• 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                      



                           Image Sun Dec 04 2016 21:41:19 GMT+0100 (CET)




    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. 

      Image Sun Dec 04 2016 18:10:13 GMT+0100 (W. Europe Standard Time)   Image Sun Dec 04 2016 18:10:13 GMT+0100 (W. Europe Standard Time)


  • Table-haut

    Par Benessa El Daccache, Catherine Goy, Kevin Campigotto, Pauline Viennot-Bourgin, 22/11/16

    C’est la nature même du site qui a définit le projet dans ses grandes lignes.

    Le projet s’inscrit dans une zone à deux vitesses, dictées par un escalier et un escalator.


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    Cette nuance de rythme a conduit au choix des deux éléments composant l’hybride : une table et une fenêtre. La table crée un moment d’arrêt et de détente pour le piéton lent et inconstant, contrairement à la fenêtre qui cadre le regard du piéton lui même contraint par le mouvement de l’escalator. L’élément créé ainsi deux moments différents.


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      Vue depuis la rue                                                          Axonométrie éclatée de la construction


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               Vue depuis le côté doite de l'escalator                       Vue extérieur (depuis la rue)


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           Deux différentes vue depuis la fin de l'escalator en levant la tête              


    Les lignes directrices du site ont aussi façonné l’hybride dans ses détails.

    La plus grande des ouvertures de l’élément s’est dessinée en fonction du corps ; elle reprend les lignes de sol et d’horizon du piéton sortant du bâtiment en haut des escaliers.


    Le dessin du cadre joue non seulement avec le site et les vitesses piétonnes, mais aussi avec les volumes.

    La face faisant office de table est plane, densifiée aux endroits à portée de main. L’autre côté est en relief ; par des jeux de lumière et de densité, on souligne les cadres dans lesquels on veut plonger le regard du passant.


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  • - CRITIQUE ELEMENTS -

    Par Aurelie Dupuis, Baptiste Burget, Benessa El Daccache, Camille Duriez, Camille Vallet, Catherine Goy, Daniel Pilsworth, Gimmi Giacuzzi, Julie-Anna Barès, Kevin Campigotto, Laura Périat, Manon Cathelain, Natalia Stavrovskaja, Pauline Viennot-Bourgin, Quang Vinh Pham, Rafael Ferreira Da Silva, Tanguy Vandenberghe, Théo Feldmann, Théo Gaspar, Thuy Nguyen, 19/11/16


    CRITIQUES


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                                                                                Kevin Campigotto, Catherine Goy, Benessa El Daccache, Pauline Viennot-Bourgin

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                                                                                Vinh Pham, Théo Gaspar, Julie-Anna Barès

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                                                                                   Manon Cathelain, Camille Duriez, Daniel Pilsworth   


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                                                       Théo Feldmann, Baptiste Burget, Tanguy Vandenberghe, Rafael Ferreira Da Silva


    MAQUETTE DE STUDIO - ELEMENTS INCLUS DANS LES SITES


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