engraving property
pre-research on firebacks


Further reading :

_ Décret de la Convention nationale, du 21.e jour du 1.er mois de l’an 2.e (october 12, 1793) de la République française, No. 1710. No 1537 de la consignation, Signed by François-Louis-Michel Deforgues (Paris: Haener, 1793)

_ L.-T. Lambert, La plaque retournée, Comédie patriotique au théâtre de Vaudeville, 1793

_ David Bennett, Plaques de cheminée, the French Revolution, and the Politics of Iconoclasm

_ Philippe Palasi, Plaques de Cheminées Héraldiques: Histoire d’un support métallique des armoires — fin XVe–XXe siècle, Préface de Michel Pastoureau (Paris: Éditions Gourcuff-Gradenigo, 2014).

_ reprendre Bachelard

_ Jeremy Hodgkinson, British Cast-Iron Firebacks of the 16th to mid-18th Centuries (Crawley: Hodgers Books, 2010)

_ Henri Carpentier, Histoire des plaques de cheminées (Paris: J. Florange, 1912)

https://www.plaque-de-cheminee.fr/blog/vue-d-ensemble-de-l-histoire-de-la-plaque-de-cheminee/





extra texts:

Coming from a ceramic background and amazed by the possibilities of fire I also came to question its ecological implications. considering the fireback object imply then to solve the energy consumption of my own work process, therefore already questioning the iron casting process I would instinctively go for. This production issue goes hand in hand with the obsolescence of those “plaques”: new heating systems combined with the growing restrictions of domestic fires in urban spaces make now those plaques anecdotical and purely decorative.

est-ce du design / la question de quoi produire : pourrait être une lecture, un livre, un support de communication open-source (à l’inverse de la plaque matérielle)

looking at a building and its history in particular, a former private real estate, now dealing with its museal agencies. (ICOM) https://icom.museum/fr/activites/normes-et-lignes-directrices/definition-du-musee/

(ICOM new definition of the museum) implying often a frozen in time disposal. (Foucault, heterotopie : storing eternity, about museum, https://www.franceculture.fr/emissions/les-nuits-de-france-culture/heure-de-culture-francaise-les-utopies-reelles-ou-lieux-et). Those places are cold and dead, they are made to witness the past. How do we, as contemporary designers, critically integrate this genealogy, how can we appropriate an already obsolete object ?

> again question property

“The term “heterochronia” tries to address the question of the politics of a time (chronopolitics) by looking into the relationships between language (representation, narratives), power, and temporality. This is both an epistemological question and a methodology for constructing history. Michel Foucault borrowed the term “heterochronie” from the biological language in the lecture “Des spaces autres” (1967) to interrogate the modern Western construction of time and its relationship with hegemonic historical narratives. Heterochronia does not refer to time as an abstract dimension of physics but rather to time as a social and political construction. Foucault thought of archives, libraries, and museums as “heterochronias”, political dispositifs that “accumulate time.” A museum works as a time machine that configures chronological and visual fiction (Stephen Kern). What are the times that museums are accumulating? And what other times resist conventional narratives and reject accumulation as a historical method?”
> https://www.wired.com/beyond-the-beyond/2017/03/heterochronia/
(heterochronia, Paul B. Preciado, published 14 July 2014, Barcelona)

> sur les industries PALASI, chapter “acteurs et production, propriétaires et maitres de forges (see scans)

_ Philippe Palasi, Plaques de Cheminées Héraldiques: Histoire d’un support métallique des armoires — fin XVe–XXe siècle, Préface de Michel Pastoureau (Paris: Éditions Gourcuff-Gradenigo, 2014).

Indeed connected to first industrial empire producing those metal objects / small history of industrialisation, intertwined ideology and mean of spreading infos of whose in power). notes (book heraldic, go further on Michel Pastoureau)

particular anecdote which emphasise the technical, symbolic, linguistic, politic nature

inspired by the strong gesture of turning the décor against the wall. tells a lot about the double mission of this tool. > _ David Bennett, Plaques de cheminée, the French Revolution, and the Politics of Iconoclasm

> aby warburg : pathos formel / approach anthropology from image, knowledge from senses eyes / touch / kinesthesie
> fiche du patrimoine immaterial
> the commemorative plates (bonne transition avec la mémoire)

approach
> limits between material/immaterial, process/outcome, theory/practice
> transdisciplinarity, inbetween- disciplines  

subject interests
> interest in open source, commons, hospitality
> museum context, pedagogy, archives, transmission

> fireback focused : metonymy to rethink the whole space it contains
> formally : frontal screen / interface (from circular to flat)