ARCH+ features 25: Some works of BuildingBuilding
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| Anzahl der Teile | 101 | |
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| Lizenz | CC-Namensnennung - keine kommerzielle Nutzung 3.0 Unported: Sie dürfen das Werk bzw. den Inhalt zu jedem legalen und nicht-kommerziellen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen. | |
| Identifikatoren | 10.5446/54046 (DOI) | |
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Inhaltliche Metadaten
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00:00
Vorlesung/Konferenz
00:54
Besprechung/Interview
01:31
Vorlesung/Konferenz
01:49
Innenraum
02:56
Besprechung/Interview
03:29
Besprechung/Interview
04:04
Besprechung/InterviewVorlesung/Konferenz
04:40
Besprechung/Interview
04:55
Vorlesung/Konferenz
05:12
Schwach radioaktiver AbfallBesprechung/InterviewVorlesung/Konferenz
07:05
Besprechung/Interview
07:26
Vorlesung/Konferenz
08:36
Besprechung/InterviewVorlesung/Konferenz
09:06
Besprechung/Interview
09:43
Besprechung/Interview
10:00
Vorlesung/Konferenz
10:25
Technische ZeichnungBesprechung/Interview
10:46
Technische Zeichnung
11:25
Besprechung/InterviewVorlesung/Konferenz
12:02
Besprechung/Interview
13:08
BurgVorlesung/Konferenz
13:46
Vorlesung/KonferenzBesprechung/InterviewTechnische Zeichnung
14:22
BurgVorlesung/KonferenzBesprechung/Interview
15:11
Neue österreichische TunnelbauweiseBesprechung/InterviewTechnische Zeichnung
16:29
PräfigurationWasserwaageBesprechung/InterviewTechnische Zeichnung
17:35
Mast
18:17
Besprechung/InterviewVorlesung/Konferenz
18:56
Besprechung/InterviewVorlesung/Konferenz
Transkript: Deutsch(automatisch erzeugt)
00:10
Thank you for the invitation. Strangely, it's my first time in Berlin, so I'm very happy to be here. Actually, it's always a difficult exercise for me to show projects outside the frame of it, especially with my rusty English.
00:29
I hope my explanation will be okay with the several slides. In our practice, we work a lot with plants, and it's probably our favorite tools for many reasons.
00:45
First of all, because every architect works with plants. It's a primary tool, it's a basic tool, it's a common tool. And also because the plant is nothing less than literally the condition that you expect to produce on an environment to inhibit it in terms of quantities, structure, distribution, limits, order or tricks.
01:08
With a kind of indifference through this representation. And also especially because the plant talks about the floor, the terrestrial surface, the surface of the earth, where you can perform human activities.
01:28
And the first project I will show you mainly concerns the question of economy of means through a programmatic indeterminacy.
01:41
It's a school, and the school wants to move into this old factory in the south of France, in Marseille. The project was to produce an interior order which gives different sizes of rooms, small rooms and big rooms, conditioned only with the structure of the existing building and the way also we could spend less money.
02:06
And after see how it's possible to use it. So we repeat the same plan on the three levels. And so at the end we have this collection of rooms with different sizes and different types of lights.
02:21
And after we can choose where is the best place to activate the program. So you can try or change the location, it doesn't matter. So it's a very simple and pragmatic project with not so much idea inside.
02:48
And the second project, it's also a question of programmatic indeterminacy. And it was a competition for the Centre Georges Pompidou, they wanted a mobile gallery.
03:01
And so we understand that they want an architecture without context or rather an architecture with a changing context. It could also be considered as an extension of the museum. So as an extension we propose more rooms and so grid of rooms, 36 rooms of 36 meters.
03:26
So it's a natural series of equal surface without any hierarchy, any centre, any boundaries, except the quantity of area asking for the program. But the grid could also be a source of variability.
03:46
The surfaces are equal, but each room is different in terms of volumes. And also in terms of lights and relation with this changing context. So in a certain way, in the same time we accept and reject the notion of uniform space as an interior landscape.
04:07
And so we produce this collection of possible rooms, which define an availability of views.
04:23
So even the geometry is fixed, it's always possible to reprogram it. So again the same question. And also with no temptation to be figurative or symbolic for the subject of a museum.
04:41
So the third project concerns a small villa along a lake near the French Alps and a community of villages by this plot and want to create a tourist equipment to promote the lake. And in the brief the client said that it will be better if we don't keep the villa. So we asked why and they said that they don't like it.
05:02
They find it ugly with any quality. And for us it's quite difficult to define something as beautiful or ugly. It becomes a question of taste and we don't care about taste. It's impossible to include it as a parameter in a project.
05:21
So we decide to keep it and as a condition which is already there, déjà la in French. But the villa was also too small for the entire program. So they want offices, some facilities, different exhibition space, a café, a shop.
05:43
So we need to create more space and for us probably architecture could be defined by the relationship between object and the object themselves. So we provide a bigger room. A room around the villa to increase the area and define a new inhabited perimeter.
06:03
So now we have two objects. One we found and one we choose with their own specific qualities. And also this condition of relation. So for us a project is more a question of choices than a question of invention.
06:23
Like also Eric said before. And we try also often to have a minimum intention to provoke the maximum opportunities in a project. So we have this connection of small rooms in the existing villa as a domestic landscape
06:43
with these peculiar materials. Each room has its specific windows, a balcony, a fireplace. A lot of elements that we probably never provide if we start with nothing less than the specification of the program. And we have also this bigger room basically made by walls and a roof.
07:05
So it's a room but it's not really a room. It's a continuous space but not so homogeneous. The four wings have a different thickness and they have or not have a relation with the outside.
07:22
And we have also this third space in between. A space not totally designed and not totally found. So it's always a resulting space, a collateral space. But clearly defined as an outdoor room. So after this little operation it's now the question of occupation to occupy this variety of spaces.
07:47
So that's the ground floor with this big loop like a thick wall around the house where it's possible to provide the public facilities. And also to extend to the garden or to the courtyard.
08:00
And in the house it's possible to include the permanent function, the storage, the restroom. And at the first floor we put the offices with their own autonomy. And we believe also that probably it's better to or it would be okay to work in a holiday house.
08:26
So that's the section. Another section. And that's how we imagine a possible way to inhabit the project. It's mainly a question of furniture and uses.
08:41
It's always possible to reprogram it again. So that's a view from the garden. And a view from the opposite bank of the lake. So the fourth project, it's quite the same project in another context.
09:02
It's a proposition for a museum in memory of the French poet Arthur Rimbaud. But I will not talk about Rimbaud. It's not really the subject and quickly also because we don't practice any kind of analogy in our project.
09:21
So it starts with this old water mill. But this time there is no question about do we need to keep it or not. The building is classified as a historic monument. And to be more precise the façade and the roof are classified.
09:42
So somebody decides for the climate for us. We need to keep it. But this typical French classification don't have interest in space. Only on the element of the construction. So the roof and one façade. But it's okay. The architecture is already there.
10:01
It's strong, permanent and absolute presence. So we don't need to negotiate with it. We don't want to try the risky exercise of an extension to add on. It's probably a losing battle. So at this moment we know that the project will concern only the inside of the building.
10:22
The part which is not really classified. But we were a little bit frustrated by the area developed in the water mill. It has a big volume but small surface. So we decided to increase the area, to double the size of the area in the perimeter of the water mill.
10:47
So this simple goal becomes the entire project. It's just a project about quantities. To propose an architecture inside another one by maximizing the area.
11:01
Just a question of quantities. With this proper structure and proper syntax. So after removing the three existing floors, we add six levels in the big volumes. And we leave the second volume free. So that's the first model. So the museum has available stories.
11:25
And it's probably possible to develop a story about Rimbaud. So this is the structure inside the building. And the autonomy of the structure.
11:40
In a massive construction we choose wireframe construction. For some technical reasons. But also as a starting point of an organization. It's already in order with its grid of columns. Repeating six times small open plans. And at this time for us the job is finished.
12:01
That's really what we determined as a project. And to define an architecture as a support. As a sub-structure where it's possible to perform. Where it's possible to use it with a kind of indifference. But of course we care about how it's possible to use it.
12:21
But it's the matter of the content. It's open for different typologies. So we try some possibilities. Or maybe we try to find all the possibilities as archetypes. With some silly option. Like full of corridors. Or against with big rooms, small rooms and so on.
12:45
And that's a view of the ground floor under the structure. And that's a possible floor with some pedestals. And that's a possible floor with walls.
13:00
And always never touch the existing building. Our structure is just tolerated as a guest. And also could accept another degree of autonomy. Like a house in a house in a house. And that's the last model with the possible combination of typologies.
13:22
Like the project with the full options. So again a project with an existing building. It's not really a house. It's a small castle. Or it's a house which looks like a castle. With the image of a castle.
13:43
The project was to transform it into artist residencies. For an art center in the center of France. And so it was a house. So some functions were already there. It was possible to sleep or to cook.
14:02
It was just missing the possibility of a place where artists could work together. So we tried to insert a bigger room inside. Maybe the biggest. With its autonomy, with its proper entrance. With its specific relation with the environment.
14:22
So that's the ground floor. And at the bottom it's the entrance of the atelier. And the rest we leave it like it is with the kitchen. A room for eating and storage. So the atelier crossed the entire castle.
14:45
On every floor. And so outside there is no sign of an intervention. Only a new door. And it's mainly used as an atelier.
15:05
But we propose another classification during the studies. We propose to classify it as an exhibition space. A public space. To increase the possibility of users. And to have an ambiguous state of space.
15:21
So you work in a public space.
15:40
So we considered this atelier gallery as a tool. Not determined by the function. But determined by the multiple conditions of uses and occasions. And for the rest we did the minimum. And I live and work in Paris. And sometimes we like to have a look to the old tricks.
16:03
And that's the plan of the Hôtel de Beauvais in Paris. And I don't want to explain the project. But just talk about the primacy of the void. And here the two courtyards are clearly determined. And the rest is just an adaptation between the limits.
16:21
With a kind of indifference also. And that's a project for 25 apartments in the west of Paris. In a dense area. And we use a little bit the same method to define what is clearly determined. And what is not. And in this plot with just a little access from the streets.
16:41
We first define a void that could provide a certain thickness for the building. So that the facade could be also the structure. Every facade with an open plan inside. And after it's just a question of typologies. To fill the structure. And here the clients ask for compact apartments.
17:04
So we are looking for compact apartments. But we want also a natural light for every room. Windows in every room. So that's the ground floor with the main void. Which distributes the apartments.
17:21
And at the periphery. Certain discontinuity to provide windows for every room. And that's the plan of the other levels. So that's how we could use the void. It could be a garden. Which can give access to the apartment.
17:45
And from the streets. You don't have the information of the entire project. It's another story. It's looked just like a small building between others. And another project in Paris.
18:01
With quite the same strategy. But it's in a new district. Designed by a master planner. And it's a project for 55 apartments. And like the previous projects. We first defined three different voids. To produce a structural thickness.
18:22
Two with our ghost neighbors. And one autonomous. So 7 and 5 meters. To have the structural façade. With no point of structure inside the plan. So again, it's not a problem.
18:42
Programmatic determinacy. It's a question of space and structure. To produce an available surface. But repeating a method. Don't mean repeating a project. It's also a question of circulation. And here, with one core.
19:00
We distribute three apartments. With double orientation. So again, it's a question of economy. So that's an interior. And outside, again.
19:20
Don't have the information of the entire project. So the south façade. And the north façade. And that's it. Thank you.
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