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Melody RIVET Portfolio Work-selection 2015-2017

Second year of Master’s degree ENSA Paris Val de Seine.


ÂŤI do not believe architecture has to speak too much. It should remain silent and let nature in the guise of sunlight and wind.Âť Tadao Ando


Melody RIVET June 19th, 1990

Danziger straĂ&#x;e. 86 10405 Berlin Germany

+(33)6 13 29 82 51 melody.marie.rivet@gmail.com


Curiculum Vitae

Educational background 2017 / 2018

Final major thesis: «Biomimetics in architecture» Supervised by Xavier Lagurgue. ENSA Paris Val de Seine, Paris-France

2017

Final major project Supervised by Alessandro Mosca. ENSA Paris Val de Seine, Paris-France

2011-2014

Bachelor’s degree of Architecture ENSA Paris Val de Seine, Paris-France

2009-2010

Bachelor’s degree of Plastic Arts University of Sorbonne Nouvelle, Paris-France

2008-2009

Preparatory class of Arts and Animation Creative Schools and Communication (ECV)

2008

Applied Arts highschool diploma, with distinction «good» Highschool Ambroise Vollard, Saint-Pierre-Reunion Island

Work experience 2018

AFF Architekten Master architect Intership, Berlin

2014

Empreintes, Architectural and Urbanism Office Junior architect Intership, Noumea-New-Caledonia

2012

Vinci Construction France «Construction site» intership, Versailles-France

2010-2011

Empreintes, Architectural and Urbanism Office «First practice» intership, Noumea-New-Caledonia


Workshops September 2016

Workshop « Reorgonize Demonchy’s Office» Supervised by Marie-Hélène Badia and Bruno Tonfoni

September 2015

Workshop « Belvedere in a Parisian Suburb» Supervised by Dominique Brard

Sepetember 2013

Workshop «Underneath Paris» Supervised by Philippe Zourgane

September 2011

Workshop «Le Kiosque aux amoureux», Buttes Chaumont Supervised by Denis Lenglart

Skills Languages French (mother tongue), English (fluent), German (level A.1.2, starting level

A.2), Creole (fluent) Spanish (intermediate).

Software Skills

Sketchup, Artlantis, Vray, Photoshop, strong aesthetic sensibilities and design skills, excellent knowledge of AutoCAD and archicad, basics of Rhino 3D. Knowledge of additional BIM CAD software, advanced knowledge of Adobe Creative Suite in order to construct presentations. Organized, hard-working and self-disciplined with ability to take initiative. Excellent time management skills and proven ability to work to deadlines.

Interests

Brass band, drawing, photography, graphic design, philosophy... Bass player in «Tapages Noc’Burnes» Association Brass band from « les Beaux Arts de Paris»

Travels

Danemark, South Africa, Thaïland, Italy, Greece, Germany, England, Spain, New Zealand, Poland, Belgium, Portugal, Caribbean islands, Pacific Ocean islands, Indian Ocean islands.


Landscape Belvedere

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Place Mazas, Paris.

National competition «Rethinking the Seine river» Final Project Tutor: Alessandro Mosca February 2017

Europan 2013

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Saint Brieuc, Bretagne. Urbanism competition the first year of Master’s degree Tutor: Marie-Hélène Badia September 2016

Architecture and Utopia, stylistic exercice Four architecture and utopian projects in the form of litterary exercice, animation and graphic design September 2015

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Landscape Belvedere Square Mazas, Paris Inventing new ways of living on and at the water’s edge

Final major project February 2017 Jury: Alessandro MOSCA (tutor), Sebastien MEMET, Catherine DESCHAMPS, Clément BLANCHET, Laure SAMAMA, Gilles MARGOT-DUCLOT, Florence ALLEGRE.

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Final major project, February 2017

MANCHE

ROUEN HAVRE

PARIS

SIC (secteur intérêt communautaire) Community area axe de laline seine Seine

Regional nature parc naturel régional

reserve

SIC (secteur intérêt communautaire) axe de la seine parc naturel régional

Canal of Paris

IVe

Bassin de l’Arsenal

XIIe

study area

Seine:13 km

0

1km

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Final studies project, february 2017

UN BELVEDERE PAYSAGER Place Mazas en bord de Seine

la lecture de la place complexe

Seafront of Quai de la Rapée (Seine), Subway Line 5, Canal lock

RIVET MELODY DE6-TRANSFORMATION «TEMPORALITE DES PATRIMOINES» ALESSANDRO MOSCA

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ENSAPVS-FEVRIER 2017


Landscape belevedere, square Mazas

I

wanted to work on a waterfront site in a large urban center, which polarized, among other things, economic activities, cultural interests and social mixing. Some places have been built for one single activity, which is now in decline. What then happens to the specific infrastructure related to this activity? How can the riches of an existing place be preserved, repaired and recalled? How can the river’s heritage be updated by the contribution of urban activities while preserving the memory of the place? I was therefore interested in the competition «Rethinking the Seine River». This allowed me to choose an exemplary site in Paris, a neglected one to re-qualify: Place Mazas. The Seine Valley draws the world’s metropolis from Paris to the sea, linking Paris, Rouen, le Havre and the dynamic territories of Normandie and Île-de-France. This economical, social and cultural line, open to a seafront linking it to the world, is a privileged territory in favor of in Europe and around the world. It was an attractive and moving place, a structuring spine for Paris. Dropped and then reconquered today by the recovery of the tracks on banks, the monumental river landscape of Paris, classified World Heritage by Unesco, allowed the absorption of this major symbolic line.

Along this line, at the junction between monumental Paris and «modern» Paris (BNF, Bercy ...) and the North / South axis, consisting of Place de la Bastille, Bassin de l’Arsenal and Austerlitz Train Station, a place in full share is interceded: Place Mazas. Place Mazas is a piece of a city eaten away by the flows, dissociated in spite of itself from the urban system of Paris, it belongs neither to the city or the river. Indeed the main green frames crossing the site are crossed by road and railway flows. Trails and bicycle lanes are illegible or dangerous. Yet its location offers a high visibility and a way-in to Paris and its river, thanks to the metro that crosses it. How can we then allow the fusion of this public space with the urban structure of Paris? And how to infuse it with a symbolic example on the river landscape? How to revalue the site of Place Mazas taking into account the historical layers that have accumulated on the site since? How to continue the work initiated by bringing a contemporary perspective? How to intervene on this complex site without distorting it? How to articulate the scale of the great landscape with the one of the building? How to capture this distant landscape? The question then arises to the extent to which the recovery of the historical quays or the transformation of the existing infrastructure in a contemporary urban space can allow the linking of Place Mazas to the city and its river? It was these questions that stimulated my reflection throughout the development of this project.

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Final Major Project, february 2017

Public green area : the River front.

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scale 1: 10 000


Landscape belevedere, square Mazas

Place Mazas an outsider between historical «royal terraces»

Upstream and downstream from the site,

terraces that overhang the roads like the terraces of the Louvre and Bercy or the esplanade on Quai Henri IV. Moreover, the future project of the Mayor of Paris is to enlarge the public space of Bastille by reducing the roads. This project will offer views of Bassin de l’Arsenal by covering the subway. These South-oriented terraces offer a panorama of the river landscape by combining infrastructures along the banks. Place Mazas which is finally not a place (square = empty in a full) could then blend with its landscapes. Indeed this site today abandoned and parasitized by flows could be revealed, merging with the city and his river.

Green area

Some places have been built for a unique activity that is now in decline. What then becomes of the specific infrastructure related to this activity? How to update the river heritage by the contribution of urban activities while preserving the memory of the place? How to preserve, repair and recall the riches of an existing place? How to articulate the scale of the great landscape with that of the building? How to capture the distant landscape?

studied area

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Final studies project, february 2017

1. Terrasses du bord de l’eau

2. L’esplanade des Villes Compagnons de la Libération 3. Square Mazas

4. Terrasses de Bercy

0

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1km


Landscape belevedere, square Mazas

1.

2.

3.

4.

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Final studies project, february 2017

The site was in the Seventeenth Century a landing stage of the port with «plaster», surrounded by timber yards floating. Placee Mazas, named after the Colonel who died at the battle of Austerlitz, was created by a decree on February 14th, 1806. The latter provided for the formation of two semicircular places with a radius of 55 cm on both sides of the Seine at the two ends of a new bridge. This operation was part of a vast urban development consisting of boulevards and squares on both sides of the Seine, in honor of the Austerlitz victory. This exemplary place has changed over time, passing from a landing stage to a defensive ditch, then a prison... redrawing his footprint on the ground. Site Today is corroded by various flow channels that pass through it, surrounding it and piercing it. Indeed roads, subway, underground sewer pipes and the lock linking the Seine parasite the legibility of the place and its access. The square is also divided into two parts West / East by the bridge of Austerlitz. The eastern part hosts the morgue of Paris with an entry threshold affected by the subway lift and reflux of automobiles.

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The western part, a joint linking the two O / E and S / N axes host the Quay de la Rapée subway station, an unused social insertion area and an old lockhouse that is inaccessible to the public. Finally, this exemplary place offers prospects: One in the South on the Seine and its landscape composed of the railway station of Austerlitz, the Botanical Garden and Tino Rossi Garden (Quay Saint-Bernard) and North on the Column of July in Bastille. Finally the Mazas track on stilts erases the historic quays along the river. Yet in an ideal location, views towards the river are obstructed and difficult to access.


Landscape belevedere, square Mazas

House of lock keeper

Outhouse of sewer

Social integration area

Expressway George Pompidou Subway entrance

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Final studies project, february 2017

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Landscape belevedere, square Mazas

Subway entrance

Social House of lockintegration keeper area

SEINE

0

100m

Bassin de l’Arsenal

6.

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nnexe

SEINE

5. 1. Botanical Garden 2. Tino Rossi Garden 3. Bassin de l’Arsenal 4. Seine

5. Morgue 9. Place Île Saint Louis 6. Subway entrance 10. Place de la Bastille 7. Esplanade des villes compagnons de la libération © 2017 M.RIVET 8. Austerlitz Train Station

institut médico légal de paris

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Final studies project, february 2017

Green space break

Arsenal Garden

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Landscape belevedere, square Mazas

Morgue

Section c.c

Green space break

Tino Rossi Garden

0

50m

Botanical Garden Section d.d

0

100m

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Final studies project, february 2017

Ground plan: site eroded by the flows

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echelle 1: 1000

1.House of lockkeeper 3.Subway entrance 2.Social integration 4.Morgue square area

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5.Morgue 6.Outhouse of sewer (high quay)


Landscape belevedere, square Mazas

Underground plan: Linking of the banks intercepted by the flows

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mp

Po echelle 1: 1000

7.Outhouse of sewer (down quay) 8.Underground submersible

Pedestrian quays parasitised by the flows

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Final studies project, february 2017

5. Outhouse of sewer

1

15m

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Landscape belevedere, square Mazas

1. Factory of waste water

3. House of lockkeeper

Austerlitz bridge

4. Subway

27m

2.Expressway

20m

Historicals quays

15m

Section b.b

0

3m 10m

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Final studies project, february 2017

1. sky train

40m

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2.Redefine the subway entrance

20m


Landscape belevedere, square Mazas

3. Social integration area

30m

4. Outhouse lock keeper

10m

15m

Section a.a

0

10m

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Final studies project, february 2017 Urban development

Three combination with water

1. Clean to purify the place and make it more readable and accessible: reinjection and moving existing programs 2. Mutation of existing infrastructures: reduction of the expressway, pesdestrian continuity 4. Capture water’s views and the Parisian landscape: programmatic terrace

1 : Gallery at the water’s edge 2: High dock walk absorbing the road 3: Programmatic Terrace / belvedere absorbing the metro

5 Ground plan

5

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Landscape belevedere, square Mazas Programme 4. Gallery at the water’s edge: -Souk (down quay) -pedestrian walk (high quay) 5.Skatepark in a old road tunnel: -quay openings -pesdestrian continuity 6.Gallery of bassin de l’Arsenal: -Acces of lock and Seine .Renovation of house lock: -Second subway entrance -Seine pavillon

1.Programmatic terrasse/belvedere: -Ground floor: subway entrance + social integration area entrance -First floor: social integration area + cafeteria association in conjunction with the social area -Second floor: public bascketball court 2.Furniture or flooring. -Porous public space -connections -Vélib’ station (city bikes) 3.Morgue square: -Remodeling -Trees alley

6

7

3

2 1 4

0

50m

1

4

3 Section c.c

0

50m

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Final studies project, february 2017

3 6

1 2 7 4

5

project axonometry

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Landscape belevedere, square Mazas

Perspective of the gallery

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Final studies project, february 2017

Market valleys

10m

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Access of lock and bassin de l’arsenal


Landscape belevedere, Mazas square

lockhouse: subway entrance and seine pavillon

22m

reduction of the expressway

10m

Souk Mazas

10m

section a.a 0

10m

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Final studies project, february 2017

Ground floor: subway entrance First floor: Social integration area + cafeteria association Second floor: public bascketball court

60m

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Landscape belevedere, Mazas square

VÊlib’s station

Lock house: vertical circulation for down and high quays

10m

Souk entrance

20m Section a.a 0

10m

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Final studies project, february 2017

Perspective of the programmatic belvedere

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Landscape belevedere, Mazas square

Perspective of the lock house

Perspective of the cafeteria and social area terrace

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Final studies project, february 2017

First ground: subway entrance + cafeteria and social area entrance

60m

40m 10m

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Landscape belevedere, Mazas square

First floor: social area

section a.a

18m

12m

30m

Second floor: basketball court

28m

28m

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Final studies project, february 2017

Quai de la RappĂŠe automobile boulevard

Porous public space buffer space

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Landscape belevedere, Mazas square

High terrace Ground floor: subway entrance First floor: Social integration area + cafeteria association Second floor: public bascketball court

Austerlitz bridge

Water’s edge terrace public space bycicle path porous acces

section a.a

0

10m

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Europan 13: the adaptable town Urbanism Competition - Saint Brieuc Urbanism Strategies and Realistic Spaces

First year of Master’s degree Tutors: Marie-Hélène Badia, G.Vaughan.

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Europan 13: the Adaptable Town

Saint Brieuc (Bretagne)

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Urbanism Strategies and Realistic Spaces

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Europan 13: the adaptable town

Site feature:

The town of Saint Brieuc is located at the

edge of the Channel in Brittany, at the bottom of a bay that took its name (the Bay of SaintBrieuc). 144 kilometers from Brest and 99 from Rennes, the town is crossed by the national road 12. The town of Saint-Brieuc has historically developed itself around several preserved valleys of urbanization, drawing a remarkable topography and landscapes extremely contrasted. The relief constraints led to the construction of several structures that mark the urban landscape, including the Toupin Viaduct (1904) and the Gouédic Viaduct (1983). Around St Etienne’s Cathedral, the historical center, partly rebuilt in the post-war period, occupies a plateau delimited by the Gouédic and Gouët valleys. The study site comprises several entities of both urban and landscape development: the station and its neighborhood (redevelopment project being studied with the creation of a new footbridge), the city center (heritage issues, requalification or opening of public spaces) Légué to the mouth of the Gouët, finally the valleys of Gouédic and Gouët, whose wooded escarpments welcome a wilderness in the heart of the city.

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Within this vast territory of reflection, several mutable sites can be the object of localized projects. Two project sites are offered to the Europan teams: part of the historical center (public spaces) and an industrial wasteland (formerly a disused gas plant) near Le Légue port. The «Centre-Ville» project site is bounded by the SNCF railway station in the South, the Parc des Promenades in the west, the Préfecture Park to the East and Rue des Trois Frères Le Goff in the North. It is adjacent to the pedestrian center where the vast majority of shops are concentrated. The «Légué» project site constitutes a space for articulation between the extended city center and the port. It is one of the main sites of affirmation of the axis city / port - land / sea by the street Legue in the continuation of Rue des Trois Frères Le Goff.


urbanism strategies and realistics spaces

How to Transform Physical Obstacles in connections?

In order to solve the problem of EUROPAN

13 on the town of ST-Brieuc, our team made of Guillaume Huchet, Anna Uborevich and I defined a perimeter of intervention in which three study areas are emerging: the city and its squares, the valley of Gouédic (sleepy valley) and the wasteland of the port of Légué. The principle of installation of the urban pattern would connect city, valley and port in order to cover the 70 meters of difference in altitude that separate the city center from the harbor. For this, a lively walk would run along Boulevard Sévigné bordering the Gouédic Valley. In order to ensure the continuity between city, valley and harbor, hinges would allow the connections between each entity. Former promenade until the 19th Century, Boulevard Sévigné borders the abandoned valley formerly inhabited and lively. Today it is a deserted space where the very dense nature masks its topography. On the other hand, the town center of ST-Brieuc is a dynamic place, pedestrian squares and streets are very crowded, especially the Square of the Chai. In order to establish the «connection» between the attractive city and the formerly dynamic valley, we propose to establish a progressive walk connecting the three levels: city, valley and port through a contemplative path punctuated by playful and attractive spaces. Finally, the Légué wasteland on the edge of the port is a former industrial-polluted land, it is now a vegetated area where a mixed garden could be developed to a set of dwellings taking up the continuities and urban alignments already thus ensuring a continuity of the walk towards the GR of the valley of the Gouêt.

The valley: a link between the city and the port. how reconnect the valleys to their plateaus?

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Europan 13: the adaptable town

Gouet valley

National road A12

0m

Train station SNCF

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Saint-Étienne cathedral

Gouédic valley

1km


urbanism strategies and realistics spaces

6.Wilderness and port:urban square and housing

accès park | logement

6

3.Footbridge: link between the town and the valley

5 4

accès plateau

3

accès centre-ville

2 1

0

1.City center: redesign of place du Chai

2.Vantage point: walk starting point

4. Valley access

5.Bicycle path: Toupin viaduct

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Europan 13: the adaptable town

1.City center: redesign of place du Chai

cleaning

Renovate

Improve

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urbanism strategies and realistics spaces

The place today

0m

10m

Project place

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Europan 13: the adaptable town

Vegetal block heart

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urbanism strategies and realistics spaces

High road

Boulevard Sévigné

walk assumption

Trees alley

Bicycle Walk path pedestrian 0m

Gouédic valley

10m

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Europan 13: the adaptable town

2.Vantage point: walk starting point

0m

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10m


urbanism strategies and realistics spaces

3.Footbridge: link between the town and the valley

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Europan 13: the adaptable town

4. Valley access

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urbanism strategies and realistics spaces

5.Bicycle path:Toupin viaduct

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Europan 13: the adaptable town

Section a.a Section b.b

0m

6.Wilderness and port:urban square and housing

Section a.a

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Gouet valley

housing

100m


urbanism strategies and realistics spaces

Section b.b

0m

10m

Perspective urban square

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Architecture and Utopia, Stylistic Exercice Four architecture and utopian projects in the form of litterary exercice, animation and graphic design

First year of Master’s degree Tutor: Michael Halter

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Architecture and Utopia, Stylistic Exercice

«Architecture and utopia, stylistic exercice», relates the three emerging moments of the semester:

2. Utopia

With a possible return to reality as a prologue.

Making a landscape, a territory, a city, A neighborhood, a utopian shelter (shelter) associated with one or more utopias. Real, imaginary, constructed or unconstructed contexts. Project 1: «For me» (the individual) Project 2: «For the other» (society)

1.Stylistic exercice

3. Imaginary

Implementation of an experimental project situation in order to design several utopia-oriented projects in the form of exercises of style. Particular attention is paid to methodology, design tools and communication. The project is based on a common framework:

The «imaginary» project materializes an opening of the utopias initially proposed to an imaginary future while keeping as reference the three scales: Territory (real or imaginary space), city and dwelling. 4. Prologue ou return to Reality?

-Stylistic exercice -Utopia -Imaginary

Stylistic exercice, pastiches and mixtures1 It is a question of carrying out short research on themes chosen by the whole group in order to approach notions of imagination, collective fantasies, past or future uses with a very broad operational spectrum. Based on a societal or geographical observation, it is a question of carrying out three projects and three texts based on three clearly identifiable problems.

1.Marcel Proust. Pastiches et mélanges Material description: In-16, 277p. Édition: 1919. 3e éd. Paris Éditions de la «Nouvelle Revue française» Autor: Marcel Proust (1871-1922)

From the three initial projects, formulate a coherent three-part sequence in order to produce a synthesis in the form of a critical feedback on the projects rendered, a networking of the mental map. Work explored in pairs.

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Architecture and utopia: stylistic exercice

1.Stylistic exercice Exercice 1: pastiche

From a news story about the escape of a giant

octopus to the Seattle Aquarium, I wrote a pastiche in the manner of Emile Zola («J’accuse») and Anne Frank (The Diary of Anne Frank)

Pastiche 1) à la manière d’Emile Zola « J’accuse »:

Pastiche 2) à la manière d’Anne Frank « le Journal de Rose Polypous » :

Lettre ouverte au directeur de l’aquarium de Seattle par Emile Zola.

Lundi 9 mars 2015

Cher monsieur le directeur ,

Chère Myriam,

Me permettez-vous, dans ma gratitude pour le bienveillant accueil que vous m’avez fait un jour, de vous faire part de ma mortification quant au sort abominable que vous réservez à cet être innocent. La pieuvre réprimée et condamnée à un sort infâme, tente à juste titre de fuir la tyrannie de l’oppression du parc aquatique de Seattle. Le juste rayonnant à tenté de mettre fin au calvaire immoral que vous lui infligez depuis trop longtemps , coupable de sa différence , son seul crime est d’exister. En plus d’un viol honteux de sa vie privée, les conditions de vie, ou dois-je dire de survie, déplorables signent une indifférence flagrante envers sa condition d’être vivant. J’accuse la malfaisance et l’hypocrisie d’un Homme qui se dit juste et bon. Mais qui abrite la misère et autorise l’atrocité. J’accuse la horde de spectateurs de s’être rendue complice, tout au moins par faiblesse d’esprit de cette humiliation. La pieuvre photographiée, filmée, flashée, snapchatée, twitée, facebookée , selfiée et youtubée par des porcs suintant le capitalisme puant. J’accuse IsoscelesKr4mer le scélérat, d’avoir filmé la lente agonie d’un céphalopode tentant de braver les obstacles absurdes qui le mèneront à sa chère liberté. J’accuse cet employé, esclave du gain et complice du malin d’avoir contrarié l’évasion d’un irrépréhensible. Je vous adresse cette lettre aujourd’hui, dans l’intime conviction que vous ferez justice en acquittant sciemment un angélique.

Je t’écris cette lettre pour te dire adieu, cela va s’en doute t’étonner mais ainsi en a décidé le destin, je dois partir, comme tu l’as naturellement appris depuis longtemps, je n’ai pas besoin de t’en dire la raison. Dehors il se passe des choses affreuses, des gens photographient et filment sans vergogne ces pauvres animaux emmenés jour et nuit avec leurs enfants qui leurs sont enlevés en cours de route. Les familles sont écartelées, baleines, baleineaux sont séparés. Des poissons clowns qui rentrent de l’école ne retrouvent plus leurs parents dans leurs anémones. Nous avons une nouvelle occupation, c’est un travail comme on en fait dans les prisons, c’est d’un rare ennui et ça vous donne le tournis et le fou rire. Aujourd’hui j’ai alors de nouveau tenté d’échapper à mon cachot, abandonner une maison froide pour traverser les rues froides et arriver dans la mer encore plus froide. J’avais repéré une ouverture au niveau du plafond. Pour mon évasion, mes camarades s’étaient alliés afin de guetter le moment le plus opportun. Ne se contentant que d’une ration de crustacés par semaine, les calamars ont aussi mis de coté le reste de leur nourriture hebdomadaire à ma disposition. C’est donc en milieu d’après midi, après le signal donné par les crabes et la tortue du secteur quatre, que je me suis lancée contre la paroi froide de ma cellule et escaladé les deux mètres qui séparent la surface de l’eau et la liberté. Tandis que mes tentacules avaient à peine reconnu la sensation de la délivrance, un porcin s’est interposé et a bloqué ma fuite. Nous nous moquons bien des impressions, tout ce que non voulons, c’est partir, partir et arriver à bon port et rien d’autre. Il n’y aura pas de suite, demain je pars.

Veuillez agréer, monsieur le Directeur, l’assurance de mon profond respect.

Bien à toi, Rose.

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Stylistic exercice

Exercice 2: Mental process of transposition (methodology)

These texts analyzed in detail allowed me to

identify several interrogative terms including the literary concept «Reification». Reification is defined in two senses: Philosophical and societal. The tool of the heuristic map allowed me to examine the societal meaning, but to arrive at the end of the process the track appeared to be unusable or difficult to transpose into the realm of architecture.

Exploiting the philosophical meaning of the term has allowed me to come up with a concept: Freeze. My mental process begins with a «Brainstorming» to specify themes, then classify these themes in a thematic heuristic map and specify the content in a heuristic map using the «Who? What? Where? When? How? Why ? (QQOQCP). «How?» «Allowed me to detect plastic means to materialize the concept» freeze «in 3D model and 2D representation. Then I went back to basics to make a more global analysis by theme and felt. This analysis demonstrated that of the same subject, by changing its form, one could perceive it in several ways, seeing it through a different «PRISM». The mental process then remains identical and allowed transposition in 3D and 2D.

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Architecture and utopia: stylistic exercice

Heuristic map used the ÂŤQQOQCPÂť process

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Stylistic exercice

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Architecture and utopia: stylistic exercice

Pastiches

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Brain strorming


Stylistic exercice

QQOQCP

model 3D place

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Architecture and utopia: stylistic exercice

Exercice 3: Empirical Approach

Exercise 2 allowed me to produce abstract models representing the concept or idea of a​​ prism. I then wished to inhabit these mockups in the literal sense, to inhabit the abstract idea that can be done by means of a film. To do this I first made an imaginary map of the models and a cut. The idea will then be to invent a city, place, world or abstraction and to experiment its representation in video. To think then of this abstraction on several scales and to film a point of view of the prismatic or colored habitat of Delaunay. Then take the process in reverse with the third experimentation by first producing the video and then imagining the plan or the cut. Then, by Apollinaire’s «photocinematograhie» process, try to express a kaleidoscopical vison. The chosen approach can be qualified as empirical because it is by experimenting that performance occurs.

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In Exercise 1 it was a question of producing a pastiche from a news item like a writer. I decided to rewrite the article in the manner of Emile Zola and Anne Frank in order to experiment with the principle of pastiche. This division from the same element allowed to feel two different emotions. Exercise 2: I subsequently transposed the argument in 2D and 3D abstract mappings. To do so, I proceeded by heuristical map, detailed analysis and brainstorming. This process allowed me to isolate concepts like reification, freezing or prism. However, the concept chosen for the 3D realization will be prism because it is, in my opinion, the most exact transpositon of exercise 1. In fact the pastiches allowed to feel two different emotions because the story was perceived through a prism. So from angles or through different spectra. Exercise 3: Then through a film I «inhabited abstraction» in the proper sense, that is to say to inhabit the abstract model of the prism produced previously. This enabled me to imagine through the tools of the cup and the plan a «prism city», angular, refractive ... Inhabited really, by a prismatic population. The words that define the prism have also allowed me to produce two other short films highliting the idea of inhabiting ​​ an abstraction, but this time by isolating details such as decomposition.


Stylistic exercice

Excerpt of the video:prism town model

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Architecture and utopia: stylistic exercice

Transposition of an abstract model into a plane and an imaginary section (prism)

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Stylistic exercice

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Architecture and utopia: stylistic exercice

Exercice 4: overview

In order to achieve this first phase, I have re-

flected on Jean Luc Nancy’s theory of «building» in order to synthesize these three exercises into a structure as such. Jean Luc Nancy explains in his philosophical book: «Construction and Deconstruction then come together narrowly. What is constructed according to a logic of ends and means is deconstructed at the contact of the extreme edge where the ends are revealed endless and the means, in turn, temporary ends from which new possibilities of construction (...)». We could then say that the «construction» is the observation of the phenomenon of the defragmentation of a structure or a material until its reconstruction. It is therefore provoked after a shock, or a crash. This splitting of the material then produces a heap which can be recomposed in a different manner.

Coop Himmelb(l)au, Basel Event: the Restless Sphere, 1971

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After this personal analysis, I then proceeded by deduction by using the prism as a structure in itself on which came to collide another element allowing its deflagration. I then channeled this phenomenon into an almost invisible sphere. Then, I intuitively reconnected the colored fragments to the technical nucleus and this allowed me to compose a primary structure: the atom. The atom being a grain of the material, assembled, makes it possible to create bodies at different scales. Finally, the prism would be a technical nucleus coming to nourish the sphere of possibility, an evolutionary sphere that would dock to the Earth. The sphere is here considered a mobile structure independent from the terrestrial basement.

Reyner Banham and Francois Dallegret, Environmental Bubble, 19655


Stylistic exercice

Progressive Sphere

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STRUCTION DÉFLAGRATION

2

STRUCTURE COMPOSÉE

CHOC

Prisme: noyau technique qui vient nourrir la sphère des possibles.

1

ROUGE: STIMULE

ESPACE TECHNIQUE ESPACE DES POSSIBLES

STRUCTION ATOMIQUE

Destruction d’une structure prismatique permetant de recomposer une structure primaire: l’atome.

COUPES SCHÉMATIQUES

BLEU: SERENITÉ

20 MARS 2015

13 MARS 2015

27 MARS 2015

Cinématogramme Expérimentation Habiter un Inanimé Coupes, plans: film

HABITER L’ABSTRACTION Habiter au sens propre un prisme: ville, lieu prismatique.

RÉIFICATION

CONCEPT

KALÉIDOSCOPE

PRISME

Écrire sous des angles différents, voir à travers un prisme

Etienne Souriau: dée abstraite et générale. 1) Esthétique: rapprochements, caracyères communs, genres, style, catégories, littératures, processus. 2) Science 3)Philosophie: conceptuelle.

Deleuze: «La philosophie ets l’art de former, d’inventer, de fabriquer des concepts»; «Pour fabriquer un concept il faut répondre à un problème».

PASTICHE

Un texte pastiché de deux manières différentes.

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Concept Marxiste: Transposition effective d’un rapport social, d’une relation humaineen «chose» ,»système independant de ceux pour lesquels ce processus s’est effectué.

VIOLET: EQUILIBRE


ATOMES: GRAINS QUI FORMENT LA MATIÈRE

RECONSTRUCTION

3

E

ASSEMBLAGE

JAUNE: SOMMEIL

BLAN: EUPHORIE

struction J.L Nancy R. Scoffier Luminothérapie

COUPE SCHÉMATIQUE

VERT: APAISANT

DESTRUCTION 31 MARS 2015

2 AVRIL 2015

DEGRÉ DE

CE

RÉFRINGEN

Éclatement Frangmentation Maquette abstraite Réfringence Anamorphose Décomposition

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Architecture and utopia: stylistic exercice

2.Utopia

My personal utopia would be composed

of celestial islands. Assuming that in 2300 the earth comes to the point of breakdown on overpopulation and pollution... The idea would be to inhabit islands formed of earth and earthly waste in order to give back space on earth and to use the polluting waste As material. These islands would be connected to each other, forming a single unit. This system would revolve around the earth in 200 days allowing indefinite travel. This population between heaven and earth would live in huts surrounded by trees. Subsequently the structure and composition of these huts will be to think.

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In the utopia for others I wanted to create an autonomous-city concept, with a society formed of an assembly, or each inhabitant would have his role to play or his contribution to give for it. Indeed, by imagining in 2420, land exhausted by soil pollution due to abusive agriculture due to globalization and atmospheric pollution, would resume its rights. Its main material: the mycelium. Mycelium is a collection of more or less branched filaments forming the vegetative part of a fungus. It is a random structure. The oldest mycelium is found in Oregon it is 2400 years old. It measures 5.5 km in diameter and extends over an area of ​​890 hectares in the forest. Biologist Paul Stamet has demonstrated that mycelium absorbs oil in polluted soils and produces enzymes that are recombined into carbohydrate producing fungi. In other words, mycelium cleans the soil and makes it fertile again. In fact, it attracts insects which in turn attract birds which by depositing seeds allow its fertilization and thus the production of food. It also serves as a remedy for several diseases such as the fever H5N1... as well as natural insecticides when the production of its spores are canceled. Moreover, it is an element that can be transformed into primary energy: Econol. The utopian city would then be composed of a basic structure built by man on which the mycelium would spread. Initially, to conform to its shape, it would continue its propagation in a random way. The basic structure is biodegradable. Thus once covered, it would disappear leaving a place totally white and fertile. Thereafter the idea would be to think of new ways of living with this matter.


Stylistic exercice

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UTOPIE CÉLESTE

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Tamashi: l’île aux âmes

Hayao Miyazaki: le chateau dans le ciel//ambulant

RECHERCHES

COUPE ÉCHELLE 1:1000 SCÉNARIO

ORGANISATION FÉDERATION

Microclimats TEMPS: 1 an= 230 jours

Calendrier Céleste

UTOPIE POUR «MOI»

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STRUCTURE

PROPAGATION

SCÉNARIO

PROPAGATION

UTOPIE POUR LES AUTRES

PROPAGATION

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MYCELIUM


Mycelium

2

4

3

Ryan Alexander: Processing

Suzan Lee: Biocouture jacket

RECHERCHES

1

Eric Klarenbeek: Mycelium Chair

Nucléo: Terra

O

MYCELIUM

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Architecture and utopia: stylistic exercice

Through

the utopia phase I decided to rethink an ideal world for others and for me using several tools. I began by making an observation of the state of the earth in order to establish problems: How to allow nature to emancipate itself to become architecture? How to promote autonomy? Then a more personal questioning for my utopia. This allowed me to recall a documentary on Arte explaining the principle of the mycelium: vegetative part of a mushroom. It is a material with surprising properties allowing the depollution of the soils and their fertlisaton on a large scale. Moreover it spreads very quickly and can be transformed into primary energy, drugs, insecticides ... After analyzing all his properties, I decided to use them as a concept to design a utopian city for others. The idea would be to create a new architecture growing with mycelium. With this natural material, urban forms would become random and autonomous. Then at the scale of the district I focused on mycelial utopia by establishing an economical and social platform based on collaboration and inter-connectivity. I drew the information in economic books of sharing such as The Third Industrial Revolution of JĂŠrĂŠmie Rifin. This utopian economy would combine high technology and nature.

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Finally, for the scale of the house, I wanted to define the structure of this mycelial architecture. I then thought about the nanotechnology that as mycelium is still in the scientific world in the research phase. After detailed analysis of the principle I discovered the fullerene tube which is nanomaterials. Called as carbon nanotubes, they arouse enormous interest in the world of research as fundamental as applied because their properties are exceptional. From a mechanical point of view, they exhibit both excellent stiffness, comparable to that of steel, while being extremely light. From the electrical and optical points of view, single-walled nanotubes have the particularity of being able to be either metallic or semiconductor depending on their geometry. It is also an intelligent material because allied to other particles, it allows to combine other functions. So I imagined that one day in this utopian society where technology would be very advanced, researchers could have merged the chemical properties of the nanotube with those of the mycelium by a third component: the nanoparticle. This creates a new, highly resistant, insulating and proliferating self-contained structure that can absorb solar energy to fertlize soils and produce food.


Stylistic exercice

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Architecture and utopia: stylistic exercice

City

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Stylistic exercice

District

Dwelling

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Architecture and utopia: stylistic exercice

3.Imaginary: Musical transcription in space «Emotional auditory housing»

The synthesis of this last exercise is generated by the evaluation and personal interpretation of Frédérique Chopin’s study in A-flat, op. 25, No. 1, which was dedicated to Madame la Comtesse d’Agoult.

Here the mycelium detects the sounds and tries to trace a vector image, the threads of mycelium represent the impulse, it acts then as a transfer of emotions. The dots represent different feelings detected during the hearing. The color and location of the points are determined by the imaginary of music. Bright colors and dark masses expose strong emotions. This device resulting from a mixture of the properties of mycelium and the emotions induced by the music is colored according to the sensation experienced during the listening. It is a system based on the principle of mirror neurons and musical emotions. For some researchers, they constitute a central element of social cognition, from language to art, to emotions and the understanding of others. Thus, a new cosmogony is set up, abstract colored and light. Habitable spaces are found in colored «spheres» and are generated by musical emotions. It is called «accoustic habitat», which is one of the foundries where the different emotions are identified, articulated, experienced and worked in real time. Thus, Chopin’s work provoked four distinct feelings: Positive, peaceful, relaxed and interested. These sensations are themselves subdivided into several emotions.

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This cosmogony thus combines the properties of music with mycelium. Mycelium is a prolific material that transfers food through fungal networks. The fungus has developed a way of digesting food externally by secreting acids and enzymes in their immediate environments and then absorbing nutrients through mesh-like cellular chains. This network spreads through the earth to transform these data into fungi or plants. This imaginary world would therefore replace the nutritional element earth with music. It is the sound that feeds the mycelium networks and allows them to transform sounds into «emotional auditory habitats». Music then repeats itself daily, it acts as self-regulating emotions, emotional and physical prosthesis. It thus lays the emotional and stylistic bases of the intimate auditory spheres. Music is a medium between body and emotion, here it allows movement. It then generates improvements, modifications and reproduction of particular emotions. One can imagine that these emotional auditory habitats reveal different atmospheres and universes. Indeed each cell space is formed according to the emotional transcription: peaceful, happy, fulfilled ... On the other hand, the involvement of the mirror neuron system and its links to the emotion-generating parts of the brain, as well as its possible connections with the evolutionary beneficial movement / emotion motor systems, Emotion musiclae rests on very ancient roots.


Stylistic exercice

+

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Musical Cosmogony

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Architecture and utopia: stylistic exercice

4. Réality? «Glow pavilion» Team : Marine Laly and Melody Rivet

Our association and sharing of our work per-

mitted to bring out ideas and concepts, allowing to create a project responding to our common desires and expectations. The assimilation of our thoughts, has emerged several notions, such as sustainability, multidisciplinarity, a thematic, evolutionary, mobility, microarchitecture and an innovative material. The latter is the key-idea of​​ our project. We carried out references in the field of design and architecture. The QuaDror project was the trigger, leading us to design a modular, modular, assemblable and mobile module. Then we went through a sketch phase in response to the QQOQCP system (who, what, where, when, how, why), giving shape to the project according to a real context.

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A microarchitecture was born, moving throughout Paris: a pavilion of new technologies. This horn exploits intelligent phosphorescent light. The «glossy pavilion» is set up in anticipation of a near future so that city dwellers can get familiar with renewable energies. Our pavilion is a playful implementation allowing to approach this luminous materials. One could imagine that this innovative material could in the future spread in the city, colonizing architecture, urban furniture or transport... This pavilion would also use podo-electric slabs. The visitors would walk on these slabs, which would generate electricity stored in batters allowing to animate the pavilion in the meantime. The shining pavilion is therefore in constant metamorphosis. Its panels open and close to the rhythm of city dwellers and light up as soon as night falls.


Stylistic exercice

convertible module and assembly

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Architecture and utopia: stylistic exercice

Transparent Ppexiglass 90%

Smart colored light: phosphorescent plexiglass

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Secondary structure: brushed steel

Smart floor

Primary structure: brushed steel


Stylistic exercice

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Portfolio Melody Rivet 2017/2018  
Portfolio Melody Rivet 2017/2018  
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