Par Catia Da Cunha Pedro, Mathilde Linder, Tim Meier, Maude Voutat, 26/10/15

    Image Sun Nov 01 2015 18:56:45 GMT+0100 (Paris, Madrid)  

    Situation plan

    We chose two features to work with: the horizontal surfaces and the angles.

    Image Sun Nov 01 2015 20:10:44 GMT+0100 (Paris, Madrid)  

    Researching ways to incorporate these key articulations in the double element

    Image Mon Nov 02 2015 08:53:04 GMT+0100 (CET)

    Researching spaciousness

    Image Mon Nov 02 2015 08:53:04 GMT+0100 (CET)

    Researching movement


    Par Catia Da Cunha Pedro, Clea Balestra, Diana Ugnat, Kilian Cossali, Lena Brucchietti, Louis Van Puyenbroeck, Lucien Roy, Mathilde Linder, Maude Voutat, Nicolas John, Nicolas Otti, Niels Galitch, Noe Herrli, Odile Blanc, Olivia Wechsler, Salome Stoffel, Samuel Aeschimann, Tim Meier, Yekan Deli, Rolando Valarezo, 12/10/15

    Image Mon Oct 19 2015 12:27:12 GMT+0200 (CEST)


    At the beginning of the project, we were separated into groups of two that, from that moment on, worked together on both a façade in Paris and in Lausanne. Starting with Lausanne, an element on the façade was defined as “super element”. In all cases, it was an eye catching element to the group and additionally used as reference point for all measures of the façade. In order to get the measures as precise as possible, a measuring tool was built to find a certain geometry, rhythm and characteristic in the facade. As a next step, 60m2 around the super element were chosen to serve as base for creating a plaster of the fragment. By using the super elements of Lausanne and Paris (which was chosen beforehand as well), the two fragments were put in relation with one another. A big step in this was to leave an opening in the plaster where the super elements were situated, in order that one really could see the façade of Paris though the super element of Lausanne or the other way around. Having done that, the plasters were placed onto the right spot on the plan of Lausanne/Paris by inserting brass stem into them.  The difference of height between the two streets was of courserespected. This is why the plaster on the lowest point in the street of Lausanne was defined as our new point zero, which was placed 8cm above the model. In that way the little models are all almost floating in our newly created street, which is neither Lausanne nor Paris anymore, but our own created space.


    Par Mathilde Linder, Catia Da Cunha Pedro, Stephane, 12/10/15


    We used our drawings to create cardboard moulds of the elements that we wanted to highlight. After 2 unsuccessful trials, we were able to obtain 2 plaster facades of Lausanne and Paris.


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    We then used our drawings and plaster to draw 2 perspectives, one put the viewer in Petit-Chêne looking at Lausanne building, the other showed the vire of the Parisian building seen from Lausanne.

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  • Lausanne's project

    Par Mathilde Linder, Catia Da Cunha Pedro, Stephane, 28/09/15


    The project aims to depict through drawing and moulding a Lausanne building from Petit-Chêne street (and to mirror it with its own reflection in the Parisian street Rue du Mail).

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    We used a ''Baton de Gerbert''. This basic instrument allowed us to calculate the height of our building. When the eye is aligned with the horizontal branch of the device and the vertical one and the top of the building , then the height of the building is given by the distance between the building and the stick , plus the height of the stick. 

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    The collected data allowed us to estimate the facade's dimension and then to draw our project (with an proportional approach).      

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