Charles de Fourcroy, Enlightened French Mathematician, wrote his treatise on a Tableau Poléometrique in 1782. He analyzed urban growth, by means of graphics comparing extension of main European cities with their amount of inhabitants.
But the time, when the logic of urban morphology was linked to colonial interests, became radically obsolete with situationist approaches towards un-mapping the city a few decades ago. Inheriting these procedures, urbain trop urbain featured Armelle Caron‘s works on decoding the blocks surrounding us; she identifies, classifies and organizes every city block from NewYork, Paris or Berlin, according to their size/shape.
In this way, Caron reveals a hidden experience to any pedestrian, by reshaping the banality of diverse urban fabrics. She translates them into a sort of notes on a score. And in this score, one can re-read the rhythm of a city with rectangular blocks, mega-blocks, super-blocks, medieval corners, triangular Baroque language, or longitudinal coastal strips.