on the coffee table and start discussing.
te myself in quest of intimacy. While they enjoy the sunset, I look down to the river.
Why has she not showed up tonight ?
PROGRAM
Soon after this project started, a painting of a bow window caught my attention. This
particular room does in fact embody many aspects discussed in class. I decided to de-
velop three of them in the following work, namely privacy, interiority and the rela-
tion to the outer environment.
Cape Cod Morning - Edward Hopper
SITUATION
Collective drawing 1:50
The plan has been sectioned horizontally in order to reveal the situation of the
vertical elements. A thin line reminds of the actual position of the roof.
DETAILS
Drawing highlighting the various floor - and threshold - levels. Such a section
allows to remove the first layer of the protostructure, and therefore gives a
clear view of the threshold's height between the common and intimate spaces.
Progressive sections enable a better understanding of the framework.
Details of the central knot.
The vertical planes give a heavy - not to say monumental - feeling. These proper-
ties fully match with the desire of separating the spaces. Their components are,
however, much lighter in order to relief the [proto]structure. The wooden frame is
in fact first filled with XPS-isolation elements, and afterwards covered with big
panels of the same material, since it resists well to compression and tolerates
water exposure. In order to offer a monolithic aspect, a layer of roughcast
is applied on the wall.
The starting elements of the drawing coincide with the top of the vertical plans. At
the same level, two transversal pieces are screwed on the protoscture. Each pre assem-
bled wooden "L" has at least two supporting points. This form is meant to increase
useful height and hence resist to the maximal overhand of 1.5m
PROCESS
CONSTRUCTIVE DRAWING (1:10)
Crucial moment : drawing is key when it comes to placing elements wisely.
INHABITATION IN SIGHT (1:10)
After some intense production, I sit on the protostructure and look back at the work
achieved so far. I feel attracted by this enclosed space right in front of my eyes
- but will it fit me?
STUDY MODEL (1:10)
Unable to get the perfect shot, I have yet come to a drastic conclusion :
this interior space needs more light.
OTHER VIEWPOINT, NEW LESSON (1:10)
The protostructure does act as a barrier at some key points, which restrains the use
of space.
ENLIGHTENMENT (1:20)
The floor is now divided into various levels, helping the fluent occupation of the
space despite the protostructure. In addition, the vertical planes have been slightly
modified for a better sitting position, more intimacy and light. This is, after all,
what a bow window is about.
CARPENTER WORK, GOLDSMITH CONDITIONS (1:10)
[UN]COMPLETED (1:10)
CONCLUSION
In order to fulfil the criteria mentioned in the program, the opening in the vertical
plane is, as well as the sitting space on the protostructure, wide enough for a single
person, giving it a private dimension. Then, one can feel a graduation of interiority
when wandering across the project : one sees only two plans when entering, three to
four in the common space and all four when getting into the private room. There, the
knot of the protostructure and apparent wood of the mineral walls also reinforce this
aim. In fact, as Sebastien Grosset said, "interior" and "intimacy" are comparative and
superlative forms of "between" in Latin, meaning that the most intimate moment of a room
is the one where the most complex interstices are found. An intimate space does there-
fore not necessary have to be a closed one. In my project, for instance, the most inti-
mate place is also the only one from which one gets a 180 degrees view on the landscape.
