• The skin, articulation 1

    Par Perrin Leo, 26/04/20


    With Branet Inès, Estreicher Clément, Hayyane Filali Aymane, Hennel Claire, Zanota Armand from studio Bondu, Treiber and Wegman 

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    Surfaces families

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    Material storyboard


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    Horizontality by reflections

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    In situ materials dialogue, reuse of potato bags and bricks made of Rhône's clay

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    Structural detail, reuse of boat sails, the sail as a bleacher


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    Collision between the wall and the protostructure, wall made of gabions and wood shavings


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    Structural joint







  • A scenario, a house 2

    Par Lefebvre Yann, Perrin Leo, 20/04/20


                                       With Branet Inès, Hennel Claire form studio Wegman and Zanota Armand from studio Treiber    


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    Axonometry

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    Plan

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    Section



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    Elevations of the debate room, as a signal too



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    Sketches of the debate room


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    Sketches of the seatings displayed on 3 levels for the theatre, embracing the slope


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    Collage of the scene


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    Collage of the House from the last bleacher behind the scene




  • Communication, Outcomes, Cartography, 16 minutes

    Par Perrin Leo, 15/04/20


    ALPHA BETA 1 2 WORK

    An alphabet to convey emotions, human communication  in a different way

    DAY3

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    A conversation between 4 people around the dining table, 16 minutes (obtained by superposing the grids below)

       Person 1              Person 2            Person 3               Person 4

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    Chronology of the 3 main desires, 16 minutes, then juxtaposition

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    Last alphabet protocole


    DAY2

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    Juxtaposition of grids, giving a resume of the 16 minutes conversation


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    Chronology of the 3 main desires, 16 minutes  

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    Reworked alphabet protocole



    DAY1

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    Genesis state

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    Communication outcomes on individuals, forming a network. One hour 

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    Context for the first map: dinner time

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    First alphabet protocole


    Reference: Arecibo Message

    Use of binary for chronologic part: for each minute nothing or a symbol

    Plus use of binary and visible symbols at the same time

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  • A scenario, a house

    Par Lefebvre Yann, Perrin Leo, 13/04/20


    With Branet Inès, Hennel Claire from studio Wegman and Zanota Armand from studio Treiber


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    Axonometry of the scenario


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    Monge of the scenario

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    Intent text: a day in the house, shifted in fragments of life.

    Hannah, 21, blurred times, in transition

    I am unfamiliar with this city, I have only been in Geneva for one month. It was a short, moist summer night when I ran across the house.  I was drifting along planes, I followed the sound of the river and came to rest on the lower part of the house. Three planes as if they were dancing formed a wide and welcoming cocoon. As open as it was, I felt great. Time passed by, it always does, but with the unchanged burble of the river, I felt I could sty there forever. I felt alive.

    Charles, 6, can count up to 60

    I discovered this place last holidays. It looked like a giant park; I quickly lost my parents in the jungle. My pace went faster as I found my way out of the labyrinth. Then I arrived in a in a place with a strange roof surround by empty cubes, as if it where all made out of legos. There were a lot of people and in the center two of them were speaking, it was full of grown-ups, I recognized my parents among the crowd and continued my journey. My parents saw me, and followed me in to the theatre. It was a funny theater, it looked like wooden falls. I easily got distracted from the play as the backround was way more appealing. Birds, hundreds of them flied from tree to tree and the junction’s colours changed as the sun got lower.   That is the last thing I remember from that day. It was a great adventure.

    Juliet, 43, highly determined, no links with her family

    I have lived in Geneva for 14 years now and I believe there is a real lack of common ground in this city, for arts, for thoughts. Thus, when I heard of this house near the junction, I immediately wanted to see it. I visited it with some friends, it was an early Tuesday night. An adaptation of La cantatrice chauve was scheduled. We were late, we quickly got to our seats in the theater. The play was nice, the atmosphere reminds me of the genesis of theatre, landscapes, the scene and bleachers. When the play was over we followed the slope and found room to begin a discussion. It was our shelter, and we talked about the necessity or not of sets in the scenography. I won’t unwrap all the plea, yet I thought it was funny that these cubes on the ground created a scenography during our debate, as a mise en abyme.




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    Research

    Collages 

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    Pier collages

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    Mock-ups

    The bleachers, slope dialogue

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    The labyrinth garden


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    Bird view, flying speed                                                Human view, walking speed

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    Sundance

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    Bird view sequence




  • In a nutshell

    Par Perrin Leo, 15/03/20


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    Fragments found in the room: intents text, capsulized ideas

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    Final axonometry 1:20, a suspended room among the protostructure.


    PROCESS:


     Exploration and first meet.

    I choose 2pm03 for the hour since it is an interlude time during the day, when an introversion moment is needed. You may want to clarify your mind and writing is perfect to do so.

    There it is, a room to write.

    Great. Yet, what does someone need to write?

    I believe that intimacy is a keystone in writing but a space dedicated to it has to be at the same time open. This balance allows the blossoming of concentration and creativity simultaneously.

    Thus I work on a simple shelter, guided by a light-shaft. I let people be free on their position to write, whether sat, laid or even stood.


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    Perspective and research drawings 1:10


     Atmosphere shaping.

    Now that I have my purpose, I have to shape it. The entrance from beneath is  jettisoned for the sake of simplicity.

    I have to focus on the main articulations: the terrace and the shelter, both writing places, one under the zenith, the other embraced by shadows. These spaces have to be linked. The horizontal plane is turned to emphasize the transition between the two spaces. A second light-shaft occurs. The oblique plane is moved in the shelter, still offering a seat on the terrace and now giving one in the shelter.


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    Photograph of a cardboard model 1:10



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                                                                    North elevation 1:10                                                Section 1:10

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                                                                        Plan 1:10                                                          Axonometry 1:20


    Structural body

    It has to stand, in symbiosis with the protostructure.

    The columns are a leitmotiv, there are present in both the terrace and the shelter, characterizing them and giving sticking point to the room.

    The beams are conspicuous on the floor, highlighting the link between the two parts of the room.

    The two oblique planes are defined by a structural pattern which densifies itself where there is more weight, where people are likely to sit, giving shade and intimacy in sync.


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    Photographs of a structural mock-up test 1:10


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                                                                 North elevation 1:20                                                 West elevation 1:20

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                                                                        Plan 1:20                                                               Section 1:20

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    Joining details: plans 1:1 and exploded axonometries 1:1

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    Perspective of the anchors in the floor


    With the model, new considerations have arisen.

    The vertical oblique plane is going to be screwed on the beams, which likewise will be screwed on the columns and on the beams of the protostructure. This plane also plays the role of a diagonale among a cell, strengthening it.

    Also, three lines are left empty on the floor, in order to display the anchoring and underline the link between the two spaces. The line at the foot of the shelter's entrance is not empty to not create the reverse effect: a separation.



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    Photographs of the model inside the protostructure 1:10


         

     Virtual inhabitation


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    Perspective in the shelter

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    Perspective on the terrace

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    Axonometry 1:20

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    North elevation 1:20

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    Plan 1:20   

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    West elevation 1:20


    From singular to plural:

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    Section 1:20 with Mikael's project

    A room to play and a room to write


    Common studio Bondu drawings:

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    North elevation 1:40

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    Plan 1:40