FROM TREE ANGLE

Par Hayyane Filali Aymane, 09/03/20






THE SITE IS PROPORTIONAL TO TRUCKS AND TREES


Vast parking lot


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Charge area for trucks


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Different moments of enlightenment panoramic view



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Plan of site, 1:500

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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



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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.







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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.





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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?



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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.


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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


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


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EACH EXTREMITY IS THE CENTER OF THE COLUMN


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DESSIN EN COURS [ET MAQUETTE]


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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!



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