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L’IA ouvre un vaste champ des possibles en architecture et par conséquent dans la formation des architectes. Les craintes et les attentes obligent à bien poser les fondamentaux de ce qui peut former une nouvelle pédagogie intégrant les IA. Cet article rappelle quelques repères, organise les grandes familles des IA pour les architectes et rend compte des premières expériences auprès des étudiants.

Digital documentation tools, helped by modelling, underscoring and animation techniques, allow us to recreate environments and objects that may be either partially degraded or inaccessible, with great geometric precision. This helps researchers with contextualisation, and for the public, this is an opportunity to access distant sites or sites with limited access, and to discover information that has already been interpreted.One of the first questions related to the 3D mediation of these environments is the matter of the display device. It may be a generic device, but more and more specific devices are being developed, raising many questions about the articulation between the content being displayed and the shape of the structure, way beyond the mere scenographic consideration.Of all these devices, the immersive devices offer the most interesting content. They let us experience the archaeological sites with their full context, whether they are outdoors or in enclosed spaces. Their conception immediately underlines narrative issues: chosen temporality, the processing of insufficient data, the insertion of live scenes and the treatment of atmospheres.Practice shows that, to solve those narrative issues in an immersive context, the classical visual or filmic grammar will not be sufficient. We must develop a 360° narrative grammar, a properly immersive grammar. By starting from a concrete realisation, currently in development, linked to the study of parietal arts and a corpus of references ranging from panoramas to digital tools, we will describe the constitutive parts of that 360° narrative grammar that pushes the archaeological representation beyond the descriptive visualisation and questions the relationship between the produced discourse and its visual transcription.

Un quart de siècle est passé depuis la généralisation de l’informatique graphique dans les écoles d’architecture, une generation d’étudiants est passée et pourtant, les mêmes questions animent les equips pédagogiques sur la place à donner aux outils, à leur place et l’influence qu’ils peuvent avoir dans la conception et dans la représentation. Nous proposons ici une grille d’analyse conceptuelle et pédagogique afin de faire un état des lieux et tenter un point d’étape à ce débat.

The concept of “ambiance” has been shaped over the years by questioning the interactions between three attractors: architecture and the city, climatic and sound phenomena, uses and perception. Studied in pairs, each of these attractors refers to very different disciplinary fields; architecture and phenomena concern the physics of the city, architecture and uses interest sociology and uses and phenomena are rather turned to comfort. Studies concerning ambiances are therefore highly interdisciplinary and raise many questions: living spaces, urban renewal and heritage, urban prospective and the city as a stage. For this, many conceptual and technical tools are mobilized: digital tools for simulation and immersion, investigation, surveys and storytelling, prototyping, field action. What may be new in the field of academic studies is the awareness of artistic creation as a resource for the use of digital tools, storytelling and the representation of complexity through original means.

The recent introduction of digital tools in public lighting represents a milestone in the evolution of street lighting. Simultaneously to this innovation phase, urban lighting is currently being studied in terms of energy and environmental sobriety, to reduce its financial and ecological impact. This study presents the observations and evaluations carried out by nocturnal urban dwellers of an experimental public lighting system, set up in real conditions. The evaluations question the relevance of sensors integrated to the lighting material in real time via a series of survey managed autonomously by residents of the experimental environment.

From now preserved and presented in the museum of Nemours, the Ouche de Beauce engraved stele (Maisse, Essonne) is a representative example of the elements of architecture and the neolithic iconographic programs inventoried in Gâtinais and in western border of the massif of Fontainebleau. The study would like to expose the various recordings techniques on the monolith and on the engravings, with the aim of a surface and chronological analysis of them, inside a three-dimensional model of the support. If the so-called anthropomorph representations on a face of the stele are peculiar to the considered geographical area, an even more abstract motive registered on the opposite face is clearly under the influence of the symbolic representations from Morbihan.

Les codes de représentation pour la 3D utilisée pour les visites virtuelles s’appuient sur ceux de la perspective classique telle que décrite par Brunelleschi. Est-il possible dès lors de concevoir une visite virtuelle en utilisant les codes de la perspective chinoise ? La perspective traditionnelle chinoise organise l’espace selon trois valeurs qui organisent les objets dans l’espace et le temps. La compréhension de ces différences doit permettre de construire un espace de représentation immersif dont l’expérience sera fort différente de celles proposées généralement.

Copyright of Revue du Nord is the property of Revue du Nord and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue du Nord is the property of Revue du Nord and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1979, the Specials will introduce a dynamic and antiracist scene by mixing punk rock energy to Jamaican rythms which will make it prone to dance and initiate reflexion to a British youth then subjected to the growing influence of the National Front. In 1981, they will issue another chart ranking song, « Ghost Town », about a desillusioned country stricken by unemployment and violence. The tour following the record launching was punctutated by several brawls within concert goers meanwhile street riots will ignite on several occasions. Hailed by the music press for the pertinence of his social comment, “Ghost Town” will mark the end of an era and will remain as the musical testimony of a troubled period.

Copyright of Volume! is the property of Editions Melanie Seteun and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The nuclear localization of the progesterone receptor is mediated by two signal sequences: one is constitutive and lies in the hinge region (between the DNA and steroid binding domains), the other is hormone-dependent and is localized in the second zinc finger of the DNA binding domain. The use of various inhibitors of energy synthesis in cells expressing permanently or transiently the wild-type receptor or a receptor mutated within the nuclear localization signals, demonstrated that the nuclear residency of the receptor reflects a dynamic situation: the receptor diffusing into the cytoplasm and being constantly and actively transported back into the nucleus. The existence of this nucleo-cytoplasmic shuttle mechanism was confirmed by receptor transfer from one nucleus to the other in heterokaryons. Preliminary evidence was obtained, using oestrogen receptor, that this phenomenon may be of general significance for steroid receptors.