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d’évaluation et d’expérimentation de ce qui doit être maintenu ou l’inscrivant dans la continuité. Une approche de la CRISE ne devrait-elle
déstructuré afin d’assurer les conditions de la Crise. pas être un moment de CHOIX plutôt que telle une catastrophe subie ?
Cet ART de la CRISE vue ainsi ramène l’Architecture au premier plan
Formes de la Crise dans la manière de percevoir et de concevoir l’URBAIN.
Il s’agit de créer des architectures qui sont capables de se structurer Extraits : L’aventure sémiologique de Roland Barthes ; La fabrique des images F.Ferrari ; L’architecture
ou se déstructurer dans le temps tout en maintenant une identité et en comme art de la crise de M. Stathopoulos.

THE CRISIS and the impact on its evolution

by Suzanne Belaieff
THE TYPICAL SIGN and nature, and comprising places endowed and structured as well as the adaptation to the
The sign is composed of a signifier and a with identity, history of a long-term structure, unexpected. The Art of Crisis is indeed an art
signified. a process between human work and nature. of improvisation, a choice at the moment of
The signified is a psychical representation of Considering a benchmark scale that can have crisis which is part of a longer-term structured
the thing. a major qualitative impact, the identification of programme. The Art of Urban Crisis includes
The signifier’s essence is always material. a scale of coherence is a possible means of the ability to evaluate and experiment with
Together they form the typical sign. harming the Art of Crisis project at all Urban what needs to be maintained or destructured
levels. By defining as a benchmark, a scale of in order to secure the conditions of the Crisis.
The image, as a formal recomposition in the coherence that is more meaningful than others,
face of the fragmentation of the players and the Art of the Urban Crisis can provide the Forms of Crisis
territories, is clearly confirmed by the changes framework in which to understand its validity It is about creating architecture that is capable
in dynamics between the confirmation and in relation to the scale. Politics is born and also of structuring or destructuring over time while
design of Architecture; in fact, there is no finds “its link between men” in a divided milieu. maintaining an identity and inscribing it in
longer a clear division because the roles The conflict between humanity and nature is continuity. Shouldn’t an approach to CRISIS be
overlap and merge, particularly where the discarded in favour of the study of humans a moment of CHOICE rather than an undergone
developer, the promoter and the designer are IN nature. catastrophe? ART of CRISIS looked at this way
concerned when interpreting the universes of brings Architecture back to the foreground by
the private and public project owners by an Crisis Architecture perceiving and conceiving the URBAN.
incessant reshuffling of elusive stakeholders. The term “Architecture is now rich in symbolic
We are witnessing the upheaval of the decision- and philosophical deployment. When the Excerpts: The semiological adventure of Roland Barthes; The
F.Ferrari image factory; Architecture as the art of crisis by M.
making processes in accordance with unstable “semantic halo” is vast, they are characterised Stathopoulos.
dynamics. Seeking to compensate for the by a common denominator. What generates
fragmentary nature of reality entails the risk of the Art of the Urban Crisis is the drawing of
misidentifying the real players, their rivalries and the urban environments, moving away from
their divisions, and must imperatively identify the connotation of architecture maintained by
the urban area with geographical precision and the “establishment”, the latter confines it to the
administrative clarity at a time when urban building, distinguishing between architecture
symbolism, the made image, holds the banner and urbanism.
to rally. In all cases, the object-architecture is
reduced to an image designed to appeal. A Architects of Crisis
historical perspective is necessary, “it identifies It is characterised by responsibility for the work.
genealogies, filiations and places the objects, The structure of the establishment tends to
the people and their words in their respective leave less and less room for the fields in which
contexts”. It gives -based depth to the space. these necessary forms of adaptability can
NO, no more reducing Architecture to a mere be deployed. It is no coincidence that urban
communications tool! alternatives do not usually emerge from official
NO, to making style a fashion by reducing frameworks but are initiated by inhabitants,
Architecture to the two dimensions of an architects; that is, an openness to risk taking
iconic image! that implies reconsidering those who can be
We are witnessing the separation between “called architects”. There can be no Art Crisis
aesthetics and function, a problematic WITHOUT architects.
relationship between signifier and signified; the
architectural object loses all its authority over Crisis Tactics
the thing because it is “emptied” of meaning and Even if architecture is inscribed and evolves
understood as such. The territory represents in time, it is the response to the needs and © depositphotos/digitalsignal L’arbre blanc à Montpellier construit par les agences
a highly complex “living organism”, resulting aspirations that are at the origin. Cohabitation Sou Fujimoto Architects, Laisné-Roussel et OXO Architectes.
The Arbre blanc in Montpellier built by the Sou Fujimoto agencies
from the encounter between cultural events is necessary between what is “past” a priori Architects, Laisne - Roussel and OXO Architects.

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