axonométries éclatées de la structure (gauche) et de la sous-structure (droite)
In collaboration with Julia Petrachenko, Remo Panarese and Jean-Luc Robbins (studio Abenia) and Nils Hayoz (studio Wegman).
"La poésie doit être faite par tous. Non par un".
On the site, there’s a big contrast between the forests/the woods surrounding the site and the asphalt on the ground for the parking, encouraging cars to access the site. It seems that humans have taken over this quiet land near the Arve and transformed it to better suit their interests.
In writing our fictional story, we refer to historical elements, so it is more of a possible fiction with a realistic historical background. To illustrate and offer a better legibility of the text, we decided to insert images from our inventory, a mix of historical sources and invented ones.
Our fiction has direct links with the House project: starting with the fact that the main character of our fiction is a visitor who discovers the elements of House as the story unfolds, with the flashbacks that occur when discovering a new room. To create these links we have collaborated with several groups working on the House by making proposals for modifications. Each episode of our fiction introduces artefacts which find their origin in the past of the junction and can be rediscovered whilst exploring the House.
The sensorial experience of the visitor of the House, the protagonist of our myth is given by the experience group. There is a past, fictional layer, and a present layer, tangible.
The delta is found in the global circulation of the house, and especially in the irrigation system. The reservoir reminds the lake Léman.
Dercéto and more globally the biodiversity refers to the tribunal for the environment. This last one is strongly related to the environment, with the tree which goes through the room.
The flood appears in the garden next to the water. It consists in a natural system of irrigation bringing rich earth.
Mushrooms are found in the mushrooms garden.
Bricks of the gas factory explosion are materialized in the garden next to the water. It is a mix of old found bricks and new ones made with the arth on the site.
The confinement concept is the antagonist of the house program.
The house is a place of conviviality where people meet. The social theme is preponderant, especially in the debate room and in the theater, which is a fight again the silence !
conservation de la forme
redimensionnement du balcon original et amélioration technique
axonométrie d'ensemble vue sur le balcon
conservation du programme: pouvoir apercevoir le débat depuis le haut, passage des escalier du parking au gradins du théâtre
nouveau programme: ajout de bancs afin que l'espace s'éloigne d'un lieu de passage uniquement
vue du parking au théâtre (gauche) vue du théâtre au parking (droite)
nouveau plancher plus bas (sous la fin des toiles) afin d'entendre le débat sans le voir et de faire passer la lumière dans la debate room par ces nouvelles ouvertures
dialogue avec les arbres
conservation du nouveau programme
vue depuis le théâtre
vue depuis l'escalier du parking
The parking stairs are the only land access to the house. Our house groups a series of moments, of different rooms and materials, of changing relations with the protostructure and the topography of the site.
The entrance stairs are the beginning of an architectural promenade to understand how the house articulates. First they introduce you with the protostructure, and as you go up the stairs will be surrounded by a terracotta fountain, the water will envelop you. There are two main moments when walking in these stairs, at first you will experience the house from outside and as the water envelops you you will experience it from within and start feeling the interiority of the house. The stairs work with the other rooms, the observatory feeds the fountain to then water the gardens. They are the only access to the debate room making it a destination and not a place of passage.
When it rains, the structure keeps moving.