{"id":58196,"date":"2026-07-19T20:28:47","date_gmt":"2026-07-19T18:28:47","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/memoire\/anna-maria-fioritti\/emotional-storytelling\/"},"modified":"2026-07-19T20:28:47","modified_gmt":"2026-07-19T18:28:47","slug":"emotional-storytelling-shaping-the-intangible-in-italics","status":"publish","type":"project_type_3","link":"https:\/\/diploma.ecolecamondo.fr\/en\/memoire\/anna-maria-fioritti\/emotional-storytelling-shaping-the-intangible-in-italics\/","title":{"rendered":"Emotional Storytelling \/ shaping the intangible in italics"},"content":{"rendered":"\n

Overwhelmed by a constant flow of images, the value of our lived experiences as well as that of our sensory perceptions disappear in favour of immediate representations.
This is reflected in our relationship with architecture, which is often perceived as a setting to be photographed rather than a place to \u201cfeel\u201d.
Emotional Storytelling \/ shaping the intangible goes beyond visual observation, revealing an \u201cempathetic\u201d experience. The aim is to return emotion to the heart of the architectural project, both for those who design it and for those who experience it.
Architecture then becomes a dimension again where form and emotion meet to complement each other, and thus return to the very essence of inhabiting it.<\/p><\/div><\/div><\/article>\n\n

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[Fig. 2]\u00a0 Zumthor Peter, \u00ab Architectural Environments \u2013 Surrounding Objects \u00bb, Atmospheres<\/em>, B\u00e2le, Birkh\u00e4user, 2006, p.11.\n<\/figcaption>\n <\/article>\n\n\n\n

Nous vivons \u00e0 une \u00e9poque o\u00f9 la qualit\u00e9 d\u2019un projet se mesure de plus en plus souvent en termes d\u2019impact visuel et de viralit\u00e9 : plus la visibilit\u00e9 est grande, plus la valeur est \u00e9lev\u00e9e. Pour ma part, je suis fermement convaincue que la qualit\u00e9 architecturale r\u00e9side dans la capacit\u00e9 \u00e0 susciter des \u00e9motions. <\/p><\/div><\/div><\/article>\n

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[Fig. 3] Probl\u00e9matique du m\u00e9moire\n<\/figcaption>\n <\/article>\n\n\n\n

Avec cette formulation, j’entends \u00e9tudier l’\u00e9motion comme un processus, non comme un r\u00e9sultat \u2014 un processus en plusieurs phases, qui se d\u00e9cline en axes : l’origine de l’intention \u00e9motionnelle du concepteur, les \u00e9l\u00e9ments formels qui lui donnent corps, sa perception par l’utilisateur, et l’\u00e9cart entre intention et r\u00e9ception.<\/p><\/div><\/div><\/article>\n

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[Fig. 4-5] Architecture Fragment\u00e9e \/ Peter Eisenman – House VI\u00a0 <\/em>\n[Fig. 6-7] Architecture Perturbante \/ Claude Parent – Maison Drusch<\/em>\n[Fig. 8-9] Architecture Sensible \/ Peter Zumthor – Secular Retreat<\/em>\n[Fig. 10-11] Architecture \u00c9motionnelle \/ Luis Barrag\u00e1n – Casa Gilardi<\/em>\n \n<\/figcaption>\n <\/article>\n\n\n\n

On traverse quatre d\u00e9clinaisons de l’architecture en tant qu’exp\u00e9rience v\u00e9cue : Eisenman d\u00e9construit la perception (House VI<\/em>) ; Parent r\u00e9active la conscience corps-espace via la diagonale (Maison Drusch<\/em>) ; Zumthor vise le bien-\u00eatre atmosph\u00e9rique (Secular Retreat<\/em>) ; Barrag\u00e1n \u00e9voque le bonheur par la lumi\u00e8re et la couleur (Casa Gilardi<\/em>).<\/p><\/div><\/div><\/article>\n

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[Fig. 12-13] Photos du stand du dipl\u00f4me\n<\/figcaption>\n <\/article>\n\n\n
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\n \n Open the PDF\n <\/a>\n <\/p>\n <\/noscript>\n <\/div>\n<\/article>\n<\/div>\n","protected":false},"author":123,"featured_media":58202,"template":"","meta":{"_acf_changed":false,"footnotes":"","_metafield_presentation":"Overwhelmed by a constant flow of images, the value of our lived experiences as well as that of our sensory perceptions disappear in favour of immediate representations.
This is reflected in our relationship with architecture, which is often perceived as a setting to be photographed rather than a place to \u201cfeel\u201d.
Emotional Storytelling \/ shaping the intangible goes beyond visual observation, revealing an \u201cempathetic\u201d experience. The aim is to return emotion to the heart of the architectural project, both for those who design it and for those who experience it.
Architecture then becomes a dimension again where form and emotion meet to complement each other, and thus return to the very essence of inhabiting it.","_metafield_image_toggle":true,"_metafield_image_legend":"[Fig. 1] Couverture du m\u00e9moire","_metafield_gallery":[51987,52027,52028,52030,52031,52032,52042,52043,52045,52044]},"keywords":[109,99,110],"teachers_list_1":[63],"class_list":["post-58196","project_type_3","type-project_type_3","status-publish","has-post-thumbnail","hentry","keywords-care","keywords-research-approach","keywords-societal-field","teachers_list_1-laure-fernandez"],"acf":[],"_links":{"self":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3\/58196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3"}],"about":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/types\/project_type_3"}],"author":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/users\/123"}],"version-history":[{"count":0,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3\/58196\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media\/58202"}],"wp:attachment":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media?parent=58196"}],"wp:term":[{"taxonomy":"keywords","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/keywords?post=58196"},{"taxonomy":"teachers_list_1","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/teachers_list_1?post=58196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}