• Planes

    Par Niels Galitch, 16/11/15

    In this first week I made different plans and cuts of my plaster to better understand the situation and chose how to insert my planes. 



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    With my plaster i have an interesting situation for two reasons, i have an angle, and there is an other plaster parallel to mine. I chose as a working theme the "dead-end" and what it implies, that is why i mostly worked with the plans.



    I finally chose to add two planes, one horizontal at the level of the balcony, the second vertical that closes one side of the "street" formed by the two buildings. 


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    I made an elevation with the two "planes" that I chose. Notice that I only took very few elements the drawings, the details are not important for me in this work and do not influence the space.


    Research for the construction of perpective


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  • UNVEILING

    Par Clea Balestra, Olivia Wechsler, Rolando Valarezo, Niels Galitch, 08/11/15

    Final Result :

    After further research, we found that there is no need to build the extra supports underneath the table, since the double element will be inlaid in the centred plaster. On the dividing line on the table, a curtain is installed, which can be seen as some kind of filter: When nobody is standing at the bar table, sounds and shadows from the other side of the curtain are still present to make people suspicious and curious to interact with the other side. Once both sides are occupied, the curtain can be wind up from both sides and the border is broken. For both of the two a whole new world opens up and nothing hinders a interaction anymore. Since it is unpredictable what you will get to see when stepping towards the double element, it becomes a place for spontaneous interactions and talks. This will make everyone want to come back the next time they pass by.


    We decided to build an other model where we improved the system and different construction details.

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    We drew the plan of the table that we used to build both 1/5 and 1/1 elements.

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    We also made several other drawings of our element in situation to show the achieved effect of our double element. 

    For this we made a monge projection of the element in the “real” situation as well as a perspective.

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    Of course in order to build these details, we made constructions drawings in the original scale.


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    It was also important to make a detail of our central rail to see if our plans worked correctely before building the hole thing.



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    Pictures of the end result at a scale of 1:1 :


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    Details:

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  • Discovering space

    Par Clea Balestra, Niels Galitch, Rolando Valarezo, Olivia Wechsler, 19/10/15

    Week 1


    In order to get a better overview over the situation of our four plasters, we drew a new plan and two new cuts. 



    Image Mon Oct 26 2015 08:14:45 GMT+0100 (CET)


    This drawing helped us find new links between all the super elements. Furthermore we discovered an interesting situation between the two spaces around the plaster in the center of the situation.


    As we already had two perspectives from each super element in Lausanne towards the according super element in Paris, only one additional perspective was needed to get a good overview:


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    We than proceeded with the research of what kind of double element we were going to create. For our situation we found it interesting to work with this special relation that was created by one of the façades being in the middle of the others. We decided that our double element would be located in super element of the central facade. We used wire on the situation model to link all our super elements to help us visualise all the relations possible.



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    The function of our double element was to create direct links between the super elements of the different facades therefore it had to be able to open and close so that the different relations between elements and spaces could be manually modified. Also we chose to associate our window with a table because it was more in relation with the themes of public and movement.

    Since the table and the window made one double-element it was essential for us that we built both, (just the table would appear completely out of context).


    Week 2 


    We decided that we would first build the frame of our window on a 1/5 scale as well as some tests for the corners at a 1/1 scale. 


    1/5 scale construction of the window frame




    Tests for the corners of our window frame at 1/1 scale


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    These models helped us see what would be possible to make and how we would be able to add the table within the frame.

    After several tests we finally found a system that satisfied us. Our table would be composed of four platers, one central and static and three others that would be able to open and close on the central platter. Those three would be orientated in the direction of one of the super elements from the other facades. Thanks to this mechanism we can easily imagine how the different people in the different buildings can decide to exchange different items for example by opening and closing the diverse parts of the table.

    The next drawing illustrates how the platers can be moved thanks to an axe of rotation. 



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    Week 3

    After researching the realization of the double element, a lot of complications came up. For this reason we decided to make some changes regarding the functionality of the project. The idea was to allow interactions between Lausanne, being on one side of the centered plaster, and Paris, on the other side. In the middle of the table, we introduced a window, which can be closed by a curtain so that interactions are possible in multiple ways.


    Plans of the new table with details of construction on a 1/10 scale



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    Elevation of that table on 1/33 scale



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    We than built a model of our table on a 1/5 scale


    on the pictures we can see the different situations made possible thanks to the curtain.



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  • MAQUETTE

    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)


    SUPER MAQUETTE

    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.

  • Measures, drawing, mould

    Par Olivia Wechsler, Niels Galitch, 28/09/15

    Lausanne


    Measuring tool

    During our first week, our job was to create an instrument with wich we would be able to measure a facade in the « Rue du petit chêne » as precisely as possible.


    We created a simple tool based on « la croix du bûcheron » it works like this :

    By staying at one point at a known distance from our facade (in occurrence 10 meters away and 1m60 high) and by using the “similarity between triangles” rule, we were able to determine the height and width of the different elements present on the building. This was done by moving the little wooden stick up and down and from left to right. We wrote down all our measures and reported them on our first drawing. It was quite long but worked pretty well. Since our facade is situated on two different angles we had to take the measures twice from a different point of view. It was quite a challenge since our two parts did not follow the same slope.



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    Drawing of Lausanne



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    On the drawing you can see the points from which we measured  the facade as well as our "super element" being the big window with the balcony.


    Paris

    To measure the facade in Paris (which is situated right across our facade in Lausanne on the map where the two cities overlap), a woman in front of the building on Google street view served as reference for the rhythm of all elements. Due to the regular arrangement of the windows and the door, we only had to make a few assumptions on the façade. With these measurements as a base, we were able to construct the rhythm with a compass and a setsquare really easily. 



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    Drawing of Paris



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    The door being our super element, we set the 60 square meters for the plaster from under the door up to the second window above it. The realisation from the drawing of Paris to building the mould was in a lot easier than making the façade in Lausanne thanks to there not being a corner in the middle.


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    However the difference between the nearest point on the façade (the coverage of the entrance) to the deepest point (the entrance itself) was quite big. Knowing this, building the mould out of little boxes seemed to be the best solution to put it together as neat as possible.



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    Plasters

    Left: Paris, Right: Lausanne

    These moulds and plasters were used as tests to see what level of precision we could reach.



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    Final mould of Lausanne:

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    Final mould of Paris:


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    Since we worked in a small scale (1:66), we improved both plasters so the details would not brake.


    Final plaster of Lausanne:



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    Final plaster of Paris:



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    Perspectives:


    Perspective from measuring point on Lausanne.


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    Perspective from our super-element in Lausanne on Paris.





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