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retreat

EXPERIENCE

program


EXPERIENCE


4


Student

Elise TESSIER STUD5688 master level, first semester stud5688@edu.kadk.dk

date

Common theme

Theachers

10.10.2013

Retreat Merete Ahnfeldt-Mollerup Nicholas Thomas Lee

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« l a construction c’est fait pour tenir , l’architecture c’est fait pour émouvoir» « The purpose of construction is to make things hold together; of architecture to move us » LE CORBUSIER

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CONTENTS


10

introduction

12

context

13

vognserup

14

EMOTIONAL ARCHITECTURE

18

thesis statement

22

project framing

23

inspirations

26

INTENTS

30

method

34

deliverables

36

presentation plan

38

schedule

40

bibliography

9


INTRODUCTION


What is retreat ? This is the first question that I asked myself. What are the ways to make a retreat these days, the new ways to escape ? Retreat is mostly to step back, think differently. It’s looking for something else through new EXPERIENCES . It’s to clear his mind, to take away from everyday life and, most of the time, it’s to leave from the city to approach nature, a calm and peaceful place. The environment that’s around us during our moment of retreat is then an essential part, that interfere directly on our feelings, our emotions and our state of mind. This environment should surprise us, ask ourselves, but above all, it must not gets boring. The most important is to not to fall into a routine, a déjà-vu. This space, we must be able to appropriate it, discover it in a number of different ways, to create our own place of retreat.

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CONTEXT


vognserup

Vognserup is a place of retreat with a peaceful atmosphere which provides us three totally different buildings. Around it, there is a park, gardens, lakes and a small forest. Once on site, the barn as really grabbed my attention. Its simple contour taking shape with light shows a building full of possibilities. Once inside, it takes few minutes to see the light reveals the structure, gaps, flaws, the atmosphere of the place. Two things are important in this place; the light and the nature which come into the barn. The light shows several aspects of a place. It allows to simplify its shape and to have a simple and minimal image. It brings many emotions and feelings. Usually a source of warmth and comfort, it put forward the elements, hides another one, transforms, showing us new forms, appearances, it reassures us. Absent or hardly discernible, it can also cause disturbing atmospheres such as confinement. That’s why the light is interesting to deal with, it offers different atmospheres. Nature expresses a perpetual mutation, and, once inside the building, renders it a certain freedom. The building starts to live itself. In the barn, nature slowly takes its ease , it enters by small cracks, it forces its way and shows its strenght. Finally, it come create a connexion with the outside, it links the barn with the landscape around it.

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« Any work of architecture which does not express serenity is a mistake. » Luis Barragán

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Casa Estudio • Mexico, Mexique • 1948 • Luis Barragán

16 Casa Gilardi • Mexico, Mexique • 1976 • Luis Barragán


emotional architecture • Luis Barragán

Architectural work of Luis Barragàn comes of a global artistic vision, a «creative process» or a «provocative emotion». He describes himself as an urban architect et wrote in his book Contemporary Architects (1980), «I believe that architects have to design usable gardens, as much as the houses they built, to develop a sense of beauty, taste and an appeal to the Beaux-Arts and other spiritual values.» And after : «Any work of architecture which does not express serenity is a mistake.» In these facts, emotional architecture of Luis Barragàn consist of three major themes : • The relation with nature, with the importance of water, stone and tree. • The treatment of light, with the role of light sources in the definition of space and its «dramatization» • The functions of colours, both in urban space than in interiors. These are much more sensitive themes than really architectural themes. They are not functional and not responded directly to specific material needs that modern architecture requires. In that way, it is easy to really qualify Louis Barragàn’s architecture as an emotional and immaterial architecture. Consequently, Luis Barragàn’s architecture may be interpreted as a laboratory that the creator, from the first days to the last days, has created and modified according to that he understood and had looked for. Luis Barragàn is a creator of sensations, he imagines and builds spiritual spaces full of emotions.

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THESIS STATEMENT


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Like I said, for me, retreat is mostly to step back, think differently. It’s looking for something new, have a break. After the different researches that I’ve made, I’ve seen that this retreat can be done through new experiences. It’s to escape through an intense experience. The barn itself is already a building which possesses an interesting atmosphere, a special strong universe. My work would then be to use all the potential of this place, without altering it. Create a place of retreat, an itinerary, a path. Imaginary will be a key element to develop this project : create an artificial landscape in the barn, continuity of the surrounding landscape, a link. A kind of immaterial sculpture, the void settles, this is a kind of a negative landscape .

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PROJECT FRAMING


Bodegas Bell-lloc • Palamòs, Girona, Spain • RCR Arquitectes

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OFFICE BAROQUE • 1977 • GORDON MATTA-CLARK

24 CONCIAL INTERSECT • • PARIS, France • 1975 • GORDON MATTA-CLARK


INSPIRATIONS

My inspiration and my reflection are based on two strong references. With RCR Arquitectes, it’s the relation with nature, relation to landscape that surround projects, to links and uniformity that this group of architects creates for each of their projects. It’s also their way to represent their thoughts, their ideas, with a simple stain of ink. Or maybe the materiality of their projects. It’s a set that make sens to their designs, that these have a certain emotion too. RCR manage to surprise by their boldness, by the ambiances that they creates, by their universe. With Gordon Matta-Clark, it’s his radicality which interest me. His way to treat an existing building, to give it a second life, to «open it» in all senses of the phrase. It’s his way to speak about creation/deconstruction too. Instead of reshape, build or add new elements or new shapes on the existing architecture, Matta-Clark suggests, finaly, to attack consumer cycles which had been developing at the expense of the story of city. He expresses each of his interventions by images «to make a photographic extension of the room», his photomontage rebuild the space, offer new perceptions.

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INTENTS


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This artificial landscape would develop from the outside to the inside of the barn. Like a continuity of surrounding landscape, this space would become the heart of Vognserup site. Ideally, this place would be in a perpetual change, it would adapt to the wish of the visitor, it would be anything but monotonous. This project would may be visit in a different ways; underneath, on top, beside... It would come create a peacefull and ÂŤnaturalÂť universe, with a sweet and warm materiality. So, a matter such as the wood seems to be an evidence for this project. As I could say before, this project would come graft to the barn, it will not be here a tranformation of the barn or even a restoration but rather to showcase it like the way it is today. The project will be nothing else than a simple soil; well, not that simple... This soil would come, of course, create multiples itineraries, but would come too greet spaces of meditation, rooms of rest, places more private, hiding places. This project will be a space which will allow anyone to create his own imaginary world, the one that he needs to make his retreat, is own world.

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METHOD


movies

RESEARCH

Sketches

SOUNDS / AMBIANCES

31

RENDERING

Sketch MODELS

PLANS / SECTIONS

3d MODELS


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I will initially work on the atmosphere of the barn and the project and look to make something consistent with the theme. I will continue to research and document about the notion of emotional architecture. I will investigate materials like movies or sounds that can usefully referenced into this ‘creation process’ that I will design. Of course, I will definitly sketch a lot, take the inspiration on RCR Arquitectes and Gordon Matta-Clark and try too to express my intentions through differents series of drawings. I will aim to get differents ways to design this soil, to question myself on ‘what is a soil ?’, ‘what are the multiple ways to conceive a soil ?’ Throughout the course of the project I will aim to have an ongoing relation with my first intentions. I would like to experiment with materials and small sketch models throughout the semester. And for sure, the works and the ideas of Luis Barragan will be a driving force for my researches. In alarming proportions the following words have disappeared from architectural publications: beauty, inspiration, magic, sorcery, enchantment, and also serenity, mystery, silence, privacy, astonishment. Luis Barragàn

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DELIVERABLES


Sketches

x

Atmospheres

x

sections

1•100

plans

1•100

site plan

1•200

35 sketch models

1•100 / 1•200

site model

1•500

interior model

1•100

RENDERS

X

MEDIAS

X


PRESENTATION PLAN


A1 intentions Sketches

A1 renders

A1 PLAN

site plan

MEDIAS sketch models

37

A1 SECTIONS

A1 details

BARN model

A1 RENDERS

site model


SCHEDULE


PRESENTATIONS

final documentts

PLAN / SECTIONS

AMBIANCES

MEDIAS

Principle models

Sketches

researchs

14.10 • 20.10 21.10 • 27.10 28.10 • 03.11 04.11 • 10.11 11.11 • 17.11 18.11 • 24.11 25.11 • 01.12 39 02.12 • 08.12 09.10 • 15.12 16.12 • 20.12 21.12 • 05.01 06.01 • 12.01 13.01 • 19.01

PRESENTATIONS

final documentts

PLAN / SECTIONS

AMBIANCES

MEDIAS

Principle models

Sketches

researchs

20.01 • 21.01


bIBLIOGRAPHY


bibliography

Paul Ardenne, Barbara Polla, L’architecture émotionnelle : matière à penser, La Muette BDL, Lormont, 2011

Jean Paul Sartre, Esquisse d’une théorie des émotions (1938), Hermann-Philosophie, Paris, 2010

Gaston Bachelard, La poétique de l’espace, PUF, Paris, 1978

Nicolas Gilsoul, L’architecture émotionnelle au service du projet, étude du fonctionnement des mécanismes scénographiques dans l’œuvre de Barragan entre 1940 et 1980, Thèse, ENSP Versailles, 2009

Italo Calvino, Les villes invisibles, Editions Gallimard, Paris, 2002

Umberto Eco, Travels in Hypereality, HBJ Edition, 1990

Lee, Pamela M., Object to be destroyed, The work of Gordon Matta-Clark, Cambridge, Mass. : MIT Press, 2000

El Croquis n°138, RCR Arquitectes 2003-2007, Spain, 2007

filmography

Paul Ardenne, Barbara Polla, L’architecture émotionnelle : matière à penser, La Muette BDL, Lormont, 2011

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ELISE

TESSIER STUD5688


Expercience - Program