• ROOMS_model_wood rain

    Par Hassan Moallin Madina, Lombardi Alexandre Tristan Bénédict, 13/03/17

                                                             Work in progress...


                         ROOMS_JC_LambardiAlexandre-Hassanmoallinmadina_104      ROOMS_JC_LambardiAlexandre-Hassanmoallinmadina_103

                          ROOMS_JC_LambardiAlexandre-Hassanmoallinmadina_102       ROOMS_JC_LambardiAlexandre-Hassanmoallinmadina_101


  • PLANES - week 3

    Par Medic Marina, 26/12/16
    the global project

    To make our project stronger in a specific context, we had to think our project with three or four other students. In this case, we wanted to create a linear walk through the four projects. Openings are quite lined up. In this way, we see the end and duration of the walk.

      Image Mon Dec 26 2016 10:12:44 GMT+0100 (CET)Image Mon Dec 26 2016 10:12:44 GMT+0100 (CET)

    the project 

    Finally, I decided to accentuate the idea of the difference of height and atmosphere. 

                PLANES_JC_medicmarina_117                PLANES_JC_medicmarina_112

    the details 

    The idea of the inclined plane is now concentrate on the angle of the wood part. To make it more textile, it represents the idea of a wave.


           PLANES_JC_medicmarina_105         PLANES_JC_medicmarina_116

           PLANES_JC_medicmarina_107          PLANES_JC_medicmarina_113

             PLANES_JC_medicmarina_106           PLANES_JC_medicmarina_110

             PLANES_JC_medicmarina_111            PLANES_JC_medicmarina_115

    the drawings

    planes_jc_medicmarina_202                Image Thu Jan 05 2017 16:49:07 GMT+0100 (CET)

    section                                            scale 1:20 / details scale 1:5                    plane                                                                         scale 1:20



                                                               elevation                                         scale 1:20 / details scale 1:5

  • Phase 3 - Exercise 2 - The tectonic and the stereotomic

    Par Jorge Christie, 22/11/16

    Image Tue Nov 22 2016 00:51:29 GMT+0100 (CET)

    Eduardo Chillida, 1968.

    Phase 3 Planes 

    Exercise 2 - The tectonic and the stereotomic

    “Tectonics is defined as "the science or art of construction, both in relation to use and artistic design." It refers not just to the "activity of making the materially requisite construction that answers certain needs, but rather to the activity that raises this construction to an art form." It is transcending the banality of mere building by the modeling of a physical thing which reveals a conscious attempt by the architect to "tell a story": bringing the physical into the meta-physical world. Tectonic expression concerns itself with the narrative capacity of a building, primarily with respect to itself, but also as part of a more general circumstance (physical, social, political, economic etc.).”

     Robert Maulden, Tectonics in Architecture: From the Physical to the Meta-Physical.

    “The wall to a room therefore is different from a piece of masonry; flat and thin, the wall possesses neither substance nor relief and thus creates no sense of depth. Contrary to this, masonry reacts on both of its sides and establishes both internal and external boundaries, here and there. As an independent architectural element it has the inherent capability to enclose and define – and thus create – space. A wall, however, is inevitably joined to a floor and a ceiling, or an underlying supporting construc- tion, and in essence relies on the spatial transitions for its existence. In terms of these characteristics a wall belongs to the category of filigree construction (in traditional frame construction apparent as the infilling), whereas masonry is considered to be an element of solid construction. In the German language, the difference between filigree construction and solid construction, tectonics and ster- eotomy, is accentuated by a linguistic differentiation: “This tectonic/stereotomic distinction was reinforced in German by that language’s differentiation between two classes of wall; between die Wand, indicating a screen-like partition such as we find in wattle and daub infill construction, and die Mauer, signifying massive fortification.”

    Cordula Seger, The Wall, in Constructing Architecture: Materials, Processes, Structures.


    Select two planes -one horizontal, and one vertical- of your casted space that you think are relevant to define a spatial condition of this space. The two planes selected should be touching each other. Consider them as the starting point for your project. Find a position for them in the protostructure that activates new relations or potentiate existing ones. Develop the tectonic relation among the two planes and also with the protostructure. Use a stereotomic approach for one plane and a tectonic approach for the other. Explore the articulation and transition between one plane and the other. It is suggested to explore the use of your “element” or any element found in ALICE for defining a constructive ADN for the tectonic plane.

    The initial planes could (should) be modified when translated into a built reality. They could be scaled on any dimension and split if justified. It can have openings.

    Explore not only the material transition between the planes, but also between the spaces created by the planes

    Be aware that the protostructure is very unstable, use your project as a mean for stabilization. You can also add extra elements for stabilization purposes if needed. Carefully distribute the weight of the plaster so it helps to stability.


    Model scale 1:20. Use plaster + wood + (cardboard or plywood, not both)


    Friday 25th Nov 13 hrs. desk critique in model (quick and dirty)

    Monday 28th Nov 9 hrs. model 1:20.

    Blog your work and use the tags, P3-E2, PLANES and processus.

  • First approach of P3 : planes

    Par Zbinden Arnaud Loick, 21/11/16

                                                                             The reverse perspective



                                                          We had to imagine what is not drawn in the painting

                                                         to create a space and deduce the plan and the section.

                                                                           The mould and the plaster


        PLANES_JC_zbindenarnaud_101  PLANES_JC_zbindenarnaud_102  PLANES_JC_zbindenarnaud_103
        We had to build a mould (of the perspective we invented) in cardboard and wood without gluing it to be able to re-use

        the cardboard as surface.

  • P2 - Final presentation

    Par Karameta Lundrim, Ramseyer Roman, Weber Corentin Raphael Nathan, Zbinden Arnaud Loick, 16/11/16


                                                                             The 1:1 construction


                    ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_101       ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_102


                    ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_103        ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_104



                    ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_106       ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_107

                    ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_108       ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_109





             The axonometric drawing :                                                  The Monge :

             ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_201              ELEMENTS_JC_karametalundrim-ramseyerroman-webercorentin-zbindenarnaud_203