UNDER PRESSURE - a transition into the Rolex Learning Center

Par Beer Eliott, Firuz Samuel, Gremaud Johann, Olia Mohammad Mahdi, 02/12/19

Planes - Synthèse

« Pressure pushing down on me. Pressing down on you, no man ask for. Under pressure that burns a building down. Splits a family in two. Puts people on streets » Queen

We have moved from the Measures phase to the Planes phase without leaving this phase behind. Indeed, we have studied our productions of "Measures" based on our concepts, pressure and compression and their definitions.

In our research, we moved to a scale in which a person could evolve, move on the planes defined by a node,  heart of compression, and noticed a space to explore: a large volume inclined towards the person. This volume, being massive and leaning, plays an important role in our project. Indeed, it is part of the human experience of the pressure we can feel. It decreases the volume of the path forcing down, to compress.

The site chosen for this phase is located next to the north facade of the Rolex Learning Center. On this facade, the concrete slab on which the Rolex rests takes a curved and smooth shape and when this slab comes to rest on the ground, it deforms the plane of it. This site seemed obvious to us as a place of pressure recalling the observed interaction between the different node plan where one of the massive volume planes compresses the plan that supports it.

Thus, by observing the interactions of the vertical, horizontal and oblique planes present in our models, we have arrived at our first "idea" of the structure: the resumed volume of the node and its planes, the deformation undergone by the planes of the node between them and a gradual inclination up to the angle of the knot. So, we wanted to get a structure distorted by Rolex pressure that could be seen from a single point of perspective. The progression of the inclination came to us from the progression of the pressure as one approaches the edge of the curve. This structure took up the idea of pressure on the human observed during the experimentation phase by forming a pseudo-passage compressing the people passing under these volumes.

After careful reflection on this idea we analyzed a major problem: the idea is based on a visual experience despite the body experience, felt in the photos, and thus does not show enough pressure on the body.

This problem led to the reformulation of the concept. Then, to feel, to experience what we would like to show, we are "back" in these volumes, as if we were on a passage formed of these plans. Moreover, after evaluating our first experiments, we kept the essential points, that is to say the inclined planes and the idea of the passage. By adding the notion of Pascal's vacuum horror as due to the air pressure, by restricting the available volume in order to compress the passer-by and limiting the light in order to bring about a feeling of oppression, we are arrived at a passage with a gradual inclination linked to the curvature of the slab of the Rolex, a degressive width that leads us to a passage of increasingly narrow and contrary to a common idea, a height of greater and greater due to feeling pressure felt in front of large spaces. A human, passing through this corridor, will then experience a change in pressure forming a transition element between the outside and the underside of the slab. This path therefore conveys a way of spatializing the notion of pressure and compression.