• ROOMS

    Par Erblin Jasiqi, Judith Mizutani, 20/03/16

    belvédère suspendu




    _ressenti

    Je viens de finir ma série d’analyse, la journée a été longue, je n’ai qu’une envie, me poser et me vider les idées.

    Je sors du Rolex en direction de l’esplanade, je m’apprête à longer l’Under One Roof lorsqu’un élément inconnu attire mon attention sur ma gauche. Une sorte de pièce flottant au milieu de la pelouse semble m’inviter à m’approcher.

    Je m’approche et la première chose que je vois une fois être arrivé face à la construction est une série de marches imposantes. Mon premier réflexe est de m’y asseoir, leur dimension me permet de m’installer confortablement, tournant le dos au campus, à mes préoccupations. Je ferme les yeux un moment et me relève pour monter les marches. Une fois en haut je surplombe le périmètre, je peux observer le lac, la porosité de la construction laisse un doux vent m’atteindre.

    Je passe par une ouverture sur ma droite et me retrouve dans une pièce direction lac, je pose mon sac et m’avance doucement tandis que le parquet craquelle doucement sous mon poids. L'ouverture face à moi cadre un paysage splendide, je m'avance jusqu'à l'extrémité de cette terrasse, ce belvédère et je me retrouve face au lac, les bâtiments semblent s'écarter exactement pour que je puisse profiter de cette vue.

    Je retourne à l’intérieur, une fosse me tend les bras, je plonge à l’intérieur, calé contre les rebords, je ferme les yeux et mes angoisses, mes stress disparaissent me laissant dans un état de calme parfait.



           Image Mon Mar 21 2016 12:49:30 GMT+0100 (CET)         Image Mon Mar 21 2016 12:49:30 GMT+0100 (CET)



           Image Mon Mar 21 2016 12:49:30 GMT+0100 (CET)




    _conception

    La protostructure est située sur un site très précis avec une orientation spécifique, cette influence de l'environnement est une point majeur de la conception de notre ROOM.

    Celle ci tourne autour de deux points: le Rolex Learning Center et le lac Léman.

    Le Rolex est à l'est de la protostructure et rappelle le contexte des études, le lac quant à lui est au sud de la protostructure et tout à fait en face de notre ROOM.

    Notre ROOM est donc destinée aux étudiants sortant du Rolex Learning Center, qui voudraient se reposer, se relaxer. Notre projet associe introversion et extraversion en créant une bulle suspendue hors du temps qui est néanmoins complètement ouverte au paysage.


    Jasiqi_Mizutani_Del_Grosso_Drawing


    Jasiqi_Mizutani_Del_Grosso_DrawingJasiqi_Mizutani_Del_Grosso_DrawingImage Wed Mar 23 2016 21:57:32 GMT+0100 (Romance Standard Time)Jasiqi_Mizutani_Del_Grosso_Drawing




    _construction

    Notre projet est construit de manière modulaire. Les éléments se répètent selon le rythme dicté par la proto-structure tout en brisant la régularité avec une forme qui tire dans la direction de l'objet qui nous intéresse c'est-à-dire la vue du lac.

    Les différentes parties peuvent être aisément montées et démontées sur la proto-structure grace à différents systèmes de crochets.



           Image Mon Mar 21 2016 10:16:56 GMT+0100 (CET)Jasiqi_Mizutani_Del_Grosso_GifImage Mon Mar 21 2016 10:16:56 GMT+0100 (CET)                                                                                      Images d'animation de l'assemblage




    Image Mon Mar 21 2016 12:49:30 GMT+0100 (CET)


    Image Mon Mar 21 2016 12:49:30 GMT+0100 (CET)

                                                                                            Mock-up 1:1 architectonique

  • ROOMS

    Par Erblin Jasiqi, Judith Mizutani, 28/02/16

    W1

    Dans les phases précédentes il nous a été possible de constater l'existence de différents espaces, privés, publics, intérieurs, extérieurs. Ainsi, cette classification des espaces implique des éléments, des moments permettant le passage de l'un à l'autre. C'est le sujet qui nous a intéressé pour cette phase:


    ESPACE TRANSITOIRE

    espace éphémère/qui ne dure pas

    espace qui permet le passage d'un état/d'une situation à un(e) autre


    Del_Grosso_Jasiqi_Mizutani_Photography

    Point de départ: fragment issus du DOUBLE ELEMENT


    Notre ROOM vise à créer un espace transitoire: c'est à la fois un couloir et un palier marquant une transition sur le plan vertical et sur le plan horizontal.


    Jasiqi_Mizutani_Del_Grosso_DrawingJasiqi_Mizutani_Del_Grosso_DrawingJasiqi_Mizutani_Del_Grosso_Drawing

    Monge de la protostructure avec la ROOM à l'intérieur


    Del_Grosso_Jasiqi_Mizutani_PhotographyDel_Grosso_Jasiqi_Mizutani_Photography

    Deux configurations possibles: avec (g.) ou sans (d.) la protostructure 


    Del_Grosso_Jasiqi_Mizutani_Photography
    Del_Grosso_Jasiqi_Mizutani_Photography
    Del_Grosso_Jasiqi_Mizutani_Photography

    Détails de la maquette (1:10)


    Les différents cadres traduisent différents espaces, différents moments, leurs dimensions peuvent varier selon leur programme.



    W2

    Plutôt qu'un espace de transition, notre ROOM est désormais une pièce de repos. 

    Nous avons exploité l'environnement en transposant la porosité de la protostructure sur la ROOM elle même, ainsi l'espace intérieur entretient une relation très forte avec l'extérieur. 



    Jasiqi_Mizutani_Del_Grosso_DrawingJasiqi_Mizutani_Del_Grosso_Drawing
    Jasiqi_Mizutani_Del_Grosso_Drawing

    Représentation de Monge de la protostructure avec la ROOM à l'intérieur


    En outre, nous avons cherché une manière de lier la ROOM au Rolex Learning Center qui se trouve à quelques mètres, ainsi nous avons étudié le rythme des ouvertures dans le RLC et l'avons traduit afin de créer une paroi ouverte avec ce même rythme.


    Jasiqi_Mizutani_Del_Grosso_Drawing

    Représentation de Monge du projet avec dessin de recherche pour un élément de paroi


    _narratif

    Je viens de finir ma série d’analyse, la journée a été longue, je n’ai qu’une envie, me poser et me vider les idées.

    Je sors du Rolex en direction de l’esplanade, je m’apprête à longer l’Under One Roof lorsqu’un élément inconnu attire mon attention sur ma gauche. Une sorte de pièce flottant au milieu de la pelouse semble m’inviter à m’approcher.

    Je m’approche et la première chose que je vois une fois être arrivé face à la construction est une série de marches imposantes. Mon premier réflexe est de m’y asseoir, leur dimension me permet de m’installer confortablement, tournant le dos au campus, à mes préoccupations. Je ferme les yeux un moment et me relève pour monter les marches. Une fois en haut je surplombe le périmètre, je peux observer le lac, la porosité du tout laisse un doux vent m’atteindre.

    Je passe par une ouverture au fond et me retrouve dans une pièce direction lac, je pose mon sac et m’avance doucement, tandis que le parquet craquelle doucement sous mon poids, le vent ronfle sur la structure et un courant me tire vers l’ouverture de la paroi qui se tient face à moi. Celle-ci ressemble à un bouquet de bois, tel l’orée d’une forêt s’ouvrant progressivement en son milieu. Une fois dehors, mes yeux mettent une fraction de seconde à s’adapter avant de me dévoiler une vue à couper le souffle.

    A mes côtés les parois se prolongent, me protégeant tout en me laissant profiter de la vue ; au-delà des quelques maisons, je surplombe le lac, je peux apercevoir chaque gouttelette, chaque mouton.

    Je retourne à l’intérieur, une fosse me tend les bras, je plonge à l’intérieur, calé contre les rebords, je ferme les yeux et mes angoisses, mes stress disparaissent me laissant dans un état de calme parfait.




    Jasiqi_Mizutani_Del_Grosso_Photograph

    ROOM dans la protostructure


    Jasiqi_Mizutani_Del_Grosso_Photograph

    Jasiqi_Mizutani_Del_Grosso_Photograph

    Jasiqi_Mizutani_Del_Grosso_Photograph

    Différents moments liés à la structure ou au programme


    W3

    Au court de cette troisième semaine, nous nous sommes concentré sur deux objectifs: développer la relation entre la ROOM et son environnement et résoudre des soucis constructifs et structurels.


    Dans un premier temps nous avons donc décidé de définir la forme de la ROOM non plus selon les contraintes que la protostructure pose mais par rapport aux possibilités qu'elle offre: l'espace statique de notre ROOM est désormais orienté vers l'objet notre intérêt, c'est-à-dire la vue; l'espace fluide quant à lui est sur la périphérie (externe) de la protostructure.


    Jasiqi_Mizutani_Del_Grosso_DrawingJasiqi_Mizutani_Del_Grosso_Drawing
    Jasiqi_Mizutani_Del_Grosso_Drawing


    Jasiqi_Mizutani_Del_Grosso_Drawing


    D'autre part bien que nous avions un système permettant d'insérer et de retirer notre ROOM de la protostructure à notre guise le premier mécanisme utilisé rendait la manipulation fastidieuse, nous avons donc éliminé au maximum les tourillons pour les remplacer par des systèmes de crochets.

    Ces changements ont entraîné des modifications au niveau de la structure de notre ROOM, notamment pour les escaliers.

    [photos des systèmes d'assemblage]


    W4

    Durant cette dernière semaine nous avons apporté des modifications au projet principalement au niveau technique afin d'améliorer son aspect tectonique autant à l'échelle 1:10 que 1:1.

    [monge de la protostructure]

    [photographies du projet dans son ensemble]


    C'est le sol, le plancher qui a subit le plus de changements: nous l'avons conçu de manière à ce qu'il soit constructible et viable à l'échelle 1:1, et nous l'avons dimensionné de manière à ce qu'il soit aussi agréable d'utilisation.

    [dessin de dimensionnement sol & détails de construction tige filetée]


    À ce point-là du projet, les mécanismes d'assemblage ont été réfléchis de manière à ce que le montage des différents éléments soit plus rapide et efficace.



    Image Sat Mar 19 2016 23:27:01 GMT+0100 (CET)

    Mécanisme d'assemblage de cadres, 1:10


    Image Sat Mar 19 2016 23:27:01 GMT+0100 (CET)

    Mécanisme d'assemblage du sol, 1:10


    Image Sat Mar 19 2016 23:27:01 GMT+0100 (CET)

    Mécanisme d'assemblage des marches

  • PLANES

    Par Judith Mizutani, 14/12/15

       

         Throughout the previous projects two different types of spaces were defined and analysed in the site: public and private.

    public (adj.)

    concerning the people as a whole

    a public space is accessible by everyone


    private (adj.)

    belonging to or for the use of one particular person or group of people only

    a private space isolates the indivudual(s) to whom it belongs


    These two types of spaces are distincs but they is still a relation existing between them through the openings (as studied in DOUBLE ELEMENT). As a matter of fact there is a strong link both in vertical and horizontal planes.



    Image Mon Dec 14 2015 12:07:04 GMT+0100 (Romance Standard Time)

    Axonometry of the four sides of the column



    Mizutani_Judith_Del_Grosso_Monge

    Plans and sections with the different areas of influence

    Mizutani_Judith_Del_Grosso_Perspective

    Perspective from the base of the stairs




    Narative

    Breaking the continuity of the street, there are those stairs overstepping the sidewalk, like an invitation to go inside.

    Walking up to the building those intriguing steps seem to extend infinitely inside the façade. I walk up to it, and everything about it seems to attract me inside like a magnet. I feel like the wide stairs and openings, the porosity of the façade are reaching out to swallow me whole.

    I start to climb those stairs and as I get higher and deeper in the building I feel more and more trapped, isolated even though I am not technically inside the building yet. Finally, on the last step, I pass the door and on the other side of the wall I end up in a quite peculiar space. Indeed it seems like I am on the edge of the world, I am in a sort of room, no, a corridor leading to the void. There is a wall with a window overlooking the street but at the end of this space nothing stops me from falling into the air. This spce makes me feel lonely and recluse, so close and yet so remote from the street. 

    Above me levels pile up but I can't find a way to reach them, I am surrounded by rooms that seems to be unfinished, both closed and opened, making me feel ensnared despite the emptiness around me.

    Finally, I go back on my steps and, as I stand once again above the street, I see the stairs rolling out in front of me, this time pushing me to rush out back to the street.




    Judith_Mizutani_Del_Grosso_Photograph

    The two main cuts in the column, projections of the fragments of slab



    Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Photograph

    Relationship between the different openings in the column



    Mizutani_Judith_Del_Grosso_Photograph
    Image Mon Dec 14 2015 12:07:04 GMT+0100 (Romance Standard Time)

    Shadows created by the openings



    Mizutani_Judith_Del_Grosso_Photograph

    Perspective view of the space from the base of the steps

    Mizutani_Judith_Del_Grosso_Photograph

    Juxtaposition of the slabs without communication



    It is true that the openings and the definition of a space are deeply linked, both of them influencing the other. But how exactly does a simple hole in a plane can have such consequences on the quality and use of said space?

    In the site there are already junctions of planes creating different quality of spaces, which is why the spaces here are created with elements from the site: the main slab defining the base of the building has been fragmented and elevated to play with both the horizontal and vertical vectors. Moreover, each level is dimensioned following the proportions found in the building and its openings. The only public space in the site is translated by the stairs, dimensioned with the modules of the façade which, in its proportions, creates a middle between human proportions and the building's.



  • PLANES

    Par Judith Mizutani, 15/11/15

    WEEK 9

        Inserted in the plot, the +column drastically affects the space: it cuts through streets and buildings but it is also the source of different axes creating a certain organization of space.

    In the continuity of the previous study of public and private facades (MEASURES) and then spaces (DOUBLE ELEMENT), the +column can be used to examine the relationship between the two different cities, Lausanne and Paris and between the different openings in the façades with said axes.


    Mizutani_Del_Grosso_Drawing

                                                            Drawing of the plot with the +column and the axes


    WEEK 10

    INTERIOR.

    a space which is limited, restricted, closed.

    What is on the inside, what is inner.

    Can also be a space which is remote from the frontiers.


    EXTERIOR.

    what is related to the outside.

    What is on the other side of a separation marking out a space which is thus interior.



    Judith_Mizutani_Del_Grosso_Drawing

    Analysis of the influence of the element depending on its location and disposition on the site



    Narrative - the influence of the element on the street (squared spot)


        He is standing on the highest point of the street, almost on the top of the world overlooking Paris and Lausanne. It is almost as if he was in the air, surrounded by emptiness except for a bus-stop behind him, creating a semblance of privacy. In the distance the subway flows away with the crowd of busy people.

    He is sitting in the bus stop and next to him there's an object, or is it a space? The double element, half-window half-passage either isolates him more from the remote world or gives him a direction to reach it. Indeed the window closes the space the bus stop starts to form and creates this interior area, like a bubble in the public street.

    After some thoughts, he gets up and walks through the passage, exiting this confined intimate area and goes down a flight of stairs connecting two means of transport, two cities, two spaces. From the bus stop to the subway stop, the atmosphere is completely different: if he was once floating above the site surrounded by nothing but air, he is now at the lowest point, technically underground waiting for the next subway to come and take him away. The stairs are now enveloping him, the bus stop peaking at the top of them, like the top of a Mayan pyramid.

    A whirl of wind blasts across his face as the subway arrives, he walks in the door closing behind him separating him physically from this atypical space, and he observes the bus stop gradually disappear as the subway sinks deeper and deeper in the underground of Paris.



        Through the study of the façade and its environment, I determined a path that would lead a pedestrian into the verticality of the street.


    Mizutani_Judith_Del_Grosso_Drawing

    Research drawing and analysis of the relationship between the façades and the +column


    The DOUBLE ELEMENT played with the proportions and their significations regarding privacy and this space, the openings and voids kept those proportions linking them specifically to the site.


    Mizutani_Judith_Del_Grosso_Drawing

    Axonometry of the four sides of the +column


    Mizutani_Judith_Del_Grosso_PhotographyMizutani_Judith_Del_Grosso_PhotographyMizutani_Judith_Del_Grosso_Photography

    Different sides of the model (1:33)


    Mizutani_Judith_Del_Grosso_Photography

    Mizutani_Judith_Del_Grosso_Photography

    Views of the passage created by the merging of the +column with Paris' façade (1:33)


        The model invites the passerby to climb the stairs to arrive in a space isolated from the street and from the rest of the building for that matter: aside from the openings, there is no communication between the levels.


    Mizutani_Judith_Del_Grosso_PhotographyMizutani_Judith_Del_Grosso_Photography

    View on the street from the interior space (1:33)


    Narrative - experiencing the space created


    Breaking the continuity of the street, there are those stairs overstepping the sidewalk, like an invitation to go inside.

    Walking up to the building those intriguing steps seem to extend infinitely inside the façade. I walk up to it, and everything about it seems to attract me inside like a magnet. I feel like the wide stairs and openings, the porosity of the façade are reaching out to swallow me whole.

    I start to climb those stairs and as I get higher and deeper in the building I feel more and more trapped, isolated even though I am not technically inside the building yet. Finally, on the last step, I pass the door and on the other side of the wall I end up in a quite peculiar space. Indeed it seems like I am on the edge of the world, without any barrier between me and the void. On the other hand, I feel lonely and recluse, so close and yet so remote from the street. 

    Above me levels pile up but I can't find a way to reach them, I am surrounded by light and emptiness and yet I can't help but feel ensnared.

    Finally, I go back on my steps and, as I stand once again above the street, I see the stairs rolling out in front of me, this time pushing me to rush out back to the street.



    WEEK 11

        After thorough thinking, it appeared that it would make more sense to define in a clearer way the space with façades, taken directly from the hybrid. Indeed, the private spaces are completely different from what they were a week ago: there is now a suggested direction in the spaces thanks to the vertical planes and the importance of the openings in the communication is more obvious than ever.



    Mizutani_Judith_Del_Grosso_Drawing

    Axonometry of the four sides of the +column


    Mizutani_Judith_Del_Grosso_Photograph

    Orthogonal view of the column

    Image Mon Dec 07 2015 13:22:54 GMT+0100 (Romance Standard Time)

    Photograph of the transition from two different sides of the column


    Besides, the horizontal planes are now defined by the existing slab on the site (the shape is similar to the sidewalk and the contour of the façade).


      Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Drawing

    Research drawing of the fragmentation and rotation of the main slab

    Mizutani_Judith_Del_Grosso_Drawing

    Plans and sections


      Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Photograph  Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Photograph  Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Photograph  Mizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_PhotographMizutani_Judith_Del_Grosso_Photograph

    Orthogonals of the cuts in the column


  • DOUBLE ELEMENT : OUVERTURE ET MODULARITE

    Par Raphael Boscarato, Jonathan Fraschini, Marianne Ghorayeb, Cedric Nim, Judith Mizutani, 09/11/15

        The window - an element of communication

        The window is a bay, an opening in a wall which defines a certain relation between two spaces. The question is what exactly are the details and elements of the window that defines said relation.


    Team_Window_Del_Grosso_PhotographTeam_Window_Del_Grosso_PhotographTeam_Window_Del_Grosso_Photograph

            Evolution of the element: from left to right prototype n°1 (1:20), prototype n°2 (1:10), final prototype (1:10)



    Team_Window_Del_Grosso_Drawing

                                                Study of the visibility depending on the type of window

                

        So as to underline the differences and connection that exist all around our element (between the two windows or the spaces, the emptiness surrounding them) we connected them at the top thus tracing the contour of a passage perpendicularly. We were inspired by Kahn and the empty column when we designed this compartment in the thickness of the window.




    Team_Window_Del_Grosso_Drawing

                                                                    Monge of the element (1:10)


    Team_Window_Del_Grosso_PhotographTeam_Window_Del_Grosso_Photograph

                                        Display of the element on the site with a prototype and a plaster (1:66)



    The dimensions and proportions of our element derive directly to the study of the body proportions and those of our site (Boulevard de Sebastopol in Paris and Avenue Georgette in Lausanne). We also used some of Le Corbusier's studies (Le Modulor) to define the height of the "public" and "private" window.


    Team_Window_Del_Grosso_MontageTeam_Window_Del_Grosso_Photograph


                            Relation of the element with the body and the site through the proportions (1:1)



    Team_Window_Del_Grosso_PhotographTeam_Window_Del_Grosso_Stop_motion


                                                                   The window as a passage (1:1)


    As we studied the window we found out that another element shared several common points with the window: the table. Indeed, it can be considered both as an obstacle between two spaces or people, or quite the opposite a connection.




    Team_Window_Del_Grosso_Drawing

                                            Study drawing of the disturbance caused by the element (1:10)


    Team_Window_Del_Grosso_PhotographTeam_Window_Del_Grosso_Photograph


                                                        The window as a table and a spot of meeting (1:1)


    Finally, more than a ponctual element, we designed the window in order to be able to associate it to the door and therefore completely alter the area defined by the hybrid.




    Team_Window_Del_Grosso_Drawing

                                                        Axonometry of the window associated to the door




    Team_Window_Del_Grosso_Photograph

                                        Different point of view of the element when associated with the door (1:1)




    Team_Window_Del_Grosso_Photograph

                                    Different dispositions of the element when associated with the door (1:1)


        Throughout our study we came to the conclusion that the dimensions hold a major role in defining both the window and the relation between the adjacent spaces. As a matter of fact the width, thickness, height of the window completely changes the way each side of it is perceived from all point of views. 

    We also got the chance to analyse the impact of the disposition of the window on the space created: different inclinations invite the passerby to look a certain way, to orientate his stroll.