• 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.

  • Window-Lausanne, Door-Paris

    Par Clea Balestra, Rolando Valarezo, 27/09/15

    The reasons for which we chose to analyse this front are:

    • the rhythm of 3 that we can find on it (3 floors, 3 windows in each floor)
    • it is in the middle of the road
    • the size that it have compared to the other two fronts nearby (it is little)

     So about the choice of our "Super Element" we followed this logic of centralisation and we caught the middle window because it turns out in evidence thanks the two pillar.


    studio.grangirard_rolando.V_Clea.B_Mesures_01    studio.grangirard_rolando.V_Clea.B_Mesures_02


    TOOL OF LAND-MEASURING

    To design our tool we built an object that permitted us to take directly the proportions at the scale 1:66

    The utilisation is based on the view on a grate


     Image Sat Sep 26 2015 13:13:47 GMT+0200 


    this tool has a system of weights and pivots to regulate the verticality of the grate according to the slope.

    As the square of the grate is at the scale of 1:66, it means that 1m=1.5cm, it's enough to place a mark on the front (ex: a double-sided tape of 1m, like in the third picture) and compose it in pieces.


     Image Sat Sep 26 2015 13:13:47 GMT+0200 Image Sat Sep 26 2015 13:13:47 GMT+0200 Image Sat Sep 26 2015 13:13:47 GMT+0200


    MOULD OF THE FRONT'S SEGMENT FROM THE SUPER ELEMENT 


     Image Sat Sep 26 2015 13:13:47 GMT+0200 Image Sat Sep 26 2015 13:13:47 GMT+0200  


    Image Sat Sep 26 2015 13:13:47 GMT+0200


    DRAWINGS


    Image Mon Oct 12 2015 08:04:19 GMT+0200Image Mon Oct 12 2015 08:04:19 GMT+0200


    Tests of perspectives




    Image Mon Oct 12 2015 08:04:19 GMT+0200Image Mon Oct 12 2015 08:04:19 GMT+0200Image Mon Oct 12 2015 08:10:37 GMT+0200


    Perspectives



    Image Mon Oct 12 2015 08:04:19 GMT+0200Image Mon Oct 12 2015 08:04:19 GMT+0200


    Plaster in the maquette's situation



    Image Mon Oct 12 2015 20:14:05 GMT+0200 Image Mon Oct 12 2015 20:14:05 GMT+0200


    CONCLUSION

    maybe the buildings' structure determinate a rythm of three on the front when the space is limitated.