour une esthétique des ambiances : l'art de la scénographie</text>
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          <element elementId="38">
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                <text>Grenoble</text>
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                <text>Blum, Élisabeth</text>
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                <text>The research on urban atmospheres goes along with the idea to produce a knowledge that can be useful for urban planners. My presentation acts in the assumption that research should establish a typology of atmospheres if it wants to besom an instrument for planners. I will present three types of urban atmospheres that result from a research project. Discussing the conditions of the emergence of the tree types of atmospheres I will show that there are a number of environmental factors that cannot be controlled by urban planners. I conclude that a typology can nevertheless help to understand the elements that influence the appearance of urban atmospheres and therefore facilitate the communication among planners about the lived quality of urban space.</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00833801</text>
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              <elementText elementTextId="476578">
                <text>http://halshs.archives-ouvertes.fr/docs/00/83/38/01/PDF/Ambiance2008_Blum.pdf</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
              </elementText>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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              <elementText elementTextId="476583">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
              </elementText>
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                <text>[SHS:PHIL] Humanities and Social Sciences/Philosophy</text>
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                <text>sensible</text>
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                <text>Lucerne laboratoire urbain (SLL) : Ambiances induites par des espaces et des objets urbains un projet d'étude 2007-2008</text>
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                <text>Grenoble</text>
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              <elementText elementTextId="476556">
                <text>Dominguez Ruiz, Ana Lidia M.</text>
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                <text>2011</text>
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              <elementText elementTextId="476558">
                <text>The presence of noise is an essential element in defining urban environments. The central hypothesis of this work is that noise is the acoustic expression of urban life ; that is to say, noise incarnates typical urban phenomena. A group of images and recurrent situations in the city reveal the existent relationship between the urban way of life and certain sound phenomena. In this case, the focus of my work is the Mexico City subway (known as "metro"). The metro experience is a representative situation of urban life in general, and particularly of Mexico City.</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00833925</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/83/39/25/PDF/Ambiance2008_DominguezRuiz.pdf</text>
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                <text>Creating an atmosphere|Faire une ambiance</text>
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              <elementText elementTextId="476563">
                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>Peut-on imaginer, ressentir ou créer une ambiance sans tous convoquer tous nos sens à la fois ? Pour la conception et l'usage ordinaire, la multisensorialité semble aller de soi. Et l'architecture est un des rares arts qui s'adresse de fait à tous les sens : parcourue, elle fait voir, entendre, sentir en même temps. Mais on a pris l'habitude de penser le sensible en découpant les sens. Les métiers relatifs aux ambiances (acousticien, éclairagiste...), couvrent des champs sensoriels spécifiques et bien séparés.</text>
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                <text>Le but du colloque " Faire une ambiance ", premier pas d'un réseau international, est d'interroger la nature concrète et la facture de l'ambiance à partir de trois questions. - Qu'est ce qui fait UNE ambiance ? Il s'agit de savoir où en sont les savoirs et les techniques spécialisés, modélisation numérique comprise, sur la question de la synthèse des ambiances. A t-on avancé sur la question essentielle : " Qu'est ce qu'une ambiance ? ". Que peut-on dire sur le vécu usuel des ambiances urbaines et architecturales? A côté des connaissances neurophysiologiques en plein développement et qui revisitent de manière féconde les notions de synesthésie et d'empathie, d'orientation spatiale, par exemple, la figure phénoménologique de l'habitant et celle, sociologique, de l'usager sont ici des objets centraux de réflexion. - Comment se fabrique une ambiance ? Le deuxième thème vise à consulter et confronter les leçons issues de la pratique des grandes catégories de " faiseurs d'ambiance " (artistes, cinéastes, musiciens, designers, paysagistes, scénographes urbains, etc.). On devrait pouvoir montrer aussi la possibilité de transmettre et communiquer plus largement les leçons de ces savoir-faire. Il est de moins en moins acceptable que le design d'environnement et d'espaces publics ne soit pas souvent objet d'échanges, de discussions raisonnées et s'impose sur le mode de décision artistique ou/et politique. - Comment fait-on une ambiance dans le projet d'architecture et d'urbanisme ? Existe-t-il des configurations architecturales et urbaines autres que celle du projet appliquant strictement les normes de confort réglementaires ? Une première exploration en ce sens sera inévitablement historique et géographique. Avant l'essor de la physique appliquée, et porté par la tradition et les coutumes, il existait déjà un savoir composer une atmosphère issue d'une négociation culturellement référencée entre les différents " facteurs d'ambiance ", tels qu'on les distingue aujourd'hui. Deuxième exploration, n'y a-t-il pas aujourd'hui un savoir pratique qui devrait être mis au jour plus clairement? L'architecte subissant la pression normative et les habitudes de la profession, produit pourtant de facto une synthèse ambiantale qui, va bien au-delà du réglementaire et ne manque pas d'avoir des effets parfois considérables. La troisième exploration sera prospective et s'inquiétera de l'aide à la conception et à la décision. Qu'est ce que les outils de synthèse actuels peuvent nous promettre sur la maîtrise unitaire de l'ambiance? Quelles sont les limites de cette ambition en fonction des conditions économiques, culturelles et sociales propres aux lieux d'intervention ?</text>
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                <text>In the professional field of Architecture and Urban planning we can hear three common sayings : "Atmosphere is a lot of hot air", "Atmosphere is of secondary importance", and "Atmosphere is a luxury, an aesthetic surplus". The conference wonders about these three sentences and from that moment on improve the ontological nature of atmosphere or ambiance. This conference is trying to prove that atmosphere is of primary importance, atmosphere is basically a question of aesthetics and the aesthetic of atmospheres is also an ethos.</text>
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                <text>L'expérimentation de quatre techniques d'enquêtes a permis de montrer qu'un individu, lorsqu'il se voit interrogé sur son rapport à l'espace, a tendance à s'exprimer davantage sur sa personne que sur le lieu en question. Le lieu, sans pour autant être insignifiant, n'apparaît donc pas l'élément primordial d'une ambiance ressentie même s'il y participe certainement. Ce point souligne la difficulté pour les concepteurs d'espaces (architectes, urbanistes, paysagistes) de " faire une ambiance ". Il s'agit alors de mettre en évidence les types d'éléments constitutifs du rapport que l'individu entretient avec l'espace, à savoir si ceux-ci réfèrent à l'individu en tant que personne unique douée d'affectivité, d'émotion, de sentiments mais aussi de raison etc. ou s'ils renvoient aux caractéristiques du lieu en présence (composition matérielle et/ou symbolique).</text>
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                <text>L'interaction corps/environnement est une des voies privilégiées d'accès aux phénomènes d'ambiance. Le corps en action est un senseur capable de révéler une ambiance, et cela parce qu'il engendre ambiance et s'engendre dans l'ambiance. Le corps au singulier s'ouvre ainsi à l'extérieur en termes de corps en ambiance, voire même de corps d'ambiance. L'installation RéfleCT/Xions, présentée sur le site de la Bastille à Grenoble, durant la semaine Enactive07, a exploré les mécanismes primaires de cette interrelation de l'ambiance entre l'homme et l'environnement qu'il habite, en s'appuyant sur des principes de réflexion, d'amplification et de manipulation sensorielle des actions propre du corps. Le parcours qui était proposé devenait ainsi l'opportunité d'une prise de conscience de la perméabilité corps-environnement à travers l'altération des effets sensibles et des traits identitaires caractérisant une ambiance. Pour cela, la " mise en scène " proposée interagissait de manière active sur la réponse visuelle, sonore et tactile que le parcours offrait au visiteur. Le pas et la dynamique du corps à travers l'espace devenant les objets centraux de cette exploration.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>La production moderniste de Jacques Marmey en Tuisie - Une référence d'ambiance</text>
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                <text>L'habitat individuel dense est une forme d'habitat collectif qui offre " des promesses d'intimité ". Cependant, dans les faits, la mitoyenneté et la proximité du voisin peuvent être perçues comme obstacle à la construction du chez-soi. En prenant appui sur ce paradoxe, notre recherche s'est attachée à apporter des éléments de réponse à la question suivante: Quelles stratégies mises en œuvre par les habitants leur permettent de maintenir leurs voisins à une " juste " distance afin d'une part de construire leur confort personnel et d'autre part de " vivre ensemble "? Ces stratégies sont plus ou moins orientées sur soi ou vers l'environnement extérieur. Elles s'incarnent dans les dispositifs détournés et parfois développés par les habitants et dans les comportements dont ces dispositifs sont le support. Elles font appel à une ou plusieurs sensorialités et constituent au fil de l'habiter un véritable langage sensible.</text>
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                <text>Cette communication se donne pour ambition de réfléchir sur la création d'ambiance en établissant un parallèle avec la rhétorique, la manière par laquelle l'orateur influence son public par sa présence physique et sa maîtrise du langage. La présence physique est aussi le point central de l'ambiance et je voudrais développer ce parallélisme entre rhétorique et ambiance, introduit par l'esthétique philosophique au cours de ces dernières années. Même si on ne parle pas habituellement d'ambiance dans la rhétorique, je propose d'examiner si le persuasio de la rhétorique peut s'apparenter aux conditions de la création d'ambiance.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Les éléments de persuasion dans l'étude des ambiances</text>
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                <text>Nous présentons ici une réflexion à propos des espaces publics en tant qu'espaces et ambiances devant être conçus par le biais d'un projet. Cette réflexion met en avant les difficultés de prise en compte, par le concepteur, de la mutabilité dans le temps des ambiances qui caractérisent ces espaces. Des expériences pédagogiques menées dans le cadre de l'enseignement du paysage à la Faculté d'Architecture et d'Urbanisme de l'Université Fédérale de Rio de Janeiro au Brésil, ont montré une réelle incapacité de étudiants à transposer les résultats de l'analyse des sites d'intervention vers le projet ou, en tous cas, une faible utilisation de ces diagnostics dans la construction des arguments des propositions d'intervention.</text>
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                <text>Du projet dans l'analyse - Les intentions d'ambiance dans l'enseignement du paysage</text>
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                <text>Est-il juste de dire que l'architecte est à même de faire une ambiance? N'est-ce pas, dans une certaine mesure, un abus de langage? Quelles acceptions donner à l'expression " faire une ambiance "? Pour développer ce questionnement, objet de cet article, nous devons confronter dans une même réflexion la notion théorique d'ambiance aux pratiques de conception en architecture.</text>
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                <text>1st International Congress on Ambiances, Grenoble 2008</text>
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                <text>Concevoir une ambiance en architecture ?</text>
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                <text>Ambiance et environnement. Il est très courant aujourd'hui d'assister à une vaste et vague utilisation de ces deux termes. Par cette contribution, je vais essayer d'analyser quelques étapes importantes qui expliquent l'introduction, ou plutôt la théorisation de ces deux notions en architecture. Tout en révélant des différences sémantiques nettes, l'utilisation des termes " ambiance " et " environnement " caractérise une approche particulière spécifique à la période des années 1950 et 1960. Par la manière dont ces termes ont été utilisés et rapprochés au projet architectural, on évoque quelques repères fondateurs. Ces exemples s'appuient fondamentalement sur l'apport des nouvelles technologies capables de maîtriser les flux qui habitent la forme bâtie. L'ambiance et l'environnement rentrent dans le langage architectural associés à une conception technologiste de la modernité.</text>
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                <text>Ambiance et environnement : quelques repères en architecture</text>
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                <text>De Gortari Ludlow, Jimena</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476335">
                <text>2011</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476336">
                <text>Le résultat de la recherche faite pour la conception et la construction des chuchotements, a donné lieu à une intervention dans le " Mapapoètic " (ensemble des différentes actions autour du FORUM 2004 de Barcelone). Beaucoup d'objets, d'architecture acoustique, ont été créés par cet auteur. La conception du dessin a été développée pour la rencontre de deux personnes. L'objet réalisé permet la communication à des niveaux sonores très bas. Ils sont parfaitement perceptibles dans les niveaux élevés avec un excédent de chuchotement du bruit de ville de fond. Deux modèles ont été construits ; le premier de 4 mètres en tant qu'ameublement urbain et un autre très réduit comme ameublement mobile. En ce moment, d'autres sont en cours de création.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="476337">
                <text>http://halshs.archives-ouvertes.fr/halshs-00836218</text>
              </elementText>
              <elementText elementTextId="476338">
                <text>http://halshs.archives-ouvertes.fr/docs/00/83/62/18/PDF/Ambiance2008_Daumal_GortariLudlow.pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476339">
                <text>FRE</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="476340">
                <text>Creating an atmosphere|Faire une ambiance</text>
              </elementText>
              <elementText elementTextId="476341">
                <text>1st International Congress on Ambiances, Grenoble 2008</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476342">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
              </elementText>
              <elementText elementTextId="476343">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
              </elementText>
              <elementText elementTextId="476344">
                <text>[SHS:PHIL] Humanities and Social Sciences/Philosophy</text>
              </elementText>
              <elementText elementTextId="476345">
                <text>architecture</text>
              </elementText>
              <elementText elementTextId="476346">
                <text>sensible</text>
              </elementText>
              <elementText elementTextId="476347">
                <text>perception</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476348">
                <text>Chuchotements pour la cité</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="476349">
                <text>conference proceeding</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
