• 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.

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    Left : measures plasters,

    Top : Rolex Learning Center curve,

    Bottom central left : RLC curve,

    Bottom central right : brainstorming levitation,

    right : levitation definition.

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

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    Mapping the curve of the RLC.

    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.

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    Verifying alignment on site.

    The puzzle pieces:

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    The parts of the 1:10 maquette.

    Theoretically on site:

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    Left : maquette on site,

    Right : perspective drawing. 

    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.

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    Various views of the 1:10 maquette. 

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    Hand drawings of the first itterations of the project.

    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.

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    Left : initial test in real (reduced) size.

    Right : The two bases.

    (top : final structure, reducing wood, but keeping the stability,

    bottom : initial structure, referencing the curve of the acclivity.)

    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. 

    A challenge awaited us : the realisation of the suspended planes. Using the 1:10 model, we played with methods of structure.

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    Left : images of our theoretical plane,

    Right : assembly of the pieces.

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

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    Left : a visual experiment: what if the suspended planes were made of plaster 

    - photo assembly : plaster created in 1:10, wood in 1:1,

    Right : the making of the plaster piece.

    The final construction:

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    Top left : assembly pieces for the 1:1 model,

    Top central left : assembling the 1:1 model,

    Top central right : side view of suspended plane,

    Top right : suspension details,

    Bottom : finished model.

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

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

    The sentence that was most often spoken:

    "But, how will that hold?"

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    Finally, the structure ended up being much stronger than expected,

    even supporting the weight of a person.

  • Digging up the Future

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

    On Site


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

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    The sunrise and the protostructure.

    We discovered the protostructure and last year's node.

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    The nodes and the visible foundations.

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

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    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.

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    Our performance sentences along with the moments they mark.

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

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


    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.

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    The cast.

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

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    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.

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    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.

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    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


    “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.


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    Making of the first plaster.

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    The result.


    I. Understanding the onsite plaster

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    Mapping the plaster.

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    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.

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    The hybrid mold.

    III. Recasting

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

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    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.

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    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, Divorne 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. 

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    Préparation du plâtre et mélange

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    Coulée du plâtre dans les moules

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    Lissage de la surface à la règle

    Déroulement du processus en entier

  • CRAFT_le sol du Pantheon_maquettes & dessins

    Par Paidoussis Léa, Sills Sophie, 20/09/19

    Pour notre premier projet, nous nous attaquons directement à un des édifices symboliques de l’architecture. Tous ensemble nous tentons de recréer le sol du Panthéon, à une échelle réduite. Pour commencer nous avons créer des maquettes faites de bout de bois, par groupe de deux. Après avoir chacun dessiner la maquette sous plusieurs angles, nous avons continuer à collaborer en modélisant le sol du Panthéon en plâtre, à l'aide de moules en cartons. Une fois chaque étape finie, une mise en commun est faite, et nous pouvons voir se former la courbure de ce fameux sol!

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    fresh, infinity, flow, continuity & light

    Axonométrie du moule


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    While drawing I could smell the new paper lying in front of me. Touching it for the first time with the fix pencil 4H was a matter of precision. I could see lines after lines, a succession of mouvement creating matter. My hears could hear the lively sound of the dynamic around me. Throughout this experience the heat in my mouth was persistent. 

    Détail d'un angle - maquette en bois 

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    rose, discovery, growth, discussion, spicy.


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    sweat, delicate, mouvement, collaboration, satisfaction.

    The Pantheon Ground

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    The sound of voices collaborating, the pressure under the knife, the sight of progress, the loud smell of a glossy finish, and finally the creamy taste of Nivea, all leading to the promise of a beautiful plaster floor.   

    The Plaster Cast

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    Architecture begins when you place two bricks carefully together.
    - Ludwig Mies van der Rohe


    But will the air runs smoothly on the surface?