• Digging up the Future

    Par Hausel Anna, Ozhiganova Anna, Sills Sophie, 15/10/19

    On Site


    We took the boat at 7:40 to get to Evian to have the time to take our measures.

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    The sunrise and the protostructure.

    We discovered the protostructure and last year's node.

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    The nodes and the visible foundations.

    Our measuring tools : body part: Sophie's foot, object from surrounding: chestnut, verb: to pull.

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    The chestnut and Sophie's foot next to the visible foundation.

    Our last measuring tool: time. We measured this by when one of us started hurting.

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    Our performance sentences along with the moments they mark.

    We dug a hole around the foundations to explore how it was made.

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    The before and after of the digging of the foundation, with our tool of measurement.


    After a small sprint to get to the boat at 9:25 (not at 9:45 like Anna H. remembered) we embarked on the journey to discover the effect the rainy weather had had on our on-site plaster cast.

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    The cast.

    To move the plaster we had to make the choice of cutting off a corner.

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    Various pieces of plaster.

    The full process of plastering the foundations can be summarised by five verbs: mixing, applying, drying, scraping and pulling.

    Video of the stages of casting.

    We were diversely affected by the process.

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    Sophie's hands and Anna H.'s legs.

    The process had various effects on our senses

    Anna H.: smell_wet grass, touch_smooth mud and dry dirt, taste_bitter dirt covered concrete, sight_raindrops on my camera, sound_the ping of raindrops on my umbrella.

    Anna O.: smell_humidity, touch_tiring, sight_messy, sound_foggy, taste_adventure.

    Sophie S.:smell_ fresh, touch_new, taste_raw, sight_dramatic , sound_drops.

    We found the Great Mosque of Djenne that reminds us of the project.

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    The Great Mosque, Djenne, Mali, 1907

    The whole process made us reflect upon measures as a project:

    Are we digging up the past, the present or the future?

    In Studio


    “When Lewis Carroll started to write, he sent his protagonist down to the rabbit-hole without any plan for what would happen thereafter. While writing he constantly added new ideas, “which seems to grow of themselves upon the original stock”.” -Codex Measures: Postface (p.65-66)

    Future and past intertwining; the old sprouting the new, yet also the new redefining the old. Digging up the past, but also the present and the future. Casting the interstice from above; instead of looking at the present - the newly dug ground - we are looking at the past: cement touching wood. Nevertheless the space above the (w)hole is the future, measuring the end of the natural progression of filling it up. Unlike for Carroll, the end of the story is known, but the beginning is still to be discovered. A complex hybrid of a geometrically constructed polyhedron of the interstice in contrast with the organic can emerge. An onsite cast, which seems to  “grow of [itself] upon the original stock” - in this case, onto a clean studio plaster cast, - yet it is the inverse: the rest of the plaster growing downward from the weathered material. Future and past interlaced, placed upon present.


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    Making of the first plaster.

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    The result.


    I. Understanding the onsite plaster

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    Mapping the plaster.

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    The plaster, mapped (Axonometry by Anna H., Monge and Coupes by Sophie).

    II. Securing the connection

    The idea to support the organic plaster within the mold was to drill into it and add metal bars.

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    The hybrid mold.

    III. Recasting

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    The process of the plaster drying was visible to the naked eye.

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    The hybrid.

    LETTING TIME TAKE ITS TOLL (a scenario of destruction)

    Time passes. It will take everything, eventually. It will act upon the Proto-Structure.

    Rot, mould, insects and humidity infest wood, rust corrodes screws. The weight of the structure itself will become too heavy and start to break and fall, the pull of gravity being too strong. Animals will repossess the space, reappropriating the project. By the end of times it will be only splinters and decomposition. The only remaining part will be the underground ciment foundations, keeping its rock-like composition. 

    Maybe future archeologists will dig them up and make theories of our primitive society.

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    How does the future define our present and past?

  • CRAFTS_le sol du Panthéon_plâtrer

    Par Bonnet Iciar, Bussy Léane, Couelle Jeanne, de Huu Audrey, Deshayes Charlotte, Divonre Lisa, Dürig Alexander, Fleischer Adrien, Hajoubi Youssra, Hausel Anna, Lam Kenneth, Ozhiganova Anna, Paidoussis Léa, Perrin Raphaël, Sills Sophie, Von Flüe Oriane, 05/10/19

    Plâtrant pour la première fois, nous avons décidé de travailler tous ensemble pour être plus efficace. Nous avons formé organiquement trois groupes pour chacun des processus requis: préparation du plâtre et mélange de la matière, écoulement et homogénéisation de la forme. 

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    Préparation du plâtre et mélange

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    Coulée du plâtre dans les moules

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    Lissage de la surface à la règle

    Déroulement du processus en entier

  • CRAFT_le sol du Panthéon_maquettes & dessins

    Par Hausel Anna, Ozhiganova Anna, 20/09/19


    The floor of Rome's Pantheon is not flat. It is, in fact, slightly curved. 

    We map out the form of said curve by creating wooden structures and plaster casts, which represent the measurements of each coordinate. We connect the corners of the wooden frame by a diagonal cross to stabilise it.


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    Anna H: smell_comforting perfume, touch_cold pencil, taste_warm coffee, sight_blurry lines, sound_scratching graphite

    Anna O: smell_graphite, touch _sharp, taste_coffee, sight_élargi, sound_pencil touching paper


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    Anna H: smell_musky wood, touch_pressing piece to piece, taste_bitter glue, sight_splintered ends, sound_ slight squelching

    Anna O: smell_glue, touch_rough, sight_focused, sound_scie

    Plaster Casting:

    Anna H: smell_strong shellac and alcohol, touch_smooth plaster, taste_pancake batter, sight_little imperfections, sound_ hubbub

    Anna O: smell_shellac, touch_smooth/velvety, sight_precision, sound_cutter


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    Device to stand in, Bruce Nauman, 1966, enamel on steel, 21.91 cm x 68.8 cm x 44.13 cm, SFMOMA, California, USA


    Into this object are infused two meanings, which balance in the double meaning of the title: on one hand this is an object which is to be stepped on; on the other hand it is a placeholder - a replacement of something else.

    In the first meaning, the viewer is invited to participate in the art, to step into the sloped object. The person’s body is forced to cooperate with the slant, changing the posture to remain balanced. This creates a rapport with the body that was not necessarily present before. Therefore we can ponder how this curve in the ground changes the observer's perspective of the rest of the Pantheon.

    The second meaning hints to a more complex reflection, however a simple way is to explore what the device resembles: a small stage or podium. This points to a theatricality in the elevation, the person on the object will become part of the art, performing the role dictated by the artist. This theatricality can be found in most elevated surfaces, and is interesting to keep in mind while working on the podium-like elevation of the models of the Pantheon's floor. 


    How can we infuse personality into objects and drawings that seem so simple?