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Spatialité Et Territorialité Des Nouveaux Nomades À Slab City, Californie

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Spatialité Et Territorialité Des Nouveaux Nomades À Slab City, Californie UNIVERSITÉ DU QUÉBEC À MONTRÉAL HABITER LE MOUVEMENT: SPATIALITÉ ET TERRITORIALITÉ DES NOUVEAUX NOMADES À SLAB CITY, CALIFORNIE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAITRISE EN DESIGN DE L'ENVIRONNEMENT PAR MARION GOSSELIN MAI 2019 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.1 0-2015). Cette autorisation stipule que «conformément à · l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je tiens à remercier ma directrice Carole Lévesque qui a su rn' orienter et me cadrer dans ce long travail. Merci pour ses nombreuses relectures et commentaires qui m'ont mené surement plus loin que je ne 1' espérais. À Célia Forget pour son éclairage précieux et son expertise. Merci d'avoir partagé avec moi ton expérience et de m'avoir conforté dans ma démarche. À ma famille et mes amis, qui de près ou de loin ont su être là. Particulièrement à mes parents qui m'ont toujours soutenu et qui m'ont laissé, encore une fois, partir explorer de nouveaux horizons. À ma soeur, pour ces nombreux échanges téléphoniques et sa présence. À mamie Bernadette pour ces mots doux à toutes heures du jour ou de la nuit. À Papi Gérard pour son humour inépuisable. À Laure, Manu, Léa, et Sully, les plus beaux. À Christiane, Gaby, Philippe, Mireille, Pascal et Murielle. À Daniel Perahia, professeur d'exception et ami, qui a cru en moi, m'a soutenu et m'a donné la confiance d'aller au-delà de mes capacités. À Agathe et Marie-Pierre qui malgré la distance ont toujours su m'égayer l'esprit, me soutenir et me réconforter. À Robin et Chloé avec qui je suis partie à la découverte de ces lieux informels propres aux individus qui vivent mobiles en Amérique du Nord. IV Particulièrement à Robin, qui rn' a offert une oreille attentive et une aide précieuse. Acolyte hors pair, caméraman, assistant d'entrevue, lecteur, correcteur, et conseiller. À sa soeur. À Élo, ma grande amie, merci d'avoir été là. Après Bruxelles, à Montréal. Merci d'être dans ma vie. Et enfin, et pas des moindres, mille mercis à Mathieu, qui a su me soutenir tout au long de ce processus, calmant mes craintes et mes angoisses, avec tant de sérénité. Merci pour tout. DÉDICACE « In a landscape where nothing officially exists (otherwise it would not be "desert") absolutely anything becomes thinkable and may consequently happen. » Reyner Banham Scenes in America Deserta AVANT-PROPOS J'ai habité quelques années en véhicule converti en habitation motorisée, principalement dans la région de la Provence-Alpes-Côte d'Azur (PACA), en France. Nous étions plusieurs amis avec chacun notre habitation motorisée. Véhicule aménagé, adapté selon nos besoins, selon nos déplacements ou nos tendances à la sédentarisation. Selon différentes phases de notre mobilité, nous étions parfois dans une relation d'ancrage minimum au territoire et parfois frôlant la fixité, étalant notre habitat au site. Nous avons occupé des aires de repos lors de nos déplacements, des terrains occupés illégalement, squattés, et parfois des terrains loués. Jusqu'à recréer une micro-communauté. Nous nous entraidions, nous mettions en commun, selon les mouvements de chacun. C'est ainsi que nous changions de lieux d'ancrage, mais toujours « chez nous ». Si sur la route nous étions véhicule, un véhicule parmi tant d'autres. Un bus, un camion de marchandise. Lors de l'ancrage au territoire, c'est-à• dire de l'établissement du campement, nous étions altérité visible. Nous étions cet autre mode d'habiter. Nous habitions« sur la route ». Mais nous étions aussi maison. Une habitation déterritorialisée. C'est ainsi que je me suis intéressée à la remise en question de la dichotomie entre nomadisme et sédentarité, habituellement induite par la notion d'« habiter ». Je souhaitais engager une réflexion sur la place accordée à ces individus nomades dans les sociétés occidentales contemporaines construites sur le principe de la sédentarité. Nouvellement arrivée en Amérique du Nord, portée de mes intérêts et expériences de vie mobile, mes premières ambitions étaient d'établir une comparaison entre la mobilité européenne et la mobilité américaine. L'ambition était cependant bien trop grande, considérant les origines et formes différentes de mobilité VIl présentent sur les deux continents. C'est ainsi que j'ai décidé de me recentrer sur le territoire que j'habite aujourd'hui. En faisant l'exercice de m'extraire à nouveau de la sédentarité, d'aller à la rencontre de ces individus et de leurs pratiques du territoire. Le titre du mémoire est directement inspiré d'un écrit de Michel Agier Habiter le mouvement: 1'exception nomade, en introduction du catalogue de l'exposition Habiter le campement: nomades, voyageurs, contestataires, conquérants, infortunés, exilés, présentée entre le 13 avril et le 29 août 2016 à la Cité de 1' Architecture & du Patrimoine, à Paris. Cette exposition et plus largement ce livre m'ont permis de prendre conscience de la pluralité des formes de la mobilité. Qu'elle soit subie, choisie ou revendiquée, tous ces individus qui vivent dans la mobilité habitent le campement. Il est la forme visible de cette mobilité. Il est leur mode d'habiter l'espace. TABLES DES MATIÈRES AVANT-PROPOS ........................................................................................................ VI LISTE DES FIGURES .............................................................................................. XII LISTE DES TABLEAUX .......................................................................................XVII LISTE DES ABRÉVIATIONS, DES SIGLES ET DES ACRONYMES ............. XVIII RÉSUMÉ ..................................................................................................................XIX INTRODUCTION ......................................................................................................... 1 CHAPITRE 1 LE PAYSAGE DÉSERTIQUE ............................................................................. 25 1. Le sublime .......................................................................................................... 26 1.1. Des débuts en rhétorique .......................................................................... 26 1.2. Le Sublime selon Burke ........................................................................... 32 1.3. Le Sublime selon Kant ............................................................................. 36 2. Le paysage ......................................................................................................... 42 2.1. Une médiation par l'art ............................................................................ .43 2.2. Le paysage comme système artificiel ...................................................... .4 7 2.3. Le désert comme paysage du sublime .................................................... .49 3. Le mythe de 1' Ouest américain ......................................................................... 50 3.1. Le Western , ............................................................................................... 52 3.2. Le désert dans le cinéma américain ......................................................... 56 L____ IX 4. La fascination des déserts américains ................................................................ 71 CHAPITRE II LE DÉSERT, ESPACE PROPICE À L'EXPÉRIMENTATION .......................... 73 5. Expérimentations nucléaires .............................................................................. 76 6. Land Art ............................................................................................................. 81 7. Mobilité ............................................................................................................. 97 8. Arcosanti .......................................................................................................... 118 9. Burning Man ................................................................................................... 126 1O. Le désert initiateur au mouvement ................................................................... 143 CHAPITRE III SLAB CITY, CALIFORNIE .............................................................................. 144 11. Localisation, contexte régiona1 ........................................................................ 146 12. Emplacement du Camp .................................................................................... 152 13. Camp Dunlap ................................................................................................... 153 14. Développement de Slab City ..........................................................................
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