W 5 : P L A S T E R
The characteristic that interested me the most about my facade in Paris is the impression of verticality that man feels when looking at it. And so I based my whole project on the concept of verticality. Through my drawing, I understood that the main vertical axis is created by the windows. Starting from this, I kept only a section, the width of those windows, and tried to create a space with it.
The whole structure is created in order to make feel the effect of this verticality:
The cut of the column is meant to emphasise the impression of verticality already created by the vertical section. The stairs are dimensioned to adapt to the different rhythms that compose this verticality. The footbridges are meant to be narrow, so that the person walking on it has to look at its feet and by doing so, sees the growing space below. Lastly, the landings are repeated on the whole column to give this impression to the person looking at the 1:33 model.
W 4: S C E N A R I O
He is walking towards the structure and the closer he gets, the higher it seems. When he reaches the stairs, he starts climbing. The steps are high and the ascension is tiring. Finally, he arrives at the first floor on a cramped footbridge. He walks alongside the wall, carefully looking at his feet, and gets to a small space. On the other side of the wall, he spots stairs and restart to climb, until he reaches the third floor. This time, the ascension gets easier but slower. The steps are getting smaller. And the higher he gets, the more frightening the crossing of the footbridge gets, because of its narrowness and the growing space below. At last, he arrives at the very top of the structure and ends his climb.
W 3 : C A R D B O A R D M O D E L S I I
Through research of my facade, I understood that the main elements that give verticality to the facade are the windows. And so I used the width of these elements to create a vertical section on my plus column.
W 2 : C A R D B O A R D M O D E L S
While exploring my first idea of working on the verticality of the facade by using vertical fragments, I decided to dispose them all around the plus column. I also created footbridges, in order to link all the fragments together. Through the drawing, I have come to realize that my fragments were actually becoming columns when in this disposition and that the intersection of the footbridges was creating a platform.
When a person walks in this structure, he experiences a progressive passage. He starts his experience from the outside and then walks between the columns. During that phase, he is in a transitional space, meaning he is not on the outside anymore, yet he is not on the inside either. Finally, he ends his experience by reaching the platform, which is the inside of the structure.
W 1 : I N T E R I O R V S E X T E R I O R
Implement of the double element within the situation drawing
He is walking in the avenue, thinking about the meeting that is about to happen. Far off, he perceives the stairs. This vision makes him nervous and immerses him into his thoughts. Without even thinking about it, he starts climbing the stairs. Progressively, he begins to see the table that stands on the top.
When he finally reaches it, he sits and wait.
Suddenly, he sees her. She is coming from a different direction. A few seconds later, she sits at the table, just in front of him, and smiles. Up there, they both feel like nobody can see them.
The notion of interior vs exterior
For me, the key point about those notions of interior and exterior is that they are both very ambiguous. For exemple, when my double element is placed on top of the stairs, it is located on the exterior because there are no walls separating it from the rest of the street. But at the same time, the fact that it is elevated gives an impression of intimacy, which is an important feature of the notion of interior.
Starting from the notion of verticality present in my double element, I decided to work with vertical and horizontal sections of my facade in Paris.
This gave me the idea of building my facade with vertical fragments in order to express this verticality which is already present in the facade in Boulevard Sébastapol.