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Diderot’s Travels in Bourbonne and Langres, two small towns in his childhood’s countryside in the East of France, tell us about different matters he has to deal with in the summer of 1770: marry his daughter Angelique to a gentleman from Langres, make friends again with his brother, run a love affair in Bourbonne, a famous spa town. Unfortunately, nothing happens as he expected. Despite his efforts to write a scientific report from these two places, the encyclopedist fails to conceal his sorrow and lets his mood appear, in a near-Rousseauistic manner of writing., Les deux récits de Diderot intitulés Voyages à Bourbonne et à Langres (1770), deux petites villes de l’Est de la France dont il vient, narrent les projets qui furent les siennes à l’été 1770 : le mariage de sa fille à Langres, sa réconciliation avec son frère l’abbé Didier Diderot, une aventure galante à Bourbonne-les-Bains. Mais rien ne se passera comme prévu. Malgré tous ses efforts pour rédiger une relation de voyage à caractère scientifique, l’encyclopédiste échoue à nous cacher sa peine et exprime sa mélancolie dans cette écriture presque rousseauiste, proche de la promenade solitaire.

The library program has experienced continued evolvement of spatial conditions with respect to technological advancements and the changing needs of the general public. Recent precedents have begun to remove physical book stacks from the user experience in exchange for improved efficiency of space. There is value in maintaining the presence of book stacks because it is a gesture towards tradition and the "existence will" of the program. This thesis explores the organization of the three program components which define the ideal modern library: archive, social, and digital media spaces. Considering modern libraries offer more communally charged programmatic spaces, maintaining the integration of archive spaces throughout the scheme can strengthen the gradient of public to private conditions. The collective balance of the archive, social, and digital media spaces gives communities the opportunity to come together for ideal intergenerational exchange and co-creation. Master of Architecture The library program has experienced continued evolvement of spatial conditions with respect to technological advancements and the changing needs of the general public. Recent building precedents are removing physical book stacks from the user experience in exchange for improved efficiency of space. There is value in maintaining the presence of book stacks because it serves as a gesture towards tradition and preserves the "life" of the building. This thesis explores the organization of the three program components within the ideal modern library: archive, social, and digital media spaces. Considering modern libraries offer more communally charged programmatic spaces, maintaining the integration of archive spaces throughout the scheme can strengthen the gradient of public to private conditions. The collective balance of the archive, social, and digital media spaces gives communities the opportunity to come together for ideal intergenerational exchange and co-creation.

This research is about strategies of architectural actions on urban “food space” that aim to provide a new sustainable vitality way of diet for re-feeding the city. The subject of the study is located in Badalona on the northern edge area of Barcelona. The development and construction of this area started late, with low population density and lack of urban vitality and diversity. It is worth noting that the commercial model of food in this area, sales and catering, are monotonous and its service radiation range is small. Food, closely related to people ’s daily lives, in whole or in part, has a “reprogramming” effect on certain spaces in the city. From the perspective of architecture, this thesis proposes the core idea “refeeding city” throuth new food space, creating a sustainable city full of healthy food, diverse food consumption spaces, and ecological public spaces. The research includes theoretical research on food space and the specific strategies of the project. The chapter one about food space involves a research on the relationship between food and urban space, and research on the future development trend of food space. And then in the chapter two, studying how to carry out specific urban and architectural space design strategies to provide the city with fresh food, new eating spaces and new vibrant urban spaces. As a result, this study attempts to establish the relationship between food and physical space through different spatial strategies to achieve the purpose of reshaping urban space, providing a new sustainable way of feeding city, and stimulating urban development.

El paseo de Valencia al Mar afronta desde hace 20 años un debate sobre la pertinencia de su prolongación. Actualmente la avenida llega hasta la estación pasante del Cabanyal, de manera que el conjunto urbano que contacta con el mar es el poblado marítimo. Pero el poder de la semántica es ajeno a la realidad física y la inevitabilidad asociada al dicho de que todo llega al mar empuja a una traducción literal de continuar el paseo desoyendo los precisos argumentos sobre la morfología urbana y la irracionalidad del destructivo corte la trama lineal del Cabanyal. Para encauzar la explicación de una propuesta alternativa se hace una lectura histórica del paseo de Blasco Ibáñez desde que lo proyectara el arquitecto Casimiro Meseguer a finales del siglo XIX como una avenida ajardinada de 100 m de anchura delimitada por viviendas unifamiliares que partía del jardín de Viveros (antiguo palacio Real) hasta llegar al Cabañal. También se estudia el plan parcial no ejecutado que en 1960 hizo Fernando Moreno Barberá atravesando el poblado marítimo. La propuesta que se presenta consiste en entender que la vinculación con el mar se puede producir a través de una promenade ajardinada situada en el eje central del paseo desde la que se puede divisar el mar debido a la escasa altura del caserío del poblado marítimo. Este final en ladera, con una suave pendiente del 4%, nos conduce a una cota elevada con la que se puede cruzar el Bulevar Serrería, acceder a un intercambiador modal situado sobre la nueva cubierta de la estación y llegar al lado sureste del Bulevar, configurando allí un centro direccional formado por una plataforma paralela al Bulevar que sustenta cuatro torres de viviendas y adquiere una mixtura de usos que activará la zona.

В статье авторы обращаются к одному из самых дискуссионных и не имеющих терминологическую определенность понятий в современной культуре – феномену иммерсивного театра. Акцентируя внимание на генезисе иммерсивного театра, авторы отмечают европейские корни иммерсивного театра и специфику формирования иммерсивных постановок в России. Анализируя признаки иммерсивности, исследователи обращают внимание на специфику пространства, в котором происходит действие, а также необходимость участия зрителей в постановке. В статье обозначены сходства и отличия иммерсивных постановок с близкими по форме и принципам построения культурными практиками. Отмечена близость иммерсивного театра с перформансом, хэппенингом, Site-specific и променадом. Систематизируя информацию об истории иммерсивных постановок в России, исследователи анализируют специфику двух постановок, позиционирующих себя в качестве иммерсивных шоу: «Вернувшиеся» и «Безликие». В указанных иммерсивных постановках выявлено наличие двух параллельных планов, основанных на драме и пластике, сюжете и подтексте, аутентичности и ирреальности. Отмечено двойственное отношение к зрителю, который должен стать участником представления, но при этом лишен свободы выбора, являющейся частью иммерсивности в ее первоначальном значении. Обозначена роль масок, выполняющих разные функции: анонимности и безликости. Авторы обращают внимание на изменение роли актера в иммерсивном действии и режиссера, а также обращают внимание на возрастную и национальную специфику иммерсивного действия и его восприятия в современной культуре., In the article authors appeal to one of the most debatable concepts of modern culture, the one which has not been given a terminological definition – a phenomenon of immersive theater. Focusing attention on the genesis of the immersive theater, the authors note the European roots of the immersive theater and specifics in formation of immersive theater productions in Russia. Analyzing signs of immersivity, the researchers pay attention to specifics of space where the action takes place and also the necessity of the audience’s participation in the theater production. In the article are designated similarities and differences of immersive theater productions with cultural practices similar in a form and principles of construction. The proximity of the immersive theater with performance, happening, Site-specific and promenade is noted. Systematizing information on history of immersive theater productions in Russia, the researchers analyze specifics of two theater productions positioning themselves as immersive shows: «Returned» and «Faceless». In the specified immersive theater productions here are revealed two parallel plans based on drama and plasticity, plot and subtext, authenticity and irreality. The dual attitude towards the viewer is noted who is to be a participant of the show, but at the same time he has no right to choose, which is a part of immersivity in its initial value. The role of the masks performing different functions is designated: anonymity and impersonality. The authors pay attention to the change of the role of the actor in immersive action and the director and also they pay attention to age and national specifics of immersive action and its perception in modern culture.

This thesis explores alternate typologies for a coastal promenade park in the town of Arecibo, Puerto Rico. The proposal acts as a link between the town, the park and the coastal edge. The coastal promenade park is created as a connector, defined mostly by the concrete walls that resemble the coastal edge. The concrete walls are used as connecting and defining elements of this entities. Master of Architecture

[EN] This research deals with the study of the architectural project as a response to where it implants and makes putting the focus on the sequence alignment as a resource. To do this, the study of the relationship between the form that a building and outer space defined therein, is crucial. The way we approach a building outer space conditions this set.Through analysis, we intend to deepen the relationship between the resulting form of architecture and how the sequence alignment and access to it is organized.To achieve this goal, the work of Frank Lloyd Wright is chosen as a vehicle on which to reflect about the relationship between the sequence alignment and access, implementation mechanisms adopted and their impact on the project approach., [ES] La presente investigación aborda el estudio del proyecto arquitectónico en su respuesta al lugar donde se implanta y lo hace poniendo el foco en la secuencia de aproximación como recurso disciplinar. Para ello el estudio de la relación entre la forma que adopta un edificio y el espacio exterior que este define, es determinante. La manera en que nos aproximamos a un edificio condiciona el espacio exterior que este configura.Mediante el análisis, se pretende profundizar la relación que existe entre la forma resultante de una arquitectura y la manera en que se organiza la secuencia de aproximación y acceso a la misma.Para alcanzar este objetivo, se escoge la obra de Frank Lloyd Wright como un vehículo sobre el que reflexionar a cerca de la relación entre la secuencia de aproximación y acceso, los mecanismos de implantación adoptados y su repercusión en el planteamiento del proyecto., [CAT] Aquesta investigació aborda l'estudi del projecte arquitectònic en la seva resposta al lloc on s'implanta i ho fa posant el focus en la seqüència d'aproximació com a recurs. Per això l'estudi de la relació entre la forma que adopta un edifici i l'espai exterior que aquest defineix, és determinant. La manera en què ens aproximem a un edifici condiciona l'espai exterior que aquest configura.Mitjançant l'anàlisi, es pretén aprofundir la relació que existeix entre la forma resultant d'una arquitectura i la manera en què s'organitza la seqüència d'aproximació i accés a la mateixa.Per assolir aquest objectiu, s'escull l'obra de Frank Lloyd Wright com un vehicle sobre el qual reflexionar a prop de la relació entre la seqüència d'aproximació i accés, els mecanismes d'implantació adoptats i la seva repercussió en el plantejament del projecte., Soler Monrabal, C. (2016). MECANISMOS DE IMPLANTACIÓN. ESTRATEGIAS DE APROXIMACIÓN. La secuencia de aproximación y acceso en la obra de F. Ll. Wright [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/62528., TESIS

The “all”, the “Total”, and Delusions of Grandeur in Garden Art in the Eighteenth Century During the Enlightenment, the idea of the possible synthesis of all the arts conjured up as much fascination as it does uneasiness. It manifested itself in two major issues : the adaptation of techniques and processes borrowed from other registers, and the realization of multi-artistic projects. Garden art, freed from the gardener’s line and level (tools associated with French-style gardens) and recently promoted to the rank of a liberal art, held the promise of being able to unite all of the arts within landscape. Well aware of the inherent difficulties of encompassing all modes of expression (the Enlightenment examined technical problems as well as the physiological dispositions of man), enthusiasts of garden art defended the legitimacy of its aspirations. What is the aesthetic and ethical value of a garden conceived of as a trans-disciplinary project ? How does the garden as total art avoid the pitfall of delusions of grandeur ?, Le concept de la synthèse de tous les arts éveille autant de fascination que d’inquiétude au siècle des Lumières. Il investit deux problématiques éminentes : l’adaptation de techniques et de procédés empruntés à d’autres registres et la réalisation de projets multi-artistiques. libéré du cordeau et du niveau, outils associés aux jardins à la française, nouvellement admis au cercle des arts libéraux, l’art des jardins est porteur d’une promesse de réunion de tous les arts au sein du paysage. Conscients des difficultés inhérentes à l’ambition d’embrasser l’ensemble des modes d’articulation - les Lumières scrutent dans ce contexte aussi bien les problèmes techniques que les dispositions physiologiques de l’homme -, ses amateurs défendent la légitimité de ses aspirations. Quelle est la valeur esthétique et éthique du jardin conçu comme un projet transdisciplinaire ? Comment le jardin en tant qu’art total échappe-t-il au danger de la folie des grandeurs ?, Woronow Ilona. Le « tout », le « total » et la folie des grandeurs dans l’art des jardins au XVIIIe siècle. In: Histoire de l'art, N°69, 2011. Parallèles entre les arts. pp. 37-46.

The purpose of this paper is the approximation to amusement music outdoors in the urban society in XVIIIth century, and also its contribution to the creation of a public space for sociability in reach for all the classes. The alameda de Hércules of Seville is taken as a case study because it was the closest inspiration for American boulevards. El propósito de este artículo es la aproximación al fenómeno musical de recreo al aire libre en la sociedad urbana del siglo XVIII, así como a su contribución a la creación de un espacio público de sociabilidad abierto a todos los estamentos. Se aborda el estudio de caso de la alameda de Hércules de Sevilla como el más inmediato modelo que inspiró a las alamedas americanas.

Movement through the built-environment is a fundamental social practice; yet, it has often been relegated to something subsequent to, or reliant on, design rather than a meaning-making resource in its own right. This thesis develops spatiogrammatics and a grammar of architecture based on observations of people s movement patterns. In particular, it explores the ways in which people experience their visit to a contemporary art museum in terms of how their movements through, and interaction with objects in, exhibition space create meaning together. This thesis draws on, and synthesises, a number of theoretical frameworks in order to inform its investigation. The first is the framework of Systemic Functional Linguistics, developed by Halliday (1978), who states that communication is a social semiotic that makes three broad meanings simultaneously: ideational, interpersonal and textual meanings. The second is the framework of Multimodal Discourse Analysis, which foregrounds the idea that forms of meaning are created through the co-deployment of various semiotic resources which collaborate to achieve an overarching purpose (Kress and van Leeuwen, 2006). The third is spatial semiosis (Ravelli, 2008; Stenglin, 2004, 2009a), an area of research that has begun to develop a grammar of three-dimensional space. This thesis also engages with theories on visitor studies and architecture, developing a new area of study, Spatial Discourse Analysis, a study which considers the users perspective of the built-environment. By foregrounding users as part of the meaning-making process, this thesis casts a different light on the ways in which spatial texts can be deconstructed. Rather than perceiving architecture as a conglomeration of building blocks, this thesis demonstrates that architecture is experienced through movement. As people move, they create a span of spatial text called a promenade, which is constituted of one moment of motion straddled by two moments of stasis. Although there are only two functions, Motion and Stasis, they operate differently at various levels in the museum experience. It is demonstrated that while exhibition space has been organised, negotiated and construed in a particular way, movement is a multifunctional transformative semiotic resource that enables visitors to reorganise, renegotiate and reconstrue it.

info:eu-repo/semantics/published

Le jardin, pour être apprécié, doit être parcouru : il faut donc le considérer comme une continuelle invitation, comme une succession de propositions faites au visiteur, au « promeneur » – l’expérience esthétique du jardin étant celle de sa découverte dans le temps, selon l’itinéraire librement consenti du promeneur. Le présent travail explore donc le « dialogue spatial » que présentent les formes physiques et les choix du promeneur en réponse aux possibilités motrices permises par ces formes. Il existe plusieurs descriptions de promenades dans le jardin de Versailles écrites sous le règne de Louis XIV. La méthodologie proposée consiste à corroborer l’espace physique du jardin de Versailles avec les descriptions qui en existent, afin de développer une analyse du « dialogue spatial » proposé par le jardin à la lumière des théories philosophiques et scientifiques actuelles de la perception. In order to appreciate a garden, the visitor must explore it. Thus, the garden must be a constant invitation, a succession of proposals to the visitor. The aesthetic experience of the garden is that of its discovery in time, through the freely chosen itinerary of the visitor. This study looks at the "spatial dialogue" formed by the physical forms of the garden and the visitor’s choices in response to the possibility of movement that these forms allow. There exists several descriptions of walks in the garden of Versailles, written during Louis XIV’s reign. The methodology consists in corroborating the physical space of the garden with the existing descriptions, in order to develop an analysis of the spatial dialogue based on contemporary philosophical and scientific theories of perception.

El propósito de nuestra investigación es analizar la imagen del París surrealista para luego ver su posterior recepción y variación por parte de Julio Cortázar en Rayuela. Los criterios analíticos de nuestra investigación constan en la importancia de la promenade y la visión en la construcción de la imagen de la ciudad a manera de espacio interior. Para comprender los orígenes e inserción en la tradición por parte de los surrealistas, fue necesario establecer los orígenes de las poéticas urbanas de la ciudad de París a finales del siglo XVIII, comprender el auge de París como tema literario a mediados del siglo XIX, analizar la importancia de la tradición noctámbula y la incidencia de Baudelaire en el París moderno para situar a los surrealistas en su manera de comprender la ciudad como un espacio psíquico e interior. Por último, comprenderemos los distintos elementos surrealistas de la construcción de París en Rayuela de Cortázar gracias a los textos escritos durante su período de interés surrealista (1947-1949) y su posterior variación en Rayuela., The purpose of our investigation is to analyze the image of Paris forged in four Surrealist texts published between 1926-1928 in order to understand the Surrealist elements that allowed Julio Cortázar to forge his own image of the city in the novel Rayuela. Our analytical criteria are the importance of the regard and the promenade in the construction of the city as an interior and personal space. To understand the importance of the Surrealist production, it was necessary to visit the origins of Paris as a literary text in the late eitheenth century, the importance of the tradition noctámbule in the XIXth century, the incidences of Baudelaire's work regarding the modern Paris and the change of century that allowed the Surrealist movement to understand the city as an interior and psychic space. Through the establishment of certain criteria and images, we analyzed Paris in Cortázar's novel Rayuela as a Surrealist product, even if Cortázar himself never felt as as a Surrealist writer.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2009, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2009, Çok katmanlı bir yapıya sahip olan İstanbul kentinde, farklı zaman dilimlerinde farklı birçok kültürün katkıda bulunduğu kentsel bir çevre mevcuttur. Kentsel çevrede ve kamusal mekanlarda yer alan katmanlar; kent için; önemli bir altlık, değişik potansiyeller, çeşitlilik ve çoğulculuk ortamı oluşturmakta ve aynı zamanda tarihi bir değer taşıyan kentsel bir hafıza sunmaktadır. Çalışmanın temel amacı tarihi mesire alanlarının sahip oldukları potansiyellere rağmen bu alanların korunmasında ve kente dahil edilmesinde sorunlar yaşandığını saptamak ve bu sorunları irdelemektir. Çalışmada ortaya konan hipotez ise şudur: İstanbul kentindeki tarihi mesirelerin birer kültürel miras bileşeni olarak algılanmamış ve mesire alanları orijinal nitelikleri korunduğu sürdürülebilir bir anlayışla günümüze taşınamamıştır. Hipotezin, araştırma alanı olarak belirlenmiş olan Kağıthane mesiresi üzerinden gerçekleştirilen saptamalar yoluyla kanıtlanması hedeflenmektedir. Kağıthane örneklem alanı üzerinde gerçekleştirilen bu karşılaştırma yoluyla araştırma grubunu oluşturan tarihi İstanbul mesire alanlarına yönelik genel sonuçlar ve çözümler sunulması amaçlanmaktadır. Çalışma sonucunda İstanbul kentinde bulunan mesire alanlarının niteliksel ve niceliksel kayıplara uğrayarak sürdürebilir bir anlayışla korunmadıkları ve orijinal karakterlerini yitirdikleri saptanmıştır. Kent için önemli birer kültürel peyzaj alanı olan bu alanların korunması için daha detaylı koruma önlemleri alıp daha detaylı planlama politikaları gerçekleştirilmesi gerektiği sonucuna varılmıştır., Multi-layered structure of İstanbul’s urban environment, is a product created by diverse cultures’ contributions made in various time periods. Layers, present in the public spaces, create a base foundation for urban layout, make it possible for the city to benefit from pluralism and diversity, and a large number of design alternatives. The main goal of this study is; to state that historical mesire areas are experiencing problems about conservation and isolated from current city structure neglecting the potentials these areas are able to offer, and to explicate the problems about these areas. The hypothesis that is put forth in this study is as follows: Historical mesire areas of İstanbul city are valued merely as open areas, not as important elements of cultural heritage, and the original characteristics of mesire areas have not been perpetuated through the agency of sustainable conceptions. Within this study it is aimed to prove the formerly stated hypothesis on the basis of the data achieved as a result of the study realized in Kağıthane case study area. Lastly the conclusion; stating that the historical İstanbul mesire areas have lost their original characters as a result of insuffiecient preservation policies and are suffering form qualitive and quantitive losses, is brought up. The need of defining extensive planning and protection policies regarding the mesire areas is a proposal made by this study., Yüksek Lisans, M.Sc.

This project is an investigation into issues surrounding the placing of a building into the context of a sloped site. The study manifests itself through the design of a farmer's market, restaurant and retail space on a site defined by a change on volumetric disposition, movement pattern and structural system. Master of Architecture

La création des stations de villégiature, balnéaires, thermales, climatiques ou des bords de ville s’inscrit à la fois dans le mouvement de l’avènement des loisirs et de la médicalisation de la société française du XIXe siècle, le développement des moyens de transport et l’accroissement exponentiel du tourisme.Figure 1Calais (Pas-de-Calais). Affiche, s.d. [fin XIXe siècle ?]. Coll. part. Extrait de Villes d’eaux, 2002. Paris : Imprimerie nationale Editions/Dexia, p. 30.Les réseaux de la villé...

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"Soit un individu se dirigeant d’un pas assuré sur le pavement devenu quelque peu fatigué à force, longeant la côte offerte à la houle et à la marée sur Black Bay, il y croise d’autres marcheurs tout aussi empressés que lui de rejoindre à plus d’une heure leur demeure après une journée de travail et profite de ce détour pour embrasser du regard la skyline changeante de la ville qu’il redécouvre chaque jour et où se mêle promeneurs nonchalants, joggeurs attentifs à leurs cadences imposées, marchands ambulants sur le qui-vive et autres badauds émerveillés, qui s’y affairent à la tombée du jour, où la chaleur s’estompe, le soleil vire au rouge et une légère brise rafraichit les tempes et soulève les voiles colorés des saris qui papillonnent au loin." Voici le portrait sui generis d’une fin de journée sur Marine Drive, lieu emblématique de Mumbai, qui compose l’espace d’un instant ce qui tendrait à faire « monde » dans la métropole indienne. Ici, peut-être plus qu’ailleurs, l’adage de Michel De Certeau (1980) vaut la peine d’être reconnu : « les jeux de pas sont façonnages d’espace, ils trament les lieux ». La marche serait-elle la condition nécessaire, mais suffisante pour exprimer un lieu ? En tant qu’événement dans l’étendue, le lieu est une fraction de terre où l’on séjourne, que l’on peut quitter et où l’on peut revenir. « Par rapport à lui s’ordonnent ainsi les mouvements de l’être. Le lieu est un ensemble de signes qui s’y cumulent et s’y organisent en un signe unique et complexe. » (ZUMTHOR, 1993, p.52) La marche produite par les différents usagers est l’un de ces signes, qui attestent et témoignent du lieu, inscrivent à leur façon son histoire. Dans la découverte de soi par le lieu, chaque individu connaît une variété infinie de lieux, pourtant certains connaissent et possèdent une valeur intrinsèque forte et signifiante à l’échelle de la ville, de la métropole, du monde. C’est la présence humaine qui l’a institué, en vertu de leur capacité émotionnelle, de la hiérarchie des souvenirs et des évènements qui ont pris place. Chacun, à sa manière, offre une matrice, un « terrain », un ensemble de « prises » (J.J. GIBSON, 1977), contacts, co-présences et co-spatialités (LÉVY, 2013) à intensité et dynamique spatio-temporelle variée. Le lieu est ainsi moins à concevoir en tant que passages que fait de rencontres. C’est un processus, le résultat d’une construction, dont la marche est assurément l’un des moteurs. En terme de pragmatique de la ville, la promenade constitue peut-être un archétype de la marche, dans sa subordination de l’espace à une pratique et inversement, de la pratique à un espace. L’individu est considéré comme actif, en marche, susceptible d’applications pratiques sur l’espace qu’il parcourt. La promenade comme acte est conduite justement soit par un véritable besoin d’enracinement, en terme de représentations collectives ou de constructions de commun, en renouvelant constamment l’espace de la ville grâce à la pratique de la promenade, tels une procession, un pèlerinage en « faisant le tour de… » ; soit en terme d’évasion, lieu de détente et de récréation, d’ennui ou d’envie, de conquête ou de renouveau, comme en témoigne l’image du flâneur au milieu du XIXe siècle. Lieu de représentation par excellence, la promenade résume somme toute un espace de « captation du monde » (BESSE, 2003), dans le sens où il relit les hommes à leur milieu, l’écoumène, et devient un espace « spectacle » d’exposition et de « présentation de soi » (GOFFMAN, 1973). Dans cette entreprise d’observation et de traduction des gestes en signes, chaque individu construit dans et par sa marche l’identité du lieu. Cartographier l’espace public par la marche repose sur une lecture de la marche pour mieux saisir à la fois, qui et, ce qui fait ou pousse à « faire lieu ».