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ArgumentaireDepuis une quinzaine d&#8217;ann&#233;es, un usage renouvel&#233; de la notion de vernaculaire s'observe dans le monde francophone. Il d&#233;passe le champ de la linguistique et &#233;chappe &#224; l&#8217;opposition ancienne entre, d&#8217;une part, les id&#233;es de proximit&#233; et d&#8217;ancrage local que porterait la notion de langue vernaculaire et, d&#8217;autre part, celles de circulation et d&#8217;extra-localit&#233; qu'on associe par contraste &#224; la langue v&#233;hiculaire. La substantivation de l&#8217;adjectif vernaculaire et son adossement &#224; celui de contemporain accompagne ce renouvellement. Le nouveau vernaculaire semble constituer un domaine culturel &#224; part enti&#232;re, regroupant des mani&#232;res de faire linguistiques, architecturales, paysag&#232;res, picturales, mat&#233;rielles, relevant de la cr&#233;ation artistique et litt&#233;raire, ou encore de la production d&#8217;objets et d&#8217;agencements pratiques. De m&#234;me, le vernaculaire n&#8217;apparait plus seulement comme une d&#233;clinaison, plus populaire et informelle, de l&#8217;id&#233;e de traditionnel. En architecture, par exemple, il semble embrasser des modes de construction non-standardis&#233;s, peu durables, issus de savoir-faire non-acad&#233;miques, et instables, qui &#233;pouseraient la variabilit&#233;, parfois importantes, des conditions sociales et des milieux g&#233;ographiques.Certains auteurs ont propos&#233;, ces derni&#232;res d&#233;cennies, un quasi renversement s&#233;mantique de la notion. Chez eux, il n&#8217;existe pas de patrimoine vernaculaire &#224; identifier, classer et conserver, mais des agencements pr&#233;caires qui changeraient de nature d&#232;s lors qu&#8217;ils sont fig&#233;s. Le vernaculaire ne r&#233;sisterait pas &#224; sa patrimonialisation. Il r&#233;sulterait d&#8217;actions fragmentaires et circonstancielles, fond&#233;es sur des projections &#224; court terme.Cette acception du vernaculaire pourrait avoir &#233;t&#233; introduite en Europe continentale, et notamment dans la recherche francophone, depuis une quinzaine d&#8217;ann&#233;es. Il est probable que A la d&#233;couverte du paysage vernaculaire (2003), traduction du recueil d&#8217;essais de John Brinckerhoff Jackson Discovering the Vernacular Landscape (1984), y ait contribu&#233;. A partir de cet ouvrage, la notion semble avoir &#233;t&#233; diffus&#233;e dans le champ des &#233;tudes paysag&#232;res, urbaines, culturelles, de l&#8217;architecture, puis de la photographie et du design&#8230; Du livre Le Style documentaire (2001) d&#8217;Olivier Lugon &#224; l&#8217;exposition Walker Evans pr&#233;sent&#233;e par Cl&#233;ment Ch&#233;roux au Centre Pompidou, l&#8217;exploration croissante de l&#8217;&#339;uvre de Walker Evans (2017), par des chercheurs, curateurs et artistes, semble aussi avoir particip&#233; &#224; l&#8217;interrogation grandissante de cette notion. Dans le m&#234;me temps, l&#8217;ouvrage de Robert Venturi, Denise Scott Brown et Steven Izenour, Learning from Las Vegas (1972), a fait l&#8217;objet de multiples travaux. Des fragilit&#233;s domestiques photographi&#233;es par Evans aux accumulations d&#8217;enseignes commerciales &#233;tudi&#233;es &#224; Las Vegas, il semble bien exister une origine am&#233;ricaine &#224; l&#8217;acception contemporaine du vernaculaire. Selon Jackson, ce serait bien moins la maison paysanne, construite en pierre et con&#231;ue comme une propri&#233;t&#233; familiale, que le mobile home, sans fondation et positionn&#233; provisoirement, qui en serait la figure arch&#233;typale. A suivre John A. Kouwenhoven et son livre The Beer Can by the Highway (1961), le jazz pourrait &#234;tre une parabole musicale du vernaculaire et de la relation au monde auquel il convie&#160;: &#171; Lorsque le Jazz est &#224; son meilleur, chaque musicien parait &#234;tre &#8211; ou a le sentiment d&#8217;&#234;tre &#8211; isol&#233;. Chacun agit &#224; sa mani&#232;re, inventant des motifs rythmiques et m&#233;lodiques qui, &#224; premi&#232;re vue, ne semblent pas davantage articul&#233;s que ne le sont le si&#232;ge des Nations Unies et l&#8217;Empire State Building. [&#8230;] Comme Louis Armstrong l&#8217;a jadis &#233;crit, on s'attendrait &#224; ce qu&#8217;un groupe dont chaque musicien joue comme il l&#8217;entend aboutisse &#224; beaucoup de confusion et &#224; un bruit insens&#233;'&#160;&#187;. Le vernaculaire contemporain traduirait cette d&#233;sarticulation apparente des actions individuelles ou, comme le jazz, porteuse d&#8217;une harmonie faite d&#8217;interventions composites.Au-del&#224; des circulations transatlantiques, l&#8217;essor des travaux sur le vernaculaire semble accompagner les questionnements qui se sont d&#233;velopp&#233;s sur le Tiers-paysage, les communs, la polyfonctionnalit&#233;, les architectures participatives, les comp&#233;tences habitantes, les pratiques amateurs, les potentialit&#233;s du faire, mais aussi les usages du monde qui sont fonci&#232;rement utilitaires et sont porteurs de d&#233;gradations environnementales. En France, Le manifeste du Tiers-paysage de Gilles Cl&#233;ment succ&#232;de, en 2004, &#224; la publication en fran&#231;ais d&#8217;A la d&#233;couverte du paysage vernaculaire. Les travaux d&#8217;Ivan Illich sont r&#233;explor&#233;s&#160;; ils portent sur le vernaculaire comme domaine de production d&#233;tach&#233; des modes d&#8217;organisation industriels et hi&#233;rarchis&#233;s, et de tout enseignement institutionnalis&#233;. Alors que plusieurs ouvrages sont en pr&#233;paration ou paraissent sur Learning from Las Vegas, Pierre Frey publie en 2010 Learning from Vernacular, proposition th&#233;orique et aper&#231;u mondial des formes vernaculaires contemporaines. Il rejoint l&#224; une tradition britannique d&#8217;&#233;tudes architecturales liant d&#233;marches encyclop&#233;diques, &#233;tudes culturelles, perspectives patrimoniales et r&#233;flexions environnementales. En 1997, Paul Oliver, acteur central et fondateur de cette &#233;cole, co-&#233;dite notamment l&#8217;Encyclopedia of Vernacular Architecture of the World et en 2006 Built to Meet Needs: Cultural Issues in Vernacular Architecture.A l&#8217;&#233;cart du monde acad&#233;mique, les formes vernaculaires sont interrog&#233;es dans diff&#233;rents champs de l&#8217;art et de la conception. C&#8217;est en se consacrant &#224; la repr&#233;sentation de ce qui &#233;chappe aux normes de fabrication urbanistique, industrielle et politique et de ce qui rel&#232;ve de la production domestique qu&#8217;Eug&#232;ne Atget, en France, et Walker Evans, aux Etats-Unis, pourraient avoir ouvert et balis&#233; un champ de recherche photographique qui se perp&#233;tue aujourd&#8217;hui. C&#8217;est aussi en transposant des mani&#232;res de faire populaire et amateur dans leur discipline que des &#233;crivains, musiciens, plasticiens, designers, architectes, etc., se sont tourn&#233;s vers le vernaculaire.Le colloque international Les mani&#232;res de faire vernaculaires / Vernacular Ways aura pour objet d&#8217;interroger la notion de vernaculaire &#224; travers&#160;:son renouvellement s&#233;mantique, ses circulations g&#233;ographiques et ses ancrages disciplinaires, de l&#8217;architecture &#224; la photographie, des &#233;tudes litt&#233;raires &#224; la philosophie, etc. ;les production culturelles, mat&#233;rielles et immat&#233;rielles, qu&#8217;elle qualifie&#160;;les modes de documentation, de description et de repr&#233;sentation auxquelles elle donne lieu.Une attention particuli&#232;re sera donn&#233;e aux propositions portant sur la th&#233;orisation du vernaculaire contemporain dans le monde anglophone, sur sa transposition en Europe continentale et dans le bassin m&#233;diterran&#233;en, sur ses proximit&#233;s avec des notions voisines, telles que celles de populaire, d&#8217;ordinaire, de domestique, d&#8217;amateur, d&#8217;utilitaire, mais aussi de spontan&#233; et d&#8217;informel. Les propositions provenant des &#233;tudes visuelles, litt&#233;raires, linguistiques, musicales, architecturales, urbaines et paysag&#232;res, sans exclusive, participeront &#224; une r&#233;flexion que nous souhaitons pluridisciplinaire.L'initiative de ce colloque revient &#224; Fran&#231;ois Brunet, disparu fin d&#233;cembre 2018. Il sera &#233;galement l'occasion de rendre hommage au go&#251;t de ce dernier pour les d&#233;cloisonnements et les transbordements ind&#233;pendamment des hi&#233;rarchies instaur&#233;es entre le majeur et le mineur, les questionnements port&#233;s institutionnellement et les recherches men&#233;es en amateur.Modalit&#233;s de soumissionLes propositions de communication (300 mots), assorties d&#8217;une notice biographique, devront &#234;tre envoy&#233;es &#224; Jordi Ballesta et Eliane de Larminat avant le 10 juin 2019&#160;: jordi.ballesta@laposte.net et elianedelarminat@posteo.netLes communications pourront &#234;tre donn&#233;es en fran&#231;ais, comme en anglais.Une s&#233;lection des communications sera publi&#233;e dans la revue en ligne Interfaces (consultable sur OpenEdition en 2019), labellis&#233;e et soutenue par le CNRS. Textes et images (libres de droits) devront &#234;tre soumis au comit&#233; scientifique dans les deux mois suivant le colloque, soit au plus tard le 31 mars 2020.Comit&#233; d&#8217;organisationJordi Ballesta (Universit&#233; Jean Monnet, CIEREC - LARCA), Fr&#233;d&#233;ric Og&#233;e (Universit&#233; de Paris, LARCA)Mark Meigs (Universit&#233; de Paris, LARCA)Eliane de Larminat (Universit&#233; de Paris, LARCA)Comit&#233; scientifiqueJordi Ballesta (Universit&#233; Jean Monnet, CIEREC - LARCA)Antonello Frongia (Universit&#224; Roma Tre)Charlotte Gould (Universit&#233; Sorbonne Nouvelle - Paris 3, PRISMES)Jean Kempf (Universit&#233; Lumi&#232;re - Lyon 2)Jerome Krase (Cuny Brooklyn College)Eliane de Larminat (Universit&#233; de Paris, LARCA)Caroline Maniaque (ENSA de Rouen, AUSSER)Mark Meigs (Universit&#233; de Paris, LARCA)Fr&#233;d&#233;ric Og&#233;e (Universit&#233; de Paris, LARCA)Thierry Paquot (Universit&#233; Paris-Est Cr&#233;teil Val-de-Marne, IUP)Gary Van Zante (Massachusetts Institute of Technology)PresentationThe past fifteen years have witnessed a renewed interest and a shift in the notion of the vernacular in the French-speaking world. The notion now applies to more than linguistics and is no longer contained by the opposition between the proximity and localness associated with vernacular languages and, on the other hand, the ideas of circulation and extra-locality that are usually associated with vehicular languages. In its renewed understanding, the term, used also as a noun, can be combined with the adjective contemporary, as in the phrase &#8220;the contemporary vernacular.&#8221; The new vernacular seems to make up a distinct cultural world, embracing practices that can be linguistic, architectural, landscape-based, pictorial and material&#8212;connected to artistic and literary creation but also to the production of objects and of material environments. The vernacular is no longer seen as a popular and informal version of the traditional. In architecture, for instance, it seems to comprise non-standardized, non-academic, non-perennial or non-continuous practices of building that are characterized by their capacity to respond to variations in social conditions and geographical environments.Over the last decades, a number of authors have reworked the notion in a way suggesting a semantic reversal. They do not look for a vernacular heritage in need of being identified, classified and collected, but instead locate precarious orderings that change in nature when they are stabilized. This version of the vernacular does not survive its preservation as heritage because it is the result of fragmentary and circumstantial actions based on short-term projections.It seems that this new understanding of the vernacular has been introduced over the past fifteen years in non Anglophone publications especially in French. The translation in 2003 of John Brinckerhoff Jackson's 1984 collection of essays Discovering the Vernacular Landscape (&#192; la recherche du paysage vernaculaire) has certainly contributed to the process. After this publication, the notion appears to have spread towards the fields of landscape studies, urban studies, cultural studies, architecture, and later to the study of photography and design. From Olivier Lugon's book Le style documentaire (2001) to the &#8220;Walker Evans&#8221; exhibition presented by Cl&#233;ment Ch&#233;roux at the Centre Pompidou in Paris in 2017, the growing interest in the work of Walker Evans on the part of researchers, curators, and artists have fueled the reexamination of the notion. Meanwhile, Robert Venturi, Denise Scott Brown, and Steven Izenour&#8217;s 1972 book Learning from Las Vegas has become the object of many studies. From the fragile domestic worlds photographed by Evans to the accumulations of commercial signs studied in Las Vegas, the contemporary understanding of the vernacular has American roots. According to Jackson, its archetypal form is not the farmhouse, built in stone and conceived as a family property, but rather the mobile home, lacking foundations and provisionally sited. Following John A. Kouwenhoven in The Beer Can by the Highway (1961), jazz can be seen as a musical parable for the vernacular and for the relationship to the world to which it invites its users: &#8220;In jazz at its characteristic best, each player seems to be&#8212;and has the sense of being&#8212;on his own. Each goes his own way, inventing rhythmic and melodic patterns which, superficially, seem to have as little relevance to one another as the United Nations building does to the Empire State. [&#8230;] As Louis Armstrong once wrote, you would expect that if every man in a band 'had his own way and could play as he wanted, all you would get would be a lot of jumbled-up, crazy noise.'&#8221; The notion of the contemporary vernacular would reflect an apparent lack of articulation between individual actions that could, like jazz, produce a form of harmony based on composite interventions.Beyond transatlantic circulations, the development in studies of the vernacular seems to go hand in hand with recent interest in the &#8220;third-landscape&#8221; (tiers-paysage), the commons, polyfunctionality, participant architectures, ways of dwelling, amateur practices, the potential of doing, but also ways of using the world that are fundamentally utilitarian and that lead to environmental degradations. In France, Gilles Cl&#233;ment's Le manifeste du Tiers-paysage in 2004 followed the publication in French of Jackson's Discovering the Vernacular Landscape. New attention has been paid to the writings of Ivan Illich, focusing on the vernacular as a field of production that is distant from the hierarchical structures of industrial societies and from any institutionalized form of teaching. While several books on Learning from Las Vegas were being written or issued, Pierre Frey published in 2010 Learning from Vernacular, both a theoretical proposal and a global overview of contemporary vernacular forms. Frey thus joined a British tradition of architectural studies that links encyclopedic approaches, cultural studies, preservation prospects and environmental reflections. Paul Oliver, a key actor and founder of this school, co-directed in 1997 the Encyclopedia of Vernacular Architecture of the World and in 2006 Built to Meet Needs: Cultural Issues in Vernacular Architecture.Outside the academic world, vernacular forms have been explored in different fields of art and design. Through their focus on the representation of what falls outside the norms of urban, industrial, and political fabrication and of what comes under domestic production, Eug&#232;ne Atget in France and Walker Evans in the United States seem to have marked out a field of photographic research that is still active today. Likewise, by transposing popular and amateur &#8220;ways of doing&#8221; in their own disciplines, a number of writers, musicians, visual artists, designers, architects, etc., have turned to the vernacular.The international conference &#8220;Les mani&#232;res de faire vernaculaires / Vernacular Ways&#8221; will interrogate the notion of the vernacular through three main axes: - its semantic evolution, geographical circulations, and disciplinary variations; - the cultural productions it designates, both material and immaterial; - the various modes of documentation, description, and representation that it tends to elicit.Special attention will be given to proposals focusing on theories of the contemporary vernacular in the anglophone world, on its transposition in continental Europe and the Mediterranean area, and on its proximities to neighboring notions such as the popular, the ordinary, the domestic, the amateur, the utilitarian, but also the spontaneous and the informal. For this multidisciplinary endeavor, we welcome proposals from visual arts, literature, music, architecture, urban and landscape studies.This conference was originally planned by Fran&#231;ois Brunet, who passed away in late December 2018. On this occasion, we wish to pay homage to his interest in transfers of technique and subject that overlap and collapse established categories and hierarchies between the major and the minor or between institutionally supported and amateur inquiry and research.Submission GuidelinesProposals (in English or French) should include a 300-word abstract and a short biography. They should be sent by June, 10 2019 to the following address: jordi.ballesta@laposte.net and elianedelarminat@posteo.net.Papers may be given in French, as in English.A selection of papers will be published in the online journal Interfaces (which will be on OpenEdition in 2019), supported by the CNRS. Texts and images (free of rights) must be submitted to the scientific committee within two months of the colloquium, ie no later than 31 March 2020.Organizing committeeJordi Ballesta (CIEREC, LARCA)Fr&#233;d&#233;ric Og&#233;e (Universit&#233; de Paris, LARCA)Mark Meigs (Universit&#233; de Paris, LARCA)&#160;Eliane de Larminat (Universit&#233; de Paris, LARCA)Scientific committeeJordi Ballesta (CIEREC, LARCA)Antonello Frongia (Universit&#224; Roma Tre)Charlotte Gould (Universit&#233; Sorbonne Nouvelle - Paris 3)Jean Kempf (Universit&#233; Lumi&#232;re - Lyon 2)Jerome Krase (Cuny Brooklyn College)Eliane de Larminat (Universit&#233; de Paris, LARCA)Caroline Maniaque (AUSSER)Mark Meigs (Universit&#233; de Paris, LARCA)Fr&#233;d&#233;ric Og&#233;e (Universit&#233; de Paris, LARCA)Thierry Paquot (IUP)Gary Van Zante (MIT)