Par Estreicher Clement, 28/05/20
A Project closely carried together with Armand Zanota, Delphine Suter and Ines Branet. Also working on articulation and ergonomy : Aymane Filali, Claire Hennel, Léo Perrin, Luis Melgar, Nina Cruchaud, Stephen Bopeso. Many thanks for everyone's dedication !
An articulation is an assembly constituting the junction between two or more elements, while still allowing their relative freedom.
The part of the project located on the parking lot proposes to link different etymologies related to the construction. As the Germanic relationship between "building" and "post-building/inhabiting" (bauen and bauern) was strongly evoked in the course, we first decided to work on the link that "building" has with "weaving" in Latin - and then to try to reconcile them.
Axonometric view of the project placed in a wider context - that of the whole house.
Plan - elevations.
Axonometric view of the project placed in a wider context - that of the parking lot.
At the entrance, a series of planes seem to emerge from the staircase and stretch out over the car park like a fluid, extending the fountain of the house (see the group flows). While their varying heights allow for the ascent to the staircase, their great width invites for more than a simple passage. The user can indeed appropriate the entrance in the same way as the large concrete blocks present on the site. The entrance offers a space for rest or discussion, a transition between the site and the house.
From the top - and underneath.
The space narrows in the staircase. If the entrance had the characteristics of a common space, the structure of the staircase forces individualism. The interactions [more] between the tightly woven elements reveal interiority, both structurally and psychologically. Within this stairwell, the guest is indeed conditioned before entering the rest of the house.
The staircase ends with a footbridge. Concrete at first, it allows a physical passage from the car park to the forest. It also provides a link between the constructive logics of the two environments. In fact, consisting of a series of interlocking elements starting from a quadruple central rail, it contributes to the philosophy of the car park, focusing research on prefabricated elements. The footbridge also takes up the motif of the balcony railing, thus integrating an important element of the next room.
The structure transports - architecture connects.
The patchwork of plans at the entrance and its bracing, the structure of the staircase, the interlocking of the elements of the footbridge or the resemblance of the whole to a bird's nest from the outside are, at first glance, the fruit of Latin etymology. However, to reduce work at altitude, and in the future to simplify repairs or even anticipate deconstruction, we have based our work on prefabrication. All the "walkable" horizontal elements follow this method. Prefabrication can also create a form of habit, which does not rhyme with inhabitation - but that is the only difference between the two words.
A. Zanota & I. Branet
Unfolded section. Unfolded cloth?
Articulation and ergonomy groups have merged, and decided to focus on three main moments - the parking lot, the debate room and the berth. This double decision has caused a spatial restriction, enabling to deeper explore each part. This collaboration also allowed working on various scales, be it the relation the body has with an element, or the one elements have with each other.
The three focal points of the Articulation team among the house.
The goal of the berth is to design a comfy space near the Arve. To do so, we use a warm material : brick. Each of them is to be made in situ, using clay from the Rhône. Since bricks are accumulated as alluvium around a tree, it is a keystone of this part of the project. The work around these two elements is thought to create a welcoming topography for the body. The whole is embraced by the foliage's shadow. Bricks are also a habitat for local plants, and the berth lives throughout the seasons. During fall, foliage and bricks complement each others. The different levels respond to different levels of Arve's fluctuation.
Plan. Sections. Elevations. Further development.
The bricks are getting warmer under the sun.
The seasons come one after the other, but do not look alike.Brick module. Joining process. Concave spaces for the body.
The parking stairs are the only land access to the other rooms. This entrance marks the beginning of an architectural promenade, an introduction the general articulation of the house. After a first contact with the protostructure, the stairs integrate you inside a terracotta fountain. The water literally envelops the inside. Thus, there are two main moments when walking through these stairs. Firstly, you experience the house from the outside. Then, as the water envelops you, you will experience it from within - and start feeling the interiority of the house.
Plan. Elevations. Sections.
When it rains, humans desert the site. But the structure keeps living.
The groups have changed - and so has the project. The four studios (Abenia, Bondu, Treiber and Wegman) are now working on the proposal of previous group 6. This week, the articulation team focused on the skin of each part to better understand the new environment.
Adding a reflective layer on the verticals makes them disappear. The importance of horizontality expands.
In situ materials dialogue. Reused potato bags and local clay.
Structural detail. Boat sails are being reused to cover the bleacher of the debate room.
Collision between the protostructure and the wall - made of gabions and with a wooden coating.
Voilà trois jours que nous sommes confinés dans les hauteurs genevoises. Comme en 563 à Tauredunum, un gigantestque pan de roche s’est effondré dans les Alpes. En une heure, un ras-de-marrée a déferlé sur le lac et ravagé les régions côtières. Avec mon appareil photo dans le sac, je pars documenter ce moment historique.
Je découvre la Jonction comme je ne l’avais jamais vue auparavant. Le barrage du Seujet a été emporté, mais un autre s’est formé plus loin avec d’innombrables débris, freinés par le viaduc ferroviaire. Le niveau de l’eau est monté et les courants ont évolué. Depuis le point de rencontre des deux rivières, je suis l’irréelle traînée d’eau bleue qui remonte le cours boueux de l’Arve. Soudain, sur l’autre rive, un drap blanc attire mon attention. En traversant le pont, je distingue derrière la voile les restes d’un bateau perché dans les arbres. Avant de réaliser que le théâtre où j’aimais à me rendre n’est plus…
Les semaines ont passé et la vie a repris. Les écoles étant toujours fermées, je décide avec quelques amis de récupérer le bois du navire et de construire une scène provisoire. En attendant que les acteurs reviennent, je me balance sur la voile et saute dans l’eau.
Accès à l'eau
Expérimentations spatiales à partir d'un plan
Par Estreicher Clement, 15/03/207 P.M.I wipe off my shoes, step over the threshold enter the room.I do suddenly have a weird feeling as I walk between void and solid. Somethingabnormal is going on...Once I reach the column at the end of the path, I can finally see the interior."Happy birthday!" Some friends came over for a surprise party. I grab a drink
on the coffee table and start discussing.Later, when they all gather on the deck, I take advantage of the situation and isola-
te myself in quest of intimacy. While they enjoy the sunset, I look down to the river.
Why has she not showed up tonight ?
Soon after this project started, a painting of a bow window caught my attention. This
particular room does in fact embody many aspects discussed in class. I decided to de-
velop three of them in the following work, namely privacy, interiority and the rela-
tion to the outer environment.
Cape Cod Morning - Edward Hopper
Collective drawing 1:50
The plan has been sectioned horizontally in order to reveal the situation of the
vertical elements. A thin line reminds of the actual position of the roof.
Drawing highlighting the various floor - and threshold - levels. Such a section
allows to remove the first layer of the protostructure, and therefore gives a
clear view of the threshold's height between the common and intimate spaces.
Progressive sections enable a better understanding of the framework.
Details of the central knot.
The vertical planes give a heavy - not to say monumental - feeling. These proper-
ties fully match with the desire of separating the spaces. Their components are,
however, much lighter in order to relief the [proto]structure. The wooden frame is
in fact first filled with XPS-isolation elements, and afterwards covered with big
panels of the same material, since it resists well to compression and tolerates
water exposure. In order to offer a monolithic aspect, a layer of roughcast
is applied on the wall.
The starting elements of the drawing coincide with the top of the vertical plans. At
the same level, two transversal pieces are screwed on the protoscture. Each pre assem-
bled wooden "L" has at least two supporting points. This form is meant to increase
useful height and hence resist to the maximal overhand of 1.5m
CONSTRUCTIVE DRAWING (1:10)
Crucial moment : drawing is key when it comes to placing elements wisely.
INHABITATION IN SIGHT (1:10)
After some intense production, I sit on the protostructure and look back at the work
achieved so far. I feel attracted by this enclosed space right in front of my eyes
- but will it fit me?
STUDY MODEL (1:10)
Unable to get the perfect shot, I have yet come to a drastic conclusion :
this interior space needs more light.
OTHER VIEWPOINT, NEW LESSON (1:10)
The protostructure does act as a barrier at some key points, which restrains the use
The floor is now divided into various levels, helping the fluent occupation of the
space despite the protostructure. In addition, the vertical planes have been slightly
modified for a better sitting position, more intimacy and light. This is, after all,
what a bow window is about.
CARPENTER WORK, GOLDSMITH CONDITIONS (1:10)
In order to fulfil the criteria mentioned in the program, the opening in the vertical
plane is, as well as the sitting space on the protostructure, wide enough for a single
person, giving it a private dimension. Then, one can feel a graduation of interiority
when wandering across the project : one sees only two plans when entering, three to
four in the common space and all four when getting into the private room. There, the
knot of the protostructure and apparent wood of the mineral walls also reinforce this
aim. In fact, as Sebastien Grosset said, "interior" and "intimacy" are comparative and
superlative forms of "between" in Latin, meaning that the most intimate moment of a room
is the one where the most complex interstices are found. An intimate space does there-
fore not necessary have to be a closed one. In my project, for instance, the most inti-
mate place is also the only one from which one gets a 180 degrees view on the landscape.