Relationships are defined between our projects by their situation and axis.
Arranging our maquette to materialise our common axis.
DRAWINGS & CONCEPT.
Projects are then linked together following the concept of axis. Each in turn a project's plane is extended (keeping his PLANES issue) to the other project. This creation tool can be used several times and generating different results.
Drawings (1:33) to explore our concept.
Par Raphaël Staubli, 25/11/18
Working and creating on a specific site (-> Measures) force us to take the measured characteristic of the site in consideration. The notion of water and the sounds of the waves was unquestionably relevant for us the first time we came on the site, so it will be the basis of the reflexion during all the project.
Research about interaction between the space and sound (CRESSON laboratory, Grenoble). Development of the "gap" situation with different model. Models allows you to assemble them together and play with them, creating some kind of space. It becomes a creative tool.
How could we take, extract the sounds of the waves from the water and work with it ?
Playing with the models and the plane notion, the question involved for me a vertical issue. One of the idea was to take two vertical planes, creating a conduit, a canyon who will orientate the extracted sounds. The best place to heard it is to stay between these planes.
By rotating a plane, a zone is created where, depending on the wave height, the sounds will enter between the walls, or not. It suggests three conditions (1. not enter, 2. perhaps enter, 3. enter) who will define the length dimension of the project. A forth condition will appear during the project development, where the condition on the hearing place is modified.
Walking on the horizontal plane (hearing space) allows you to walk trough the conditions. It is the length axis. Moreover, the width axis will make you hear clear wave sounds near the a. wall, and resonance sounds near the b. wall. You are now walking on a sound grid where every path is unique
To see how the waves could evolve in the condition 1, I tried to create a little experiment to see how they would get around an obstacle.
MAQUETTE AND DRAWING.
Actual state of the drawing tool and the project maquette (1:33).
Hidden planes discovered during the process.
Idea of sounds.
When we started the phase ELEMENTS, we did not have any idea of what we could do on this site but one thing that we knew is that we wanted our work to be in relation with the water that is very important on the site. We decided to look back to the beginning of our process to understand why we chose this site and not another. We realised that we experienced the relaxing atmosphere of the waves landing on the rocks that are at the entrance of the harbour and chose this site instinctively.
After realising that, we decided to develop something that could amplify this sound and make this experience more intense. We imagined different way to do it and found the idea of a giant cone interesting because it would make people asking what this is. The cone that we developed could be used in two different way: the person could either stand behind it with his head inside the small hole at the back or sit inside of it at the other extremity.
Sketches of the dimension of our cone and its foundation.
As we are in the phase ELEMENTS, we decided to make a model of the fondation of the cone while it is what attach our structure to the ground and this site specifically. We designed a small wall that let people see the entire form of this cone without taking to much space and breaking its shape. The wall has a gap on its middle to permit us to see under the cone from the summit to the base.
Drawing that include the position of the cone on the site. Scale 1:20.
The reinforcement under the ground and the ground. Scale 1:3.
Gap in the fondation Progressive curved surface
Foundation with the gap and its curved surface on the top to place the cone on it. Scale 1:3.
Site of interest.
Characteristics: Water, movement, stones, concrete, solidity, rest, vegetation, life, contrast.
First picture of the site that interested us.
A mesh is created between strategic points to structure our measures. Our approach is to work on vertical plans following the strings that we used to make the mesh. Finally, we get thirteen organised sections that we will transfer on different drawings to have a base for our work.
Measure method of the site.
Using the sketch made on the site, we've experienced two ways to represent the "fragment of reality" that we measured with the method cited before. Each way has it's own positive and negative points.
Projection of the relief of the ground divided in nine sections (without deformation). Scale 1:66.
Drawing with Monge projection (with deformation of the sections). Scale: 1:66.
Modelling the plasters.
We decided to divide our cast in six different pieces to be able to perceive the way we measured the relief on the site. The lines that cut our casts in six represent the strings that we used. This method allows us to use the different cast separately or together depending on our needs.
Two molds before casting the plaster. Scale 1:66.
After unmolding our first plaster casts, we noticed that we forgot to flip the base when we drew the molds. We took it in a good way, and we had even more motivation to continue our process. You can not learn without doing mistakes. Therefore, we made it one more time and we finally got our six little casts in the right position.
Our plaster fitting with the drawing. Scale 1:66.
The moving element of the site was missing on our plaster. Therefore, we decided to represent it with plaster as well. As we wanted the water to embrace the relief of the ground it was not possible to build a new mold to cast it. We had the idea to add a plastic film on the surface of the plaster to use it as a base. This process worked and even the movement of the water was symbolised where it join the ground.
Ground Ground & Water Scale 1:66