Licence 2
Dynamic Patterns
Hélène Guillemot Fosco Lucarelli

This studio investigates the origins of form by utilising the comparative analysis developed by Dominique Raynaud in Architecture comparées. Essai sur la dynamique des formes. By looking for the “generating images” of architecture projects in this visual essay, the author traces back the origins of formal design: if every form was imagined before it was built, “where did the generating images of a design originate? Is there a regular process of the imagination that makes them identifiable once they have been built?”, asks the author.
Raynaud argues that these generating images (images-mêres) are not static frames, but rather dynamic patterns of the imagination. For example, a wheel is not characterised by its material determination (the spokes, the iron hoop), but rather by the main characteristic of its nature: the fact that it turns.


Licence 2
Dynamic Patterns

As part of the project, a series of detailed drawings are created by the students attempting to understand how dynamic patterns affect architecture, landscape, territorial manifestations, natural phenomena and cultural artefacts.
This research aimes to trace the dynamic patterns Raynaud identified as the basis of architectural form to other domains. With respect to the territorial scale, the students are encouraged to explore in a non-exhaustive manner: forms, typologies, stratifications, traces, recurring or punctual elements, vegetation, dynamics and transformations.

Phase 1 (Dynamic Patterns)
In the first phase, oriented towards research, each group of students analyses ten dynamic patterns by producing four drawings each one related to one dynamic pattern.

Phase 2 (Design)
In the Design phase the students start developing their projects based on the dynamic pattern they studied in the first phase.
Throughout this phase, the concrete study impacts the choice of a site and the definition of a program that integrates living and working activities. This is accomplished by gradually integrating successive layers (inhabitants, activities, etc.) into the initial analysis.
The choice of the nature of the building’s inhabitants - beyond the realm of the traditional, Western family model - opens the field to domestic issues, questions of use, and contemporary ways of living.

Phase 3 (Composition)
Students further develop their projects during the third phase, culminating with the final critique, developing drawings and models at various scales.

Enseignants : Fosco Lucarelli, Hélène Guillemot, Eugenio Nuzzo

Monitrice : Léa Tintignac

Jury final : Rosalie Robert et Léa Cottreel (Rreel)

Étudiants Noëlla Amegan, Leïla Bel Hadj, Noé Bleynie, Corentin Brunel, Tristan Cormier, Mathis de Berranger, Ornella Derai, Aloïs Didiot, Kim Dupont, Marine el Akkari, Joanne Haerens, Titouan Jollivet, Diane Kimbondo, Alice Lequertier, Lila Matringe, Inès Morvan, Quentin Picard, Charlotte Santa, Chloé Sarraf, Alexis Tétart, Noé Thomas