La Jonction, dessin à l'encre de Chine 01.04.2020, IK
Par Shabaan Rahaf, 29/03/20
It is 16:30, they are not here yet, so I would be the first one to enter.
The entrance is in front of me. Step by step, I pass it and start to observe this room.
I start walking, an oblique plane above my head is becoming closer.
The space shrinks and it makes me feel like I want to sit down.
I see places on which I could sit on in front of me,
I step over the middle one and choose to sit on the one the left.
Now, they start to arrive one after the other. Finally, we will all meet again.
The first idea was to make a room where people can meet and talk together. But who are these people? why do they meet? and how many are they?
Then I defined a specific program of the room: it is a room where a family (around 6 people) can meet, sit together and discuss.
The position of the planes has been chosen in order to have one big space where everyone can stand or sit, see and talk to the others. Also, it ensures the privacy of the room that a family would like to have.
This led me to change the tilt of the oblique plane and the position of the room in the protostructure. The distance between the protostructure and the horizontal plane allows having places to sit on. Also, it gives a third support to the oblique plane on its extremity.
Structure and construction
Par Bopeso Stephen, 15/03/20
At 6 p.m. this passage, already too narrow to allow more than one person to pass, becomes completely obscure. but it leads to a completely south-facing platform. I see it as a theater with an obscure and narrow artists' entrance leading to a stage where the sun bring the actors to light. This theater was inspired by the ability of the word room to receive any decor, from the purely useful to the superfluous from the intimate to the public.This relation is the guiding principle of my project, going from darkness to light just like a sunrise at 6 a.m. So I thought of this moment as a curtain lift by making this free space as a scene, near the water, with, as an entrance, a dark and narrow passage behind the scene.the spaciality of this passage was really interesting to me. So I thought of making it more than just a passsage so users would have to stay in this space for a bit. It then became a changing room to go along with my scene and the capacity to change decor. I was imagining a user going in this passage, puting on a bathing suit before going in the water.
monge et axonométrie 1:10 des 1ère recherches
perspective week 1 (1:20)
choix de la structure des cadres (tests absents)
maquette trois premiers plan (non terminé)
monge et coupe 1:20
axonométries 1:20 et perspective intérieur
axonométries mock-ups 1:1
monges et axonométries éclatées 1:2
élévation protocommune 1:40plan protocommune 1:40
Collage plan ombré 1:20
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.