• BreakfastRoom to breakfastHouse

    Par Meryl Barthe, Alicia Fankhauser, Claire Debons, Eva Hauswirth, Evan Ribadeau Dumas, Fiona Pèpe, François Born, françois nantermod, Gaétan Détraz, Laura Guerreiro, Mathieu Stoppa, Nicolas Pralong, San Yun, Téo Belgeri, Tristan Kramer, 24/05/18


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    PROJET FINAL







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    CONNECTION WITH OTHER PROJECTS





    CONNECTION WITH STUDIO BAUR


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    CONNECTION WITH STUDIO DUPUIS


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    A BREAKFAST ROOM FOR THE HOUSE







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    MAQUETTE FINALE






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       CONSTRUCTION IN PROGRESS







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    Construction - sous-structure deck




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     Construction - plancher






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  • [HOUSE 3] Development of the Breakfast Room

    Par San Yun, Alicia Fankhauser, Claire Debons, Eva Hauswirth, Evan Ribadeau Dumas, Fiona Pèpe, François Born, Gaétan Détraz, Laura Guerreiro, Mathieu Stoppa, Meryl Barthe, Nicolas Pralong, Téo Belgeri, Tristan Kramer, 30/04/18


    - Development of the floor

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    Plan 1:10 with modified spacements: 1cm on the existing protostructure and 2cm on the exterior


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    Plan 1:20 with the structure underneath and the floor


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    Details of the floor (1 to 4)


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    Details of the stair - système réglable (5 to 8)


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    Detail of the intersection where the existing proto and the exterior structure meet (9)


    - Development of the table
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    Plan, coupes, axo de la table


    - Development of the arcs
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    Constructive drawings of the middle arc


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    Axonometry of the assembly of the arcs



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    Mock-up 1:1 of the new constructive system for the arc 


  • [HOUSE 3] Breakfast Room x Moondth

    Par Alicia Fankhauser, Claire Debons, Eva Hauswirth, Evan Ribadeau Dumas, Fiona Pèpe, François Born, Gaétan Détraz, Laura Guerreiro, Mathieu Stoppa, Meryl Barthe, Nicolas Pralong, San Yun, Téo Belgeri, Tristan Kramer, 22/04/18

    Description générale du projet 


    Notre projet cherche à explorer les conditions spatiales créés par les deux plafonds

    ayant un lien important avec les espaces en-dessous.


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    Comme leurs formes inversées sous-entendent, ils ont des fonctions inversées :

    - la voûte sur la table du ‘Breakfast Room’ lui donne sa fonction, en créant un espace de confort où l’on se réunit et

    - le ‘Moondth’ qui est un plafond servant mettant un accent sur la ‘Scène’.



    Chapitre I. Breakfast Room


    Nous cherchons à créer un espace agréable s'étendant hors de la protostructure qui servira aux visiteurs comme une terrasse.

    L'espace couvert par un plafond voûté à l'intérieur de la protostructure, sous lequel les gens se réunissent, possède un caractère domestique comme une salle de petit-déjeuner dans une maison. 

    La position du 'Breakfast Room' met en relation l'entrée et le vide central de la protostructure, amenant les visiteurs vers le coeur de la prostructure. L'angle du plancher qui différe de celui orthogonale de la protostructure ressort et ceci est encore souligné par l'inclinaison des lattes du plancher qui suit cet angle. 


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    Plan général du breakfast room 1:20


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    Coupe longitudinale 1:20


    La voûte est une série d'arcs qui donne un aspect de torsion. Elle s'ouvre sur l'intérieur du côté proche du vide central, et s'ouvre sur l'extérieur de l'autre côté pour accueilir les visiteurs et pour leur donner une indication de direction.


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    3D modélisation de la voûte en torsion


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    Coupes d'un arc de la voûte 1:5


    Le plancher est composé de modules préfabriquables de taille qui varie de 1 à 3 cellules de la protostructure. 


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    Modules du plancher 1:5


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    Axonométrie d'un module du plancher 1:10


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    Détail d'assemblage du plancher 1:10


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    Plan, coupe et détail d'assemblage de la table 1:10



    Chapitre II. Moondth


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    Studio Olafur Eliasson

    The Weather Project, Tate Modern, London (2003)

    Photo: Andrew Dunkley & Marcus Leith

    http://www.olafureliasson.net/archive/artwork/WEK101003/the-weather-project#


    "In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall."

    http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series/unilever-series-olafur-eliasson-weather-project-0

    Ce projet trouve son origine dans l'idée de l'artiste que le temps infleucne l'atmosphère de la ville et que la ville devient un filtre par lequel l'on expérience le temps dans notre vie quotidienne. Le projet du Studio Olafur Eliasson apporte le Soleil à l'intérieur du grand hall du musée Tate pour changer la façon dont les visiteurs perçoivent ce vide intérieur dans le musée. 

    Ceci a donné nom à notre projet 'Moondth', qui veut dire la Lune, étant un plafond réflecteur illuminant la Scène qui se trouve dans le vide de la protostructure. De plus, le plafond qui est une limite supérieure créé un atmosphère unique et sert complètement à ce qui se trouve en-dessous.


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    Le centre de gravité du plafond descend vers la 'Scène' en-dessous. 


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    Système du montage 1:20


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    Coupes transversales + plan des structures des arcs + assemblage des plaques 1:20



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    Test de courbures variées dans le hall SG


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    Détail d'assemblage mock-up 1:1


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    Détail d'assemblage maquette 1:5


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    Système d'accrochage en maquette 1:5


  • Arrière-scène

    Par Laura Guerreiro, San Yun, 12/03/18
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    Origin:

    We were given the plan of Sir John Soane Museum in London to choose and analyse one program from it. From the program we chose - Library - we asked ourselves what defines a library and we came to focus on the coexistence of private and public out of a number of characteristics we identified*.

    This has been the goal in the conception of the project. 


    Concept: public X private 

    Studying their definitions and what they mean to us, we defined some main points of these two types of spaces as follows: 

    - Public: easily accessible, bigger in dimensions (fits a large number of people), open (ex.: park), general

    - Private: not easily accessible (locked or hidden), enclosed, rather small, private to a certain number of people, but, as well, if we consider the psychological dimension, the limited access might not be enough to define a space private. Would a library to which only you have access but which inside you can't find any books of your favourite authors feel just as private as one with your own collection?

    From these points, we decided we would like a to create a room where both, private and public, coexist and where one is conditioned upon the other.


    Project:

    The points identified were interpreted into three main spaces that coexist - the public (which was later replaced by the scène located in front of our project in the center of the proto), the private (close to the existing wall of the Citroen building,) and the space of transition between them.

    These spaces were created through a floor, five identical panels which we call filters, a U-shape wall which marks the end of the project, and a bench in the private space. 

    • Location: Following the axe of the central entrance of the building, the project starts in the center of the protostructure  (where the public part is located, linking back to the easy access point identified), and ends near the wall of the building at the back of the protostructure, which increases the intimacy. The end of the protostructure is extended to allow a larger private space. 


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    View with the surroundings of the protostructure and other projects


    • Dimensions: The key dimensions were defined in relation to the scène (which we consider as the public) - its diameter became the width of the floor and the filters follow the proportions of the floor, such as the last wall in U shape. Also, the dimensions of the protostructure influenced the spacing in the floor, spacing in the vertical elements of the filters and the length of the bench. 


    • Principles:


    Five filters guide the transition from the public to the private. They add up to one ( the U-shaped wall) that closes the deepest part of the arrière-scène if one looks from the scène. The private reveals itself becoming more and more visible as one approaches it by passing by each filter, which makes the number of filters in front of the private area decrease every time. Here we can also understand the conditions imposed from one another: if all of the filters are removed (theoretically), the public and private don't differ anymore. 


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    Simulation of the passage from the public to the private with the decreasing number of filters - starting to see through


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    Interior views of the private space - panels, bench and U-shaped wall


    Three main elements - protostructure, floor and filters - relate with one another: the floor reveals the rhythm of the protostructure and is placed after all the underground structure for the filters are already in place, defining their position; the protostructure serves as part of the frame of the filters to ensure its stability; the constructive system of the protostructure is extended and used to stabilize the U-shaped wall. 



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    View of the floor and U-shaped wall without the panels 



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    Detail of the last wall integrated into the protostructure (the U-shaped wall blocks the access from the back of the protostructure without disturbing people walking around the proto.)


              

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    The system of the protostructure is repeated to make the structure of the bench 




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    Plan 1:20



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    Coupe AA' 1:20



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    Coupe BB' 1:20



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    Axonometric assembly detail of the floor 1:5



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    Axonometric assembly detail of the filter 1:5



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    Assembly mock-up 1:1 



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    Details of the final filter design 1:10


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    Previous filter designs





    *Library research  

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  • VOID

    Par Laura Guerreiro, 18/12/17

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    This project arose out of the interest in the intersection of two orthogonal planes. Further, how they can create different spaces depending on the way they touch each other, on their dimensions and on their orientation. 

    The study began by looking carefully at the constellation from the Measures phase: the different spatial relationships created by the viaduct to who is under it X who is on top of it called attention. Then, observing the plan and elevation of the column created on the Elements phase, the position of the four connecting pieces of wood seemed to create an interesting space if considered as planes. From this two ideas, emerged the Spatial Cube - taken until the end as the reference of the project. 



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    Explanatory board of the emergence of the Spatial Cube



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    Cube in cardboard                                                Cube in plaster  



    After casting the cube, it was pointed out the fact that actually this two planes could be considered as only one folded plan if they touch each other on the boarders and if they were casted altogether. The materiality showed up. 

    Further in the process, the cube was adapted to relate itself with the protostructure by means of a deep study through drawings and the creation of a connective language between plaster/wood and plaster/plaster.



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    Section BB'


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    Section CC'


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    Plan AA' and details of one plan


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    Details of the three other plans 


    In a total of four folded planes, all of them were drawn in more detail to help the molding and casting processes. 


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    Molds of the cube - intersections in T's and L's      Mold of one of the planes 


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    Evolution of the molds 


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    Details of the places in contact with the protostructure