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Journal articles on the topic 'École des beaux-arts d'Abidjan'

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Published: 27 February 2023

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1

Alves, Fabiola Cristina. "As mulheres na École Nationale Supérieure des Beaux Arts de Paris: os regulamentos de 1892 a 1937 e suas alterações decorrentes da presença das alunas-mulheres." Revista de História e Historiografia da Educação 1, no. 1 (January 1, 2017): 26. http://dx.doi.org/10.5380/rhhe.v1i1.48052.

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Este artigo analisa os regulamentos da École Nationale Supérieure des Beaux-Arts de Paris, entre o período de 1892 a 1937, com o objetivo de discutir a inclusão da candidatura das mulheres para a formação nessa instituição. Apresenta as alterações adotadas nos usos dos ateliês para a recepção das alunas-mulheres e normativa específica para a permanência de alunas-mães.The women at the École Nationale Supérieure des Beaux Arts de Paris: 1892 regulations to 1937 and its amendments arising from the presence of the students - women. This article analyses the regulation of the Parisian École Nationale Supérieure des Beaux-Arts, between 1892 and 1937. Its objective is mapping women participation by the scope of their admission process, ateliers specific using rules and the normative for students that became mothers at this Parisian School of Art. Keywords: Students-women; École Nationale Supérieure des Beaux-Arts; regulation between 1892 and 1937.
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Thompson, Jeffrey E. "Oil Sketches from the École des Beaux-Arts." Art Journal 46, no. 3 (September 1987): 235–37. http://dx.doi.org/10.1080/00043249.1987.10792367.

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3

Châtelet, Anne-Marie. "Entre région et nation. Le développement de l’enseignement de l’architecture à Strasbourg (1880-1930)." Source(s) – Arts, Civilisation et Histoire de l’Europe, no. 12 (October 19, 2022): 35–48. http://dx.doi.org/10.57086/sources.221.

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Entre région et nation. Le développement de l’enseignement de l’architecture à Strasbourg (1880-1930) — L’enseignement de l’architecture a connu deux formes différentes, l’une artistique, proposée par l’École des beaux-arts à Paris vers laquelle convergeaient des étudiants de tous les pays, l’autre scientifique, dispensée par les écoles polytechniques qui se sont largement répandues en Allemagne. Toutes deux ont pris pied à Strasbourg entre 1880 et 1930 par les créations successives d’une école technique par l’Empire allemand, puis d’une école des beaux-arts par l’État français. Les modes pédagogiques ont été utilisés comme arguments politiques, faisant de l’enseignement, et plus largement de l’architecture, un enjeu tout aussi national que régional.
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Muñoz Lozano, Yolanda. "Un ancien élève. Complejidades poco conocidas de la formación francesa del arquitecto chileno Émile Jéquier." Revista Historia y Patrimonio 1, no. 1 (December 29, 2022): 1–32. http://dx.doi.org/10.5354/2810-6245.2022.69317.

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Los arquitectos franceses que llegaron a América Latina durante el siglo XiX venían precedidos del gran prestigio de la École des Beaux-Arts de París y su famosa sección de arquitectura. Era común generalizar su procedencia y trayectoria académica, creyendo que todo aquel que había estudiado en Francia lo había hecho en la mundialmente famosa École; sin embargo, no siempre fue así. Existe un grupo considerable de arquitectos cuyos estudios fueron distintos. Es el caso de Émile Jéquier, arquitecto chileno-francés nacido en 1866, que estudió primero en la École Spéciale y después en la École des Beaux-Arts. El presente artículo analiza en profundidad la formación francesa de Émile Jéquier -diversa y poco conocida- para comprender mejor sus complejidades y así establecer la incidencia que tuvo este periodo en su posterior desarrollo como arquitecto y maestro, en Santiago de Chile y en la Universidad Católica, respectivamente. Este análisis se realiza a la luz de los conceptos de circulación de modelos y transferencia cultural en la arquitectura y en su enseñanza. El trabajo se ha realizado mediante la consulta de fuentes primarias y secundarias en archivos y bibliotecas de París y Santiago de Chile; así como la consulta de documentos familiares inéditos.
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Kostuch, Bożena. "Stanisław Gąsienica Sobczak (1884–1942), „odgrzebywacz i promotor oryginalnej ceramiki polskiej”." Artifex Novus, no. 5 (December 13, 2021): 20–41. http://dx.doi.org/10.21697/an.9369.

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Abstrakt: Stanisław Gąsienica Sobczak (1884–1942), artysta rzeźbiarz wykształcony na Akademii Sztuk Pięknych w Krakowie i w École Nationale des Beaux Arts w Paryżu, pochodził z góralskiej rodziny z Zakopanego. Był pionierem twórczości ceramicznej na Podhalu. Od drugiej połowy lat 20 XX w. tworzył ceramiczne rzeźby, figury i naczynia, i pokazywał je na licznych wystawach. Większość jego prac miała tradycyjny charakter. Artysta z reguły nawiązywał do ludowego wzornictwa i regionalnej tematyki. Te tendencje uznano za ważne także po zakończeniu II wojny światowej, gdy pracownię Sobczaka objął Wojciech Łukaszczyk. Summary: Stanisław Gąsienica Sobczak (1884–1942), a sculptor educated at the Fine Arts Academy in Cracow and at École Nationale des Beaux Arts in Paris came from Zakopane highlander family. He was the pioneer of ceramics in the Podhale region. Since the second half of 1920s’ he created ceramic sculptures, figures and vessels which were displayed at numerous exhibitions. Most of his work was traditional in nature. Folk design and regional themes became his main sources of inspiration. Even after WW II, when Wojciech Łukaszczyk took over Sobczak’s ceramic studio, these tendencies remained important.
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Akhgar, Peyman, and Antony Moulis. "The legacy of the École des Beaux-Arts in twentieth-century Iran: the architecture of Mohsen Foroughi." Journal of Architecture 26, no. 7 (October 3, 2021): 945–68. http://dx.doi.org/10.1080/13602365.2021.1976247.

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Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.

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The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).
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Pabich, Marek. "THE BEGINNINGS OF MUSEUM ARCHITECTURE IN THE UNITED STATES." Space&FORM 2020, no. 50 (June 30, 2022): 177–94. http://dx.doi.org/10.21005/pif.2022.50.b-06.

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Contrary to Europe, where museums were created from transformed collections, in America the first museums were founded on the basis of scientific institutions. Only in the second half of the nineteenth century, museums are formed based on private collections. Objects were erected to house the collections, which for a long time, almost until the middle of the 20th century, stylistically referred to the architecture of ancient Greece. From the mid-nineteenth century, museums began to be built, for which architects looked for inspiration in later styles. And although neo-gothic, neorenaissance and neo-baroque objects appeared, the Greek Revival dominated museum architecture in the United States, created by graduates of the Parisian École des Beaux-Arts.
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Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda, and Geneviève Aitken. "Introduction." Journal of Japonisme 2, no. 1 (January 18, 2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.

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The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subsequently promoted ukiyo-e prints in France. The impact of this exhibition on artists and critics, which is clearly visible in artists’ letters and contemporary reviews published in the press, is also briefly discussed.
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Voisine, Nive. "Les rendez-vous de Rimouski de Mgr Georges Courchesne." Articles 61 (December 21, 2011): 101–13. http://dx.doi.org/10.7202/1007137ar.

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Poussé par le besoin d’être informé et soucieux de briser l’isolement dans lequel il vit, Mgr Georges Courchesne, de Rimouski, invite à son évêché, pour des séjours plus ou moins longs, diverses personnalités, particulièrement des artistes. C’est ainsi que Gérard Morisset, Lorenzo Auger et le frère Raymondien se rencontrent à l’évêché de Rimouski en février 1935. Une partie de leur séjour se passe en de longues conversations que dirige l’évêque. On y parle beaucoup des arts et de leur place dans l’enseignement, de la restauration de l’artisanat, du projet d’une école des arts et métiers sur le modèle des écoles Saint-Luc de Belgique, de la nécessité de faire de Rimouski un centre intellectuel capable de répondre aux besoins de la région. Mais la réalisation de ces beaux rêves tarde à venir et, en 1936, Mgr Courchesne organise un autre rendez-vous important qui lancera en grand l’Action catholique spécialisée.
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Wall, Jeff, and Jean-François Chevrier. "O quase-documentário: Entrevista entre Jeff Wall e Jean-François Chevrier." Revista ECO-Pós 23, no. 2 (November 21, 2020): 230–54. http://dx.doi.org/10.29146/eco-pos.v23i2.27633.

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Jeff Wall, um dos grandes nomes atuais da fotografia, conversou em 2001 com Jean-François Chevrier, que recebeu três de suas obras para a exposição Des territoires. Organizada no âmbito do seminário de mesmo título que o historiador francês ministrava na École Nationale Supérieure des Beaux-Arts, a ocasião serviu de oportunidade para que os dois conversassem sobre um, ou alguns, termos com os quais o próprio Wall organiza seu corpo de trabalho. No caso, o título e questão principal é sobre um nome que carrega em si o exercício de pensar uma imprecisão: Citizen (1996), A Villager from Aricaköyü arriving in Mahmutbey-Istanbul, September, 1997 (1997) e Man with a Rifle (2000) quase são aquilo que parecem ser, registros documentais. Mas, ao trazerem essa distância tão pequena – e específica - em evidência, centram o debate no que concerne às certezas que construímos sobre fotografias.
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Clericuzio, Peter. "Art Nouveau and Bank Architecture in Nancy: Negotiating the Re-Emergence of a French Regional Identity." Architectural History 63 (2020): 219–56. http://dx.doi.org/10.1017/arh.2020.6.

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AbstractArt nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era's political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian war.
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Harry, Sachin, and Ambuj Kumar. "Transformation of the Design Studio in New Learning Spaces: Virtual Design Studio in Architecture Pedagogy." ECS Transactions 107, no. 1 (April 24, 2022): 6251–60. http://dx.doi.org/10.1149/10701.6251ecst.

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Architectural education has come a long way since the first formal school of architecture, École des Beaux-Arts, was started at Paris, France in 1816. 21st century architecture is constantly evolving through changes in technology, and now in 2020-’21, COVID-19 pandemic has brought the concept of architectural education going online. Due to the forced disruption to the traditional pedagogical environment, a new pedagogical paradigm has been established through online theory and studio classes. This has brought about a challenging design pedagogy where teachers and students are reaping the benefits of technological advancement but without any prior training. This in turn has raised the question, how can architecture be taught effectively through virtual means? In response, this paper conducts literature review and a questionnaire survey amongst students and teachers of Chandigarh region on experiences of virtual teaching in the field of architecture and seeks to address the issues concerning virtual architectural pedagogy.
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Toca, Antonio. "Origen de textil de la arquitectura." Anales del Instituto de Investigaciones Estéticas 26, no. 85 (August 7, 2012): 61. http://dx.doi.org/10.22201/iie.18703062e.2004.85.2185.

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El artículo perfila la vigencia de dos teorías de la arquitectura, escritas a mediados del siglo xix por Gottfried Semper y Eugène Viollet-le-Duc, cuyos conceptos materialista-constructivos rebasaron programáticamente la tradición vitruviana. La teoría de Semper cobra un interés especial para la historia del arte porque incluye una novedosa perspectiva antropológica en la comprensión teórica de la arquitectura, mientras que la teoría de Viollet-le-Duc reclamó la racionalidad de la construcción, por ejemplo de las catedrales góticas, que se opuso claramente a los cánones clásicos de la École des Beaux-Arts. En especial la teoría de Semper determinó profundamente la arquitectura moderna del siglo xx, por ejemplo de Frank Lloyd Wright, Mies van der Rohe y Le Corbusier; además contiene estímulos para la revisión de la arquitectura actual en México que todavía, bajo la duradera influencia de Luis Barragán, se fija en la tradición constructiva de las paredes masivas y adopta rara vez la propuesta analítica de Semper.
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Davis, Charles L. "Viollet-le-Duc and the body: the metaphorical integrations of race and style in structural rationalism." Architectural Research Quarterly 14, no. 4 (December 2010): 341–48. http://dx.doi.org/10.1017/s1359135511000133.

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At first glance, it might seem counterintuitive to insist upon Eugène Emmanuel Viollet-le-Duc's (1814-79) critical interest in the human body as a metaphor for style in architecture. Not only did he oppose the anthropomorphic metaphors for style touted by Neo-Classical theorists at the École des Beaux-Arts, but he was most widely known in the nineteenth century for his preoccupation with the monumental and structural potential of modern materials such as iron. This reception of Viollet-le-Duc's thought persisted in the twentieth century with Sir John Summerson's estimation of Frank Lloyd Wright and Le Corbusier's debt to the constructive principles of his architectural organicism. Such accounts have made it possible to interpret construction and/or structure as the main ‘body’ of Viollet-le-Duc's architecture theory. However, this reading confuses the eclipse of Neo-Classical anthropomorphic metaphors for style - which translated the proportional relationships between the human body's constituent parts into a compositional system of design - with the complete eclipse of critical references to the human body in the French style debates of the nineteenth century. As we trace the role of the human body in Viollet-le-Duc's style theory, it becomes clear that the principles of human variation in biology and ethnography enabled him to account for the cultural variations of national peoples in his conception of style.
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Ávila-Gómez, Andrés, Pamela Londoño-Peralta, and Daniel Andrés Jiménez-Atehortua. "Los años de formación de Alfonso Carvajal Escobar durante el periodo de entreguerras. Un ingeniero colombiano en la École des Beaux-Arts." Revista de Arquitectura 20, no. 1 (2018): 38–52. http://dx.doi.org/10.14718/revarq.2018.20.1.1460.

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Comas, Carlos Eduardo, and Marcos Almeida. "Grounding Architecture: Unnatural Niemeyer." ZARCH, no. 17 (January 12, 2022): 42–69. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021176128.

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Among the many definitions of nature, one is particularly relevant for architecture: the physical world that exists independently of mankind but includes man in its list of creatures. Among the relationships between architecture and this world that mankind inhabites and transforms, two are particularly relevant for understanding the work of Brazilian architect Oscar Niemeyer (1907-2012) and its legacy. One comes from situation, involving pre-existing conditions and the desired outcomes of their transformation. The other feeds on emulation of known forms. In academic terms, one impacts primarily on architectural composition, the definition of the correct anatomy and physiology of buildings, while the other impacts primarily on characterization, the definition of a distinctive physiognomy properly correlated with the building's anatomy and physiology. Niemeyer was educated at ENBA- the Escola Nacional de Belas Artes in Rio, created in1826 after the École des Beaux-Arts in Paris. A close reading of his works belies the widespread association of his work with fusing nature and architecture and reveals a far more complex attitude.
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KIM, Hangyul. "Les Annales du Musée et de l’école moderne des beaux-arts de Charles-Paul Landon et la fabrique de l’“École française ancienne”." Societe d'Etudes Franco-Coreennes 89 (August 30, 2019): 185–204. http://dx.doi.org/10.18812/refc.2019.89.185.

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Moghaddasi, Ahmad, Mohammad Hossein Moghaddasi, and Hosein Kalantari Khalilabad. "MOHSEN FOROUGHI (1907–1983): THOUGHTS AND SUSTAINABILITY IN THE WORKS OF AN IRANIAN MODERNIST ARCHITECT." Architecture and Engineering 5, no. 4 (2020): 28–34. http://dx.doi.org/10.23968/2500-0055-2020-5-4-28-34.

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Introduction: Mohsen Foroughi was one of the first-generation Iranian modernist architects who joined Iranian architecture in the 1940s. His knowledge of architecture obtained in one of the most important French architectural schools—École des Beaux-Arts—allowed him to create valuable works by combining the spirit of Iranian architecture with modern values. His interest in education led to the establishment of the foundations of architecture teaching in Iran, based on the lessons taught in Europe. Purpose of the study: The article addresses the works of Mohsen Foroughi, combining modern architecture with the vernacular Iranian architecture. His most significant works include the building of the Senate, the Department of Law at the University of Tehran, the National Bank of Tehran’s Bazaar, and the Saadi Tomb in Shiraz. The article looks at the development of intellectual flows of the time that evolved into social relationships. Methods: In the course of the study, we use descriptive analysis and analysis of library resources. Results: The main characteristics of Foroughi’s work are balance, symmetry, and application of the main elements of traditional Iranian architecture. By better understanding of his works, architects can be more successful in creating today’s architectural projects.
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LEE, SIMON. "THE LEGACY OF HOMER: FOUR CENTURIES OF ART FROM THE ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS, PARIS BY EMMANUEL SCHWARTZ, GEORGE STEINER AND PHILIPPE SÉNÉCHAL." Art Book 13, no. 4 (November 2006): 51–52. http://dx.doi.org/10.1111/j.1467-8357.2006.00739.x.

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Luxenberg, Alisa. "‘The art of correctly painting the expressive lines of the human face’: Duchenne de Boulogne's Photographs of Human Expression and the École des Beaux-Arts." History of Photography 25, no. 2 (June 2001): 201–12. http://dx.doi.org/10.1080/03087298.2001.10443457.

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Mitchell, Kevin. "Lessons From Practice: Architectural Education and the Notion of Critical Inquiry." Open House International 31, no. 3 (September 1, 2006): 17–24. http://dx.doi.org/10.1108/ohi-03-2006-b0003.

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The second-year studio presented here investigates the potential of reducing the gaps between the academy and professional practice by using the results of practice as a teaching tool. Part of a two-semester sequence intended to introduce students to the fundamentals of architectural form and space, the design studio emphasizes discipline-specific notions of inquiry, exploration and process. The range of fundamental concerns is addressed through in-depth analyses of exemplary buildings in order to discover how practicing architects have incorporated basic design principles into overall design strategies. The “design in the style of” methods that characterized architectural education at the École des Beaux Arts and the pattern books which served as sources for 19th and early 20th century practice in North America provided definitive models that were subject to limited interpretation. In contrast, the analyses projects described here do not provide “answers” to questions regarding style, but rather focus questions on a range of concerns which are fundamental to architectural practice. Employing exemplary projects in beginning-level studios assists in demonstrating that highly regarded practitioners aspire to a synthesis of program/use requirements, conceptual ideas, structural solutions and constructional systems. The fact that the students were able to make concrete connections between their activities and the profession resulted in an intensity and sense of purpose that is evident in both the process and products of the studio.
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Gilabert Sanz, Salvador, and Ignacio Cabodevilla-Artieda. "Conversando con... Jean Nouvel." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (September 29, 2016): 16. http://dx.doi.org/10.4995/ega.2016.6306.

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<p>Jean Nouvel obtuvo el Premio Pritzker de arquitectura en 2008, un reconocimiento a su trayectoria como arquitecto, dentro del grupo de los que podríamos denominar Star Arquitects. En el año 1966 consiguió la primera plaza en el examen de acceso para asistir a la escuela de Bellas Artes, École de Beaux-Arts, en Paris donde se licenció en arquitectura en 1972. Ya antes de acabar sus estudios colaboraba con Claude Parent, y alentado por las inclinaciones antisistema de su mentor y las lecturas de los textos y ensayos del urbanista Paul Virilio, fue forjando su propio pensamiento crítico. Esta manera personal de ver las cosas le llevó a ser uno de los miembros fundadores del Movimiento Mars 1976, cuyo objetivo era oponerse al corporativismo de los arquitectos, siendo posteriormente uno de los fundadores del Sindicato de la Arquitectura. Sus firmes posiciones y opiniones, un tanto provocativas, sobre la arquitectura contemporánea en el contexto urbano, junto con su manera de reinventarse a sí mismo en los proyectos que ha emprendido han forjado su imagen internacional. Sus obras han obtenido el reconocimiento en todo el mundo a través de numerosos premios, franceses e internacionales, de gran prestigio. En 1989, el Instituto del Mundo Árabe de París fue galardonado con el Premio Aga-Khan, por su papel como “un puente exitoso entre las culturas francesa y árabes”. En 2000, Jean Nouvel recibió el León de Oro de la Bienal de Venecia, y en 2001, tres de los más importantes premios internacionales: la Real Medalla de Oro del Instituto Real de Arquitectos Británicos (RIBA), el Premium Imperial de la Asociación de Bellas Artes de Japón y el Premio Borromini por el Centro de Cultura y Congresos en Lucerna. Fue nombrado Doctor Honoris Causa por el Royal College of Art de Londres en 2002. Tres años más tarde, recibió el premio anual de la Fundación Wolf en Israel “por proporcionar un nuevo modelo de contextualismo y la redefinición de la dialéctica entre las dos características más destacadas de la arquitectura contemporánea: concreción y efímero”. La Torre Agbar de Barcelona recibió el Premio Internacional Highrise 2006, “ya que hace una contribución excepcional al debate actual sobre los rascacielos”. En 2008 recibió el ya nombrado Pritzker Prize, y en Francia, ha sido galardonado con numerosos premios incluyendo la Medalla de Oro de la Academia Francesa de Arquitectura, dos Equerres d’Argent y el Gran Premio Nacional de Arquitectura.</p>
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Bergdoll, Barry. "The Gothic Revival 1720-1870: Literary Sources and Documents Michael Charlesworth An Architect of Promise: George Gilbert Scott Junior (1839-1897) and the Late Gothic Revival Gavin Stamp The Romanesque Revival: Religion, Politics, and Transnational Exchange Kathleen Curran Die École des Beaux-Arts in Paris. Ein gebautes Architekturtraktat des 19. Jahrhunderts Jörn Garleff The Art of Building: From Classicism to Modernity: The Dutch Architectural Debate Auke van der Woud." Journal of the Society of Architectural Historians 63, no. 3 (September 2004): 390–96. http://dx.doi.org/10.2307/4127981.

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Boivent, Marie. "Sobre "Sans Niveau ni Mètre": o jornal do Gabinete do Livro de Artista." PORTO ARTE: Revista de Artes Visuais 19, no. 33 (December 7, 2013). http://dx.doi.org/10.22456/2179-8001.44062.

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O artigo apresenta o jornal "Sans Niveau ni Mètre", com periodicidade irregular, lançado em 2007 a partir de um programa vinculado ao departamento e laboratório Arts Plastiques da Université Rennes 2, à École des Beaux-Arts de Rennes e ao Fonds Régional d’Art Contemporain da Bretanha, França.
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Jiménez-Madera, Luis Manuel. "Arquitectos latinoamericanos en la École des Beaux-Arts de París en el siglo XIX." Revista de Arquitectura, 2015, 73–84. http://dx.doi.org/10.14718/revarq.2015.17.1.7.

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27

Luxenberg, Alisa. "Originality and Freedom: The 1863 Reforms to the École des Beaux-Arts and the Involvement of Léon Bonnat." Nineteenth-Century Art Worldwide 16, no. 2 (October 15, 2017). http://dx.doi.org/10.29411/ncaw.2017.16.2.3.

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28

Paliard, Pierre. "Apport de la France, promotion de l’expression d’un style national vietnamien dans la première École des Beaux-Arts de l’Indochine." Open Library of Humanities 5, no. 1 (2019). http://dx.doi.org/10.16995/olh.376.

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29

Türkkan, Sevgi. "Pedagogy of the Cubicle." EAAE Annual Conference Proceedings, August 28, 2019, 178–83. http://dx.doi.org/10.51588/eaaeacp.33.

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‘Loge’ (cell, cubicle, box, cabinet, compartment, hut) is a spatial typology built to serve often ritualistic, also quotidian practices of physical, social and mental seclusion. From monastic life, to prisons, one can find various examples where voluntarily or involuntarily; isolated cells were used to renounce one’s contact with the outside world in order to incubate contemplation, concentration for individuals. One of the strongest rituals of loge is found in the pedagogic traditions of École des Beaux-Arts in Paris, a seminal model that influenced the history of architectural education in the world. ‘Loges’ were the spatial educational tools invented and used during the architectural competitions, which were central pedagogical and curricular motives of the École’s educational system. The individual cubicles (varied in size in different periods) divided by rigid walls were aligned on a corridor, kept under strict probation by guardians, isolating students physically and socially from the outside world and each other during the periods of architectural competitions.
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30

Bouzguenda, Ghada. "Comment Enseigner L’art Dans Les Instituts Supérieurs Des Beaux-Arts Et/Ou D’arts Et Métiers : Le Concept « École - Atelier » Entre Approche Pédagogique Et Forme Evenementielle." European Scientific Journal ESJ 16, no. 31 (November 30, 2020). http://dx.doi.org/10.19044/esj.2020.v16n31p128.

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Cette étude se penche sur l’enseignement de l’art à l’université. Elle situe la problématique au niveau de la pédagogie spécifique à l’enseignement dans des établissements universitaires qui différent des autres (comme les écoles de commerce, de santé, …) du contenu, des objectifs et des approches puisqu’elle touche aussi bien du contenu scientifique que des pratiques artistiques. La méthode d’investigation repose sur une approche empirique issue dans un premier temps de l’analyse des discours des experts parlant de ce sujet à l’occasion d’un colloque international organisé en Tunisie en 2018 et des interviews avec des étudiants et des enseignants à l’occasion de visites professionnelles de deux écoles européennes de beaux-arts. De plus, le background de l’expérience personnelle dans l’enseignement aux écoles d’art a été utilisé pour décortiquer les paradigmes contemporains de l’enseignement universitaire au regard de l’organisation de l’école sous forme d’ateliers individualisés ou interconnectés ou l’organisation des ateliers sous forme de workshops au sein des écoles. Les résultats ont montré que le concept « école-atelier » pourra rassurer aussi bien la forme scolaire que la liberté artistique chez les apprenants autant que les ateliers ouverts avec leur aspect événementiel.
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31

Pommier, Juliette, Andrés Ávila Gómez, and Diana Carolina Ruiz. "Ocaso y renovación de modelos pedagógicos en la École des Beaux-Arts de París: Bernard Huet y la creación del Atelier Collégial n.° 1." Apuntes. Revista de estudios sobre patrimonio cultural 31, no. 2 (December 16, 2019). http://dx.doi.org/10.11144/javeriana.apu31-2.ormp.

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32

Chabard, Pierre, Andrés Ávila-Gómez, and Diana Carolina Ruiz. "Metamorfosis editoriales y construcción de un texto clásico: el caso de Formes urbaines: de l’îlot à la barre (1977-1997)." Revista de Arquitectura, May 25, 2021. http://dx.doi.org/10.14718/revarq.2021.3814.

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El presente artículo aborda aspectos ligados a la concepción, producción, difusión, y recepción de un texto cuya importancia en la historiografía de la arquitectura y el urbanismo lo han erigido en una obra de referencia imprescindible entre estudiantes y profesionales de estas disciplinas: se trata de Formes urbaines: de l’îlot à la barre. Traducido al español por el arquitecto Santiago Castán, y publicado por primera vez en 1986 bajo el título De la manzana al bloque por la editorial Gustavo Gili, constituye un verdadero manifiesto cuyas preocupaciones de carácter pedagógico reflejan en buena medida aquellas propias del ejercicio de la arquitectura durante el último cuarto del siglo XX. Evitando toda lectura antihistórica, el análisis aquí propuesto se apoya en una serie de aproximaciones y reflexiones para las cuales hemos reconstruido (gracias principalmente a entrevistas realizadas directamente a los protagonistas del relato, y a la consulta de sus archivos) el contexto sociocultural inmediato que hizo posible la realización del estudio inicial que dio origen al libro, en el marco de una reorganización profunda de la enseñanza de la arquitectura y del urbanismo en Francia (tras la disolución en Mayo de 1968 de la sección de Arquitectura de la École des Beaux-Arts).
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Suffczyński, Michał. "Structural drawing in the representation of space and architectural education at the Faculty of Architecture of Warsaw University of Technology in relation to the tradition of the École des Beaux Arts and the Bauhaus University." Architectus, no. 4(64) (2020). http://dx.doi.org/10.37190/arc200412.

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