Collage & Crime. Impressionnisme des réalités augmentées

Abstract

In the era of globalised images and media production, collage could be drawn as a direct narrative reflection of our metropolitan conditions of living: multi-layered pieces of reality, complicated by proximities and distances from which the one-scale rule was blown apart, as well as the difficult recognition (of ourselves) of a whole, are all gathered around these two ensembles: “collage" - as an articulation of fragments and symbols - depicts “society” - as an articulation of individuals and shared cultures. This considered, we could expect that today’s relevant image production of architecture would tackle these parameters. It is rather not happening. The purpose of the present essay is to investigate the validity of collage as a specific tool of representation and/or to think architecture in a context where scissors and glue have been overshadowed by an infinite matrix of dots and pixels, prevailing then to a new level of “beauty”. The first part is dedicated to the definition of the homogeneous image and its influences on the creative processes. The second part focuses on the entropic value of architecture mediums (physical and virtual models, experimental video, etc.) as possible alternatives. This work aims to respond to the current compositional attitudes rather than passively assume the current architectural image production, in order to reactivate the potential of a more transgressive process of creation.

Keywords

• collage scénique
• figure
• homogénéité
• représentation
• impressionnisme