• TRANSFORMATION_//

    Par Benessa El Daccache, Catherine Goy, 24/03/17

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     Au milieu des masses de personnes s’élève une étrange structure. La curiosité nous y emporte. Lorsqu’on est a l’intérieur des fin murs incluent la ville, la font dialoguer avec l’espace, le module même.



         


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    Des bancs sont disposée au milieu de la pièce. Ils nous invitent à s’assoir, et ils se baissent alors petit à petit. l’on comprend que le poids de notre seul corps ne suffit pas, et il faut donc trouver d’autres personnes prêtes à tenter une expérience,  à transformer l'espace.



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    Detail constructifs




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        Projection de monge  1:20



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         Axonométrie éclatée  1:20                          Details constructifs   1:5  




  • WEAVING A PARTICIPATIVE ARCHITECTURE

    Par Benessa El Daccache, Catherine Goy, 26/02/17




    I. Inspiration and Concept


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                     Stoa of Atlos



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                                                                                                 Greek theater 



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    Stage and the lighting                                                                         Open air theater in Smøla, Norway



    Our purpose is to bring people with different origins, professions and backgrounds together in one room. They are different but yet similar with one simple thing in common. Curiosity.


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    The first idea was to create a participatory space, where people join forces to build together something different, something new. 

    The art school next to our site triggered our inspiration and lead us toward an exhibition gallery. To amplify the use of this room, people will be able to transform it into a theater.



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    In order to create this participatory architecture we reflected on a very simple movement, the motion of sitting down. The concept is such that when one sits down on an available seat it will gradually lower down and raise a part of the scene. To reassemble the whole scene, all the seats of the theater are to be necessarily occupied.



    Testing the mechanism:


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    Test one:


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    II. Details of the construction

    ROOMS_AD_eldaccachebenessa-goycatherine_113           ROOMS_AD_eldaccachebenessa-goycatherine_114                 Mechanism and its box/cage                             Three columns and one seat



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                                                    A view of the project and the entire mechanism



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       A view from the lowered stage                                                                  A view from the lifted stage


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                                             Separation of the spectators and the city, still allowing a fine line of light to come through


       ROOMS_AD_eldaccachebenessa-goycatherine_101        ROOMS_AD_eldaccachebenessa-goycatherine_109                                                   Separation of the spectators and the backstage, allowing to see as much the knees

     



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  • Width_//Post Critics

    Par Catherine Goy, 19/12/16

               

                                                                                                                "Space is the breath of art"  Frank Lloyd Wright



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                                        Jean Tschumi Nestlé Headquarters in Vevey.





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    At first the aim was to  create a space inspired by Peter de Hoochs painting "the asparagus vendor". My attention was drawn to the space in the far left corner (the lady working on the little pedestal). This element si represented in my project by the micro reliefs on the slab.


    Create a space without restriction or constraint.

        


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    The space was built in order to be able to circulate freely, the micro reliefs just help demecrate spaces on the slab, this way the perambulations becomes conscient. Everytime you pass a threshold , a new space and a new perspective opens up to you. The non-restrictive feeling is also enforced by the suspended walls which open a 2m20 gap between them end the slab. This walls are there to mark off a more personal and intimate space and a space created for the transition between the two entries.



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    Also, the concept of shadows and light draw my attention, how would they look on a both vertical and on a horizontal layouts? In order to compare light and shadows, the hanging plasters have exactly the same topography and size then the slab. It is interesting to see how the shadows and light were intercepted by small, nearly inconspicuous micro reliefs. It is nearly impossible to compare the two layouts, because, apart of having the same topography, they don’t share the same orientation. It is simply interesting to see how two identical layouts react to the light.



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  • Shadows

    Par Catherine Goy, 04/12/16

    Planes week 2                      



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    As I was observing the given painting I noticed the very interesting light which comes from above and illuminates the back corner of the painting.

    I decided to work on this special illuminated small space. To do so, I constructed a wall that intercepts a zenital light and brings it down to the slab. The flooring is not flat, so that the light and shadows get variously shaped.



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  • Light redefines Privacy

    Par Benessa El Daccache, Catherine Goy, 04/12/16

                                   

                                       "Earth without art is just eh." - Mysterious, Anonymous and Unknown.


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                          The Asparagus Vendor, Pieter de Hooch, 1675–80.


    In this painting three people invade the first plane but nonetheless we seem attracted to the lady in the third plane. She is positioned in the corner, alone, on a step near the windows in order to be the one receiving the daylight, while the other characters seem to be in the shadows.


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                                 A view showing the entrance of the house, catching a glimpse of the mezzanine.


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                                       A reverse perspective of the final mold


    The challenge in the first assignment was to create the painting's space that the artist put forward. Many elements in this artwork wooed us and was seeking our attention.

    The interior is divided in two floors: the first one welcomes the person at the entrance with its pierced facade, while the second one gives a mere look to the first floor and a better look on the outside. 

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