• DOUBLE ELEMENT / MODEL 1:5

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


    Image Sun Nov 01 2015 18:51:11 GMT+0100 (Paris, Madrid)

     

    Image Sun Nov 01 2015 18:51:11 GMT+0100 (Paris, Madrid)  


    Image Sun Nov 01 2015 18:51:11 GMT+0100 (Paris, Madrid)

    First try


    Image Mon Nov 02 2015 08:51:18 GMT+0100 (CET)


    Image Sun Nov 01 2015 18:51:11 GMT+0100 (Paris, Madrid)


    Image Sun Nov 01 2015 18:51:11 GMT+0100 (Paris, Madrid)

    Second try


    Image Mon Nov 02 2015 19:57:36 GMT+0100 (CET)


    Image Mon Nov 02 2015 20:03:49 GMT+0100 (CET)

    Third try


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)


    Image Sun Nov 15 2015 19:13:32 GMT+0100 (CET)

    Final try

  • DOUBLE ELEMENT / RESEARCH 1:66

    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


  • 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

    Par Maude Voutat, Tim Meier, 05/10/15

    II. PARIS

    II.I FACADE AND SUPERELEMENT


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été)) 

    The facade

    Just like in Lausanne, we decided to work around an angle. Our façade, as we delimited it, also consists of a corniche, which gives us another horizontal surface to work with.


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été))  

    Upper right window, our superelement

    The superelement is 13 meters above the ground, giving us a plunging view onto the terrace of the Lausanne façade.



    II.II DRAWING


    Image Tue Oct 20 2015 10:02:42 GMT+0200 (CEST)

    Monge projection of the façade, 1:66

    Being located out of our reach, the façade was analyzed via Google Earth. We used the height of the road sign in front of the building (2.3m high according to signalisation conventions) as a reference measure. As in Lausanne, we then based ourselves on the maesures of the windows to reconstitute the façade.



    II.III MOLD


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été))


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été))  


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été))


    Image Sat Oct 10 2015 13:00:38 GMT+0200 (Paris, Madrid (heure d’été))

    Making of the mold



    II.IV CAST


    Image Sun Nov 01 2015 19:17:20 GMT+0100 (Paris, Madrid)  

    The cast


     

    II.V PERSPECTIVE DRAWING


    Image Tue Oct 20 2015 10:01:43 GMT+0200 (CEST)

    Perspective of the facade



  • MEASURES

    Par Tim Meier, Maude Voutat, 28/09/15

    I. LAUSANNE

    I.I FACADE AND SUPER ELEMENT


    Image Mon Sep 28 2015 08:38:07 GMT+0200 (Paris, Madrid (heure d’été))

    The facade


    We were intrigued by the distinctive form of the building: the rounded angle, the hollow space under the roundness and the terrace that roofs over the whole building. We decided not to interpret the notion of façade as a straight up vertical element, but rather to focus on the tridimensional volume of the building, to explore its circular and horizontal surfaces. We’re not interested in the details of facade.


    Image Sun Oct 11 2015 22:01:38 GMT+0200 (Paris, Madrid (heure d’été))

    The superelement


    We chose the door as our superelement because of its placement, right in the cavity formed by the roundness overlapping it.



    I.II TOOL


    We needed a tool that could give us the vertical dimensions in relation to the horizontal dimensions. We came up with the following:


    Image Mon Sep 28 2015 08:38:07 GMT+0200 (Paris, Madrid (heure d’été))


    Image Sun Oct 11 2015 22:01:38 GMT+0200 (Paris, Madrid (heure d’été))  

    Tool and sketch of the tool


    We defined all the points of which we needed the height on the same vertical line. The tool is to be placed in order to coincide with the ground level length of the facade (the length was measured with a measuring tape). This gives us the height and the base of a rectangular triangle. Our tool measures the angle opposite to the height, with which we can calculate the corresponding height using the following formula:

    h = tan(a) x l



    I.II DRAWING


    Image Thu Oct 08 2015 19:52:54 GMT+0200 (CEST)

    Monge projection of the facade, 1:66


    Since our facade consists of a structuring pattern of windows, the measurements that turned out to be the most relevant were the ones of the windows. We were able to reconstitute the whole facade by assembling windows next to one another.



    I.III MOLD


    Image Mon Sep 28 2015 08:38:07 GMT+0200 (Paris, Madrid (heure d’été))


    Image Sun Oct 11 2015 22:09:46 GMT+0200 (Paris, Madrid (heure d’été))


    Image Sun Oct 11 2015 22:09:46 GMT+0200 (Paris, Madrid (heure d’été))  


    Image Sun Oct 11 2015 22:09:46 GMT+0200 (Paris, Madrid (heure d’été))

    Different stages of the making of the mold



    I.IV CAST


    Image Sun Nov 01 2015 19:19:48 GMT+0100 (Paris, Madrid)   


    Image Sun Nov 01 2015 19:19:48 GMT+0100 (Paris, Madrid)


    Image Sun Nov 01 2015 19:19:48 GMT+0100 (Paris, Madrid)
    The cast

    We wanted to manifest in the cast our choice, as previously mentioned, to explore the tridimensional form of our facade. We find it interesting how, by looking at the cast from different angles, it reveals different articulations and uncovers different spaciousnesses.



    I.V PERSPECTIVE DRAWING


    Image Tue Oct 20 2015 10:03:53 GMT+0200 (CEST)

    Perspective of the façade


    When we look at the cast, we tend to look at it from above or from the sides. We wanted to show through this assignment what happens when we look at our facade from beneath. This is why we chose to situate the point of view on the ground. As a result, the head of the building is distorted, which interestingly enough exaggerates the horizontal surfaces.