Mouvement et perception des ambiances souterraines

Abstract

La mobilité ne constitue pas seulement un des enjeux majeurs des espaces publics urbains, elle se donne comme un des critères essentiels conférant à l'espace urbain son caractère public. C'est ainsi que le lieu-mouvement peut être considéré comme l'idéal-type de l'espace public contemporain. Réduit parfois à un complexe d'interconnexion de différents modes de transport, le lieu-mouvement relève plus fondamentalement d'un espace de ressources et d'épreuves mobilisant l'activité perceptive et motrice des passants. A cet égard, on peut s'intéresser à l'"informationvoyageur" en mettant à l'épreuve les conditions de production, diffusion et réception des informations mises à disposition des voyageurs (Gare du Nord : Mode d'emploi, 1994). Il s'agit de tester la manière dont un site favorise le transit en délivrant des messages pertinents et en proposant des équipements adéquats. L'analyse du dispositif informationnel-annonce sonore, télépancartage, signalétique, cellule d'information, etc.-révèle alors le lien étroit qui se tisse entre l'espace de circulation et l'espace de communication.

Ambiance of slowness. Brussels commercial gallery of the latter half of the 20thcentury

“…Commercial galleries may be considered as sensitive environments. As every other space in which one moves, it gives rise - as "active potentiality" [1][2][3] - to perceptive orientations and specific motor behaviours: specific sensory-motor ways of being. In their work at CRESSON, Thibaud and Chelkoff analysed urban micro-morphologies that structure visual, luminous and sound experience and reveal dynamics and located relations between built forms and social uses.…”

“…In their work at CRESSON, Thibaud and Chelkoff analysed urban micro-morphologies that structure visual, luminous and sound experience and reveal dynamics and located relations between built forms and social uses. They have constituted knowledge about built forms from discursive perception records [1] and field studies of spatial behaviours in specific micro-morphologies [4].…”

“…The sensory-motor effects result from the expressive power of surfaces and the motor power of visual orientations. First, the sensitive environment is expressive, in the sense that it gives rise to action and makes itself available as occurrence, thanks to the surface quality: texture, luminosity, reflection, contrast… Second, the attentional gestures of observation, contemplation, examination that underlie the perceptive activity of the passer-by engage his full body, extending often what the sight outlines in movement [1]. Both steps and eye mobilities of the passer-by are considered in the concept of "mise en vue" (~exposure) that attempts to articulate spatial forms with social and perceptive forms [4].…”

“…It qualifies and characterises the different articulations of spatial behaviours and visual perceptions. Sensorymotor effects are described through the relation between the eye and the step, which dissociation is used as marker for urban environment quality [1]. Lower urban environment quality makes passers-by accelerate.…”

“…In the latter half of the 20 th century, Brussels commercial galleries are defined both as alternative paths for pedestrians and as punctual destination spaces that capture the passerby. As in the Louvre Museum's underground [1], passers-by become subject in modernist commercial galleries to a paradoxical demand to circulate and to stay. This demand manifests through programmatic, regulatory and discursive dispositifs.…”