• SYNTHESIS PLANES

    Par Hausel Anna, Deshayes Charlotte, Dürig Alexander, Sills Sophie, 24/11/19

    The meeting of a horizontal and a vertical plane. The Rolex Learning Center. A reference to Measures.


    A common denominator: Levitation.


    Taken by the way the Rolex Center seemed to rise up and separate from the ground, we began to study this acclivity of the building. After a week of brainstorming and modelling potentials, we found a few integral elements to the project, as well as a coherent form for our project to take. 

    Firstly, a curved plane that follows the initial curve of the Rolex above head height. This plane is suspended from a second, vertical, plane. This vertical plane is formed by columns of the same, or similar, composition to those of last year's Houses project. Finally, a structural horizontal plane that supports the vertical and hold the cables. The length of this must be at least two paces long to encourage movement.


    A new axis: Movement.


    More people walk alongside the building than towards it, at least during our alignment to the beginning of the curve. 

    Stepping up onto the raised platform, we enter the interior of the project. The curve rises, opening the space under it, the curve of the base also curves outward. Two paces, and a oblique curve dangling above. The juncture of the vertical and the horizontal uncertain, merely touching, unattached. There is no new space created by it. The joint is simply a perimeter of the extent of the interior, the two-dimensional limit separating in from out.


    Image Sun Nov 24 2019 17:25:09 GMT+0100 (CET)
  • Suspending an Acclivity

    Par Deshayes Charlotte, Dürig Alexander, Hausel Anna, Sills Sophie, 19/11/19

    The meeting of a horizontal and a vertical plane. The Rolex Learning Center. A reference to Measures.

    A common denominator: Levitation.


    Image Sat Nov 30 2019 14:12:26 GMT+0100 (CET)


    Taken by the way the Rolex Center seemed to rise up and separate from the ground, we began to study this acclivity.


    Image Sat Nov 30 2019 14:12:26 GMT+0100 (CET)

    After modelling potentials, we found a few integral elements to the project, as well as a coherent form for our project to take. 


    The "integral elements":

    • A curved plane that follows the initial curve of the Rolex above head height.
    • This plane is suspended from the vertical plane.
    • The vertical plane is formed by columns of the same, or similar, composition to those of last year's Houses project.
    • A structural horizontal plane that supports the vertical and hold the cables.
    • The length of this must be at least two paces to encourage movement.


    Image Tue Nov 19 2019 12:38:18 GMT+0100 (CET)


    The "coherent form":


    Image Tue Nov 19 2019 12:38:18 GMT+0100 (CET)


    The model on site:


    Image Thu Nov 21 2019 16:06:59 GMT+0100 (CET)

    A new axis: Movement.


    More people walk alongside the building than towards it, at least during our alignment to the beginning of the curve. 

    Stepping up onto the raised platform, we enter the interior of the project. The curved plane rises, opening the space under it, the curve of the base also curves outward. Two paces, and a oblique curve dangling above. The juncture of the vertical and the horizontal uncertain, merely touching, unattached. There is no new space created by it. The joint is simply a perimeter of the extent of the interior, the two-dimensional limit separating in from out.


    Image Tue Nov 26 2019 12:06:59 GMT+0100 (CET)


    Having calculated we would need 80m of wood to complete this project in real size, we decided to alter it somewhat. First of all, we simplified the base, removing the solid layer of wood, just keeping the framework that stabilises the pillars. We also chose to add a system of supporting joints to keep them upright. The mass of the original base having been the stabilising element of the structure, we realised that balance needed to be reinstalled. So we duplicated our hovering plane, the two twin planes framing the Rolex's acclivity. This opened up a new door to our project, adding a new aspect of movement, a tension between the hanging planes and strengthening the relationship with the RLC.


    Image Sat Nov 30 2019 14:12:26 GMT+0100 (CET)


    We also decided to reduce the size of the pillars by 0.5m. This length is also the difference between the heights of the two suspended planes. On site, originally, the "curves" would aline with the Rolex behind it. 

    Additionally we experimented with the materiality and the shape of the curved planes by making 1:10 models in plaster.


    Image Sun Dec 01 2019 14:38:20 GMT+0100 (CET)


    The final construction:


    Image Sun Dec 01 2019 14:38:20 GMT+0100 (CET)


    The project overall reminds us of the for of Joel Shapiro's Almine Rech exhibition:


    Image Sat Nov 30 2019 18:14:08 GMT+0100 (CET)

    https://dailyartfair.com [Oct 09 - Nov 12, 2014]


    The sentence that was most often spoken:

    "But, how will that hold?"


    Image Fri Dec 06 2019 18:15:01 GMT+0100 (CET)







  • Digging up the Future

    Par Hausel Anna, Ozhiganova Anna, Sills Sophie, 15/10/19

    On Site


    TUESDAY MORNING

    We took the boat at 7:40 to get to Evian to have the time to take our measures.

    Image Tue Oct 15 2019 19:30:32 GMT+0200 (CEST)

    The sunrise and the protostructure.


    We discovered the protostructure and last year's node.

    Image Tue Oct 15 2019 19:30:32 GMT+0200 (CEST)

    The nodes and the visible foundations.


    Our measuring tools : body part: Sophie's foot, object from surrounding: chestnut, verb: to pull.

    Image Tue Oct 15 2019 19:30:32 GMT+0200 (CEST)

    The chestnut and Sophie's foot next to the visible foundation.


    Our last measuring tool: time. We measured this by when one of us started hurting.

    Image Tue Oct 15 2019 19:30:32 GMT+0200 (CEST)
    Our performance sentences along with the moments they mark.


    We dug a hole around the foundations to explore how it was made.

    Image Tue Oct 15 2019 19:30:32 GMT+0200 (CEST)

    The before and after of the digging of the foundation, with our tool of measurement.


    SUNDAY MORNING

    After a small sprint to get to the boat at 9:25 (not at 9:45 like Anna H. remembered) we embarked on the journey to discover the effect the rainy weather had had on our on-site plaster cast.

    Image Wed Nov 06 2019 10:13:50 GMT+0100 (CET)

    The cast.


    To move the plaster we had to make the choice of cutting off a corner.

    Image Sun Oct 20 2019 12:45:42 GMT+0200 (CEST)

    Various pieces of plaster.


    The full process of plastering the foundations can be summarised by five verbs: mixing, applying, drying, scraping and pulling.

    Video of the stages of casting.


    We were diversely affected by the process.

    Image Sun Oct 20 2019 12:45:42 GMT+0200 (CEST)

    Sophie's hands and Anna H.'s legs.

    The process had various effects on our senses

    Anna H.: smell_wet grass, touch_smooth mud and dry dirt, taste_bitter dirt covered concrete, sight_raindrops on my camera, sound_the ping of raindrops on my umbrella.

    Anna O.: smell_humidity, touch_tiring, sight_messy, sound_foggy, taste_adventure.

    Sophie S.:smell_ fresh, touch_new, taste_raw, sight_dramatic , sound_drops.


    We found the Great Mosque of Djenne that reminds us of the project.

    Image Sat Oct 19 2019 18:00:24 GMT+0200 (CEST)

    The Great Mosque, Djenne, Mali, 1907


    The whole process made us reflect upon measures as a project:

    Are we digging up the past, the present or the future?


    In Studio


    CODEX AND CONCEPT

    “When Lewis Carroll started to write, he sent his protagonist down to the rabbit-hole without any plan for what would happen thereafter. While writing he constantly added new ideas, “which seems to grow of themselves upon the original stock”.” -Codex Measures: Postface (p.65-66)


    Future and past intertwining; the old sprouting the new, yet also the new redefining the old. Digging up the past, but also the present and the future. Casting the interstice from above; instead of looking at the present - the newly dug ground - we are looking at the past: cement touching wood. Nevertheless the space above the (w)hole is the future, measuring the end of the natural progression of filling it up. Unlike for Carroll, the end of the story is known, but the beginning is still to be discovered. A complex hybrid of a geometrically constructed polyhedron of the interstice in contrast with the organic can emerge. An onsite cast, which seems to  “grow of [itself] upon the original stock” - in this case, onto a clean studio plaster cast, - yet it is the inverse: the rest of the plaster growing downward from the weathered material. Future and past interlaced, placed upon present.


    PLASTER CASTING THE (W)HOLE

    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    Making of the first plaster.


    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    The result.


    PLASTER CASTING THE HYBRID

    I. Understanding the onsite plaster

    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    Mapping the plaster.


    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    The plaster, mapped (Axonometry by Anna H., Monge and Coupes by Sophie).


    II. Securing the connection

    The idea to support the organic plaster within the mold was to drill into it and add metal bars.

    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    Brainstorming.


    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    The hybrid mold.


    III. Recasting

    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    The process of the plaster drying was visible to the naked eye.


    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    The hybrid.


    LETTING TIME TAKE ITS TOLL (a scenario of destruction)

    Time passes. It will take everything, eventually. It will act upon the Proto-Structure.

    Rot, mould, insects and humidity infest wood, rust corrodes screws. The weight of the structure itself will become too heavy and start to break and fall, the pull of gravity being too strong. Animals will repossess the space, reappropriating the project. By the end of times it will be only splinters and decomposition. The only remaining part will be the underground ciment foundations, keeping its rock-like composition. 

    Maybe future archeologists will dig them up and make theories of our primitive society.

    Image Wed Nov 06 2019 09:50:00 GMT+0100 (CET)

    https://pxhere.com/en/photo/1153297


    How does the future define our present and past?

  • CRAFTS_le sol du Panthéon_plâtrer

    Par Bonnet Iciar, Bussy Léane, Couelle Jeanne, de Huu Audrey, Deshayes Charlotte, Divonre Lisa, Dürig Alexander, Fleischer Adrien, Hajoubi Youssra, Hausel Anna, Lam Kenneth, Ozhiganova Anna, Paidoussis Léa, Perrin Raphaël, Sills Sophie, Von Flüe Oriane, 05/10/19

    Plâtrant pour la première fois, nous avons décidé de travailler tous ensemble pour être plus efficace. Nous avons formé organiquement trois groupes pour chacun des processus requis: préparation du plâtre et mélange de la matière, écoulement et homogénéisation de la forme. 


    Image Sat Oct 05 2019 13:58:31 GMT+0200 (CEST)

    Préparation du plâtre et mélange


    Image Sat Oct 05 2019 13:58:31 GMT+0200 (CEST)

    Coulée du plâtre dans les moules


    Image Sat Oct 05 2019 13:58:31 GMT+0200 (CEST)

    Lissage de la surface à la règle


    Déroulement du processus en entier

  • CRAFT_le sol du Panthéon_maquettes & dessins

    Par Hausel Anna, Ozhiganova Anna, 20/09/19

    Introduction:

    The floor of Rome's Pantheon is not flat. It is, in fact, slightly curved. 

    We map out the form of said curve by creating wooden structures and plaster casts, which represent the measurements of each coordinate. We connect the corners of the wooden frame by a diagonal cross to stabilise it.


    Drawing:

    Image Sun Sep 29 2019 21:58:59 GMT+0200 (CEST)

    Anna H: smell_comforting perfume, touch_cold pencil, taste_warm coffee, sight_blurry lines, sound_scratching graphite

    Anna O: smell_graphite, touch _sharp, taste_coffee, sight_élargi, sound_pencil touching paper


    Model:

    Image Tue Oct 01 2019 08:25:09 GMT+0200 (CEST)

    Anna H: smell_musky wood, touch_pressing piece to piece, taste_bitter glue, sight_splintered ends, sound_ slight squelching

    Anna O: smell_glue, touch_rough, sight_focused, sound_scie


    Plaster Casting:

    Anna H: smell_strong shellac and alcohol, touch_smooth plaster, taste_pancake batter, sight_little imperfections, sound_ hubbub

    Anna O: smell_shellac, touch_smooth/velvety, sight_precision, sound_cutter


    Reference:

    Image Sat Oct 05 2019 19:30:18 GMT+0200 (CEST)

    Device to stand in, Bruce Nauman, 1966, enamel on steel, 21.91 cm x 68.8 cm x 44.13 cm, SFMOMA, California, USA

    Explanation:

    Into this object are infused two meanings, which balance in the double meaning of the title: on one hand this is an object which is to be stepped on; on the other hand it is a placeholder - a replacement of something else.

    In the first meaning, the viewer is invited to participate in the art, to step into the sloped object. The person’s body is forced to cooperate with the slant, changing the posture to remain balanced. This creates a rapport with the body that was not necessarily present before. Therefore we can ponder how this curve in the ground changes the observer's perspective of the rest of the Pantheon.

    The second meaning hints to a more complex reflection, however a simple way is to explore what the device resembles: a small stage or podium. This points to a theatricality in the elevation, the person on the object will become part of the art, performing the role dictated by the artist. This theatricality can be found in most elevated surfaces, and is interesting to keep in mind while working on the podium-like elevation of the models of the Pantheon's floor. 


    Question:

    How can we infuse personality into objects and drawings that seem so simple?