Le carrelage peint : imitation ou adaptation des carreaux de faïence ?

La découverte d’un carrelage peint dans un ancien pavillon bâti en 1711 pour la princesse de Conti, à Bougival, est mise en relation avec deux carrelages en faïence du château de Marly : celui des bains, aménagé en 1688, et celui des bassins, aménagé en 1712. Ainsi, le carrelage mural reproduit l’assemblage des carreaux de faïence de Saint-Cloud, posés sur les parois des bassins de Marly, tandis que le choix de ce motif permet d’évoquer la présence d’une salle de bains dans le pavillon de Bougival. Ces liens sont établis à partir du croisement des sources d’archives, des vestiges retrouvés lors de fouilles archéologiques et du décor conservé. La substitution du décor peint au décor en faïence est analysée comme une adaptation des moyens techniques qui n’altère pas la finalité décorative spécifique d’un carrelage.The discovery of a stone floor painted in a former detached house built in 1711 for the princess of Conti, in Bougival, is matched with two stone floors in earthenware of Marly’s castle : that of the baths, fitted out in 1688; that of the ponds, fitted out in 1712. So, the wall stone floor reproduces the assembly of the earthenware tiles of Saint-Cloud put on the walls of Marly’s ponds, whereas the choice of this pattern allows to evoke the presence of a bathroom in the detached house of Bougival. These links come from the crossing of archives, vestiges found during archaeological excavations, and wall pattern. The substitution of the decoration painted to the decoration in earthenware is analyzed as an adaptation of the technical means which does not distort the specific ornamental purpose

Archives et vestiges de la grotte du château de Noisy

La grotte du château de Noisy a été bâtie en 1582 pour Albert de Gondi. Elle se trouvait au rez-de-chaussée d’un grand pavillon au cœur d’un vaste jardin en terrasses, avant d’être démolie en 1732. Plusieurs témoignages en ont gardé le souvenir, notamment des gravures de Jean Marot, une longue description et une série de plans datant de la fin du xviie siècle, à l’époque où la propriété avait été acquise par Louis XIV. Intégré au domaine royal dans la forêt de Marly, le site a été préservé. Des fouilles archéologiques ont pu y être entreprises en 2017 et 2019. Elles ont mis au jour les fondations de la grotte et une partie des décors, encore en place ou mêlés à la couche de remblais issus de la démolition. Ces décors associent, dans des supports en plâtre, une grande variété de rocailles et de coquilles, ainsi que des éléments dorés et sculptés. L’analyse des archives et des vestiges met en évidence la richesse et la complémentarité des sources pour retracer l’histoire et les conditions de la fabrication de ce qui fut probablement un chef-d’œuvre d’architecture et de décoration de la Renaissance.The grotto of the chateau de Noisy was built in 1582 for Albert de Gondi. It was located on the ground floor of a large pavilion in the centre of a wide terraced garden, before being demolished in 1732. Several evidences have been preserved, including engravings by Jean Marot, a long description and a series of plans dating from the end of the 17th century, when the property was acquired by Louis XIV. Integrated into the royal domain in the Marly forest, the site has been preserved. Archaeological digs could be undertaken in 2017 and 2019. They revealed the foundations of the grotto and part of the decorations, still in place or mixed with the layer of embankments resulting from the demolition. These decorations combine, in plaster supports, a wide variety of rockeries and shells, as well as gilded and sculpted elements. The analysis of the archives and remains highlights the abundance and complementarity of the sources to trace the history and conditions of the making of what was probably a masterpiece of Renaissance architecture and decoration

Emmanuel Lurin (dir.), Le Château-Neuf de Saint-Germain-en-Laye

Ce livre est la première grande monographie consacrée au second château royal de Saint-Germain, dit le Château-Neuf, bâti vers 1600 et démoli vers 1780. La brève existence de ce somptueux domaine et la disparition presque totale des bâtiments et des jardins se sont probablement conjuguées pour diminuer son importance dans l’histoire de l’architecture et des jardins. C’est donc à la tâche salutaire de rassemblement des sources et de leur analyse que s’est attachée l’équipe dirigée par Emmanuel..

Le décor de la grotte de Noisy: résultat des fouilles de 2017

Albert de Gondi, Duke of Retz, had a grotto built in 1582 in the gardens of his château de Noisy (now in Bailly near Saint-Germain-en-Laye). Destroyed in 1732, it was known for its engraved views and long description. Its location, which did not subsequently change, is situated in a forest area, which made it possible to organise a first archaeological excavation in 2017. Among the main discoveries were a section of the decoration still in place, consisting of shells and rockeries, mouldings and decorative fragments, vaults in gilded and painted plaster, carved stones, and paving or hydraulic elements. The analysis of the remains, which is in progress, and the continuation of the excavations, planned for 2019, will make it possible to determine the origin of the materials and the methods of their construction in order to establish the links between the Grotto of Noisy and the Florentine origin of its commissioner and of its decorator

Introduction

De l’étude de la préhistoire à celle du contemporain, l’archéologie et l’histoire concourent à la compréhension des sociétés et contribuent à la connaissance du passé technique. L’objet de ce dossier est de présenter un ensemble de recherches qui font se croiser l’histoire et l’archéologie, ainsi que l’anthropologie en tant que science historique, autour de l’histoire des techniques. Il ne s’agit pas ici d’ajouter une publication à la liste des ouvrages, numéros de revues, articles, colloques..

Produção cinematográfica brasileira: o design estratégico para formulação de projetos competitivos

The principal aim of this article is analyzing the forms of financing the Cinema in Brazil. These forms are influenced by economical patterns with nature aesthetics-productive and by the popular techno-aesthetical pattern. The meeting of these patterns provokes a tension, made, on one hand, by the expression of popular identitarian preferences, and, on the other hand, by the interests of the agents who support film production. Focusing on the Brazilian Cinema Novo from the 1960s, it is brought context data and reflections that might lead the comprehension of the actual reality of filmmaking in Brazil, which is an ambience occupied by many agents since the conception of the projects up to their commercialization. It is suggested that innovative projects guided by the strategic design should make scenarios that consider the two tendencies in contrast, in a way that this economical segment keeps competitive in contemporary development of entertainment industry.Key words: cinema, project, innovation, competitiveness, patterns, scenarios.Este trabalho tem como principal objetivo discutir os modos de financiamento do cinema brasileiro, os quais são afetados pela confluência de padrões econômicos de natureza estético-produtiva e tecno-estéticos populares. Dessa confluência decorre a tensão, de um lado produzida pela expressão das preferências populares identitárias e, de outro, pelos interesses dos agentes que financiam a produção. Com foco no chamado Cinema Novo dos anos 60, são trazidos dados de contexto e reflexões que devem nortear a compreensão da realidade atual da produção cinematográfi ca brasileira, ambiente marcado pela pluralidade de agentes que atuam no processo de produção desde sua fase de concepção à comercialização. Propõe-se que projetos inovadores orientados pelo design estratégico tracem cenários que contemplem as duas forças que se contrapõem, de tal sorte que esse segmento da economia se mantenha competitivo no espaço contemporâneo de desenvolvimento da indústria do entretenimento.Palavras-chave: cinema, projeto, inovação, competitividade, padrões, cenários

Produção cinematográfica brasileira: o design estratégico para formulação de projetos competitivos

The principal aim of this article is analyzing the forms of financing the Cinema in Brazil. These forms are influenced by economical patterns with nature aesthetics-productive and by the popular techno-aesthetical pattern. The meeting of these patterns provokes a tension, made, on one hand, by the expression of popular identitarian preferences, and, on the other hand, by the interests of the agents who support film production. Focusing on the Brazilian Cinema Novo from the 1960s, it is brought context data and reflections that might lead the comprehension of the actual reality of filmmaking in Brazil, which is an ambience occupied by many agents since the conception of the projects up to their commercialization. It is suggested that innovative projects guided by the strategic design should make scenarios that consider the two tendencies in contrast, in a way that this economical segment keeps competitive in contemporary development of entertainment industry.Key words: cinema, project, innovation, competitiveness, patterns, scenarios.Este trabalho tem como principal objetivo discutir os modos de financiamento do cinema brasileiro, os quais são afetados pela confluência de padrões econômicos de natureza estético-produtiva e tecno-estéticos populares. Dessa confluência decorre a tensão, de um lado produzida pela expressão das preferências populares identitárias e, de outro, pelos interesses dos agentes que financiam a produção. Com foco no chamado Cinema Novo dos anos 60, são trazidos dados de contexto e reflexões que devem nortear a compreensão da realidade atual da produção cinematográfi ca brasileira, ambiente marcado pela pluralidade de agentes que atuam no processo de produção desde sua fase de concepção à comercialização. Propõe-se que projetos inovadores orientados pelo design estratégico tracem cenários que contemplem as duas forças que se contrapõem, de tal sorte que esse segmento da economia se mantenha competitivo no espaço contemporâneo de desenvolvimento da indústria do entretenimento.Palavras-chave: cinema, projeto, inovação, competitividade, padrões, cenários

Bailly (Yvelines). Château de Noisy

Au cours de l’été 2017, une première campagne de fouilles a été organisée sur le site de l’ancien château de Noisy, aménagé à partir de 1570 par Albert de Gondi. Le parc de Noisy a été acquis par Louis XIV puis abandonné, les bâtiments et les jardins ont été démolis en 1732 et intégrés dans la forêt de Marly, néanmoins les vestiges du château, du fossé, des pavillons, des terrasses et des allées ont été préservés de l’urbanisation et les grandes lignes des constructions sont encore visibles. ..

Yvelines. Fouilles archéologiques à Marly

Bentz Bruno. Yvelines. Fouilles archéologiques à Marly. In: Bulletin Monumental, tome 151, n°2, année 1993. pp. 417-419