• REVIEW : L'AFTER

    Par Hayyane Filali Aymane, 31/03/20

    "Si vous venez au monde pour ne rien troubler, alors vous ne méritez ni patience, ni regard."

    - René Char

    https://www.youtube.com/watch?v=OVd8YOFvVtc


    L'idée du projet se veut radicale: traiter avec l'aléatoire, le chaos apparent et considérer son potentiel spatial. L'inspiration naturelle, de la forêt, présente sur le site en question, suggère que les réponses sont déjà présentes et qu'il n'y a qu'à les ceuillir (après avoir saisi puis compris les données, cf. "La donnée n'est pas plus de l'information que cinquante tonnes de ciment ne sont un grattte-ciel." Clifford Stoll, Silicon Snake Oil).


    Mais il pourrait être encore plus radical. L'escalier, seule propostition émise pour explorer verticalement cette densification, malgré le fait qu'il prenne forme par le site, procure le sentiment qu'il s'incruste maladroitement au lieu de s'intégrer.


    Le travail en plan doit laisser maintenant place au travail de la coupe, qui permettrait d'envisager d'un autre angle cette densification. L'objectif est de pousser plus loin le narratif du lieu pour en clarifier l'intention, par la proposition de nouvelles manières d'utiliser cette densification, en plus du fait de conduire l'expérimenteur au centre de celle-ci.


    La question que je me pose est comment, comme il est exclu de s'étendre horizontalement, permettre une ascension suivant cette logique de densification. Mais là j'aurais vraiment besoin d'aide, mon cerveau a de la peine à élargir ses horizons. Cet outil pourrait cependant compléter d'autres espaces en améliorant l'entrance transition (A pattern language).

  • ROOMS: REVIEW

    Par Hayyane Filali Aymane, 29/03/20

    Image Mon Mar 30 2020 10:50:47 GMT+0200 (Central European Summer Time)



    THE SITE IS PROPORTIONAL TO TRUCKS AND TREES


    On it's right, you'll find a vast parking lot, on it's left, a charging area for trucks.


    Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)         
     Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)






    CHOSEN PRINCIPLES FROM A PATTERN LANGUAGE

    "The spots which are the most inviting, are those high enough to give people a vantage point, and low enough to put them in action."

    - Stair seats -


    "When plate glass windows became possible, people thought that they would put us more directly in touch with nature. In fact, they do the opposite."

    - Small panes -


    "The arcades are a way to create a slow transition from the exterior to the interior. Counter to walls, they give the ability to give a look inside, from the outside, without physical separation. This is an invitation to enter, you, curious one."

    - Arcades -


    "Making a convenient place for a body means to be also convenient for the spirit and giving the opportunity to change the behaviours to appropriate the space. Give a feeling of security, intimacy, like if we arrive at a secret place."

    - Entrance transition -




    " Housing in between is densifying empty areas and filling the gaps, creating new possibilities for the body."

    - Housing in between -





    AN ELEMENT TO DENSIFY

    Historically, the rives of the Rhône were all wooded, those vertical elements had the ability to create an interiority. By biomimetic, it seems logical to use the spatial strategy of trees to recreate the destroyed interiority the nature built with time.

    The interiority will be treated through densification of the interstitial.



    From the squared column to more flexible spots




    Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)



    Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)



    Ishigami Kanagawa - Institute of technology





    Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)   Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)





    Tracé régulateur


    "We are confused by the apparent randomness—the seeming chaos—of the new conditions. We cannot easily accept the random as reasonable—our self-consciousness insists on control, and the random resists control, in the same way as a storm or an earthquake. The random pushes us toward mere reaction, and we lose initiative. We throw the dice or the straws. They land this way or that, and we struggle to interpret. Our creative powers become useless. But, maybe not."

    WORLDS APART | LEBBEUS WOODS


    "Pour LE CORBUSIER il est nécessaire d’avoir un tracé régulateur lorsque que l’on cherche à produire quelque chose, afin de lui donner un sens et ne pas tomber dans l’arbitraire. Un bâtiment est la résultante d’un problème posé et la succession de choix dirigés par ce tracé régulateur c’est ainsi que l’on crée une architecture.

    L’homme a toujours utilisé des systèmes de tracé régulateurs pour lui permettre d’ordonner et comprendre ce qu’il faisait. Ceci a permis à l’homme d’établir des règles qui au fil des générations se sont enrichies grâce à la découverte de technologies et techniques nouvelles faisant évoluer ses outils, et donc ses constructions."


    Vers Une Architecture - Le Corbusier




    Image Sun Mar 29 2020 14:45:06 GMT+0200 (Central European Summer Time)


    Cette manipulation géométrique est une manière de générer un espace en laissant parler le site, les trois arbes qui le dominent. Le résultat tend à suivre la disposition apparemment aléatoire des arbres dans la forêt, de sorte à fondre la construction dans le paysage au travers d'une même organisation spatiale.

    La clairière de poteaux crée un intérieur par densification de l'interstitiel au moyen d'un aléatoire objectif et qui se veut maitrisé. Le corps se trouve en relation avec des éléments plus au moins proches de lui, se sent comme à l'intérieur d'une foule, à l'abri non pas des regards, mais plutôt d'une solitude menaçante. 

    Au fur et à mesure de l'ascension, les poteaux, qui ne changent pas de taille, prennent de plus en plus une dimension humaine. Lorsqu'on est au sol, ils dominent largement du haut de leur 570cm. Se tenant sur la plus haute plateforme, ces derniers mesurent désormais 240cm, le regard levé vers le ciel est moins obstrué par la dominance des érigés.

    D'autre part, la protostructure procure un sentiment de sécurité. Les poutres initialement à 90cm ont été réhaussées au niveau de la plus haute plateforme, créant un nouvel horizon virtuel, infini, projette notre regard et notre esprit au loin. Il est possible d'occuper un espace bien plus grand que celui dans lequel il est possible de se tenir physiquement.



    Ce travail questionne la pertinence d'apporter ses idées dans un lieu au système déjà organisé, qui n'a pas forcément besoin de se voir imposer une autre configuration. Les conjonctures spatiales d'un site contiennent des solutions qu'il s'agit d'émanciper. En l'occurence, la forêt a déjà sa manière de créer une intériorité, un espace séparé des autres.

    Cette séparation est accentuée par la transition, le chemin à parcourir pour se rendre à l'endroit en question. Ici, le sol n'est pas modifié, créant une continuité avec l'environnement, la transition est provoquée le système de poteaux qui modifient notre trajectoire et notre célérité. Sur une distance très restreinte, il est possible de faire oublier la platitude de laquelle on vient et d'entrer dans un système verticalisé dans un premier temps, qui appelle à l'ascension, à atteindre cette canopée, puis horizontalisé dans un second temps, qui appelle à l'expansion.





    Densification of the interstitial



    Image Sun Mar 29 2020 19:13:25 GMT+0200 (Central European Summer Time)


    Image Sun Mar 29 2020 19:13:25 GMT+0200 (Central European Summer Time)    Image Sun Mar 29 2020 19:13:25 GMT+0200 (Central European Summer Time)





    Image Sun Mar 29 2020 18:24:36 GMT+0200 (Central European Summer Time)         Image Sun Mar 29 2020 18:24:36 GMT+0200 (Central European Summer Time)





    Quatres groupes simples d'éléments: poteaux, plancher, solive et poutres de maintient sur la protostructure

    Image Sun Mar 29 2020 18:41:14 GMT+0200 (Central European Summer Time)       Image Sun Mar 29 2020 18:41:14 GMT+0200 (Central European Summer Time)


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    Image Sun Mar 29 2020 16:24:02 GMT+0200 (Central European Summer Time)



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  • "1 post a day keeps the doctor away" - Myriam Treiber

    Par Hayyane Filali Aymane, 18/03/20

    18.03.20

    Poteaux correctement placés et orientés sur le tracé régulateur, reste à comprendre comment créer de nouveaux plan et dessiner dessus ou encore comment poser une face sur une autre.



    Image Wed Mar 18 2020 20:19:44 GMT+0100 (Central European Standard Time)


    19-20.03.20



    Image Fri Mar 20 2020 19:54:51 GMT+0100 (Central European Standard Time)

    Poteaux se séparent pour aller chercher la proto...



    Image Fri Mar 20 2020 19:54:51 GMT+0100 (Central European Standard Time)

    ... dans le prologement de la ligne centre de gravité - centre du poteau...




    Image Fri Mar 20 2020 19:54:51 GMT+0100 (Central European Standard Time)


    ... pour venir se poser (s'accrocher plus tard) à la proto.



    21-22.03



    Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)


    Les escaliers ont pris la forme du site, viennent prendre appuis sur les poteaux.



    Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)

    Chevrons sous plancher à 2m80, fixés aux poteaux.



    Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)   Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)   Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)

    Début de l'acrochage à la proto, le noeud va se compléter.




    Image Mon Mar 23 2020 00:04:26 GMT+0100 (Central European Standard Time)

    Faisant mon chemin dans la densification artificielle, je lève la tête et constate certains détails encore à compléter.



    23-24.03.2020


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  • APRES LE SYSTEME G, VOICI LE SYSTEME D

    Par Hayyane Filali Aymane, 17/03/20

    The new conjunctures brought me to simplify my project. The first element to receive a facelift, what I called before the column, is now considered as a post. It is a more scalable system than the "frozen system of the column". I can now more concentrate on the way to densify and to attach them to the protostructure.



    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)



    The new post is a 3 x 10 cm element, witch now has a direction, contrarly to the old squared column (which was made to be as neutral as possible). Using the same tracé directeur, I can now use it as follows:



    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)



    Keeping the same configuration, I can now suggest a direction to take. All the posts converge to the central point defined before, where stairs find a place. The ground level is used only as a transition to my interior, to my room. Pattern 112, entrance transition, put me on my way to think about this and inspired me to bring a change of direction, independently of the way we come from, to which I ad a variation of speed, thanks to the densification.



    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)



    As you see here, I chose to push a bit more the use of the triangle. The first idea was to make triangles with the same proportions and to begin them on the ground. But there were two problems: the transition would have been too much densified, the random and unprogrammed transforms into unusable. To avoid this and continue dealing with some randomness, I need initiative. The second problem is that I still don't have a relationship with the proto.


    "We are confused by the apparent randomness—the seeming chaos—of the new conditions. We cannot easily accept the random as reasonable—our self-consciousness insists on control, and the random resists control, in the same way as a storm or an earthquake. The random pushes us toward mere reaction, and we lose initiative. We throw the dice, or the straws. They land this way or that, and we struggle to interpret. Our creative powers become useless. But, maybe not."

    WORLDS APART | LEBBEUS WOODS


    So this is my initiative: I will extend obliquely my posts in two parts just to reach the proto structure at 5.4m, and link with it. I also want to make it possible to lean against my posts. So I begin the spitting by two 50cm before the second floor to have a minimum basis of 25cm on the second floor, worst case.




    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)


    [photo des mesures ]


    Those two changes do not fix any final length. Each post will be unique, it's will depend on his position and direction in the protostructure. Here I found my link because each branch extends to reach the proto with a special knot.





    Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)   Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)   Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)   Image Tue Mar 17 2020 17:37:49 GMT+0100 (Central European Standard Time)





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    Next step: relation to the ground and discover rinho.








  • FROM TREE ANGLE

    Par Hayyane Filali Aymane, 09/03/20






    THE SITE IS PROPORTIONAL TO TRUCKS AND TREES


    Vast parking lot


    Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)


    Charge area for trucks


    Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)

    Different moments of enlightenment panoramic view



    Image Tue Mar 24 2020 14:25:23 GMT+0100 (Central European Standard Time)





    Plan of site, 1:500

    Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)

    15M x 10M x 13M

    Those measures are more related to tree or trucks than to the body. They respond to industrial use whose need is a big flat empty space. When one's body "enters this scene" and opens the question of how space is occupied, one element of response is to propose spatial conditions related to the body.

    The idea is to feel an interiority and create possibilities for a human body, in fact, more human-related interstitial spaces. To keep it simple, my question is how to place horizontal and/or vertical elements that create the potential to receive a body.


    CHOSEN PRINCIPLES FROM A PATTERN LANGUAGE



    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)   Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)


    The arcades are a way to create a slow transition from the exterior to the interior. Counter to walls, they give the ability to give a look inside, from the outside, without physical separation. This is an invitation to enter, you, curious one.







    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)


    Making a convenient place for a body means to be also convenient for the spirit and giving the opportunity to change the behaviours to appropriate the space. Give a feeling of security, intimacy, like if we arrive at a secret place.





    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)    Image Fri Mar 13 2020 17:15:45 GMT+0100 (Central European Standard Time)


    The interpretation that I make for this pattern has no link with the one in the book. Three trees, distant 15m from each other, form a triangle, surrounded by a parking and a charging area for trucks. The body has nothing to do there. Housing in between is densifying empty areas and filling the gaps, creating new possibilities for the body.










    AN ELEMENT TO DENSIFY

    Historically, the rives of the Rhône were all wooded, those vertical elements had the ability to create an interiority. By biomimetic, it seems logical to use the spatial strategy of trees to recreate the destroyed interiority they were making.


    This is the call for ARTIFICIAL DENSIFICATION.

    The interiority will be treated through densification of the interstitial.




    HOW TO DENSIFY HORIZONTALLY?



    Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)



    First drawing, when I tried to densify regularly, beginning with four columns, one on each centre in the length of the protostructure, then filling the row below a half offset. This version had a defined intention, where one could enter from the left (cf. plan on the left of the sheet) near the tree with an entry inspired from our work in PLANES. There, the same one finds a front door bench (242 - A Pattern Language) and then, moving slowly because of some columns, makes his road to special stairs bringing him straight near the emergence of the branches, where he can sit on stairs (125 - A Pattern Language) "high enough to give a vantage point and low enough to stay in action.


    Here is the first prototype of the column inspired by the one that Tadao Ando made:

    - photo maquette à côté de référence -



    Ishigami Kanagawa had an interesting process to bring randomness in the Institute of technology.


    Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)Image Mon Mar 09 2020 10:36:58 GMT+0100 (Central European Standard Time)


    Ishigami Kanagawa - Institute of technology


    The system of columns generates a variety of spatial conditions.

    An other tendency, by Le Corbuisier, inspires me, the concept of weft and "tracé régulateur" to create objective randomness.


    "Pour LE CORBUSIER il est nécessaire d’avoir un tracé régulateur lorsque que l’on cherche à produire quelque chose, afin de lui donner un sens et ne pas tomber dans l’arbitraire. Un bâtiment est la résultante d’un problème posé et la succession de choix dirigés par ce tracé régulateur c’est ainsi que l’on crée une architecture.

    L’homme a toujours utilisé des systèmes de tracé régulateurs pour lui permettre d’ordonner et comprendre ce qu’il faisait. Ceci a permis à l’homme d’établir des règles qui au fil des générations se sont enrichies grâce à la découverte de technologies et techniques nouvelles faisant évoluer ses outils, et donc ses constructions."


    Vers Une Architecture - Le Corbusier


    So I used an ancient plaster of the phase PLANES as a guide. This one has a centre of gravity, like the triangle made by the three trees on my site.



    SUPERPOSING BOTH CENTERS OF GRAVITY


    Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)




    ROTATING THE PLASTER ON THE DRAWING, WITH THE CONSTRAINT TO KEEP ONE SIDE OF THE PLASTER PARALLEL TO ONE SIDE OF THE TRIANGLE.


    Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)   Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)





    EACH EXTREMITY IS THE CENTER OF THE COLUMN


    Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)    Image Sat Mar 14 2020 13:45:18 GMT+0100 (Central European Standard Time)





    DESSIN EN COURS [ET MAQUETTE]


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    Image Sat Mar 14 2020 14:18:43 GMT+0100 (Central European Standard Time)





    WHY SUCH A COLUMN?


    --PHOTOS FONCTIONNEMENT, CAN VARY IN HEIGHT AN WIDTH



    IMPROVING THE TRACE REGULATEUR

    I let down the plaster, that had no link with my intentions. Instead of it, I pushed the idea of using the centre of gravity of my three trees. In fact, joining each summit with this centre gives me three new triangles. And I can repeat this operation until having enough gravity centres to place my columns!



    Image Sat Mar 14 2020 14:18:43 GMT+0100 (Central European Standard Time)