• Antre de vide

    Par Clea Balestra, Diana Ugnat, Lena Brucchietti, Mathilde Linder, Maude Voutat, Nicolas John, Nicolas Otti, Niels Galitch, Noe Herrli, Olivia Wechsler, Salome Stoffel, Samuel Aeschimann, Stephane Grandgirard, Tim Meier, Yekan Deli, Kilian Cossali, Lucien Roy, 30/05/16

    Image Wed Jun 01 2016 12:02:00 GMT+0200 (Mitteleuropäische Sommerzeit)

    Living in a window, a collective space, suspended void modelled by a sphere, illuminated as the sun passes the structure, stabilizing itself as well as spaces around it.

                                              Image Fri Jun 10 2016 19:30:32 GMT+0200 (CEST)



    Description

    Our project challenges the question how to inhabit a window. We created a common space, a spheric room inside a wooden structure. Our construction system was to develop an orthogonal densification system based on the existing 60x60 framework of the protostructure, to densify an entire zone in the protostructure and to spread laths to generate a space. A net permits to float in the spheric window, and to experience it.

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    Implantation

    The protosphere is situated in the upper south-western square of the protostructure from where it serves as a roof for the theatre underneath, and stabilises the terrace above.


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    Image Fri Jun 10 2016 22:53:00 GMT+0200 (CEST)Image Fri Jun 10 2016 22:53:00 GMT+0200 (CEST)


    Image Wed Jun 01 2016 11:55:02 GMT+0200 (Mitteleuropäische Sommerzeit)
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    Acces, Opening and Lighting

    The acces to the protosphere is generated by stairs which end in it's surrounding mass. The spheric form gets visible only when one enters the project, as it is covered by the structural mass surrounding the interior.

    The concept of living in a window, is what defined its placement and opening. By analyzing the course of the sun, the window is placed to let a maximum of sunlight in the space, while the view is filtered by the main structure.

    Image Tue May 31 2016 11:54:08 GMT+0200 (CEST)Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)
    Image Tue May 31 2016 11:34:02 GMT+0200 (CEST) Image Wed Jun 01 2016 11:02:53 GMT+0200 (Mitteleuropäische Sommerzeit)Image Wed Jun 01 2016 14:50:39 GMT+0200 (Mitteleuropäische Sommerzeit)Image Wed Jun 01 2016 14:50:39 GMT+0200 (Mitteleuropäische Sommerzeit)
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    Flooring and Net

    The net and the wooden floor are a solution to densify the structure. While the floor lets one walk freely around the room, the net symbolizes a less fluid space from where the theater underneath can easily be observed or the sunlight can be enjoyed. 

    Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)


    Image Wed Jun 01 2016 11:17:22 GMT+0200 (Mitteleuropäische Sommerzeit)Image Mon May 30 2016 22:12:36 GMT+0200 (Mitteleuropäische Sommerzeit)

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    Model 1:5

    Image Wed Jun 01 2016 10:30:47 GMT+0200 (Mitteleuropäische Sommerzeit) Image Wed Jun 01 2016 10:30:47 GMT+0200 (Mitteleuropäische Sommerzeit)


    Construction Details

    Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)Image Tue May 31 2016 11:34:02 GMT+0200 (CEST)

     Image Tue May 31 2016 11:48:41 GMT+0200 (CEST)Image Wed Jun 01 2016 14:54:12 GMT+0200 (Mitteleuropäische Sommerzeit)
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    Final


    Image Mon May 30 2016 15:50:14 GMT+0200 (Mitteleuropäische Sommerzeit)Image Wed Jun 01 2016 12:10:06 GMT+0200 (Mitteleuropäische Sommerzeit)



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  • ROOMS / DRAWINGS

    Par Maude Voutat, Noe Herrli, 24/03/16


    Image Thu Mar 24 2016 11:48:56 GMT+0100 (Paris, Madrid)


    Image Thu Mar 24 2016 11:48:56 GMT+0100 (Paris, Madrid)


    Image Thu Mar 24 2016 11:48:56 GMT+0100 (Paris, Madrid)








  • ROOMS - FINAL

    Par Nicolas Otti, Samuel Aeschimann, 21/03/16

    Our final idea is to creat a hanging garden with zenithal opening in order to grow exculsively tomatoes.

    A reasearch that directly influences the structure of our room has been made in order to creat the best environment for the cultivation of tomatoes.


    DRAWINGS

    The asymetrical structure is due to the research of the right angle in order to have an optimum amount of sun in the inside space of the garden. This reasarch is depicted through the diagramme and drawings.



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    MAQUETTE

    The idea of a hanging garden has been translated through the structure since it is a structure that works only in traction. We therefore designed trusses to support the "room".


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    Image Mon Mar 21 2016 14:22:30 GMT+0100 (Paris, Madrid)


  • ROOMS : Final week

    Par Lena Brucchietti, Lucien Roy, 20/03/16

    Cutting through a thick mass and opening it in order to create a window. Thus revealing a potential roof and a potential floor.



    I. Drawings: Situation and Protostructure insertion




    Image Tue Mar 22 2016 09:50:38 GMT+0100 (CET)

    Situation 1:50 and 1:500



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    Elevation and cut 1:20



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    Cut and plan 1:20



    II. Maquette:




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    Room into protostructure front view



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    Room into protostructure side view



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    Top floor detail



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    Window plateform top view



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    Bottom ceiling detail



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    Window and platform view from protostructure



    III. Construction Process:




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  • MAQUETTE

    Par Catia Da Cunha Pedro, Clea Balestra, Diana Ugnat, Kilian Cossali, Lena Brucchietti, Louis Van Puyenbroeck, Lucien Roy, Mathilde Linder, Maude Voutat, Nicolas John, Nicolas Otti, Niels Galitch, Noe Herrli, Odile Blanc, Olivia Wechsler, Salome Stoffel, Samuel Aeschimann, Tim Meier, Yekan Deli, Rolando Valarezo, 12/10/15

    Image Mon Oct 19 2015 12:27:12 GMT+0200 (CEST)


    SUPER MAQUETTE

    At the beginning of the project, we were separated into groups of two that, from that moment on, worked together on both a façade in Paris and in Lausanne. Starting with Lausanne, an element on the façade was defined as “super element”. In all cases, it was an eye catching element to the group and additionally used as reference point for all measures of the façade. In order to get the measures as precise as possible, a measuring tool was built to find a certain geometry, rhythm and characteristic in the facade. As a next step, 60m2 around the super element were chosen to serve as base for creating a plaster of the fragment. By using the super elements of Lausanne and Paris (which was chosen beforehand as well), the two fragments were put in relation with one another. A big step in this was to leave an opening in the plaster where the super elements were situated, in order that one really could see the façade of Paris though the super element of Lausanne or the other way around. Having done that, the plasters were placed onto the right spot on the plan of Lausanne/Paris by inserting brass stem into them.  The difference of height between the two streets was of courserespected. This is why the plaster on the lowest point in the street of Lausanne was defined as our new point zero, which was placed 8cm above the model. In that way the little models are all almost floating in our newly created street, which is neither Lausanne nor Paris anymore, but our own created space.