• ROOMS_4 planches_dessins Rhino

    Par Sills Sophie, 29/03/20

    Image Wed Apr 01 2020 12:56:25 GMT+0200 (CEST)

    Plan & élévation 1:20 sur Rhino

    Situations sur site 1:100

    Détails constructifs: assemblage (haut gauche), avec la protostructure (bas gauche), connexion entre plateformes (haut droite)


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    Perspectives des quatre plateformes & détails de jonctions au centre (milieu) et avec un autre projet (bas droite)

    Dessin 2D sur Rhino

  • The Modular Platforms

    Par Sills Sophie, 01/03/20

    Once the first leaves fall, it’s time to step up to autumn. 

    Once the thermometer hits the minus, it’s time to step up to winter.

    Once birds start singing, it’s time to take a step down to spring.

    Once you hear people jumping in the river, it’s time to take a step down to summer.

    Four seasons. Four steps. A year: full cycle. Start again.


    My first observation when going back for the second time to the Mangrove site was how different it looked from my first visit. A completely different place. In December the fog prevented us from seeing the other side of the river. In February the sun touched the skin of our sleepy faces and skimmed over the streaming turquoise blue river. The site changes completely from one season to another. It’s simple: A big tree. 4 seasons. 4 platforms.

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    Different views according to the weather conditions: what looks like two completely different places.


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    Gordon Matta Clark, Office Baroque, Antwerp, 1973

    Givens: a selection of reference images

    What I take of it: the idea of layers and different heights.


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    My storyboard... A starting point. 

    2 words driving the project: seasons & platforms


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    On the Mangrove site, what better spot than next to the imposing tree in the middle of the pathway.


    The notion of seasons lead to making a composition of four platforms allowing a fluid transition between seasons: shaping them and positioning them one next to the other. Nevertheless, once the different mock ups placed in the protostructure, the shapes of the platforms continued to evolve through experimentation. They have to react to the constraints of not only other projects surrounding them but mostly having to face the obstacles of the protostructure. 

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    Image Sun Mar 29 2020 11:16:18 GMT+0200 (CEST)

    Testing different positions between the platforms. Wooden model 1:10


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    Investigating the assembly method through drawing. Plan & Elevation 1:20 


    The main focus then becomes the connection between the protostructure and the four platforms. Reshaping and positioning them. The inspiration came from an existing structure not far from our studio space… l’Agora on the EPFL campus. The way the different levels are joined together gave a new assembly method to my platforms.

    Nevertheless, I've been asking myself: is a physical connection essential for the different seasons to be connected?

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    AGORA Lombard Odier, Place Cosandey EPFL, 2019
    Details of junction between the different levels


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    Axonométrie - details of junction 1:20


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    Wooden model 1:10 

    Investigation of details and junctions... how to make these platforms hold. Starting from a simple joint between two planes and extending that function into something bigger. It is modulable and can be adapted and replicated.


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    2D Rhino drawing - junction with the protostructure (bottom) & connection between the platforms (top)


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    The composition - 2D drawing on Rhino

    Plan & sections in 1:20 - Situation on site in 1:100 - Constructive details: assembly (top left), with the protostructure (bottom left), connection between platforms (top right)

    A space in which one can stand, sit down, lie down, talk, walk and move. As we can see, it is an open space, inviting not only one individual at a time but two, three or a group. It is a weaving between the different platforms and the protostructure creating a density. 


    The specific junction allows a connection between the platforms, the protostructure and also gives an access to other projects. For instance, stepping from one platform into my neighbour Niels' project and coming back out of it on an other platform. This accentuates the idea of movement and circulation in the protostructure.

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    Wooden model 1:10 & 3D model on Rhino

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     2D drawing on Rhino - The junction between the 2 projects

     

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    2D drawing on Rhino - Section with projects around 



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    Perspective from two different points of view

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    2D drawings on Rhino. Perspectives from the 4 plateformes & details of jonctions

    In order to create a dynamic flow between the platforms, it becomes essential to have a central point around which you move. This center is brought alive by leaving a free space. 

    But then I ask myself: in what way can these platforms be extend? what does that add to the spatiality of the composition? 


    The modular platforms: Platforms that are modulable and replicable. An open space. Weaving. Different levels. A place to rest and discuss, a place to be in the nature right by the city center.


    Building on site

    Linear meters of wood:

    10 x 2.7 cm : 203m

    6 x 2.7 cm : 81m

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    2D drawings on Rhino

    Pre-assembled pieces to bring on site in order to finalise assembly with the protostructure.


    -------------------------------------------------
    Review: how to make my project evolve?


    It is essentiel to expand and not stay stuck in the dimensions of the protostructure. Working with the latter in a system of weaving has restrained my project. Nevertheless the proto is not a barrier. 

    What is this space for? Do you move, sit, dance? How big should it be in order to greet a group of people? 

    All of my experimenting and testing can go even further. What other tools can make you project yourself in this interior that you are creating?

    Explore an even deeper connections with the surrounding: the tree for exemple. What does it bring to the space created? How does it influence it? How to work around or with it?

  • Slide through

    Par Deshayes Charlotte, Sills Sophie, 17/12/19

    A protostructure - a topography - planes & neighbours


    Our eyes caught an element of the fictional topography that we had in front of us and led us to ask ourselves which were the different ways in which the slope was integrated and interacted with its environment. That said, we investigated the various spaces that could be created by that oblique plane and the relation they had with the body.

    How does one move and behave in such a space?

    SCAFFOLDING_NN_sophiesills-charlottedeshayes_125

    Which height should have this oblique plane?


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    Does these oblique planes only have an influence on the space that it covers or does its influence extent further than it’s physical limits? (Left: continuing the lines to the ground)

    Can the obliques planes be considered as individual elements interacting with space or do they have to be considered as a whole in order to create a space?


    SCAFFOLDING_NN_sophiesills-charlottedeshayes_122SCAFFOLDING_NN_sophiesills-charlottedeshayes_123

    Investigating space


    The base of our construction in the previous phase planes, with a similar structure and function, is now a horizontal plane above our heads, at a height that allows movement and that doesn’t restrain space. 


    Sliding through this horizontality emerge diverse oblique planes, echoing the topography underneath it, where it finds its anchoring. The challenge then became to consider the different positions that they could take in order to create relevant spaces. These inclined planes define an area without closing it; one can move around freely. 


    Taking a step back, one can also see an opening. An opening to a new space, intertwining with the protostructure. Despite being dense and tight, light still manages to slide through the wooden slats.
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    Details


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    Working together, side by side, asking questions, agreements, compromises, adapting to decisions of the neighbour, taking into account the conditions, trust, rethink your approach


    Richard Vivenzio - Untitled honesty

    Untitled honesty, Richard Vivenzio, 2015

  • SYNTHESIS PLANES

    Par Hausel Anna, Deshayes Charlotte, Dürig Alexander, Sills Sophie, 24/11/19

    The meeting of a horizontal and a vertical plane. The Rolex Learning Center. A reference to Measures.


    A common denominator: Levitation.


    Taken by the way the Rolex Center seemed to rise up and separate from the ground, we began to study this acclivity of the building. After a week of brainstorming and modelling potentials, we found a few integral elements to the project, as well as a coherent form for our project to take. 

    Firstly, a curved plane that follows the initial curve of the Rolex above head height. This plane is suspended from a second, vertical, plane. This vertical plane is formed by columns of the same, or similar, composition to those of last year's Houses project. Finally, a structural horizontal plane that supports the vertical and hold the cables. The length of this must be at least two paces long to encourage movement.


    A new axis: Movement.


    More people walk alongside the building than towards it, at least during our alignment to the beginning of the curve. 

    Stepping up onto the raised platform, we enter the interior of the project. The curve rises, opening the space under it, the curve of the base also curves outward. Two paces, and a oblique curve dangling above. The juncture of the vertical and the horizontal uncertain, merely touching, unattached. There is no new space created by it. The joint is simply a perimeter of the extent of the interior, the two-dimensional limit separating in from out.


    Image Sun Nov 24 2019 17:25:09 GMT+0100 (CET)
  • Suspending an Acclivity

    Par Deshayes Charlotte, Dürig Alexander, Hausel Anna, Sills Sophie, 19/11/19

    The meeting of a horizontal and a vertical plane. The Rolex Learning Center. A reference to Measures.

    A common denominator: Levitation.


    Image Sat Nov 30 2019 14:12:26 GMT+0100 (CET)


    Taken by the way the Rolex Center seemed to rise up and separate from the ground, we began to study this acclivity.


    Image Sat Nov 30 2019 14:12:26 GMT+0100 (CET)

    After modelling potentials, we found a few integral elements to the project, as well as a coherent form for our project to take. 


    The "integral elements":

    • A curved plane that follows the initial curve of the Rolex above head height.
    • This plane is suspended from the vertical plane.
    • The vertical plane is formed by columns of the same, or similar, composition to those of last year's Houses project.
    • A structural horizontal plane that supports the vertical and hold the cables.
    • The length of this must be at least two paces to encourage movement.


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    The "coherent form":


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    The model on site:


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    A new axis: Movement.


    More people walk alongside the building than towards it, at least during our alignment to the beginning of the curve. 

    Stepping up onto the raised platform, we enter the interior of the project. The curved plane rises, opening the space under it, the curve of the base also curves outward. Two paces, and a oblique curve dangling above. The juncture of the vertical and the horizontal uncertain, merely touching, unattached. There is no new space created by it. The joint is simply a perimeter of the extent of the interior, the two-dimensional limit separating in from out.


    Image Tue Nov 26 2019 12:06:59 GMT+0100 (CET)


    Having calculated we would need 80m of wood to complete this project in real size, we decided to alter it somewhat. First of all, we simplified the base, removing the solid layer of wood, just keeping the framework that stabilises the pillars. We also chose to add a system of supporting joints to keep them upright. The mass of the original base having been the stabilising element of the structure, we realised that balance needed to be reinstalled. So we duplicated our hovering plane, the two twin planes framing the Rolex's acclivity. This opened up a new door to our project, adding a new aspect of movement, a tension between the hanging planes and strengthening the relationship with the RLC.


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    We also decided to reduce the size of the pillars by 0.5m. This length is also the difference between the heights of the two suspended planes. On site, originally, the "curves" would aline with the Rolex behind it. 

    Additionally we experimented with the materiality and the shape of the curved planes by making 1:10 models in plaster.


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    The final construction:


    Image Sun Dec 01 2019 14:38:20 GMT+0100 (CET)


    The project overall reminds us of the for of Joel Shapiro's Almine Rech exhibition:


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    https://dailyartfair.com [Oct 09 - Nov 12, 2014]


    The sentence that was most often spoken:

    "But, how will that hold?"


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