• Final presentation

    Par Cheneval Alain Gabriel, Ogbonna Gabriel Ihechimnemerem, 21/10/16


    Here we are. The final presentation of our work after a moth. It’s the occasion to visualize the whole work of the studio by sticking the metal rod into a white cube. It creates the volume of the different buildings and levels of the area.

    Proceeding with the last Monge projection that we had to do, we added a level of details to the part that we're casting, just as if you were looking through a magnifying glass. It helps to notice the difference between the different frames.

     We wanted to built our two perspectives in a way to help us visualise what you would see if the casted volumes were really floating in the air.

    The inter perspective is about two meters high on top of the roof of the Fnac building and for the exterior perspective, you might be standing on the Geneva road and watching towards the tower.



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               The final moulds in situation

          

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                                                       the isolated casts

                                            




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             the final Monge Projection with the casted stratas in detailed  & different points of view: from the roof of the Fnac, on the road of Geneva

                   



                   

  • Casting the void (Advance)

    Par Cheneval Alain Gabriel, Ogbonna Gabriel Ihechimnemerem, 21/10/16

    After casting the section of the bridge, we had to choose three moments on our strip were the architecture changes, three stratas that we wanted to concentrate our work on. By casting and representing them on a Monge projection of the facade that we have chosen with segmented lines.

     First, we've taken the escalator which connects the roof of the Fnac and the entry of the shop. The fact that it is a "fluid" moment was one of our arguments, comparing with the two other ones. And connecting two levels of the place represents well the adaptation of the architecture to the landscape of the town.

    Secondary, the column. Due to the historical background of the column that we’re watching in the theatrical part of the semester, it was the opportunity to make a dialog between both. It isn't only the portico of the "factice main entrance", it has a little balcony on the frieze.

    And finally, the different windows. The different windows are a module that structure the whole building in the height and the width. The facade is made of different windows with different frames on different levels, point/thing that we wanted to underline.



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                                                                              the first Monge projection that shows the stratas


                                                    

                                                                              the different moulds and casts

                                            

        

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                                                                                the elevator

                                

                                          


                                                       Image Fri Oct 21 2016 15:01:37 GMT+0200 (Europe de l’Ouest (heure d’été))

                                                                                 the widows

                                                                             

  • Real size

    Par Cheneval Alain Gabriel, Ogbonna Gabriel Ihechimnemerem, 20/10/16

    Tracing the bridge on your strip of the plan was the first contact with the whole project and the artefacts of Zurich. This exercise allowed US to deal with difficulties which you can face when you leave your drawings and start dealing with measures and dimensions on scale 1:1. Based on the plan, we had to measure the distance in real life and we observed that there were some differences between the two. The fact that the different strips were arbitrarily cut forced us Not only TO work together in Our group but also with the other ones to compare the continuity of your work.


    We observed that there was a pavement that we could use to build to axes and trace the bridge pretty precisely and easily on the floor. By comparing the marks tracing the bridge with the other groups, we could see that our measures and work were precise even if we worked on two different levels, ours being 5m below the place.

    here are some pictures of the processus:


    We first counted and measured the pavements and reported them on the strip to create the to axes. reported the whole width of the bridge with a rope and a square to be as precise as possible. We could finaly see how the artefact adapted itself to the place Bel-Air and to the objects on site


       

              Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))   Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))   Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))   Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))   Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))   Image Thu Oct 20 2016 20:34:03 GMT+0200 (Europe de l’Ouest (heure d’été))



  • Casting the void

    Par Cheneval Alain Gabriel, 30/09/16


    The purpose of the exercice was to get familiar with the creation of a plaster. After converting the mesures at the scale 1:132 we drew the monge and then builded the mould. Once the glue and the tree schades of lack dryed. We put the plaster in our mould. After two hours of history of architecture, the plaster was ready and we remouved the cardbord. 


    Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))

    Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))


    Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))


    Image Fri Sep 30 2016 16:19:32 GMT+0200 (Paris, Madrid (heure d’été))


                                                                                                                Alain Gabriel Cheneval