• Double - Elements _ A Door - Bed_ Final Week

    Par Nicolas Otti, Samuel Aeschimann, Lucien Roy, Yekan Deli, 10/11/15

    "Our double-element is a door-bed wich creates a passage between differents worlds. We wanted to overcome the empty space between the back of our two facades. In this research, the climbing tent inspired us and brought us the idea of suspension and balance. The transcription of it was to fix a bed and play with balance and the rope's tension inside a "chemin de traverse". Two specifics levels and positions of the bed bring two differents ways to transit from a threshold to another."


    Situation plan

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    Double Element 1:5


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    Our drawing research about the geometry and the concept:

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    Double Element 1:1


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    Drawings about the body in the space:

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  • Double - Elements _ A Door - Bed_ Second Week

    Par Lucien Roy, Nicolas Otti, Samuel Aeschimann, Yekan Deli, 31/10/15

    The notion of the door has been omitted and the framework took too much importance. We worked on the essential elements ( bed, threshold, mechanism, door,…)and finally we modulated our concept.


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    Our door has been transformed in two doors which permits the transition from two exterior worlds. The space between this two doors creates an imaginary interior.


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    There is a difference of 170 cm between the two thresholds of our moulds and the mechanism, made of ropes and counterweight, permits to recreate this conditions.


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  • Double - Elements _ A Door - Bed

    Par Lucien Roy, Nicolas Otti, Samuel Aeschimann, Yekan Deli, 24/10/15

    CONTEXT:

    From our four sites, we analysed the possible links between them for the construction of our double element. We occurred about the interiority and the exteriority of our molds, which brings us to the dream and the reality on each side of the plaster cast.


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    SEARCHING:

    After an analysis of the situation maquette, our interest for climbing bring us the idea of a climbing tent. The idea of a door-bed, as double element, was evident to create a little space. An idea appeared to use the angle of our plaster for the form of the double element but we choose a mecanism to transform the door in a little bed-shelter. 


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    Our door - bed permits many positions for the body:  the main positions standing, seating, lying down.



    THE WOOD MODEL [1:5]


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    SOME DETAILS [1:1]


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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

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    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 Nicolas Otti, Yekan Deli, 27/09/15

    I. CHOOSING THE SUPER-ELEMENT AND MESURING METHODE


    The super-element that we chose is the door, because from this point we could measure the whole facade.


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    Our tool, inspired by the timber cross, let us measure the facade in the 3 dimensions; thanks to the Thales' theorem we can easily measure length, hight and depth.




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    II. INSIDE LAUSANNE

    Construction of the first mold step by step from the drawings to the finished product



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    After reflexion we decided to concentrate the concept of our mold on how we measured the facade and how we could transcribe it into volume.

    In the final attempt we can see the cone of vision (from the observator's point of view) who cuts through the facade.



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    perspective of lausanne from the observator's point of view who helped us to 

    visualise the cuting line.


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    III. INSIDE PARIS

    On the opposite side of the road, in Paris, we had to choose this angle and we measured the rythmes of it by approximating the hight of a person who was walking nearby.

    Then we chose the window (the one with the balcony) from the third floor as super-element because it provided the vertical rythmes and dimensions of all the windows of facade. Nevertheless it's still unique because of its balcony.  



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    this is the first attempted mold from Paris from the drawings to the finished plaster.


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    For the final mold of Paris we followed our concept of measuring by putting most of the details by side and leaving just the essential verticals (windows) and horizontals(bricks) who depicts the facade.



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    Perspective from the Lausanne super-element's point of view


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    IV. CONFRONTATION OF THE FACADES


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