École Nationale Supérieure d’Architecture Paris-Malaquais

We develop a robust mean–variance portfolio optimization model that incorporates Environmental, Social, and Governance (ESG) risks under Knightian uncertainty. In this approach, ellipsoidal uncertainty sets constructed from ESG scores capture ambiguity in the assets’ expected returns. Unlike standard ESG portfolio models that impose direct ESG constraints or explicitly integrate the maximization of sustainability into the problem, our formulation naturally shifts the portfolio towards more sustainable assets as ESG uncertainty increases. The resulting optimization problem separates into a classical mean–variance component and an additional ESG-specific penalty term, explicitly quantifying the trade-off between financial performance and sustainability. This trade-off is governed by a single uncertainty-aversion parameter: as it approaches zero, the solution converges to the classical Markowitz portfolio, whereas as it approaches infinity, it converges to a purely ESG-driven allocation. These results demonstrate that accounting for ESG-related Knightian uncertainty can promote sustainable investment decisions without regulatory enforcement, particularly for risk-averse investors. • Our mean–variance portfolio framework leverages ESG ratings to represent uncertainty surrounding future returns, thereby integrating sustainability considerations under conditions of true Knightian uncertainty. • The optimization problem is framed as a worst-case scenario and results in a standard risk-return utility minus an ESG penalty. • This method combines the investor’s financial and sustainability risks aversion into a single uncertainty-aversion parameter. • Zero ESG aversion reproduces the classic Markowitz weights, while extreme aversion makes the allocation follow the raw ESG score ranking. • Rising ESG uncertainty naturally shifts investment toward higher-rated assets, eliminating the need for extra green constraints or regulation. • We show that highlighting the uncertainty associated with ESG risks can shift capital toward greener portfolios and help buffer investors against ESG-driven shocks.

In theatres, in most of cases, the audience is assigned to its seat, in a separate area from the stage; but many experiments in spectatorship suggest that it can be mobile, with the possible aim to make it active. Sometimes it follows a relevant composition, sometimes less convincing, questioning the space and the conventional separation between the auditorium and the stage. It often creates configurations that break with the constructions imposed by the theatres. Directors and stage designers are rearchitecting the venue or importing their own architecture that incorporates the audience into the scenography, following Artaud’s vision in Le Théâtre et son double (1938). Theatre architecture rarely offers such a morphological freedom between spectators and performers excepting 1960s and 1970s experiments. Depending on the context, what are the limits (or excesses) of the audience's appropriation of the stage? How do they integrate the performance, and how is this anticipated? What resonance do actual experiments have with theatrical architecture? May they lead to a renewal of the current stage space?Beginning with major examples of theatrical situations outside conventional venues, I explore, through some recent examples, how scenography meets architecture and how designers develop scenic devices that modify the audience's situation by inviting them to become part of the set. Finally, by means of comparative analysis and perspective, I will attempt to identify the ins and outs of these experiments to glimpse the extent to which today's theatres allow the development of these relational forms between spectators and performers.

Peu d’architectes ont autant écrit que Le Corbusier. Outre plusieurs centaines d’articles, il a publié tout au long de sa vie une quarantaine de livres chez une vingtaine d’éditeurs, du plus confidentiel au plus généraliste. Ce foisonnement tient à ce que cet oeuvre écrit est lié aux circonstances temporelles et à la nature et au ton des propos tenus : texte théorique, manifeste, explication de projets, transcription de conférences, réaction à chaud après un concours raté, monographie de bâtiment, autobiographie plus ou moins romancée...L’environnement intellectuel créé par les différentes stratégies éditoriales adoptées par Le Corbusier au cours deprès de trois décennies de production bibliographique définit des « genres littéraires », qui sont liés au fond, maisaussi à la forme, des livres. En retour, ces différents genres conditionnent la réception des ouvrages selon les publics. L’analyse de la chronologie des dispositions génériques des livres de Le Corbusier, fournit un éclairage nouveau sur cet aspect de son activité trop souvent méconnu.

The question of mobility has been a central concern in urban agendas for a considerable period, particularly as a legacy of the modernist era, and is also closely linked to the pressing issues of decarbonization, climate adaptation, and the reduction of inequalities. However, the spatial and experiential dimension of mobility remains under-researched, while the evolution of technologies related to mobility dominates the debate. Infrastructures support flows, as well as producing forms of urbanity, transforming landscapes, and reshaping everyday practices. Mobility, therefore, provides a frame, but the core of our investigation lies in space: the thresholds, interstices, and passages that give shape to lived experience in the contemporary city. The conference Passages. Architecture of Flowing and Connecting Spaces seeks to encourage reflection among researchers and practitioners on the potential of architecture to shape infrastructures as civic and collective spaces, essential to the quality of urban life.

European policies mandate encouraging plurilingualism in a digitally enhanced world. This mandate is placing increased demands on higher educational practitioners and institutions to prepare today’s learners with new linguistic skills. Content and Language Integrated Learning (CLIL) policy appears to resonate strongly with European aspirations and goals of educating citizens and promoting lingual diversity, pluriculturism, and mobility within the European Union. Whilst offering a potential solution through the interweaving of content and language in a dual-focused educational approach, CLIL is at risk of becoming a ‘buzz word’ without evidence-based research on emerging CLIL practices. This paper suggests a framework for practice-based research in the initial steps of CLIL implementation into HE curriculum and considers expansive learning theory as a theoretical and analytical framework to advance knowledge creation. The deliberate construction of a transciplinary networked learning community is advanced as the outcome and vehicle as the first initiative for CLIL implementation. The partnering and convergence of the knowledge expertise of language experts and subject experts in collaborative reflective practice enhances networked learning within and beyond the institutional boundaries, professional development and learner multiliteracies, including languages, culture, content and digital media. The context for this study is within tertiary architectural education in France where students study architecture in the first language, French, and Language and Communication Skills in the additional language of English as a separate discipline. This lack of convergence appears at odds with the emerging trend and evolution of transdisiplinarity in architectural education and practice where academia and associated professions of architecture, design and engineering increasingly teach, practice and research collaboratively. This desk-based research first examines the significance of CLIL in the European context, its variants, along with the challenges and drawbacks in crossing disciplinary boundaries. The implications for language and disciplinary practitioners and their role are discussed. Transdisciplinary collaborative work, teaching and learning can bridge language and knowledge barriers between the different disciplines in and through the fusion of language learning of, for, and through the languages of architectural practice and content, leading to innovation in curriculum development. Relational agency, in other words calling on the capacity of individuals to jointly work and learn with other practitioners, pedagogies, theories and resources distributed within institutional settings, given that a supportive learning community is possible, can lead to enhanced professional agency, in other words the capacity to act effectively informed by appropriate professional knowledge.. This paper concludes that further research is needed on relational agency within collective activities, such as networked learning communities to advance CLIL implementation.

À Morlaix, en Bretagne, un théâtre abandonné a suscité l’intérêt d’un groupe d’étudiants de l’École nationale supérieure d’architecture Paris-Malaquais. Durant une semaine, ils ont visité, étudié, relevé, modélisé et ainsi contribué à rendre compréhensibles ces vestiges du XVIIIe siècle, profondément transformés à la fin du XXe siècle. Invisible depuis la rue, son état de délabrement permet de saisir l’essentiel de la composition de la salle, tandis que la partie scénique a totalement disparu. À partir de documents d’archives, d’une enquête sur place et de relevés de détails, les étudiants ont échafaudé des hypothèses de reconstitution à différents moments de ce témoin scénique régional. À l’aide d’outils numériques, ils ont pu, dans un temps restreint, reconstituer en partie cet ouvrage avant que cette construction ne disparaisse totalement (workshop intensif 27 septembre-1 octobre 2021). À l’issue d’une semaine de recoupements et de recollements, ils ont présenté à des élus locaux, à des riverains comme à l’Architecte des Bâtiments de France le résultat certes partiel mais révélateur de l’intérêt de cet ouvrage oublié. In Morlaix, French Brittany, an abandoned theatre caught the attention of a group of students from the École nationale supérieure d’architecture Paris-Malaquais. Over the course of a week, they visited, studied, surveyed and modelled this eighteenth-century building, which was radically transformed by the end of the twentieth century. Invisible from the street, the dilapidated state of the building allows one to grasp the essence of the room’s composition, while the stage area has completely disappeared. Based on archival documents, an on-site investigation and detailed surveys, the students came up with hypotheses for reconstructing this regional landmark at different points in time. Using digital tools, they were able to redesign part of the structure in a very short space of time (intensive workshop 27 September-1 October 2021), before it disappeared altogether. After a week of cross-checking and piecing together the data, the students presented the fruits of their labour to local councillors, residents and the Architecte des Bâtiments de France (a government official), their admittedly partial results revealing the interest of this forgotten structure.

Cette recherche pluridisciplinaire vise à analyser la représentation de la dynamique urbaine dans les textes du domaine de l’urbanisme. Elle se concentre sur les données textuelles et s’intéresse au langage que les auteurs de textes utilisent pour parler des projets d’aménagement urbain. Deux corpus sont étudiés : le corpus du Grand Paris (GP) composé de textes portant sur le projet du Grand Paris et le corpus Grand Prix de l’Urbanisme (GPU) comprenant une sélection de discours des lauréats de ce prix parmi tous les discours publiés depuis le lancement de ce prix en 1989 jusqu’à aujourd’hui. Sa méthodologie est fondée sur l’analyse outillée des données et les techniques du TAL. Cet article décrit une démarche choisie pour constituer les données annotées, présente les premières observations sur la représentation de la dynamique urbaine dans les textes étudiés grâce à l’analyse des données annotées d’une manière quantitative et qualitative ainsi que propose le développement d’un module de reconnaissance automatique de la dynamique urbaine et ses caractéristiques.

When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.

Emprisonné pendant la dictature militaire en Uruguay, Mauricio Rosencof interroge depuis l’enfermement sa trajectoire familiale marquée par les pogroms, puis la Shoah. On pourrait y voir la tentative de désamorcer une fatalité jetant sans cesse l’individu dans un dehors qui paradoxalement l’enferme. Comment déjouer le piège d’une expérience ancienne qui résonne dans une expérience actuelle ? Je fais l’hypothèse que l’enfermé façonne, par le biais d’une écriture mentale, un espace domestique permettant l’avènement du dire. Car la maison, puis le texte conçu comme une maison, peuvent venir au secours de l’expression. Les structures spatiales que l’écrivain explore percutent l’architecture du texte, lui-même devenant intérieur qui se déploie et rend possible le déplacement, non de l’individu dans un collectif, mais d’un singulier-universel. Ces topologies activent ce que j’appellerai la fonction-mémoire : faute de pouvoir dire, héberger un indicible qui, hélas, le restera, non sans reconfigurer son contexte. J’essayerai de montrer que la maison est un opérateur de conversion qui relaie cet indicible pour en faire de l’irreprésentable, et qui précipitera le remplacement des formes dramatiques par des formes romanesques.