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&#13;
The reconstruction of Berlin, after the massive destruction it suffered in World War II, was complicated in two fundamental ways. First was the question of historical continuity. On the one hand, there was a desire to reconstruct: to repair a damaged but extant city or, more broadly, to continue its best traditions in architectural style, social policy, and economic development. On the other hand, everyone in charge was determined to break demonstratively with the immediate past, that is, with the Third Reich; but they did not agree about which cultural, architectural, or urbanistic traditions were the Nazi ones. The second complication arose from the fact that the city was soon divided between two ideologically opposed regimes in east and west, each determined to claim the legacy of pre-Nazi Berlin, to display the clearer break with Hitler, and to prove its cultural and political superiority. Under these complicated circumstances, the rebuilding of Berlin became one of the most visible venues of the early Cold War, even as it remained a matter of basic comfort and prosperity for ordinary Berliners.   &#13;
&#13;
Brian Ladd is an historian and former Fellow of the American Academy in Berlin.</text>
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&#13;
September 11th and the City &#13;
&#13;
Ralph Waldo Emerson once wrote "The test of civilization is the power of drawing the most benefit out of cities." The test of terrorism, then, may well be the power to inflict the greatest harm to those same centers of culture, commerce, and exchange. This is something that the September 11 terrorists well understood. Mohamed Atta was a man well acquainted with the power and majesty of cities--and presumably their durability and resilience. He was trained as an engineer, architect and urban planner. Yet, warped by fundamentalism, Atta became the "perverted dreamer" that E. B. White imagined decades ago in Here is New York, a man who would "loose the lightning" on Manhattan and attempt to destroy it, symbolically and literally. And even as the rubble of the World Trade Center smoldered in the days and weeks following September 11, pundits in the United States, too, foretold of the death of downtown and the end of the city as we know it. But cities have endured trauma and violence for millennia, much of it far worse than that unleashed by Mohamed Atta on September 11. Any study of the city in history will reveal that human settlements possess an essential ability to resurrect themselves in the wake of devastation, a point that the Resilient City colloquium hopes to reaffirm.  &#13;
&#13;
Urban Trauma and the Resilience of Cities &#13;
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This paper examines the near-ubiquity of urban resilience by analyzing the concepts of trauma, recovery, and remembrance. It questions the definition of "resilience," by exploring the relationship between recovery of the built environment and other ways that a "return to normalcy" may be measured. Urban trauma, like urban resilience, takes many forms, and can be categorized in many ways. First, there is the scale of destruction-which may range from a small single precinct to an entire city (or, potentially, an even larger area). Second, one may rank these traumas in terms of their human toll, as measured by deaths and disruption of lives. Third, one may organize these destructive acts according to their presumed cause-some result from the largely-uncontrollable forces of nature, such as earthquakes and floods; others are hybrids of natural forces and human action, such as fires; while still others result more wholly from deliberate human will, whether executed by conquering armies, aerial bombardment, or terrorist strikes. It is not enough to ask general questions about urban recovery; we must ask who recovers which aspects of the city, and by what mechanisms. The process of post-disaster recovery is a window into the power structure of the society that has been stricken. Similarly, to ask about remembrance is to inquire how what is remembered gets constructed, when, and by whom.   &#13;
&#13;
Thomas J. Campanella is a Faculty Fellow of the Institute for the Arts and Humanities at the University of North Carolina, and a former Fulbright fellow at the Chinese University of Hong Kong.&#13;
&#13;
Lawrence J. Vale is a Professor and Head of the Department of Urban Studies and Planning, MIT School of Architecture and Planning.</text>
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Alain Musset</text>
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                <text>&lt;div&gt;Intervention d'&lt;a href="http://crevilles.org/mambo/index.php?option=com_content&amp;amp;task=view&amp;amp;id=2173&amp;amp;Itemid=179"&gt;Alain Musset&lt;/a&gt;, directeur d'&amp;eacute;tudes &amp;agrave; l'&lt;a href="http://www.ehess.fr/fr/" target="_blank"&gt;EHESS&lt;/a&gt;, dans le cadre du s&amp;eacute;minaire &amp;quot;Repr&amp;eacute;senter la ville&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Pr&amp;eacute;sentation par le diffuseur :&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
En utilisant les outils d&amp;rsquo;une g&amp;eacute;ographie historique et culturelle, situ&amp;eacute;e au croisement de plusieurs disciplines et de plusieurs m&amp;eacute;thodologies, le but de ce s&amp;eacute;minaire est d&amp;rsquo;analyser les modes de perception et de repr&amp;eacute;sentation de l&amp;rsquo;espace qui influent sur l&amp;rsquo;organisation et l&amp;rsquo;am&amp;eacute;nagement des territoires urbains, plus particuli&amp;egrave;rement en Europe et en Am&amp;eacute;rique latine, mais aussi dans d&amp;rsquo;autres aires culturelles (Asie, Afrique).&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Parties :&lt;/b&gt;&lt;br /&gt;
Introduction&lt;br /&gt;
La cause du d&amp;eacute;placement : l'irruption volcanique &lt;br /&gt;
L'interpr&amp;eacute;tation de la catastrophe&lt;br /&gt;
Le d&amp;eacute;placement : proc&amp;eacute;dure administrative et pratiques socioculturelles &lt;br /&gt;
L'arriv&amp;eacute;e et la construction de la nouvelle ville &lt;br /&gt;
Le m&amp;eacute;moire de l'histoire &lt;br /&gt;
Conclusion : le syst&amp;egrave;me de repr&amp;eacute;sentation h&amp;eacute;rit&amp;eacute;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
&amp;laquo;Cet ouvrage s&amp;rsquo;apparente &amp;agrave; un casting de personnages romanesques. Ils ont en commun d&amp;rsquo;avoir reconnu leur obsession au contact d&amp;rsquo;une ville assi&amp;eacute;g&amp;eacute;e. Choisis parmi cette triste galerie l&amp;rsquo;uniforme ou les traits qui te si&amp;eacute;ront au mieux. Tu es maintenant libre d&amp;rsquo;aller arpenter les ruines.&amp;raquo;&lt;br /&gt;
&lt;br /&gt;
Albert Speer, Naram-S&amp;icirc;n d&amp;rsquo;Akkad, Scipion &amp;Eacute;milien, Irma Schrader, Shang Yang, Stig Dagerman, Shahpur Ier, Bernardo Bellotto... A travers des portraits de vainqueurs, de vaincus ou de simples t&amp;eacute;moins, ce livre raconte une histoire du monde sous la forme d&amp;rsquo;un seul et m&amp;ecirc;me panorama de villes effondr&amp;eacute;es, depuis la M&amp;eacute;sopotamie d&amp;rsquo;avant l&amp;rsquo;&amp;eacute;criture jusqu&amp;rsquo;au Ground Zero de l&amp;rsquo;apr&amp;egrave;s 11 septembre.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Entre digression &amp;eacute;rudite et narration r&amp;ecirc;veuse, &lt;b&gt;Jean-Yves Jouannais&lt;/b&gt; compose, sur les d&amp;eacute;combres de notre m&amp;eacute;moire, un inventaire &amp;agrave; la fois fantaisiste et raisonn&amp;eacute; des pires traumatismes de guerre.&lt;/div&gt;
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22 mars 2012

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&amp;nbsp;&lt;/div&gt;
Le 25 ao&amp;ucirc;t 79, l&amp;rsquo;&amp;eacute;ruption du V&amp;eacute;suve d&amp;eacute;truisit la cit&amp;eacute; romaine de Pomp&amp;eacute;i, ensevelissant sous une pluie de cendres les fugitifs dont les corps, saisis sur le vif &amp;agrave; l&amp;rsquo;instant de leur mort, ont &amp;eacute;t&amp;eacute; conserv&amp;eacute;s jusqu&amp;rsquo;&amp;agrave; nous. Qui &amp;eacute;taient ces hommes et ces femmes ? Comment vivaient-ils ? Que peuvent-ils nous apprendre de la vie quotidienne des Romains au Ier si&amp;egrave;cle de notre &amp;egrave;re ?&lt;br /&gt;
&lt;br /&gt;
Loin des id&amp;eacute;es re&amp;ccedil;ues, s&amp;rsquo;appuyant sur les enseignements les plus r&amp;eacute;cents de l&amp;rsquo;arch&amp;eacute;ologie et sur les textes des historiens, philosophes, romanciers et po&amp;egrave;tes latins, Mary Beard redonne vie &amp;agrave; la cit&amp;eacute; antique. Richement illustr&amp;eacute;, le livre explique l&amp;rsquo;usage et la signification de diff&amp;eacute;rents objets trouv&amp;eacute;s sous les cendres, d&amp;eacute;crit l&amp;rsquo;am&amp;eacute;nagement des maisons modestes comme des propri&amp;eacute;t&amp;eacute;s luxueuses, les commerces, les activit&amp;eacute;s quotidiennes et les jeux, le fonctionnement politique de la cit&amp;eacute;, ses liens avec Rome. Nous y croisons Scaurus, le vendeur de garum, Eumachia, la pr&amp;ecirc;tresse qui apporta son soutien &amp;agrave; la construction d&amp;rsquo;un des plus grands b&amp;acirc;timents de la ville, Celadus, le gladiateur vedette et bourreau des coeurs, le banquier Jucundus dont les tablettes de cire contiennent les archives de plusieurs d&amp;eacute;cennies de transactions financi&amp;egrave;res, des peintres d&amp;rsquo;affiches &amp;eacute;lectorales, des tenanciers, des &amp;eacute;diles...&lt;br /&gt;
&lt;br /&gt;
La c&amp;eacute;l&amp;egrave;bre cit&amp;eacute; antique rena&amp;icirc;t alors sous nos yeux dans un livre qui parvient &amp;agrave; allier grande rigueur scientifique et plaisir de lecture.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Mary Beard&lt;/b&gt; est professeur d&amp;rsquo;Histoire antique &amp;agrave; l&amp;rsquo;universit&amp;eacute; de Cambridge.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Hazan

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&amp;nbsp;&lt;/div&gt;
Contrairement &amp;agrave; ce que l'on pourrait croire, la Seconde Guerre mondiale correspond en fait &amp;agrave; un intense ensemble d'exp&amp;eacute;riences architecturales observ&amp;eacute;es dans les pays en guerre du bombardement nazi de Guernica en 1937 &amp;agrave; la frappe atomique sur Hiroshima de 1945.&lt;br /&gt;
&lt;br /&gt;
Du Japon aux Etats-Unis, en passant par la Russie, l'Allemagne, la France, l'Italie, l'Espagne et le Royaume-Uni, pour la premi&amp;egrave;re fois, sont analys&amp;eacute;s en d&amp;eacute;tail ici les &amp;eacute;pisodes clefs dans le processus de modernisation qu'ont entra&amp;icirc;n&amp;eacute;s la pr&amp;eacute;paration de la guerre, la mobilisation totale des territoires et des villes, leur occupation, leur destruction et leur reconstruction.&lt;br /&gt;
&lt;br /&gt;
Largement illustr&amp;eacute; de dessins, de photographies, des cartes et affiches in&amp;eacute;dits ou oubli&amp;eacute;s, cette &amp;eacute;tude porte particuli&amp;egrave;rement sur la question de la guerre a&amp;eacute;rienne d&amp;eacute;clar&amp;eacute;e aux villes, sur les b&amp;acirc;timents des usines d'aviation ou d'armement, sur l'engagement des architectes dans le camouflage, sur la r&amp;eacute;alisation des grands projets tel que le Pentagone et sur l'ombre port&amp;eacute;e de la guerre apr&amp;egrave;s 1945.&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://crevilles.org/mambo/index.php?option=com_content&amp;amp;task=view&amp;amp;id=6908&amp;amp;Itemid=222"&gt;Cet ouvrage est le catalogue officiel de l'exposition au centre canadien d'architecture de Montr&amp;eacute;al &amp;agrave; partir du 12 avril 2011.&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Jean-Louis Cohen&lt;/b&gt; est architecte et historien, professeur &amp;agrave; l'institut fran&amp;ccedil;ais d'Urbanisme (Universit&amp;eacute; de Paris VIII) et &amp;agrave; l'Institute of Fine Art de NewYork University&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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